THE GODFATHER PART III
Written by
Mario Puzo & Francis Ford Coppola
FIRST DRAFT. 3/22/79
FADE IN:
BEFORE TITLES:
The screen is black. First we hear the sound of a
single trumpet playing slowly and sadly, the notes
faintly resonant as if echoing through the narrow
streets of some old hill village in Sicily. Now,
confusingly, we see a slant of light move past us
and another, and as our surroundings become more
visible, we discover that we are moving through a
pine forest lit by shafts of morning sunlight. Now,.
suddenly, we come out of the trees and find ourselves
on the Nevada shore of Lake Tahoe.
It is a clear, cold morning in September of Nineteen
Fifty-nine. We now see the Corleone compound at
lakeside, half-hidden by pines and firs. We move
toward it, past the gates and guard houses, past
the guest houses, past the kennels for the guard
dogs, and finally to the front driveway of the main
house where a conservative sedan is being loaded by
a Chauffeur and a pair. of large dark-headed men named
Al Neri and Rocco Lampone. Rocco limps slightly.
As suitcases are being placed in the trunk of the
car, the front door to the main house opens and Tom
Hagen, a trim, serious, balding man in a business
suit, appears He crosses to the corner of the house
and looks off.
HAGEN'S POINT OF VIEW - THE LAKE AND LKSIDE
Standing by the shore of the lake is a little boy,.
Tony Adams Corleone, aged about ten. The boy, dressed
for travel, is looking off at the lake, his back to-
ward us.
REVERSE ANGLE - ON TONY
As he looks out at the lake we might sense that he
is troubled and puzzled, although he is managing to
keep his expression stoic. Hagen can be seen in the
background, by the house 9 After a moment:
.T
2.
CONTINIIED S
HAGEN
Tony.
(THEN)
Time to go.
There is a beat and Tony composes himself, turns and
moves up toward the house and Tom Hagen.
EXT. FRONT OF TAEOE HOUSE AND DRIVEWAY - DAY
The heavy, black sedan is loaded. Connie Corleane
and a Housekeeper, in uniform, are bringing Mary,
about five, out to the car. She too is dressed for
travelling. As they put her into the car --
CONNIE
In you get ---
MARY
Will. Daddy be at the airport?
- ANOTHER ANGLE
as Tom and Tony come up.
HAGEN
No. Ere wanted me to tell you both
how sorry he was.
TONY
(TO CONNIE)
Aunt Connie ..- ?
Connie would apparently prefer to avoid answering any
questions.
CONNIE
8e sure and give my love to your
mother.
NERI
It isn't like you won't be back
from time to time.
LAMPCNE
I' 11 bet we' 11 all. be together
for Christmas. Wait and see.
Tony gems into the car. He locks out the window to--
ward the house. We begin XXI-N Ti. TZS 2 C 2=17"s
E
3.
TEE DRIVEWAY
Hagen is the last one into the car. As it starts down
the driveway on its way to the airport in Reno, Connie,
Lampone, Neri and the Housekeeper all wave. The auto-
matic gate at the foot of the driveway opens. The
Guard at the gate flicks a half-salute as the Limousine
passes through.
TEE GROUP r n FONT OF EOQSE
As the group breaks, Connie and the Housekeeper going
back inside, Neri and Lampone drifting off, we pan up-
ward to a window in the second-story and zoom in.
Michael Corleone has moved the curtain aside with one
hand and is looking after the disappearing limousine,
his expression unreadable-but somehow sad.
ZNT. AIRLMPR - DAY
We are close on Tony, looking out the window of the
airliner, his own expression matching that of his
father.
EXT. