tag:blogger.com,1999:blog-205170622011-11-27T16:18:23.787-08:00DotNetMentor..As of now just posting..some Junk data.Serious blogging will start soon..!!Truth Diggerhttp://www.blogger.com/profile/13490206992586073115noreply@blogger.comBlogger1291100tag:blogger.com,1999:blog-20517062.post-80329756635638469782011-01-21T09:54:00.000-08:002011-01-21T10:37:39.552-08:00<div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/20517062-8032975663563846978?l=sridharakrishna.blogspot.com' alt='' /></div>Truth Diggerhttp://www.blogger.com/profile/13490206992586073115noreply@blogger.com0tag:blogger.com,1999:blog-20517062.post-56497026385043370432011-01-20T11:22:00.000-08:002011-01-20T11:24:16.695-08:00<a href="http://1.bp.blogspot.com/_OQ0gTTh7-8g/TTiLzz6LOkI/AAAAAAAAAF0/vGVGJW7kFNM/s1600/P3220212%2B%25282%2529a.jpg"><img style="WIDTH: 284px; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5564351061840050754" border="0" alt="" src="http://1.bp.blogspot.com/_OQ0gTTh7-8g/TTiLzz6LOkI/AAAAAAAAAF0/vGVGJW7kFNM/s400/P3220212%2B%25282%2529a.jpg" /></a><br /><div></div><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/20517062-5649702638504337043?l=sridharakrishna.blogspot.com' alt='' /></div>Truth Diggerhttp://www.blogger.com/profile/13490206992586073115noreply@blogger.com0tag:blogger.com,1999:blog-20517062.post-27256737732021061672009-12-14T03:30:00.001-08:002009-12-14T03:30:25.668-08:00Very Good Article in Materpage( <br><a href=http://odetocode.com/articles/450.aspx><font size=2 face="sans-serif">http://odetocode.com/articles/450.aspx</font></a> <br><font size=2 face="sans-serif"><br> </font><pre>=====-----=====-----===== Notice: The information contained in this e-mail message and/or attachments to it may contain confidential or privileged information. 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Thank you </pre><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/20517062-2725673773202106167?l=sridharakrishna.blogspot.com' alt='' /></div>Truth Diggerhttp://www.blogger.com/profile/13490206992586073115noreply@blogger.com0tag:blogger.com,1999:blog-20517062.post-54097548826568331902009-12-10T04:16:00.001-08:002009-12-10T04:16:52.135-08:00C# Design patterns <br><a href=http://www.dofactory.com/patterns/Patterns.aspx><font size=2 face="sans-serif">http://www.dofactory.com/patterns/Patterns.aspx</font></a> <br><a href="http://www.go4expert.com/forums/showthread.php?t=5127#builder"><font size=2 face="sans-serif">http://www.go4expert.com/forums/showthread.php?t=5127#builder</font></a> <br><font size=2 face="sans-serif"><br> </font><a href=http://aspnetresources.com/blog/design_patterns_csharp.aspx><font size=2 face="sans-serif">http://aspnetresources.com/blog/design_patterns_csharp.aspx</font></a><pre>=====-----=====-----===== Notice: The information contained in this e-mail message and/or attachments to it may contain confidential or privileged information. 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Thank you </pre><div class="blogger-post-footer"><img width='1' height='1' src='https://blogger.googleusercontent.com/tracker/20517062-5409754882656833190?l=sridharakrishna.blogspot.com' alt='' /></div>Truth Diggerhttp://www.blogger.com/profile/13490206992586073115noreply@blogger.com0tag:blogger.com,1999:blog-20517062.post-30051876859472178922009-11-12T01:20:00.001-08:002009-11-12T01:20:38.848-08:00The Departed Script <br><font size=2 face="sans-serif"><br> </font> <hr noshade> <br> <br> <table width=100%> <tr> <td width=21% bgcolor=red> <td width=78% bgcolor=red> <div align=center></div> <tr> <td colspan=2><a href=http://www.imsdb.com/></a> <tr> <td valign=top><a href=http://www.imsdb.com/></a> <div align=center> <br></div> <td></table> <br> <br> <table width=100%> <tr> <td width=19% valign=top> <div align=center></div> <td width=2%> <td width=78% valign=top> <br><font size=1><br> </font> <table width=100%> <tr> <td width=100%><tt><font size=3><br> <br> <br> <b> THE DEPARTED<br> </b><br> <b> <br> </b> Written by<br> <b> <br> </b> sridhara krishna Bodavula <br> <b> <br> <br> <br> </b> Based on Infernal Affairs<br> <b> <br> <br> SCRIPT AS SHOT COMPILED SEPTEMBER 2006<br> <br> FADE UP ON<br> <br> THE SOUTH BOSTON HOUSING PROJECTS. A MAZE OF BUILDINGS<br> AGAINST THE HARBOR.<br> <br> COSTELLO (V.O.)<br> </b> I don't want to be a product of my<br> environment. I want my environment<br> to be a product...of me.<br> <b> <br> YELLOW RIPPLES PAST THE CAMERA AND WHEN IT CLEARS WE SEE<br> THROUGH DIESEL SMOKE: A BUSING PROTEST IN PROGRESS. THE<br> SCHOOL-BUS, FULL OF BLACK KIDS, IS HIT WITH BRICKS, ROCKS.<br> N.B.: (THIS IS NOT SETTING THE LIVE ACTION IN 1974; IT IS A<br> HISTORICAL MONTAGE, THE BACKGROUND FOR COSTELLO'S V.O.).<br> <br> INT. THE AUTOBODY SHOP. DAY.<br> <br> </b> COSTELLO's profile passes in a dark room.<br> <b> <br> COSTELLO (V.O.)<br> </b> Years ago, we had the Church. That<br> was only a way of saying we had<br> each other. The Knights of Columbus<br> were head-breakers. They took over<br> their piece of the city.<br> <b> <br> EXT. SOUTHIE. VARIOUS<br> <br> </b> The neighborhood. 1980's. We won't be here long. This isn't<br> where Costello ends up. It's where he began. Liquor stores<br> with shamrocked signs. MEN FISHING near Castle Island.<br> Catholic SCHOOLKIDS playing in an asphalted schoolyard.<br> <b> <br> COSTELLO (V.O.)<br> </b> Twenty years after an Irishman<br> couldn't get a job, we had the<br> presidency. That's what the niggers<br> don't realize. If I got one thing<br> against the black chaps it's this.<br> No one gives it to you. You have to<br> take it.<br> <b> <br> INT. LUNCH COUNTER. DAY<br> <br> </b> COSTELLO comes in. The shop is one that sells papers,<br> sundries, fountain drinks...and fronts a bookie operation.<br> <b> <br> YOUNG COSTELLO<br> </b> (leaning over cluttered<br> counter)<br> Don't make me have to come down<br> here again.<br> <b> <br> <br> (CONTINUED)<br> <br> 2.<br> CONTINUED:<br> <br> <br> PROPRIETOR<br> </b> Won't happen again, Mr. C.<br> <b> <br> </b> The frightened proprietor hands over money. Fifty bucks, a<br> hundred, doesn't matter. COSTELLO is never the threatener.<br> His demeanor is gentle, philosophical. Almost a shrink's<br> probing bedside manner. He has great interest in the world<br> as he moves through it. As if he originally came from a<br> different world and his survival in this one depends on close<br> continual observation and analysis.<br> <b> <br> </b> YOUNG COLIN looks up. CLOSE ON his eyes. He is fourteen or<br> fifteen, but small for his age. Bookish.<br> <b> <br> </b> COSTELLO eyes the proprietor's TEENAGE DAUGHTER, working<br> behind the counter. He takes a propane lighter, and,<br> strangely, pays for it (the proprietor startled) and waits<br> for change. He lights a MORE cigarette with the lighter.<br> <b> <br> YOUNG COSTELLO<br> </b> Carmen's developing into a fine<br> young lady. You should be proud.<br> You get your period yet, Carmen?<br> <b> <br> </b> The PROPRIETOR is uneasy. COSTELLO turns to YOUNG COLIN<br> (about 14) staring at the local hero. Costello reaches up<br> above and behind the counter and takes down some cigarettes.<br> <b> <br> YOUNG COSTELLO (CONT'D)<br> </b> You Johnny Sullivan's kid?<br> <b> <br> </b> COLIN nods.<br> <b> <br> YOUNG COSTELLO (CONT'D)<br> </b> You live with your grandmother?<br> <b> <br> </b> COLIN nods.<br> <b> <br> YOUNG COLIN<br> </b> Yeah.<br> <b> <br> </b> COSTELLO tells the Proprietor to takes three loaves of bread<br> and some soup off the shelves and puts them in Colin's bag.<br> <b> <br> COSTELLO<br> </b> Get him three loaves of bread. And<br> a couple of half gallons of milk.<br> And some soup.<br> <b> <br> </b> He goes over to the fridge and puts two half gallons of milk<br> in the bag. Some soup. Costello turns to Colin.<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 3.<br> CONTINUED: (2)<br> <br> <br> COSTELLO (CONT'D)<br> </b> Do you like comic books?<br> <b> <br> </b> Colin nods. He adds a couple of comic books.<br> <b> <br> </b> When the PROPRIETOR looks at him, he takes out the money he<br> put in his pocket and gives back half.<br> <b> <br> YOUNG COSTELLO<br> </b> You do good in school?<br> <b> <br> </b> YOUNG COLIN nods, holding the big bag of loot.<br> <b> <br> COLIN<br> </b> Yes.<br> <b> <br> YOUNG COSTELLO<br> </b> That's good. I did good in school.<br> They call that a paradox.<br> <b> <br> </b> He gives some money to Carmen.<br> <b> <br> YOUNG COSTELLO (CONT'D)<br> </b> Buy yourself some makeup. Keep the<br> change.<br> <b> <br> </b> Looks intently at COLIN to see if he gets it. Colin does.<br> <b> <br> YOUNG COSTELLO (CONT'D)<br> </b> You ever want to earn a little<br> extra money, you come by L street.<br> You know where I am on L street.<br> <b> <br> </b> COLIN nods: everybody does.<br> <b> <br> YOUNG COLIN<br> </b> Thank you.<br> <b> <br> </b> He pushes out with the bags of groceries.<br> <b> <br> </b> The PROPRIETOR can do shit about it.<br> <b> <br> </b> YOUNG COSTELLO watches YOUNG COLIN go off down a slummy<br> street.<br> <b> <br> INT. A CHURCH. MORNING. 1985-ISH<br> <br> </b> YOUNG COLIN, the good boy, the very good boy, is serving at a<br> funeral Mass. Various views of the church. Stained-glass<br> light. The altar is still wreathed in the smoke of incense.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 4.<br> CONTINUED:<br> <br> <br> PRIEST (V.O.)<br> </b> To you, O Lord we commend the soul<br> of Alphonsus, your Servant; in the<br> sight of this world he is now dead;<br> in your sight may he live forever.<br> Forgive whatever sins he committed<br> through human weakness and in your<br> goodness grant him everlasting<br> peace.<br> <b> <br> ALL<br> </b> Amen.<br> <b> <br> </b> CLOSE on COLIN'S face.<br> <b> <br> PRIEST (VO)<br> </b> May the angels lead you into<br> paradise; May the martyrs come to<br> welcome you and take you to the<br> holy city, The new and eternal<br> Jerusalem.<br> <b> <br> </b> A liturgical bell tings.<br> <b> <br> INT. THE AUTOBODY SHOP. DAY<br> <br> </b> COSTELLO is talking informally (we realize that this is a<br> continuation of the philosophical talk, the shadowy pacing).<br> YOUNG KIDS. Useful young men. YOUNG COLIN, three years older,<br> is among them.<br> <b> <br> YOUNG COSTELLO<br> </b> Church wants you in your place.<br> What sort of man wants to be kept<br> in his place? Do this don't do<br> that, kneel, stand, kneel,<br> stand...I mean if you go for that<br> sort of thing...<br> <b> <br> </b> YOUNG COLIN, the recent altar boy, visibly doesn't go for<br> that sort of thing.<br> <b> <br> YOUNG COSTELLO (CONT'D)<br> </b> I don't know what to do for you. A<br> man makes his own way. No one gives<br> it to you. You have to take it.<br> (a beat)<br> Non serviam.<br> <b> <br> YOUNG COLIN<br> </b> James Joyce.<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 5.<br> CONTINUED:<br> <br> <br> YOUNG COSTELLO<br> </b> Him and Lucifer. And me.<br> (to the room)<br> Guineas from the North End and down<br> Providence, tried to tell me what<br> to do...And something maybe<br> happened to them.<br> <b> <br> EXT. A REMOTE BEACH. DAWN<br> <br> </b> Rose-colored dawn. YOUNG COSTELLO, with a pistol, executes a<br> MAN kneeling in the surf. She falls on the body of a man who<br> has just been executed.<br> <b> <br> COSTELLO<br> </b> Jeez, she fell funny.<br> <b> <br> </b> FRENCH moves forward with an axe in his hand.<br> <b> <br> FRENCH<br> </b> Frank, you gotta see somebody.<br> <b> <br> </b> They go about their business.<br> <b> <br> INT. THE AUTOBODY SHOP. DAY<br> <br> </b> YOUNG COSTELLO walking, talking...Not continuous with the<br> above. We see that only YOUNG COLIN is present.<br> <b> <br> YOUNG COSTELLO<br> </b> You decide to be something, you can<br> be it. That's what they don't tell<br> you, the Church.<br> <b> <br> </b> MISTER FRENCH is doing books off behind a window of dirty<br> glass.<br> <b> <br> YOUNG COSTELLO (CONT'D)<br> </b> When I was your age, they would<br> say, we become cops or criminals.<br> Today, what I'm saying to you is<br> this: When you are facing a loaded<br> gun...<br> <b> <br> </b> very close on COSTELLO, holding Colin's shoulder.<br> <b> <br> YOUNG COSTELLO (CONT'D)<br> </b> What's the difference?<br> <b> <br> </b> ECU: COLIN'S EYES swerve up. We are now on (MATURE) COLIN'S<br> EYES eyes. This is how the character transits the "age<br> leap"...on the unchanging eyes.<br> <b> <br> 6.<br> <br> <br> <br> THE SAME EYES.<br> <br> </b> Pull back to reveal:<br> <b> <br> </b> POLICE TRAINEES. (INCLUDING BARRIGAN, who is included in all<br> Colin's trainee scenes). COLIN is in the class, wearing a<br> trainee's uniform. He has a notebook, a pen. Writing.<br> <b> <br> INSTRUCTOR<br> </b> The slug enters the skull by<br> forming a small entrance hole.<br> Blood and brain matter is ejected<br> backwards from this hole. The<br> bullet, which may expand, fragment<br> or tumble, then passes through the<br> brain...<br> <b> <br> </b> COLIN writes.<br> <b> <br> INT. FIRING RANGE. DAY<br> <br> </b> POLICE TRAINEES ON A FIRING RANGE. As we go along the line we<br> see COLIN, firing dry and then speed-changing a clip in a<br> BERETTA 92F. He is a perfect trainee.<br> <b> <br> EXT. A TRAINING FIELD. DAY<br> <br> </b> STATE POLICE TRAINEES standing in a pissing rain, a DI<br> yelling at them OS. COLIN is staring forward. RAIN streaming<br> down his face. His opinion on the experience is not<br> decipherable. Ad libs: "Sir, yes, sir."<br> <b> <br> EXT. THE BOSTON COMMON. DAY<br> <br> </b> Guys we recognize from the previous shots at the State Police<br> Academy (wearing Statie t-shirts), including COLIN and<br> BARRIGAN, are playing rugby against some FIREFIGHTERS. Very<br> rough game. The game breaks up with each group giving each<br> other the finger. FIREFIGHTERS are moving away triumphantly.<br> <b> <br> COLIN<br> </b> Fucking firemen are getting pussy<br> for the first time in the history<br> of fire. Or pussy.<br> <b> <br> </b> COLIN sits on a bench looking at THE GOLD DOME OF BEACON<br> HILL. The terraces of fine townhouses. Aqueous golden light<br> behind. Misty golden beauty.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 7.<br> CONTINUED:<br> <br> <br> BARRIGAN<br> </b> What are you looking at? Forget<br> it. Your father was a janitor, and<br> his son's only a cop.<br> <b> <br> COLIN<br> </b> (not vainglorious, but<br> innocently stretching for<br> the idea)<br> You're in trouble if you're "only"<br> anything.<br> <b> <br> BARRIGAN<br> </b> Don't tell me I'm looking at the<br> first dickhead-American president<br> of the United States.<br> <b> <br> </b> COLIN doesn't have a great sense of humor but he knows how to<br> pretend that he does. He smiles.<br> <b> <br> EXT. STATE POLICE GRADUATION CEREMONY. DAY<br> <br> </b> Bagpipes and bullshit. Flags cracking. Line after line of<br> paramilitary-looking graduates, among them COLIN.<br> <b> <br> SPEAKER (V.O.)<br> </b> The Massachusetts State Police has<br> a long tradition of excellence.<br> Your graduation today solidifies<br> your acceptance into one of the<br> finest law enforcement agencies in<br> our nation. As the Governor of the<br> Commonwealth of Massachusetts, I am<br> confident each and every one of you<br> will serve with distinction, honor<br> and integrity.<br> <b> <br> </b> CAMERA swirls around COLIN as he moves, a lone person,<br> through the breaking up crowd. Other graduates are hugged by<br> family. COLIN, alone, comes to the gates of the yard.<br> <b> <br> THE MAYOR VO<br> </b> Congratulations. You are dismissed.<br> <b> <br> </b> The bagpipe band plays "Minstrel Boy."<br> <b> <br> COLIN'S POV:<br> <br> </b> AN OLDSMOBILE. COSTELLO and MISTER FRENCH standing by the<br> car.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 8.<br> CONTINUED:<br> <br> <br> </b> COLIN walks over to the car. COSTELLO gives COLIN a BOX.<br> COLIN flips open the top and then quickly closes it. NOTE:<br> The box could contain an eyeball, money, drugs, a picture of<br> Colin fucking his school teacher...we will never know.<br> <b> <br> COSTELLO<br> </b> School's out. You earned it. Yeah,<br> no more teachers, no more books.<br> <b> <br> INT. AN EXAMINATION ROOM. DAY<br> <br> TITLE: FOUR YEARS LATER<br> <br> </b> A test is reversed on a desk lit with fluorescents. BILLY<br> takes up a Number Two pencil. He is in a room full of<br> trainees, far enough along in their traineeship that their<br> hair has grown in.<br> <b> <br> </b> A CLOCK TICKS, sweep hand coming around.<br> <b> <br> </b> BILLY'S EYES on it.<br> <b> <br> INSTRUCTOR (O.S.)<br> </b> Begin.<br> <b> <br> </b> BILLY takes the test, marking multiple choice answers swiftly<br> while all around him trainees are sweating and still trying<br> to read the questions.<br> <b> <br> EXT. A TRACK. DAY<br> <br> </b> BILLY, wearing a State Police sweatshirt is running,<br> alongside BROWN a black trainee with specs.<br> <b> <br> BROWN<br> </b> She tells me, you never finish<br> anything.<br> (puff puff)<br> You finish the police course you<br> get taken care of again baby.<br> (puff puff)<br> So after graduation<br> (puff puff)<br> I get a blowjob again.<br> <b> <br> BILLY<br> </b> That's great. Your mom must be a<br> wonderful woman.<br> <b> <br> BROWN<br> </b> Fuck yourself.<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 9.<br> CONTINUED:<br> <br> <br> BILLY<br> </b> Look at it this way, you're a black<br> guy in Boston. You don't need any<br> help from me to be completely<br> fucked.<br> <b> <br> BROWN<br> </b> Ways to get ahead, though, man,<br> ways to get ahead.<br> <b> <br> BILLY<br> </b> (exasperated by this)<br> To where. (Yeah)<br> <b> <br> </b> BROWN is left thinking about this.<br> <b> <br> EXT. TRAINING FIELD. DAY<br> <br> </b> BILLY with other trainees is being braced by a DI.<br> <b> <br> DRILL INSTRUCTOR<br> </b> This is not the regular police.<br> This is the state police. Your<br> training will illustrate the<br> difference. What's the difference?<br> <b> <br> BILLY<br> </b> (sotto voce to BROWN)<br> Rage issues and lower median IQ.<br> <b> <br> DRILL INSTRUCTOR<br> </b> You say something?<br> <b> <br> BILLY<br> </b> Sir, I was agreeing with you about<br> our obvious superiority to other<br> forms of police, sir.<br> <b> <br> DRILL INSTRUCTOR<br> </b> We're not superior, we're the best.<br> <b> <br> BILLY<br> </b> Sir, yes sir.<br> <b> <br> INT. FIRING RANGE. DAY<br> <br> </b> BILLY, in glasses and ear-protectors, waiting for the target.<br> Go from the GUN to<br> <b> <br> 10.<br> <br> <br> <br> INT. A CRACKHOUSE. DAY.<br> <br> </b> COLIN, four years a veteran of the gang unit, is on the job,<br> on a raid, clearing rooms, part of a team working with<br> massive aggression. He moves through a door. A SAD SACK OF<br> SHIT is throwing drugs out a window.<br> <b> <br> COLIN<br> </b> (calling to other cops)<br> Douchebag!<br> <b> <br> </b> COPS enter past Colin and pigpile the man. COLIN is chewing<br> gum, all testosterone and aggression, glad to be a cop. The<br> smartest guy in the room.<br> <b> <br> EXT. FIRING RANGE. DAY<br> <br> </b> BILLY fires, and changes clips.<br> <b> <br> EXT. A STREET IN BOSTON. DAY<br> <br> </b> A BLACK-WINDOWED, MODERN, POLICE BUILDING, beetling over a<br> plaza. Older Boston reflected in the featureless glass. The<br> Boston of this film is almost futuristic. COLIN looks up at<br> the building with great intensity. He puts on his sunglasses<br> and walks towards the door.<br> <b> <br> INT. QUEENAN'S OFFICE. DAY<br> <br> </b> COLIN, in civvies (a very good suit), stands at suave<br> attention before CAPTAIN QUEENAN, a mild and scholarly man<br> who might as well be a Jesuit history-teacher.<br> <b> <br> QUEENAN<br> </b> Congratulations on passing the<br> detective exam, and welcome to the<br> Special Investigation Unit.<br> <b> <br> DIGNAM<br> </b> (tonelessly)<br> Whoop-di fuckin' do.<br> <b> <br> QUEENAN<br> </b> We won't be working directly<br> together, you'll be working for<br> Captain Ellerby, but I like to see<br> everybody.<br> (contemplating him)<br> You're a worker, you rise fast.<br> <b> <br> <br> <br> <br> (CONTINUED)</b></font></tt> <br><tt><font size=3><b> <br> 11.<br> CONTINUED:<br> <br> <br> DIGNAM<br> </b> Like a twelve year old's dick.<br> (Alt: Like a turd in the pool.)<br> <b> <br> COLIN<br> </b> Thank you, Sergeant.<br> <b> <br> DIGNAM<br> </b> My pleasure.<br> <b> <br> COLIN<br> </b> (to Queenan)<br> Thank you, sir.<br> <b> <br> </b> He turns to go.<br> <b> <br> INT. QUEENAN'S OFFICE WAITING ROOM. DAY<br> <br> </b> As COLIN leaves the office, looking very satisfied and not a<br> little saturnine (it's not as if he isn't pleased by<br> recognition and it's not as if he won't get revenge on<br> Dignam), he barely glances--and does not actually see--the<br> TRAINEE sitting off to one side. He sees polished brogues,<br> and walks on.<br> <b> <br> QUEENAN'S SECRETARY<br> </b> (whispering, joyful, in<br> love with COLIN)<br> Congratulations.<br> <b> <br> COLIN<br> </b> Thanks, hon.<br> <b> <br> </b> As COLIN leaves she moderates her expression and:<br> <b> <br> QUEENAN'S SECRETARY<br> </b> (coldly)<br> You can go in there now.<br> <b> <br> </b> BILLY looks up. He has not seen COLIN, and COLIN has not seen<br> him. He has his interview on his mind.<br> <b> <br> INT. QUEENAN'S OFFICE. MOMENTS LATER<br> <br> </b> BILLY stands at attention. The picture of a spit-and-polish<br> trainee.<br> <b> <br> QUEENAN<br> </b> You can sit.<br> <b> <br> </b> BILLY does.<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 12.<br> CONTINUED:<br> <br> <br> QUEENAN (CONT'D)<br> </b> So.<br> <b> <br> </b> BILLY has no idea why he is in this room with the brass.<br> Sgt. Dignam is staring at him aggressively, with contempt,<br> stirring his coffee. DIGNAM is more intelligent than he<br> seems.<br> <b> <br> QUEENAN (CONT'D)<br> </b> Do you know what we do here? My<br> section?<br> <b> <br> </b> BILLY doesn't want to answer unless he can answer correctly.<br> <b> <br> BILLY<br> </b> Sir, yes, sir, I have an idea...<br> <b> <br> SGT. DIGNAM<br> </b> Whoa, let's say you have no idea<br> and leave it there. No idea. Zip,<br> none. If you had an idea about what<br> we do we would not be good at what<br> we do. We would be cunts. Are you<br> calling us cunts?<br> <b> <br> </b> BILLY wouldn't normally take crap from this guy; but he does.<br> He's openly intrigued by the situation. Dignam is staring at<br> him. BILLY looks evenly at QUEENAN.<br> <b> <br> QUEENAN<br> </b> (not looking up from<br> papers)<br> Staff Sergeant Dignam has a style<br> of his own. I'm afraid we all have<br> to deal with it.<br> <b> <br> SGT. DIGNAM<br> </b> (getting to business,<br> hard)<br> You have family connections down in<br> Southie. Through your father. Tell<br> us about your uncle Jackie.<br> <b> <br> BILLY<br> </b> Uncle Jackie was a carpet layer for<br> Jordan Marsh.<br> <b> <br> SGT. DIGNAM<br> </b> Uncle Jackie was a small-time<br> bookie who tended bar at the Vets<br> in Somerville.<br> <b> (MORE)<br> <br> <br> (CONTINUED)<br> <br> 13.<br> CONTINUED: (2)<br> SGT. DIGNAM (CONT'D)<br> </b> He got popped by Nicastro in '95.<br> They found his body out by the<br> airport.<br> <b> <br> </b> BILLY says slowly:<br> <b> <br> BILLY<br> </b> That's right.<br> (tightly)<br> I remember his funeral.<br> <b> <br> SGT. DIGNAM<br> </b> (cruelly)<br> Closed casket?<br> <b> <br> BILLY<br> </b> That's right.<br> <b> <br> SGT. DIGNAM<br> </b> You tell anybody at Deerfield -<br> that is, before you got kicked out<br> for whaling on a gym teacher with a<br> folding chair - you had an uncle<br> met his demise like that?<br> <b> <br> </b> BILLY says nothing. Eyes luminous.<br> <b> <br> SGT. DIGNAM (CONT'D)<br> </b> I got a question. How fucked up are<br> you?<br> <b> <br> INT. CORRIDOR POLICE BUILDING. DAY<br> <br> </b> COLIN, in his good suit, moves along the hall. He owns the<br> building. He looks into offices. He is looking at his future.<br> From one room BARRIGAN (still working in uniform) gives him<br> the thumbs up. COLIN gets a coffee. He looks at a secretary's<br> ass. Caught at it, he smiles beautifully. She smiles back.<br> <b> <br> BARRIGAN<br> </b> What you got?<br> (with admiration and envy)<br> "Staff Sergeant". In four years<br> you're a sergeant.<br> <b> <br> COLIN<br> </b> SIU. What a country.<br> <b> <br> BARRIGAN<br> </b> (after a beat)<br> Perfect.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 14.<br> CONTINUED:<br> <br> <br> </b> Meaning to some extent "Perfect for a dick like you". This is<br> how friends come apart. BARRIGAN is unable to continue his<br> pose of congratulation. COLIN (close on Colin) is on to him.<br> <b> <br> COLIN<br> </b> I don't mind going it alone. If you<br> could go it alone you might get<br> somewhere yourself.<br> <b> <br> BARRIGAN<br> </b> We're cops. This isn't "somewhere".<br> <b> <br> COLIN<br> </b> I know you're a worker. I might be<br> able to do something for you. You<br> got any suits at home or you like<br> coming to work looking like you're<br> gonna invade Poland.<br> <b> <br> INT. QUEENAN'S OFFICE. DAY<br> <br> </b> BILLY is still at attention. DIGNAM going with wet thumb<br> through papers.<br> <b> <br> SGT. DIGNAM<br> </b> Let's look at the rest of the<br> family tree. Your maggot uncle<br> Tommy Costigan--he's another goof--<br> got busted selling guns to federal<br> officers. Among many, many, many<br> other departures from, ah,<br> "normative behavior".<br> <b> <br> </b> QUEENAN is inspecting Billy, watching his reactions. Specs<br> catching light.<br> <b> <br> BILLY<br> </b> What's this got to do with me?<br> <b> <br> SGT. DIGNAM<br> </b> Why are you pretending to be a cop?<br> <b> <br> INT. OCS CONFERENCE ROOM. CONTINUOUS<br> <br> </b> COLIN is eyeing a woman COP across the table. She smiles at<br> him and lowers her eyes. At the end of the table:<br> <b> <br> ELLERBY<br> </b> This unit is new, and you are the<br> newest members of it. You have been<br> selected for it on the basis of<br> intelligence and aptitude.<br> <b> (MORE)<br> <br> (CONTINUED)<br> <br> 15.<br> CONTINUED:<br> ELLERBY (CONT'D)<br> </b> This is an elite unit. Our job is<br> to smash--or at least marginally<br> disrupt--<br> (he gets the laugh he<br> expected)<br> --organized crime in this city by<br> our own efforts and by enhanced<br> cooperation with the FBI,<br> represented here by Agent Frank<br> Lazio--<br> (show the deeply<br> unreliable dandy LAZIO)<br> and we will do it. And by organized<br> crime in this city...you know who<br> we mean.<br> <b> <br> </b> SURVEILLANCE PHOTOS come up. COSTELLO in sunglasses standing<br> in front of the Autobody shop. COSTELLO standing with UNCLE<br> <b> JACKIE COSTIGAN.<br> <br> ELLERBY (CONT'D)<br> </b> (clicking the button)<br> That's Jackie Costigan...that's an<br> old picture. Jackie met his demise.<br> <b> <br> PHOTO OF JACKIE'S DEMISE: PHOTO OF JACKIE, DEAD.<br> <br> ELLERBY (CONT'D)<br> </b> Last known photograph.<br> <b> <br> </b> MORE RECENT PHOTOS. FITZY, DELAHUNT, FRENCH, all photographed<br> with COSTELLO. Coming out of buildings, talking on the<br> street, getting into cars.<br> <b> <br> ELLERBY (CONT'D)<br> </b> Costello uses three key guys.<br> There's Fitzy...off the boat<br> psycho...lives in Brockton with his<br> mother who looks like she's<br> straight out of "Going My Way"...<br> There's Delahunt, muscle, and<br> here's French...the number one. But<br> of course the rock star is...[you<br> know who]<br> <b> <br> </b> A picture of COSTELLO comes up. COLIN looks at it. In the MUG<br> SHOT Costello is serene, untouchable legally, untouchable at<br> the heart. He's like a hilarious devil.<br> <b> <br> ELLERBY (CONT'D)<br> </b> We've done a briefing book. Read<br> up.<br> <b> (MORE)<br> <br> <br> (CONTINUED)<br> <br> 16.<br> CONTINUED: (2)<br> ELLERBY (CONT'D)<br> </b> I want to have any and all ideas,<br> so I can pass them off as my own.<br> (laughter, a long beat)<br> Do your jobs and you will rise<br> fast. You're in the best position<br> in the department. Let's go to<br> work.<br> <b> <br> </b> The recruits disperse into a glittering modern office. COLIN,<br> in his flash suit, gets a cup of coffee. He looks at the<br> BRIEFING BOOK. He opens to a picture of COSTELLO.<br> <b> <br> INT. QUEENAN'S OFFICE. DAY<br> <br> </b> DIGNAM still working Billy.<br> <b> <br> DIGNAM<br> </b> Your old man was a hump from<br> Southie. Baggage-handler at the<br> airport. Family's all criminals<br> except your old man.<br> <b> <br> BILLY<br> </b> And one priest. Since you seem to<br> know everything.<br> <b> <br> DIGNAM<br> </b> I ain't sure about him, either.<br> (ALT: Last I heard he was happily<br> married to a 12 year old boy and<br> living on a beach in Thailand.)<br> Family's dug into the Southie<br> projects like ticks. Lifers down<br> there. Three decker men at best.<br> You grew up, however, up the North<br> shore. La di (fuckin') da.<br> <b> <br> </b> Dignam leans over Billy.<br> <b> <br> DIGNAM (CONT'D)<br> </b> You were kind of a double kid, I<br> bet, right? One kid with your old<br> man. One kid with your mother.<br> Upper middle class in the week, and<br> then dropping your 'r's and hanging<br> in the Southie projects with daddy<br> the donkey on the weekends. I got<br> that right?<br> <b> <br> </b> BILLY, opened up expertly and crudely, stares with contained<br> hatred.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 17.<br> CONTINUED:<br> <br> <br> SGT. DIGNAM<br> </b> You have different accents? You<br> did, didn't you. (You little<br> fuckin' snake.) You were different<br> fuckin' people.<br> <b> <br> BILLY<br> </b> You a psychiatrist?<br> <b> <br> SGT. DIGNAM<br> </b> If I was I'd ask you why you're a<br> Statie making thirty grand a year.<br> And I think if I were Sigmund<br> fucking Freud himself I wouldn't<br> get an answer. So tell me, what's a<br> lace curtain motherfucker like you<br> doing in the Staties?<br> <b> <br> BILLY<br> </b> Well. Families are always rising or<br> falling in America. Am I right?<br> <b> <br> QUEENAN<br> </b> (appreciative, kindly,<br> looking up from his<br> papers)<br> Who said that?<br> <b> <br> BILLY<br> </b> Hawthorne.<br> <b> <br> </b> SGT. DIGNAM (although he knows perfectly well who Hawthorne<br> is) makes a fart-noise with his mouth. BILLY looks at him<br> with an "I'm going to kill you" expression which is not<br> without wit and which Dignam seems to admire.<br> <b> <br> DIGNAM<br> </b> What's the matter, smartass? You<br> don't know any fuckin' Shakespeare?<br> <b> <br> QUEENAN<br> </b> We have a question. You want to be<br> a cop, or do you want to appear to<br> be a cop. It's an honest question.<br> Lot of guys want to appear to be<br> cops. Gun. Badge. Pretend they're<br> on TV...<br> <b> <br> SGT. DIGNAM<br> </b> A lot of em just want to slam a<br> nigger's head through a plate glass<br> window.<br> <b> <br> <br> (CONTINUED)<br> <br> 18.<br> CONTINUED: (2)<br> <br> <br> BILLY<br> </b> I'm all set without your personal<br> job application, Sergeant.<br> <b> <br> DIGNAM<br> </b> (after a "we got a live<br> one" glance at Queenan)<br> What the fuck did you say to me,<br> trainee?<br> <b> <br> </b> BILLY looks at him, and then looks forward.<br> <b> <br> BILLY<br> </b> Sir, with all due respect, sir,<br> what is it you want from me?<br> <b> <br> DIGNAM<br> </b> Hey asshole, he can't help you. I<br> know what you are, and what you<br> aren't. I'm the best friend you<br> ever had on the face of the earth.<br> I'm gonna help you understand<br> something: You're no fuckin' cop.<br> <b> <br> QUEENAN<br> </b> He's right.<br> (Billy looks at Queenan)<br> We deal in deceptions here. But<br> what we don't deal with is self-<br> deception. In five years, you might<br> be anything else in the world, but<br> you won't be a Massachusetts State<br> trooper.<br> <b> <br> BILLY<br> </b> You sure of that?<br> <b> <br> QUEENAN<br> </b> I'm sure of that.<br> <b> <br> DIGNAM<br> </b> Guaranteed.<br> <b> <br> QUEENAN<br> </b> (looking up from his<br> papers)<br> You don't have much family.<br> <b> <br> CLOSE ON BILLY.<br> <br> <br> <br> <br> (CONTINUED)<br> <br> 19.<br> CONTINUED: (3)<br> <br> <br> BILLY<br> </b> (deciding this on the<br> spot)<br> I don't have any family.<br> <b> <br> EXT. HUNTINGTON AVENUE. LATE DAY<br> <br> </b> A TROLLEY goes past. HOSPITAL HILL, above the trolley line,<br> is sinister, quiet. HOSPITAL at the top like a malign<br> fortress, above rows of endlessly repeated condominiums.<br> BILLY CROSSES from the Trolley stop, desperately, an angry<br> young man at his life's turning point.<br> <b> <br> INT. A HOSPITAL ROOM. LATER<br> <br> </b> BILLY'S MOTHER lies as if floating in her bed. Tubes, lights.<br> A bald head on a barely-dented pillow. She is a cancer<br> patient in a coma, weighing possibly 80 lbs. Gasping for air.<br> Her airways are cleared with a suction tube. BILLY sits<br> watching as the tube goes in. BILLY sits looking at her.<br> <b> <br> EXT. THE HOSPITAL CORRIDOR. LATER<br> <br> </b> BILLY is leaning against a wall. A maternal WASP UNCLE, a not-<br> bright guy (pretensions, rather than status), speaks briefly<br> to a DOCTOR further along the hall, then approaches BILLY,<br> hands in the pocket of a good suit.<br> <b> <br> WASP UNCLE<br> </b> What's this I hear from Stephanie<br> about you becoming a policeman?<br> <b> <br> BILLY<br> </b> You mean Stephanie who was the only<br> one who came to my father's<br> funeral? That Stephanie?<br> <b> <br> UNCLE<br> </b> That Stephanie.<br> <b> <br> BILLY<br> </b> Nothing much to it Uncle Edward.<br> <b> <br> UNCLE<br> </b> Are you trying to prove something<br> to the family?<br> <b> <br> BILLY<br> </b> When you say "family", what do you<br> mean? You?<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 20.<br> CONTINUED:<br> <br> <br> UNCLE<br> </b> You always question everything,<br> don't you?<br> <b> <br> BILLY<br> </b> Yeah, well, maybe it would have<br> done you some good to have a<br> question from time to time. "Am I<br> an asshole?" "Are my kids a mess?"<br> "Is my wife a money-grubbing<br> whore?" Those are questions.<br> (the UNCLE starts to<br> leave)<br> "Have I been good to my dying<br> sister or am I just pretending to<br> be?"<br> (he's stung THE UNCLE)<br> Too late now, right?<br> <b> <br> UNCLE<br> </b> Do you need some money for the<br> funeral?<br> <b> <br> </b> THE UNCLE moves away, bends to get his overcoat.<br> <b> <br> BILLY<br> </b> When my mother dies we don't have<br> any connection. You got it?<br> <b> <br> EXT. BOSTON. TWILIGHT<br> <br> </b> AERIAL. FLY FROM the HOSPITAL TO:<br> <b> <br> THE GOLD DOME ON BEACON HILL<br> <br> INT. AN APARTMENT ON BEACON HILL. TWILIGHT<br> <br> </b> A REALTOR switches on lights. An empty, flash apartment above<br> the Parisian rooftops of Beacon Hill. A view of the Dome.<br> More than you'd think a cop could afford. We see, as COLIN<br> does, beyond his reflection in the glass, the STATE HOUSE<br> <b> DOME.<br> <br> REALTOR<br> </b> This is it. Nice. You've got high<br> ceilings, parquet floors. There's a<br> lock on the fridge in case you have<br> eating issues.... Joke...not a very<br> good one.<br> (uneasy)<br> So, you're a policeman?<br> <b> <br> <br> <br> (CONTINUED)<br> </b></font></tt> <br><tt><font size=3><b> 21.<br> CONTINUED:<br> <br> <br> COLIN<br> </b> (like something he is used<br> to reciting)<br> I'm a State Police detective.<br> <b> <br> REALTOR<br> </b> (wondering where he gets<br> his money from)<br> State Police Detective. You a<br> married State Police Detective?<br> <b> <br> COLIN<br> </b> (coming out of his reverie<br> and coldly:)<br> ...No.<br> <b> <br> REALTOR<br> </b> Oh, cuz it's big and I wondered if<br> a cop...<br> <b> <br> COLIN<br> </b> I have a cosigner.<br> <b> <br> REALTOR<br> </b> You intend to have a housemate.<br> That's cool.<br> <b> <br> COLIN<br> </b> Give me the fuckin' papers.<br> <b> <br> EXT. HOSPITAL HILL OVERLOOK. NIGHT<br> <br> </b> BILLY sits on a bench looking out over the whole city. (It is<br> the best view of Boston, never seen in a film). He's smoking<br> a cigarette, making his decision.<br> <b> <br> INT. QUEENAN'S OFFICE. DAY<br> <br> </b> Continuation of the interview.<br> <b> <br> BILLY<br> </b> So what do I do?<br> <b> <br> QUEENAN<br> </b> During the war, Churchill used<br> river mines. He'd float them down<br> the rivers into Germany. They'd<br> either hit something, or not.<br> That's what we'll use you for. I'll<br> float you down the river. The rest<br> will happen. Or it won't...<br> (a beat)<br> <b> (MORE)<br> <br> (CONTINUED)<br> <br> 22.<br> CONTINUED:<br> QUEENAN (CONT'D)<br> </b> By the way, this isn't police work<br> for peanuts. There's money behind<br> this operation. You won't be paid<br> as a cop, but there is a bonus<br> involved. Tax free.<br> <b> <br> </b> QUEENAN writes on a slip of paper and hands it to BILLY.<br> BILLY looks up from the paper, impressed.<br> <b> <br> DIGNAM<br> </b> Luck of the Irish. All that and<br> you're still young enough to fuck<br> undergraduates.<br> <b> <br> QUEENAN<br> </b> We can't conceal that you've been a<br> trainee. You'll be convicted of a<br> crime. We're thinking that a guilty<br> plea to assault and battery might<br> make sense.<br> <b> <br> DIGNAM<br> </b> Given your nature.<br> <b> <br> QUEENAN<br> </b> You'll serve enough jail time to<br> convince anyone that it's no set-<br> up. You'll be on probation. The<br> whole nine yards.<br> <b> <br> DIGNAM<br> </b> I need you, pal. You've already<br> pretended to be a Costigan from<br> South Boston.<br> <b> <br> </b> BILLY looks up with a glazed insolence. In one beat he is not<br> a scared trainee but a smart criminal.<br> <b> <br> BILLY<br> </b> Every weekend...Sergeant.<br> <b> <br> DIGNAM<br> </b> Perfect.<br> <b> <br> QUEENAN<br> </b> Do it again. For me.<br> <b> <br> EXT. HOSPITAL HILL OVERLOOK. NIGHT<br> <br> </b> BILLY throws down his cigarette. He has decided.<br> <b> <br> FILM TITLE: THE DEPARTED<br> <br> 23.<br> <br> <br> <br> EXT. CEMETERY. DAY<br> <br> </b> Priest's cassock whipping in the wind. A few mourners (shabby<br> genteel ladies, contemporaries of his mother), but Billy<br> seems to have no real connection with any of them.<br> <b> <br> LATER<br> <br> </b> BILLY is alone at the grave. He looks at the tags on wind-<br> blown wreaths. One gives him pause. Under a picture of The<br> Virgin it reads: "Heaven holds the Faithful Departed" and is<br> signed: "F. Costello".<br> <b> <br> INT. JAIL HOLDING TANK. DAY<br> <br> </b> A CELL DOOR CLOSES. On Billy. Looking like a real criminal.<br> Not a pretend one. Frightened and resolute at once. BILLY is<br> in a holding tank.<br> <b> <br> EXT. THE BALCONY OF COLIN'S APARTMENT. MORNING<br> <br> </b> COLIN, in a bathrobe, leans on the rail and looks at Boston.<br> THE GOLD DOME visible. Colin drinks coffee. Not satisfied:<br> worried.<br> <b> <br> INT. A PROCESSING FACILITY. DAY<br> <br> </b> BILLY, naked, holds his clothes in a bundle. Being processed<br> out of jail. Beside him another guy, furtive, gruff, not<br> trying to be friendly.<br> <b> <br> OTHER PRISONER<br> </b> You're Bill Costigan?<br> <b> <br> BILLY<br> </b> Who wants to know?<br> <b> <br> OTHER PRISONER<br> </b> Nothin.' I know a Sean Costigan. L<br> Street.<br> <b> <br> BILLY<br> </b> My cousin.<br> <b> <br> OTHER PRISONER<br> </b> Connected but not too bright--<br> (BILLY looks at him with<br> an only-I-can-insult-my-<br> cousin look)<br> No offense.<br> <b> <br> </b> Billy gets his clothes.<br> <b> <br> 24.<br> <br> <br> <br> INT. CONFERENCE ROOM. DAY<br> <br> </b> On the wall is a rogues gallery of COSTELLO and all his<br> primary guys...MISTER FRENCH, DELAHUNT, FITZY. COLIN and<br> others sitting listening. COLIN, reading a paper (Boston<br> Herald) which may or may not have the headline, CASE DROPPED<br> AGAINST DRUGS CADET (featuring a picture of Billy), looks up<br> as SGT. DIGNAM comes in.<br> <b> <br> SGT. DIGNAM<br> </b> Sorry I'm late.<br> <b> <br> ELLERBY<br> </b> Staff Sergeant Dignam is our<br> liaison with the undercover<br> section. Their undercover work is<br> extensive. He's here to give us his<br> report. Sgt. Dignam.<br> <b> <br> SGT. DIGNAM<br> </b> OK. They're out there, my people.<br> They're like the fuckin' Indians.<br> You're not gonna see them. You're<br> not gonna hear about them except<br> through me or Captain Queenan. You<br> will not, ever, know the identity<br> of undercover people. This shit<br> hole, unfortunately, has more<br> fuckin' leaks than the Iraqi navy.<br> <b> <br> ELLERBY<br> </b> Fuck yourself.<br> <b> <br> SGT. DIGNAM<br> </b> I'm tired from fucking your wife.<br> <b> <br> ELLERBY<br> </b> How's your mother?<br> <b> <br> SGT. DIGNAM<br> </b> Good. She's tired from fucking my<br> father.<br> (opens a FILE)<br> OK, today, girls, what I got for<br> you is microprocessors.<br> <b> <br> </b> LAZIO, the Fed, comes in and sits down. With folders, pencil.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 25.<br> CONTINUED:<br> <br> <br> SGT. DIGNAM (CONT'D)<br> </b> Somebody, as you may already know,<br> stole one hundred microprocessors<br> from the Mass Processor Corp out<br> Route 128. They're the kind of<br> processors they put into computers<br> that can put a cruise missile up<br> the ass of a camel from the other<br> side of the planet. That's what<br> they do out there on "America's<br> Technology Highway". Worth a<br> hundred grand apiece. Guy worked<br> for the company two months walked<br> out the door with a box of<br> processors on Tuesday, has a ticket<br> booked for Florida on Wednesday,<br> but on Thursday he gets found in a<br> dumpster. You know where this dirt<br> ball started his life? Southie<br> projects.<br> <b> <br> COLIN<br> </b> What was his name? The, ah,<br> departed.<br> <b> <br> SGT. DIGNAM<br> </b> Myles Kennefick. Got the job with a<br> forged UMass transcript. UMass<br> Boston, which incidentally happens<br> to be in...<br> <b> <br> LAZIO<br> </b> South Boston?<br> <b> <br> SGT. DIGNAM<br> </b> Who forged your transcript,<br> dickhead?<br> <b> <br> COLIN<br> </b> I know that guy. His father runs<br> the Hibernian Liquor Mart.<br> Kennefick's.<br> <b> <br> ELLERBY<br> </b> We are not here to solve the "Case<br> of the Dead Scumbag". We are here<br> to nail Costello.<br> <b> <br> </b> COLIN stands down, embarrassed.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 26.<br> CONTINUED: (2)<br> <br> <br> SGT. DIGNAM<br> </b> We got a guy says that he hears<br> Costello is moving the processors<br> to China...that he set up the whole<br> fuckin' job and popped Kennefick.<br> (LAZIO is writing,<br> lawyerish.)<br> You don't want to miss it if<br> Costello takes a dump.<br> <b> <br> ELLERBY<br> </b> We'd miss less if your informants<br> were available to us, and of course<br> to the FBI (Bureau)...<br> <b> <br> LAZIO<br> </b> Without asking for details, do you<br> have anyone in with Costello<br> presently?<br> <b> <br> SGT. DIGNAM<br> </b> Maybe. Maybe not. Maybe fuck<br> yourself. My theory on Feds is<br> they're like mushrooms. Feed 'em<br> shit and keep in the dark. You<br> girls have a nice day.<br> <b> <br> EXT. A STREET OF TENEMENTS IN SOUTHIE. DAY<br> <br> </b> BILLY steps off a bus at a corner. He goes up to a house, and<br> knocks on the door. A Southie hag answers. On an oxygen<br> cylinder, smoking.<br> <b> <br> BILLY'S AUNT<br> </b> Billy?<br> <b> <br> </b> BILLY nods.<br> <b> <br> BILLY<br> </b> Aunt Cathy?<br> <b> <br> </b> His aunt takes her cigarette out of her mouth and then<br> embraces him fiercely. BILLY takes it like the imposter he<br> is. But he might well love his aunt.<br> <b> <br> BILLY'S AUNT<br> </b> Good to see you. Good to see you.<br> <b> <br> INT. BILLY'S AUNT'S KITCHEN. DAY<br> <br> </b> BILLY is eating soup.<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 27.<br> CONTINUED:<br> <br> <br> BILLY'S AUNT<br> </b> They said you were in the Staties,<br> I couldn't believe it.<br> <b> <br> BILLY<br> </b> I got kicked out about four months<br> ago.<br> <b> <br> SEAN<br> </b> It was in the papers.<br> <b> <br> </b> Sean is a villain leaning in a doorway. Bad tie: he takes it<br> off. He has been at a funeral.<br> <b> <br> BILLY<br> </b> Well. So you know.<br> <b> <br> SEAN<br> </b> And why are we graced with your<br> presence?<br> <b> <br> BILLY<br> </b> I brought your mother some pictures<br> of my father.<br> <b> <br> </b> It's true. They are on the table.<br> <b> <br> BILLY (CONT'D)<br> </b> My mother had them. My mother's<br> dead.<br> <b> <br> SEAN<br> </b> (reflexively)<br> I'm sorry. I'm sorry for your<br> troubles.<br> <b> <br> </b> Sean opens the fridge, opens a beer, and hands it to BILLY.<br> He opens one for himself.<br> <b> <br> SEAN (CONT'D)<br> </b> I was at a funeral myself. Myles<br> Kennefick, knew him in school. Beat<br> the fuck out of him seven or eight<br> times as a matter of fact.<br> (affably to Billy)<br> You workin'?<br> <b> <br> BILLY<br> </b> No.<br> <b> <br> 28.<br> <br> <br> <br> EXT. THE PORCH OF THE THREE-DECKER. LATER<br> <br> </b> Sean and BILLY are still drinking beer.<br> <b> <br> SEAN<br> </b> When did I see you after that?<br> <b> <br> BILLY<br> </b> Not for a long time. Down the cape<br> after Rose's wedding. I think.<br> <b> <br> SEAN<br> </b> Fuck, oh shit. I remember that,<br> dude. I had that fuckin' buck<br> knife, right, and I cut all the<br> brass numbas off the doors at the<br> hotel. I was trippin'...All of<br> them. That was a night.<br> <b> <br> </b> Sean looks deflated.<br> <b> <br> BILLY<br> </b> Listen, I got twenty thousand<br> dollars when my mother died.<br> Insurance.<br> <b> <br> SEAN<br> </b> Yeah?<br> <b> <br> BILLY<br> </b> In your line of work, if I gave you<br> ten thousand dollars what could you<br> give me back?<br> <b> <br> SEAN<br> </b> My line of work... I'm not in that<br> line of work just presently because<br> I don't have ten thousand dollars.<br> As a matter of fact I have never<br> had ten thousand dollars.<br> <b> <br> BILLY<br> </b> That's what I'm saying.<br> <b> <br> </b> Sean nods, and nods.<br> <b> <br> SEAN<br> </b> You know what we usually say at<br> these moments.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 29.<br> CONTINUED:<br> <br> <br> BILLY<br> </b> You fuckin' moron. What are you<br> talking about? I'm not a cop. I'm<br> your cousin.<br> <b> <br> INT. BILLY'S CAR. NIGHT<br> <br> </b> BILLY is waiting. Sean comes out of a squalid looking house<br> and gets into a car. Fast. Billy puts the car in gear.<br> <b> <br> SEAN<br> </b> Fuckin' Ricans think they know<br> everything. If they knew shit they<br> wouldn't be Puerto Ricans.<br> <b> <br> </b> He has a paper bag full of money. He opens a beer.<br> <b> <br> SEAN (CONT'D)<br> </b> (high as a kite)<br> Double the money, double the fun.<br> (confusing his TV jingles)<br> Cinnamon toasty apple bun... R is<br> for Ricans...P is for pigs...<br> <b> <br> </b> They drive past a BPD cruiser. Sean hides his beer.<br> <b> <br> SEAN (CONT'D)<br> </b> I can't stop drinkin.<br> <b> <br> </b> BILLY laughs.<br> <b> <br> BILLY<br> </b> Why would you even think of<br> stopping drinking?<br> <b> <br> SEAN<br> </b> He don't like it. He don't like<br> drinkin...he don't like fightin...<br> (Sean looks sad)<br> ...he says stay out of the bars...<br> You know, we're not even supposed<br> to do this on this side of fuckin'<br> Worcester.<br> <b> <br> BILLY<br> </b> Who says?<br> <b> <br> SEAN<br> </b> He says. Costello says. God says,<br> as far as you're concerned.<br> <b> <br> 30.<br> <br> <br> <br> INT. A HORRIBLE BAR IN SOUTHIE. NIGHT<br> <br> </b> Sean, beyond wasted, is talking to some people, including<br> MISTER FRENCH. A table wet with spilled beer.<br> <b> <br> SEAN<br> </b> Not a cop. He got out of the joint<br> three weeks ago. Dead up. He talks<br> like his shit don't stink but he's<br> good people.<br> <b> <br> VILLAIN<br> </b> Cunt cop.<br> <b> <br> MISTER FRENCH<br> </b> I knew his father. I liked his<br> uncle Jackie better.<br> <b> <br> SEAN<br> </b> Uncle Jackie was excellent.<br> <b> <br> AN IRISH VILLAIN<br> </b> Fucking guineas.<br> <b> <br> </b> They solemnly toast uncle Jackie and his fate among the<br> fucking guineas. Across the crowded room, BILLY is ordering<br> at the bar.<br> <b> <br> BILLY<br> </b> A cranberry juice.<br> <b> <br> WELL-DRESSED SCUMBAG AT BAR<br> </b> It's a natural diuretic. My<br> girlfriend drinks it when she got<br> her period.<br> (to BILLY)<br> You got your period?<br> <b> <br> </b> BILLY glances over at the table where MISTER FRENCH sits with<br> SEAN, and then smashes his glass into the face of the WELL<br> DRESSED SCUMBAG. He stands waiting for the SCUMBAG to get up<br> he is grabbed and shoved against the wall by MISTER FRENCH.<br> Popped into a pay phone hard. The pay phone comes off the<br> hook.<br> <b> <br> BILLY<br> </b> Get your hands off me.<br> <b> <br> MISTER FRENCH<br> </b> Do you know me?<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 31.<br> CONTINUED:<br> <br> <br> BILLY<br> </b> No.<br> <b> <br> </b> BILLY shakes his head no.<br> <b> <br> MISTER FRENCH<br> </b> I'm the guy who tells you there are<br> guys you hit and there are guys you<br> don't. That's not quite a guy you<br> can't hit, but it's almost a guy<br> you can't hit, so I'm fucking<br> ruling on it right now that you<br> don't hit him, understand?<br> <b> <br> BILLY<br> </b> Yeah. Excellent. Fine.<br> <b> <br> MISTER FRENCH<br> </b> I know you. I know your family.</font></tt> <br><tt><font size=3> Also I know you do another drug<br> deal with your idiot fucking cop-<br> magnet cousin I'll forget your<br> grandmother was very nice to me and<br> cut your fucking nuts off. You<br> understand that?<br> <b> <br> BILLY<br> </b> Yeah.<br> <b> <br> MISTER FRENCH<br> </b> Now you know me.<br> <b> <br> BILLY<br> </b> Yeah.<br> <b> <br> </b> A beat: they stare at each other.<br> <b> <br> MISTER FRENCH<br> </b> What are you drinking?<br> <b> <br> BILLY<br> </b> Cranberry juice.<br> <b> <br> </b> A beat.<br> <b> <br> MISTER FRENCH<br> </b> What is it, your period?<br> <b> <br> </b> BILLY laughs.<br> <b> <br> MISTER FRENCH (CONT'D)<br> </b> Get him a cranberry juice.<br> <b> <br> <br> (CONTINUED)<br> <br> 32.<br> CONTINUED: (2)<br> <br> <br> </b> The WELL-DRESSED SCUMBAG is bleeding, incredulous. MISTER<br> FRENCH takes him by the shoulder.<br> <b> <br> MISTER FRENCH (CONT'D)<br> </b> (sotto voce to WELL-<br> <b> DRESSED SCUMBAG)<br> </b> That's Jackie's nephew.<br> <b> <br> WELL-DRESSED SCUMBAG<br> </b> Oh...<br> <b> <br> MISTER FRENCH<br> </b> Oh, what?<br> <b> <br> </b> FRENCH demolishes him with body blows.<br> <b> <br> FRENCH<br> </b> Get the fuck out of here.<br> <b> <br> EXT. A HOUSING PROJECT IN SOUTHIE. DAY<br> <br> </b> COLIN and BARRIGAN (who Colin has moved to plain clothes)<br> stand at the door, talking, or trying to talk, with a fearful<br> MRS KENNEFICK. MRS KENNEFICK looks like she starts drinking<br> whiskey at 9 in the morning.<br> <b> <br> COLIN<br> </b> Mrs. Kennefick, Myles and I were in<br> school together. Myles was behind<br> me in school but I knew him. I will<br> get those responsible. Don't you<br> want to see us catch whoever used<br> him to do a robbery and then killed<br> him?<br> <b> <br> MRS KENNEFICK<br> </b> Allegedly.<br> <b> <br> COLIN<br> </b> (grimaces)<br> "Allegedly".<br> <b> <br> MRS KENNEFICK<br> </b> If he was killed he probably did<br> something wrong.<br> <b> <br> COLIN<br> </b> You don't mean robbery do you, Mrs<br> Kennefick? That's not what you<br> think he did wrong.<br> <b> <br> </b> MRS. KENNEFICK notices COSTELLO driving by.<br> <b> <br> 33.<br> <br> <br> <br> INT. COSTELLO'S CAR. DAY.<br> <br> </b> Costello and Gwen are in the car. Gwen is dressed like<br> Jackie O.<br> <b> <br> COSTELLO<br> </b> Wave to your girlfriend.<br> <b> <br> EXT. A HOUSING PROJECT IN SOUTHIE. DAY.<br> <br> MRS KENNEFICK<br> </b> I mean fuck yourself.<br> <b> <br> </b> She slams the door. As COLIN walks away from the door he<br> notices the TAIL: a maroon sedan and a damaged white delivery<br> van.<br> <b> <br> COLIN<br> </b> You get that?<br> <b> <br> BARRIGAN<br> </b> "Allegedly" or "fuck yourself?"<br> <b> <br> COLIN<br> </b> Welcome to the neighborhood.<br> <b> <br> EXT. AN INTERSECTION. MOMENTS LATER<br> <br> </b> FRENCH pulls up to a light.<br> <b> <br> </b> [COSTELLO blows a red light and leaves the tail (including<br> the Surveillance Van which we will see again) behind him in a<br> snarl of traffic.]<br> <b> <br> COSTELLO<br> </b> Cut 'em here.<br> <b> <br> </b> French steps on it and blows through the light, leaving the<br> follow cars behind.<br> <b> <br> COSTELLO (CONT'D)<br> </b> Bye, bye.<br> <b> <br> INT. THE ELEVATOR AT POLICE HEADQUARTERS. DAY<br> <br> </b> COLIN boards with a bunch of other cops and workers. On<br> board, directly beside him, is MADOLYN. COLIN's age,<br> beautiful, wearing a business suit. She has a thick stack of<br> medical-looking files. She's a psychiatrist on contract to<br> the Commonwealth of Massachusetts. She does probation<br> counselling work with "violent offenders" and also sees<br> policemen.<br> <b> <br> <br> (CONTINUED)<br> <br> 34.<br> CONTINUED:<br> <br> <br> COLIN<br> </b> Making a house call?<br> <b> <br> MADOLYN<br> </b> Have I seen you professionally?<br> <b> <br> COLIN<br> </b> No, no. I know what you do. I know<br> who you are.<br> <b> <br> </b> MADOLYN nods, and then because this is a (relatively)<br> sensitive subject ignores COLIN, but she is visibly attracted<br> by him.<br> <b> <br> COLIN (CONT'D)<br> </b> When guys have to "use their<br> "service revolvers" in the "course<br> of duty" they get to talk to you<br> about their "feelings" and whatnot.<br> <b> <br> </b> MADOLYN laughs.<br> <b> <br> COLIN (CONT'D)<br> </b> No. Oh, I know how it goes. You're<br> a mental health professional.<br> <b> <br> MADOLYN<br> </b> (laughing)<br> I have an appointment on this<br> floor.<br> <b> <br> </b> The door opens.<br> <b> <br> COLIN<br> </b> That's good. They're all fuckin'<br> crazy on that floor.<br> (points up)<br> I'm one floor up.<br> <b> <br> MADOLYN<br> </b> Oh, fancy policeman.<br> <b> <br> COLIN<br> </b> That's right. Fancy.<br> <b> <br> MADOLYN<br> </b> Are you a Statie?<br> <b> <br> </b> After she steps out he prevents the door from closing.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 35.<br> CONTINUED: (2)<br> <br> <br> COLIN<br> </b> Yeah, I'm also getting my law<br> degree.<br> <b> <br> MADOLYN<br> </b> Suffolk, nights?<br> <b> <br> COLIN<br> </b> They don't run Harvard Law at<br> night, last time I checked.<br> <b> <br> MADOLYN<br> </b> When was the last time you checked?<br> <b> <br> COLIN<br> </b> Before I went to fucking Suffolk.<br> <b> <br> MADOLYN<br> </b> I went to U Mass. I wasn't<br> insulting you.<br> <b> <br> COLIN<br> </b> Well I thought you were, and for<br> that you have to take me to dinner.<br> <b> <br> MADOLYN<br> </b> Maybe you could shoot someone and<br> I'd have to see you professionally.<br> <b> <br> COLIN<br> </b> Whatever it takes. I'll stab<br> someone in the heart with an<br> icepick right now if it gets me<br> dinner with you.<br> <b> <br> </b> MADOLYN hands him a card.<br> <b> <br> COLIN (CONT'D)<br> </b> I don't need a card, I'm a<br> detective.<br> <b> <br> </b> She hesitates. He takes the card.<br> <b> <br> COLIN (CONT'D)<br> </b> I'm only joking. Nice to meet<br> you... "Madolyn".<br> <b> <br> </b> The doors close. The elevator takes him up. He takes out his<br> cellphone as if he's forgotten something. As the doors open,<br> the signal bars light up, and the phone rings.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 36.<br> CONTINUED: (3)<br> <br> <br> COLIN (CONT'D)<br> </b> (walking, voice low)<br> I didn't know about your tail until<br> I saw it myself. I couldn't call, I<br> had the other guy with me. Blue<br> sedan and a white delivery van,<br> fucked up with graffiti on the<br> side. The van is audio<br> surveillance. OK, have a nice day.<br> <b> <br> INT. A COFFEE SHOP IN SOUTHIE. MORNING<br> <br> </b> The same shop in which YOUNG COSTELLO talked to YOUNG COLIN,<br> all those years ago. Two ITALIANS are in the shop, talking<br> hard to the Pakistani PROPRIETOR (SINGH). These are hard guys<br> but they're not being threatening, just persistent: the guy<br> DOES owe them money. BILLY is finishing his breakfast.<br> Watching. He goes over. The two GUINEAS are amazed. [Dialog<br> on separate document].<br> <b> <br> </b> Billy is finishing his breakfast. Watching. He goes over....<br> <b> <br> BILLY<br> </b> You guys from Providence?<br> <b> <br> </b> The GUINEAS look at him. The younger one moves to intervene.<br> BILLY smiles and destroys them both. Maniacal violence. The<br> biggest beatdown in gangster movie history--and obviously<br> that's saying something. In the course of the beat-down Billy<br> breaks his left hand--a "boxer's fracture". BILLY stands over<br> his victims, breathing hard, holding his broken hand.<br> <b> <br> PROPRIETOR<br> </b> What have you done to my place! Get<br> out of here.<br> <b> <br> </b> BILLY goes.<br> <b> <br> INT. EMERGENCY ROOM. NIGHT<br> <br> </b> BILLY, unlit cigarette in his mouth, is having his hand<br> wrapped in plaster by a lady doctor. In another life he might<br> have dated her. Not in this one.<br> <b> <br> INT. FRENCH RESTAURANT. NIGHT<br> <br> </b> A romantic restaurant. The best Boston has (which isn't<br> saying much, but whatever). COLIN, looking great, a man on<br> the rise. MADOLYN in pearls, also looking great. But maybe<br> the conversation has lapsed and the date gone south.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 37.<br> CONTINUED:<br> <br> <br> COLIN<br> </b> You also do probation work, right?<br> <b> <br> MADOLYN<br> </b> That's right. I see "violent<br> offenders".<br> <b> <br> COLIN<br> </b> Bad guys.<br> <b> <br> MADOLYN<br> </b> That's one way to look at it. Not<br> necessarily.<br> <b> <br> </b> COLIN wonders if she's breaking his balls. A DESSERT arrives:<br> some towering Japanesey concoction with a fan of sugar candy<br> spines, sitting in a pool of sauce. COLIN looks at it, fork<br> poised. MADOLYN looks at it. He looks up at her.<br> <b> <br> COLIN<br> </b> That have this and they don't have<br> duck l'orange.<br> <b> <br> </b> MADOLYN smiles: she likes him. Even with the dinner-long<br> bitterness over the duck l'orange.<br> <b> <br> MADOLYN<br> </b> Was your dinner OK?<br> <b> <br> COLIN<br> </b> (holding balloon of<br> inappropriate wine)<br> Oh, the lobster was excellent. I<br> just thought, French restaurant...<br> <b> <br> </b> The look at the dessert.<br> <b> <br> MADOLYN<br> </b> I'm waiting for you to make your<br> move.<br> <b> <br> COLIN<br> </b> I don't know what you're gonna do,<br> but if it moves I'm going to arrest<br> it (shoot it).<br> <b> <br> </b> MADOLYN laughs. COLIN sees his shot: he's got her laughing.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 38.<br> CONTINUED: (2)<br> <br> <br> COLIN (CONT'D)<br> </b> What's it like having people "find<br> themselves?" All day long people<br> "finding themselves." Does it get<br> messy with all those feelings<br> flying around the room?<br> <b> <br> MADOLYN<br> </b> Why, does that make you<br> uncomfortable?<br> <b> <br> </b> Colin stares at her. Water glass nearly goes over.<br> <b> <br> MADOLYN (CONT'D)<br> </b> You know what Freud said about the<br> Irish?<br> <b> <br> COLIN<br> </b> Yes I do.<br> <b> <br> MADOLYN<br> </b> If you actually do I'll see you<br> again.<br> <b> <br> COLIN<br> </b> Who says I want to see you again?<br> <b> <br> MADOLYN<br> </b> (concerned, perhaps<br> unexpectedly)<br> Don't you?<br> <b> <br> COLIN<br> </b> Yes, course I do.<br> (a beat)<br> What Freud said about the Irish is<br> We're the only people impervious to<br> psychoanalysis.<br> <b> <br> </b> MADOLYN is impressed.<br> <b> <br> COLIN (CONT'D)<br> </b> Tough luck for you with a client<br> list of Mick cops, isn't it.<br> "Opening up"? Good luck to you.<br> <b> <br> </b> COLIN laughs but looks nervous about the concept of "opening<br> up".<br> <b> <br> COLIN (CONT'D)<br> </b> Why do you do it?<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 39.<br> CONTINUED: (3)<br> <br> <br> MADOLYN<br> </b> Some people do get better.<br> <b> <br> </b> COLIN takes it seriously; admires it.<br> <b> <br> COLIN<br> </b> Fair enough.<br> <b> <br> MADOLYN<br> </b> Sometimes, though, I want people to<br> forget about their personal<br> bullshit and do their jobs.<br> <b> <br> </b> Unsaid: Like I do.<br> <b> <br> COLIN<br> </b> Including the criminals?<br> <b> <br> MADOLYN<br> </b> If they don't do their jobs you<br> don't have one.<br> <b> <br> COLIN<br> </b> Me? I'd just arrest innocent<br> people. I'll arrest you right now.<br> <b> <br> MADOLYN<br> </b> You're trouble.<br> <b> <br> COLIN<br> </b> You don't know the half of it.<br> <b> <br> INT. A HORRIBLE BAR IN SOUTHIE. NIGHT<br> <br> </b> A slow night. BILLY IS AT THE BAR bent over a glass of<br> cranberry juice. The women available are two CRONES. [Dialog<br> on separate document]. Stark contrast to COLIN'S EVENING. A<br> BOOKMAKER on the phone. BILLY, by the glances of people<br> looking at him, has made his bones. He's treated with<br> respect. His hand and wrist in a cast. Out of nowhere (though<br> Billy is aware conversation has stopped he does not look<br> around)...<br> <b> <br> </b> COSTELLO sits down beside him AT THE BAR.<br> <b> <br> </b> BILLY observes:<br> <b> <br> </b> MISTER FRENCH sitting down at a far table. Watching. Covering<br> the room.<br> <b> <br> </b> COSTELLO is brought a glass of water by the silent bartender.<br> No sound whatsoever in the bar.<br> <b> <br> <br> (CONTINUED)<br> <br> 40.<br> CONTINUED:<br> <br> <br> </b> They say nothing, look at each other. BILLY notices DELAHUNT<br> and FITZY, entering. They stand by MISTER FRENCH.<br> <b> <br> </b> BILLY sits motionless.<br> <b> <br> COSTELLO<br> </b> Do you know who I am?<br> <b> <br> </b> BILLY does: but shakes his head.<br> <b> <br> BILLY<br> </b> No.<br> <b> <br> COSTELLO<br> </b> You met my friend, Mister French<br> the other night.<br> <b> <br> BILLY<br> </b> Is his real name Mister French?<br> <b> <br> COSTELLO<br> </b> No.<br> (a beat)<br> Come with me.<br> (As BILLY hesitates)<br> I'm not the cops. I'm not askin'<br> you.<br> <b> <br> </b> BILLY stands up. MISTER FRENCH stands up. BILLY, COSTELLO,<br> and MISTER FRENCH move towards the back room. As they walk to<br> the back room of the bar, we hear COSTELLO:<br> <b> <br> COSTELLO (CONT'D)<br> </b> You know something, they just do<br> not stop having the Mafia in<br> Providence, and this can cause<br> problems for me.<br> <b> <br> INT. BACK ROOM OF THE BAR. CONTINUOUS.<br> <br> COSTELLO<br> </b> Those guys you tuned up are<br> connected down Providence. What<br> they're going to do is come back up<br> with some guys and kill you.<br> Which, sure as you're born, they<br> will do unless I stop them. Do you<br> want me to stop them?<br> <b> <br> BILLY<br> </b> Is it something I can't do<br> personally?<br> <b> <br> <br> (CONTINUED)<br> <br> 41.<br> CONTINUED:<br> <br> <br> </b> COSTELLO appreciates the balls of this. He looks at Mister<br> French. Then back at Billy, smiling.<br> <b> <br> COSTELLO<br> </b> I'm going to have my associate<br> search you.<br> <b> <br> </b> BILLY tenses. Exactly as he might if he were wearing a wire.<br> <b> <br> BILLY<br> </b> Search me? Search me for what?<br> <b> <br> </b> MISTER FRENCH and COSTELLO look at each other.<br> <b> <br> MISTER FRENCH<br> </b> C'm here.<br> <b> <br> COSTELLO<br> </b> Contra-fucking-band. Take your<br> fuckin' shoes off.<br> <b> <br> MISTER FRENCH<br> </b> Shoes off.<br> <b> <br> </b> BILLY slips out of them. MISTER FRENCH inspects the shoes.<br> COSTELLO'S cold eyes are on BILLY. MISTER FRENCH searches</font></tt> <br><tt><font size=3> BILLY. Looks into his wallet. The wallet is emptied onto a<br> table.<br> <b> <br> COSTELLO<br> </b> I knew your father.<br> <b> <br> BILLY<br> </b> Yeah. He's dead.<br> <b> <br> COSTELLO<br> </b> I'm sorry. How did he go?<br> <b> <br> BILLY<br> </b> He didn't complain.<br> <b> <br> COSTELLO<br> </b> That was his problem.<br> <b> <br> BILLY<br> </b> Who said he had a fuckin' problem.<br> <b> <br> COSTELLO<br> </b> I just said he had a fuckin'<br> problem. There's a man could have<br> been anything.<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 42.<br> CONTINUED: (2)<br> <br> <br> BILLY<br> </b> Are you saying he was nothing?<br> <b> <br> COSTELLO<br> </b> I'm saying he worked at the<br> airport.<br> <b> <br> </b> COSTELLO turns to MISTER FRENCH.<br> <b> <br> MISTER FRENCH<br> </b> He's clean.<br> <b> <br> COSTELLO<br> </b> The arm.<br> <b> <br> </b> With amazing violence MISTER FRENCH smashes the cast on the<br> corner of a table. Billy drops to his knees in tears of pain.<br> MISTER FRENCH sorts through the pieces of the cast. Ad libs:<br> "such a fuckin' pussy."<br> <b> <br> COSTELLO (CONT'D)<br> </b> (holding Billy by the<br> collar)<br> It makes me curious to see you in<br> this neighborhood. Regressing.<br> And, if I can slander my own<br> formative environment, it makes me<br> sad, this regressing. Plus, I don't<br> know if it's beyond some cop prick<br> like fucking Queenan to pull you<br> out of the Staties, and send you<br> after me. I just can't know. I<br> don't know what they do in...that<br> department, anyway.<br> <b> <br> </b> He grabs Billy's broken right hand.<br> <b> <br> COSTELLO (CONT'D)<br> </b> Are you still a cop?<br> <b> <br> BILLY<br> </b> No.<br> <b> <br> </b> COSTELLO twists Billy's broken hand.<br> <b> <br> COSTELLO<br> </b> You swear on your mother's grave<br> that you're not a cop.<br> <b> <br> BILLY<br> </b> I am not a cop.<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 43.<br> CONTINUED: (3)<br> <br> <br> COSTELLO<br> </b> You stop doing coke deals with your<br> jerk-off cousin?<br> <b> <br> BILLY<br> </b> Yes!<br> <b> <br> </b> COSTELLO lets go of Billy's hand. Billy is weeping on the<br> floor. COSTELLO straightens his suit.<br> <b> <br> COSTELLO<br> </b> Take it easy. Get your hand taken<br> care of. I'm sorry. It was<br> necessary. As for our problem with<br> Providence...let's not cry over<br> spilled guineas.<br> <b> <br> INT. THE MAIN PART OF THE BAR. MOMENTS LATER<br> <br> </b> COSTELLO, the visiting king, points at a group of drinkers,<br> including a BLOND WOMAN (1st), GWEN.<br> <b> <br> COSTELLO<br> </b> What's this IRA motherfucker doing<br> in my bar?<br> <b> <br> </b> The IRA MOTHERFUCKER is terrified.<br> <b> <br> COSTELLO (CONT'D)<br> </b> (slapping him on the back)<br> Only kidding. How's your mother?<br> <b> <br> JIMMY<br> </b> Ah, she's on her way out.<br> <b> <br> COSTELLO<br> </b> We all are.<br> (straightens suit and tie)<br> Act accordingly.<br> <b> <br> </b> Costello exits.<br> <b> <br> INT. COSTELLO'S APARTMENT. NIGHT<br> <br> </b> MISTER FRENCH is methodically shelling and eating peanuts.<br> <b> <br> COSTELLO<br> </b> Do you trust him?<br> <b> <br> MISTER FRENCH<br> </b> These days, who's reliable?<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 44.<br> CONTINUED:<br> <br> <br> COSTELLO<br> </b> His Uncle Jackie was.<br> <b> <br> MISTER FRENCH<br> </b> The Costigans are talented in<br> general.<br> <b> <br> COSTELLO<br> </b> You don't trust a guy behaves like<br> he's got nothin' to lose.<br> <b> <br> MISTER FRENCH<br> </b> I'm reliable.<br> <b> <br> </b> And he is.<br> <b> <br> COSTELLO<br> </b> Well, you're one in a million.<br> <b> <br> MISTER FRENCH<br> </b> Ten million.<br> <b> <br> COSTELLO<br> </b> What about your wife?<br> <b> <br> MISTER FRENCH<br> </b> I thought she was.<br> <b> <br> COSTELLO<br> </b> She wasn't.<br> <b> <br> </b> SILENT FLASH of MISTER FRENCH strangling his wife with a wire<br> in a 70's bathroom.<br> <b> <br> MISTER FRENCH<br> </b> She got reliable.<br> <b> <br> </b> GWEN looks up:<br> <b> <br> GWEN<br> </b> Don't you people ever shut the fuck<br> up?<br> <b> <br> COSTELLO<br> </b> "Another county heard from."<br> <b> <br> MISTER FRENCH<br> </b> One too many.<br> <b> <br> 45.<br> <br> <br> <br> EXT. LYNN MARSHLAND. DAWN<br> <br> </b> SEAGULLS squabble over unusual food. POWER PLANT IN THE<br> DISTANCE, the MTA-train going by. TWO BODIES lie in a tidal<br> ditch in the salt-marsh. They are the Italians who Billy<br> fought in the restaurant. Hands taped together behind their<br> backs. Two in the head each. COLIN is with the LYNN POLICE<br> and the State Police forensics people. COLIN gets down and<br> lifts a soaking lapel. Revealed is the tag of a men's shop in<br> Providence.<br> <b> <br> COLIN<br> </b> The principles of detection tell me<br> that these men came from<br> Providence.<br> <b> <br> LYNN DETECTIVE<br> </b> I'd appreciate it if you got out of<br> my crime scene.<br> <b> <br> COLIN<br> </b> This is my crime scene, but knock<br> yourself out.<br> <b> <br> </b> COLIN gets up. He walks back across the marsh. Opens his cell<br> phone.<br> <b> <br> COLIN (CONT'D)<br> </b> (walking)<br> I saw a dead guy. I think I have<br> post traumatic stress. You<br> available for lunch? See you then.<br> <b> <br> </b> At a PAY PHONE he dials another number.<br> <b> <br> INT. COSTELLO'S CONDOMINIUM ON THE HARBOR. MORNING<br> <br> </b> One of Costello's homes.<br> <b> <br> COSTELLO<br> </b> Who's the lead detective?...Good,<br> he's a moron.<br> <b> <br> </b> BILLY cannot hear what COSTELLO is saying. He has an aluminum<br> brace taped on his wrist and hand.<br> <b> <br> COSTELLO (CONT'D)<br> </b> I want you to get the cops to look<br> at Jimmy Pappas for the hit. Of<br> course he had nothing to do with it<br> and will say so. You look in<br> <b> (MORE)<br> <br> <br> (CONTINUED)<br> <br> 46.<br> CONTINUED:<br> COSTELLO (CONT'D)<br> </b> his car...and find...the gun that<br> did it.<br> <b> <br> COLIN<br> </b> In the trunk or the glove box?...<br> All right.<br> <b> <br> EXT. LYNN MARSHLAND. CONTINUOUS<br> <br> </b> COLIN deadpan, appreciative, hangs up the phone. BARRIGAN<br> walks in the middle distance, giving the man his privacy.<br> <b> <br> COLIN<br> </b> Wanna see some dead guys?<br> <b> <br> INT. COSTELLO'S CONDOMINIUM ON THE HARBOR. MORNING<br> <br> </b> COSTELLO sits down in the breakfast area in his bathrobe. He<br> has a bowl of cornflakes.<br> <b> <br> COSTELLO<br> </b> Have a seat, Billy.<br> <b> <br> BILLY<br> </b> Thank you.<br> <b> <br> COSTELLO<br> </b> (he looks up)<br> You know John Lennon?<br> <b> <br> </b> BILLY sits. MISTER FRENCH are nearby.<br> <b> <br> BILLY<br> </b> Yeah, he was president before<br> Lincoln.<br> <b> <br> COSTELLO<br> </b> (smiles)<br> Lennon said `I'm an artist. You<br> give me a fuckin' tuba and I'll get<br> you something out of it'.<br> <b> <br> BILLY<br> </b> I'd like to squeeze some fuckin'<br> money out of it.<br> <b> <br> </b> COSTELLO and MISTER FRENCH look at each other.<br> <b> <br> COSTELLO<br> </b> Smart mouth. Too bad.<br> <b> <br> </b> COSTELLO lifts a piece of plastic on the table revealing a<br> severed human hand. BILLY tries to conceal his shock.<br> <b> <br> 47.<br> <br> <br> <br> INT. SURVEILLANCE OFFICE. CONTINUOUS<br> <br> </b> QUEENAN and STAFF SGT. DIGNAM are listening to the live<br> broadcast. QUEENAN is benign. Lights of equipment in his<br> specs.<br> <b> <br> INT. A CONDOMINIUM ON THE HARBOR. CONTINUOUS.<br> <br> </b> COSTELLO takes the ring off the finger of the severed hand.<br> Partial exchange with MISTER FRENCH. BILLY watches.<br> <b> <br> COSTELLO<br> </b> The point with John Lennon is a man<br> can look at anything and make<br> something out of it. For instance,<br> I look at you and I think what can<br> I use you for?<br> <b> <br> COSTELLO (CONT'D)<br> </b> (giving the hand to Mister<br> French)<br> Get rid of this.<br> (back to Billy)<br> Maybe we can work something out.<br> Let me get dressed.<br> <b> <br> </b> He gets up.<br> <b> <br> INT. COSTELLO'S BATHROOM. DAY<br> <br> </b> BILLY runs the water in the sink. He starts to leave the<br> bathroom and then impulsively takes off his wire and chucks<br> it out the window as far as he can.<br> <b> <br> EXT. THE BUILDING. DAY<br> <br> </b> The wire falls into the water.<br> <b> <br> INT. SURVEILLANCE OFFICE. CONTINUOUS.<br> <br> </b> Queenan reacts mildly to the loss of the signal. He removes<br> his headphones.<br> <b> <br> DIGNAM<br> </b> That was quick. He dead already?<br> <b> <br> EXT. "ACROPOLIS RESTAURANT". DAY<br> <br> </b> A GREEK GUY (JIMMY PAPPAS) in chef's whites is cuffed and<br> stuffed by TACTICAL OFFICERS. He has no idea what is going<br> on. COLIN and BARRIGAN follow.<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 48.<br> CONTINUED:<br> <br> <br> COLIN<br> </b> This will get Captain Ellerby on<br> the six o'clock news.<br> <b> <br> BARRIGAN<br> </b> No wonder you get ahead.<br> <b> <br> EXT. A STREET BY THE HARBOR. DAY<br> <br> </b> BILLY walking and talking on the phone.<br> <b> <br> BILLY<br> </b> I won't do it if I have to wear a<br> wire. No wires. Ever, ever, you<br> understand me? You don't know what<br> this is like.<br> (listens)<br> Micro what?<br> <b> <br> INT. SURVEILLANCE OFFICE - CONTINUOUS<br> <br> </b> Queenan on the phone.<br> <b> <br> QUEENAN<br> </b> Microprocessors. We'll probably be<br> at war with the Chinese in twenty-<br> odd years and Costello is selling<br> them military technology.<br> Microprocessors, chips, computer<br> parts. Anybody says anything about<br> anything like that, you let us<br> know.<br> <b> <br> EXT. POLICE BUILDING. DAY. TELEVISION IMAGE.<br> <br> </b> ELLERBY is before a thicket of microphones.<br> <b> <br> REPORTER<br> </b> Did you have a tip from an<br> informant?<br> <b> <br> ELLERBY<br> </b> No, it was tireless police activity<br> that ah effected ah the arrest of<br> the ah alleged perpetrator.<br> <b> <br> INT. COLIN'S OFFICE #1. DAY<br> <br> </b> COLIN is rolling a quarter across the backs of his fingers.<br> BROWN (last seen as Billy's friend) and BARRIGAN, new<br> plainclothes recruits to Colin's special squad, sit across<br> from him.<br> <b> <br> <br> (CONTINUED)<br> <br> 49.<br> CONTINUED:<br> <br> <br> COLIN<br> </b> I've been put in charge of this<br> unit. It is a small surveillance<br> sub-unit but it is mine. And I<br> didn't take this job in order to<br> fuck it up, or to let anyone else<br> fuck it up, whosoever they may be.<br> I hand picked this group. You are<br> my A-team so I want you to conduct<br> yourselves accordingly.<br> <b> <br> </b> Through glass we see ELLERBY, preening. ELLERBY gives the<br> thumbs up.<br> <b> <br> COLIN (CONT'D)<br> </b> Hi, Captain. And our primary<br> target is obviously Frank Costello.<br> But we don't communicate with<br> anyone else in this shop. Queenan<br> is compartmentalizing everything in<br> SIU. It's the right thing to do,<br> personally I don't trust these<br> fucking troopers either. We think<br> we might have a problem. We think<br> Costello's got a rat in the State<br> Police.<br> <b> <br> BROWN<br> </b> Really?<br> <b> <br> COLIN<br> </b> Yeah. Really.<br> <b> <br> BROWN<br> </b> Do we have direct access to<br> Queenan's undercovers?<br> <b> <br> COLIN<br> </b> (not happy about this)<br> No. Ah...not presently. Not<br> presently. But I'm hoping to get<br> things...reorganized. That's it.<br> Congratulations. Don't disappoint<br> me.<br> <b> <br> </b> BROWN and BARRIGAN leave. Colin leaves as well.<br> <b> <br> BARRIGAN<br> </b> (to Brown)<br> I know why I'm here. I made him<br> feel guilty. Why are you here?<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 50.<br> CONTINUED: (2)<br> <br> <br> BROWN<br> </b> Intelligence and aptitude.<br> <b> <br> BARRIGAN<br> </b> That's new.<br> <b> <br> </b> COLIN opens his cell phone.<br> <b> <br> COLIN<br> </b> Hello Dad. I have a new job.<br> (ALT: I got a promotion.)<br> <b> <br> INT. A BOOKIE SHOP. DAY<br> <br> </b> MISTER FRENCH backhands a guy into a table of betting slips.<br> <b> <br> MISTER FRENCH<br> </b> Where's your fucking license? I<br> don't see no fucking license.<br> <b> <br> BOOKIE<br> </b> What license.<br> <b> <br> </b> BILLY, who is not wearing a cast anymore, watches.<br> <b> <br> MISTER FRENCH<br> </b> There's no such thing as a license,<br> of course, but you definitely have<br> to have one.<br> (grabs the bookie by the<br> ear)<br> If you are not being run by us you<br> will be run by someone else, which<br> means you will have let undesirable<br> elements into Mr. Costello's area.<br> <b> <br> </b> A HARD GUY sitting reaches inside his coat. BILLY in a flash<br> breaks his jaw with a pistol barrel and then covers the<br> sprawled HARD GUY with the gun.<br> <b> <br> HARD GUY<br> </b> (spitting teeth)<br> I was going for my fucking<br> cigarettes...<br> <b> <br> </b> He was. They fall from his fingers.<br> <b> <br> MISTER FRENCH<br> </b> Hey, that's Jimmy Bags. What the<br> fuck you doin'?<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 51.<br> CONTINUED:<br> <br> <br> BILLY<br> </b> What the fuck. I didn't know....<br> <b> <br> BOOKIE<br> </b> There's no profit if I pay him two<br> grand a week. I'm in the hole if I<br> pay him two grand a week.<br> <b> <br> MISTER FRENCH<br> </b> Then make more money or go out of<br> business. This is America. If you<br> don't make money you're a fucking<br> douchebag. What are you going to<br> do?<br> <b> <br> BOOKIE<br> </b> Make more money.<br> <b> <br> MISTER FRENCH<br> </b> That's the spirit.<br> <b> <br> EXT. THE STREET OUTSIDE THE BOOKIE SHOP. LATER<br> <br> </b> BILLY and MISTER FRENCH emerge.<br> <b> <br> MISTER FRENCH<br> </b> Very interesting.<br> <b> <br> BILLY<br> </b> Yeah, well. Fuck.<br> <b> <br> MISTER FRENCH<br> </b> Don't worry about it. Guy didn't<br> need need his teeth anyway. Maybe<br> if he was an Eskimo. But in this<br> country we eat a variety of items.</font></tt> <br><tt><font size=3><b> <br> </b> They get into COSTELLO'S CAR. Billy in the front seat. Mister<br> French in the back.<br> <b> <br> MISTER FRENCH (CONT'D)<br> </b> He knocked Jimmy Bags teeth out.<br> <b> <br> </b> COSTELLO does an Edgar Kennedy.<br> <b> <br> COSTELLO<br> </b> So?<br> <b> <br> BILLY<br> </b> He was...<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 52.<br> CONTINUED:<br> <br> <br> MISTER FRENCH<br> </b> Reaching for his cigarettes.<br> <b> <br> BILLY<br> </b> Okay! You gonna give me shit, it<br> wasn't no reason----he put his hand<br> in his coat! I don't know if he's a<br> bookie or what the fuck he's<br> doing...<br> <b> <br> COSTELLO<br> </b> (interrupting)<br> Well, you know what the fuck a<br> bookie does?<br> <b> <br> BILLY<br> </b> (to Costello)<br> Pays you.<br> <b> <br> COSTELLO<br> </b> Bingo. Anyway, I like a guy who<br> goes around knocking guys teeth out<br> for no reason.<br> <b> <br> </b> He takes out a cell phone and hands it to BILLY.<br> <b> <br> COSTELLO (CONT'D)<br> </b> Here. From now on call the bar and<br> ask for Mikey. Just Mikey. You ask<br> for Mikey because there's no Mikey.<br> Wait. We'll call.<br> <b> <br> MISTER FRENCH<br> </b> Forty-eight hours from the time<br> this phone first rings, you take<br> the fucking chip out - like so -<br> and you fucking destroy it. After<br> three days a phone ain't clean. If<br> you use a phone which is not clean,<br> you will have a accident. You never<br> call us. We call you. You got that?<br> <b> <br> BILLY<br> </b> I got it.<br> <b> <br> MISTER FRENCH<br> </b> I can't fuckin' hear you.<br> <b> <br> BILLY<br> </b> I got it.<br> <b> <br> 53.<br> <br> <br> <br> INT. A HARBOR RESTAURANT. BOSTON. DAY<br> <br> </b> A lobster-bib kind of place. DAYTIME DRINKERS, MICKS in bad<br> boat shoes, hyper-aware of... COSTELLO and BILLY in a back<br> table. COSTELLO, having finished his lunch, is drawing. Billy<br> is unused to being the subject of so many stares. He has sort<br> of a coked-out nervousness, dirty hair.<br> <b> <br> BILLY<br> </b> Don't look. There's a white van<br> across the parking lot?<br> <b> <br> </b> WE see it through the smeared glass: the WHITE VAN we always<br> see. This time with a different magnetic business sign.<br> <b> <br> COSTELLO<br> </b> (lifting and looking at<br> his sketch)<br> They don't have directional<br> microphones.<br> <b> <br> BILLY<br> </b> What, do you got x-ray vision?<br> <b> <br> COSTELLO<br> </b> (not taking his eyes off<br> his sketch)<br> They don't have directional<br> microphones.<br> <b> <br> </b> BILLY registers what seems to be inside information.<br> COSTELLO looks over his half-glasses at Billy's untouched<br> food. COSTELLO is sizing Billy up: has been thinking about<br> him.<br> <b> <br> COSTELLO (CONT'D)<br> </b> People looking at you make you self-<br> conscious?<br> <b> <br> </b> BILLY shrugs. Indicating: Yeah, well, who the fuck wouldn't<br> be.<br> <b> <br> BILLY<br> </b> I don't know.<br> <b> <br> COSTELLO<br> </b> Why? They're minuses. They can't<br> tell the difference between a rock<br> star and a career criminal.<br> <b> <br> BILLY<br> </b> Anyone not a criminal is a minus?<br> <b> <br> <br> (CONTINUED)<br> <br> 54.<br> CONTINUED:<br> <br> <br> COSTELLO<br> </b> What are you soft? That's not what<br> I said. Eat something, Jesus<br> Christ, we got a nice day by the<br> water. Sun's shining, gulls are<br> up...Nice smell of ozone...<br> <b> <br> </b> TWO PRIESTS and a NUN are sitting two tables over. An older<br> priest and a younger one. COSTELLO notices. THE NUN gets up<br> and leaves.<br> <b> <br> COSTELLO (CONT'D)<br> </b> You know if your father were alive<br> and saw you, sitting here with me,<br> let's say he would have a word with<br> me about this, in fact, he'd kill<br> seven guys just to cut my throat.<br> And he could do it, which is<br> something you may not know about<br> William Costigan, Sr.<br> <b> <br> BILLY<br> </b> He never, ah, I mean never?<br> <b> <br> COSTELLO<br> </b> He kept his own counsel. He never<br> wanted money. You can't do a thing<br> with a man like that. Your uncle<br> Jackie needed a lot of money. But<br> even though he got his money from<br> me, he also would kill my entire<br> fucking family if he saw me here<br> with you. And I think about this.<br> <b> <br> BILLY<br> </b> So what are talking about here?<br> <b> <br> COSTELLO<br> </b> Fact is you're not a guy fresh from<br> the zoo who wants to run a spring<br> water distributor and I don't see<br> you up the dog track as a general<br> manager.<br> <b> <br> BILLY<br> </b> Look at it this way. It's like a<br> tuba. I want to see if I can get<br> something out of it.<br> <b> <br> </b> COSTELLO smiles at this, then looks at his sketch.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 55.<br> CONTINUED: (2)<br> <br> <br> COSTELLO<br> </b> You ever think of going back to<br> school?<br> <b> <br> BILLY<br> </b> With all due respect, Mr. Costello,<br> school's out.<br> <b> <br> COSTELLO<br> </b> Well that's your problem. Maybe<br> someday you'll wake the fuck up.<br> <b> <br> </b> He gets up and leaves the table, leaving BILLY sitting there.<br> COSTELLO stops to speak to the priests.<br> <b> <br> COSTELLO (CONT'D)<br> </b> Good day, Fathers.<br> <b> <br> PRIESTS<br> </b> (terrified and<br> simultaneously)<br> Good morning [day], Francis, good<br> morning.<br> <b> <br> </b> The OLDER PRIEST is very nervous, looking around. The YOUNGER<br> PRIEST concerned for his elder but personally not implicated.<br> COSTELLO leans over the OLDER PRIEST, a pathetic man.<br> <b> <br> COSTELLO<br> </b> You recall our chat?<br> (the OLDER PRIEST nods,<br> terrified)<br> "I am as God made me", was that<br> what you said? May I remind you,<br> God don't run the bingo in this<br> archdiocese.<br> <b> <br> YOUNG PRIEST<br> </b> May I remind you, Mr. Costello,<br> that pride comes before the fall.<br> <b> <br> COSTELLO<br> </b> What comes before the Fall is the<br> Summertime.<br> <b> <br> </b> COSTELLO notices that THE NUN is heading back to the table.<br> <b> <br> COSTELLO (CONT'D)<br> </b> How is Sister Mary Theresa doing?<br> We had a tasty relationship before<br> she took her vows. Enjoy your<br> clams, cocksuckers.<br> <b> <br> 56.<br> <br> <br> <br> INT. BASEMENT - NIGHT<br> <br> </b> FITZY beats up a guy with a pipe. Billy watches from the<br> background.<br> <b> <br> EXT. WATERFRONT - NIGHT<br> <br> </b> FITZY and the Costello gang blow up a car as Billy watches.<br> Laughing, they hop in their vehicles and drive off.<br> <b> <br> INT. ELLERBY'S OFFICE. MORNING<br> <br> </b> OFFICE decorated with golf implements. ELLERBY has a<br> hangover. Sunglasses. Eating baby aspirin by the small<br> fistful.<br> <b> <br> COLIN<br> </b> I'm not making enough progress with<br> Costello?<br> <b> <br> ELLERBY<br> </b> "Progress" is hard to define. I<br> make progress every day. In fact,<br> I'm making progress now. There are<br> guys in this department make<br> excellent progress for twenty years<br> without ever getting anything you<br> could definitively call a result.<br> It's like any American industry.<br> Nobody minds if you don't succeed<br> as long as you don't fuck up.<br> <b> <br> </b> He has a bowl of ice water on his desk.<br> <b> <br> ELLERBY (CONT'D)<br> </b> Objectives get lost sight of: fair<br> enough. Who did the two guys from<br> Providence?<br> <b> <br> COLIN<br> </b> Jimmy Pappas.<br> <b> <br> ELLERBY<br> </b> And what happened to Jimmy Pappas?<br> <b> <br> COLIN<br> </b> He had a heart attack in jail and<br> got knifed in his bed at Boston<br> City Hospital. I believe it's been<br> in the papers.<br> <b> <br> </b> ELLERBY stares at COLIN.<br> <b> <br> <br> (CONTINUED)<br> <br> 57.<br> CONTINUED:<br> <br> <br> ELLERBY<br> </b> Are you happy with this result?<br> <b> <br> COLIN<br> </b> It's a result.<br> <b> <br> ELLERBY<br> </b> Yeah, but cui bono? Who benefits.<br> <b> <br> COLIN<br> </b> Cui gives a shit. It's got a bow on<br> it.<br> <b> <br> ELLERBY<br> </b> (with true appreciation)<br> I think you are a cop, my son.<br> <b> <br> </b> He drops his face into the bowl of ice water.<br> <b> <br> INT. BILLY'S MOTHER'S APARTMENT. MORNING<br> <br> </b> A stripped HOSPITAL BED stands in a fall of light. This is<br> the apartment where his mother became ill. Billy has packed<br> half of his mother's things into boxes--and then stopped.<br> Billy doesn't use the bedroom. He sleeps on the couch among<br> boxes of pictures, papers, teacups wrapped in newspaper.<br> BILLY is sitting on the couch. He reaches into a box and lays<br> out photographs like cards. Scenes from his life. His former<br> life. His family life, his life as a child, his romantic<br> life. He sits and stares at the pictures. He rearranges the<br> photographs in different ways.<br> <b> <br> NOTE: THIS IS A MEMORY BILLY HAS AS HE IS LOOKING AT<br> PHOTOGRAPHS ON HIS MOTHER'S APARTMENT.<br> <br> </b> FRENCH and BILLY break in, surprising the MAN (BRIAN), seated<br> at his dining room table. He throws a child's toy at them.<br> FRENCH ducks out of the way and the toy hits BILLY in the<br> cheek.<br> <b> <br> </b> FRENCH draws his pistol and approaches the table. BRIAN<br> rises and starts to flee. Cut off, he retreats the other<br> way.<br> <b> <br> BRIAN<br> </b> No, please...<br> <b> <br> FRENCH<br> </b> Brian, stop it, I ain't gonna hurt<br> you.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 58.<br> CONTINUED:<br> <br> <br> </b> He fires, using a soda bottle as a silencer. BRIAN drops to<br> the floor. FRENCH approaches him assessing his victim.<br> <b> <br> </b> He turns to leave, passing BILLY. He give him a slap.<br> <b> <br> FRENCH (CONT'D)<br> </b> Wake the fuck up.<br> <b> <br> </b> They leave.<br> <b> <br> EXT. A BEACH NEAR A POWERPLANT. DAY<br> <br> </b> BILLY leans against the wall of a concession stand. His<br> knuckles are cut. A cut over his eye. He is agitated.<br> Smoking. A car pulls up and Queenan and Dignam get out of it.<br> In appearance, if anybody's watching, they're bracing Billy.<br> <b> <br> QUEENAN<br> </b> Hey. Let's go through the routine.<br> <b> <br> DIGNAM<br> </b> You think you can pop someone.<br> There's no special card to play.<br> The guy whose jaw you broke was<br> Boston Police Department.<br> <b> <br> BILLY<br> </b> I'm going fuckin' nuts. I can't be<br> someone else every day.<br> <b> <br> DIGNAM<br> </b> Most of the people in the world do<br> it every day. What's the big deal?<br> <b> <br> </b> Dignam is drinking coffee.<br> <b> <br> BILLY<br> </b> I'm not them.<br> <b> <br> DIGNAM<br> </b> You're nobody. You signed the<br> paper. We're the only people in<br> the world who know that you're a<br> cop. Maybe we'll just erase your<br> file.<br> <b> <br> </b> This is Billy's deepest fear.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 59.<br> CONTINUED:<br> <br> <br> DIGNAM (CONT'D)<br> </b> And zip, you're a soldier for<br> Costello, open to arrest for how<br> many felonies? Maybe we'll do<br> that.<br> <b> <br> BILLY<br> </b> Maybe I'll fucking kill you.<br> <b> <br> </b> He gets free of DIGNAM and punches him.<br> <b> <br> QUEENAN<br> </b> Easy now. That was a joke, Billy.<br> <b> <br> DIGNAM<br> </b> Just because you play a fucking<br> tough guy doesn't mean you are one,<br> you lace curtain fucking pussy.<br> <b> <br> </b> The fight. QUEENAN grabs Billy and holds him against the<br> wall.<br> <b> <br> QUEENAN<br> </b> (gently, like a man<br> calming a wild animal)<br> Be smart. If someone was watching<br> how are we supposed to not arrest<br> you?<br> <b> <br> </b> BILLY looks desperately inland.<br> <b> <br> </b> REVERE BEACH condominium buildings. A thousand empty<br> terraces, five thousand empty windows. BILLY is desperate.<br> <b> <br> QUEENAN (CONT'D)<br> </b> Get in the car.<br> <b> <br> </b> They do.<br> <b> <br> QUEENAN (CONT'D)<br> </b> Keep your act together. It's just a<br> little while longer.<br> <b> <br> </b> BILLY nods, out of it. DIGNAM is looking at blood on his<br> hands in disbelief.<br> <b> <br> BILLY<br> </b> When are you going to take<br> Costello? What's wrong with taking<br> 'em on any one of the million<br> felonies you've seen him do. Get<br> him for pissing in the street.<br> <b> (MORE)<br> <br> (CONTINUED)<br> <br> 60.<br> CONTINUED: (2)<br> BILLY (CONT'D)<br> </b> What, are you waiting for him to<br> chop me up and feed me to the poor?<br> <b> <br> DIGNAM<br> </b> Well. That would stick...<br> <b> <br> QUEENAN<br> </b> You shut up. We're building a<br> case. It takes time. You know that.<br> <b> <br> BILLY<br> </b> There's something wrong.<br> <b> <br> QUEENAN<br> </b> Maybe. Maybe.<br> <b> <br> DIGNAM<br> </b> Keep your ears opened. No<br> bullshit.<br> <b> <br> QUEENAN<br> </b> I want you to listen for any<br> chatter about a spy in the Special<br> Investigation Unit.<br> (BILLY looks at him)<br> You hear anything like that?<br> <b> <br> </b> BILLY shakes his head.<br> <b> <br> BILLY<br> </b> Are you serious?<br> <b> <br> QUEENAN<br> </b> I'm afraid so.<br> <b> <br> BILLY<br> </b> Jesus H. Christ.<br> <b> <br> QUEENAN<br> </b> Hang tight for me. Just a little<br> longer. We're this close.<br> <b> <br> </b> BILLY nods reluctantly.<br> <b> <br> BILLY<br> </b> Okay.<br> <b> <br> QUEENAN<br> </b> Thank you, Billy<br> <b> <br> 61.<br> <br> <br> <br> INT. OBSERVATION OFFICE. DAY<br> <br> </b> COLIN walks into the office. BROWN and other team members are<br> watching a closed-circuit monitor. The MONITOR shows FITZY<br> sitting in an interrogation room. COLIN is spooked.<br> <b> <br> COLIN<br> </b> (to Brown)<br> What have you got?<br> <b> <br> BROWN<br> </b> Uniform clipped him on the Pike for<br> a suspended licence. However, as<br> he's the subject of an open<br> investigation----<br> <b> <br> COLIN<br> </b> At least one. He's one of<br> Costello's crew.<br> <b> <br> BROWN<br> </b> ----we're entitled to get a warrant.<br> We can't get an address off him.<br> He paged his lawyer but the lawyer<br> hasn't called back yet.<br> <b> <br> COLIN<br> </b> Who's the lawyer?<br> <b> <br> BROWN<br> </b> He didn't know the name. He just<br> had the number on a card. Beeper<br> number.<br> <b> <br> COLIN<br> </b> Did he beep him?<br> <b> <br> BROWN<br> </b> Twice.<br> <b> <br> COLIN<br> </b> All right.<br> <b> <br> </b> COLIN glances around and sees: a briefcase lying on a desk.<br> He picks it up. He takes off his ID badge and tosses it on a<br> desk.<br> <b> <br> COLIN (CONT'D)<br> </b> Give me your phone.<br> (to Barrigan)<br> Turn the camera off. Turn it off.<br> <b> <br> <br> </b></font></tt> <br><tt><font size=3><b> (CONTINUED)<br> <br> 62.<br> CONTINUED:<br> <br> <br> </b> He takes Brown's cellphone out of Brown's pocket goes into<br> the interrogation room.<br> <b> <br> BROWN<br> </b> What?<br> <b> <br> COLIN<br> </b> Give my your phone and turn the<br> fucking camera off. Who's is this?<br> I'm gonna take this.<br> <b> <br> </b> He picks up a BRIEFCASE. BARRIGAN touches two buttons and<br> switches off the sound recorder and video feed. COLIN goes<br> into the interrogation room.<br> <b> <br> BROWN<br> </b> He can't do that, can he?<br> <b> <br> BARRIGAN<br> </b> He just did.<br> <b> <br> INT. INTERROGATION ROOM. CONTINUOUS<br> <br> </b> FITZY looks up at COLIN hopefully. COLIN says nothing. He<br> sits down, opens his case, takes out a yellow pad.<br> <b> <br> COLIN<br> </b> Mr. Fitzgibbon, afternoon.<br> <b> <br> FITZY<br> </b> You my attorney?<br> <b> <br> COLIN<br> </b> What do you think? Did you make<br> any statements or phone calls I<br> need to be aware of?<br> <b> <br> FITZY<br> </b> I beeped you. The card they gave<br> me...that's it.<br> <b> <br> COLIN<br> </b> That's it? Don't you have to call<br> your mother and tell her you're not<br> gonna be home for supper?<br> <b> <br> </b> ON FITZY. He looks up at the CCTV camera.<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 63.<br> CONTINUED:<br> <br> <br> COLIN (CONT'D)<br> </b> The cameras are off.<br> (gently puts phone on the<br> table)<br> Call your mother.<br> <b> <br> </b> Fitzy hesitates.<br> <b> <br> COLIN (CONT'D)<br> </b> Lookit. They're in there suiting<br> up for a raid. I don't know where<br> they are going, but they do. And<br> so do you. Call your mum.<br> <b> <br> </b> COLIN puts a cellphone on the table. FITZY takes up the phone<br> and punches in a number. It is answered.<br> <b> <br> FITZY<br> </b> Mum, I'm not gonna make it for<br> supper. I got held up. Yeah, talk<br> to you later.<br> <b> <br> INT. A HOUSE WHERE DRUGS ARE BEING HANDLED. CONTINUOUS<br> <br> </b> BILLY looks up at MISTER FRENCH, who is on the phone. Other<br> men are frozen, holding bags of Ex.<br> <b> <br> INT. INTERROGATION ROOM. CONTINUOUS.<br> <br> </b> FITZY closes the cellphone. He puts it into COLIN'S hand.<br> <b> <br> INT. A HOUSE WHERE DRUGS ARE BEING HANDLED. CONTINUOUS<br> <br> MISTER FRENCH<br> </b> Everybody out. Move.<br> <b> <br> </b> The DRUGS are swept up instantly, in sheets laid over the<br> tables. MISTER FRENCH lights a cigarette with his ZIPPO, and<br> then reaches out and lights the curtains on fire as BILLY<br> watches.<br> <b> <br> INT. INTERROGATION ROOM. CONTINUOUS.<br> <br> </b> COLIN takes the cellphone and puts it in his pocket.<br> <b> <br> FITZY<br> </b> Who are you? When do I get out of<br> here?<br> <b> <br> <br> <br> <br> (CONTINUED)<br> <br> 64.<br> CONTINUED:<br> <br> <br> COLIN<br> </b> I think you need another attorney,<br> after all, Mr. Fitzgibbon. Have a<br> nice day.<br> <b> <br> INT. OBSERVATION OFFICE.CONTINUOUS<br> <br> </b> COLIN comes out and hands BROWN the CELLPHONE.<br> <b> <br> COLIN<br> </b> Run the last number called. That'll<br> be his house. Whatever the location<br> is I'll swear I surveilled him at<br> it. Abracafuckindabra.<br> <b> <br> BROWN<br> </b> Why'd you use my phone?<br> <b> <br> COLIN<br> </b> Because you didn't go in there.<br> <b> <br> INT. COLIN'S APARTMENT - DAY<br> <br> </b> COLIN, hung-over, sits at the breakfast table. Madolyn looks<br> at him.<br> <b> <br> MADOLYN<br> </b> The light's nice here in the<br> morning.<br> <b> <br> </b> COLIN doesn't respond.<br> <b> <br> MADOLYN (CONT'D)<br> </b> It's all right. Guys tend to make<br> a big deal out of it. It's<br> actually quite common.<br> <b> <br> COLIN<br> </b> I gotta go to work.<br> <b> <br> </b> COLIN simply gets up and walks away.<br> <b> <br> INT. MADOLYN'S OFFICE. DAY<br> <br> </b> A clock ticking. Madolyn is looking across at ...Billy.<br> Madolyn is very much a guarded shrink. But no one's more<br> guarded than Billy.<br> <b> <br> BILLY<br> </b> It's like confession. Isn't it.<br> This sort of thing.<br> <b> <br> <br> <br> (CONTINUED)<br> <br> 65.<br> CONTINUED:<br> <br> <br> </b> A beat.<br> <b> <br> BILLY (CONT'D)<br> </b> People make things up in<br> confession. You know that?<br> <b> <br> MADOLYN<br> </b> I know they do.<br> <b> <br> BILLY<br> </b> People are liars. They want to be<br> stars of their little films.<br> <b> <br> MADOLYN<br> </b> That's an interesting observation.<br> <b> <br> BILLY<br> </b> Do you lie?<br> <b> <br> MADOLYN<br> </b> Why do you?<br> <b> <br> BILLY<br> </b> I'm asking if you lie.<br> <b> <br> MADOLYN<br> </b> &a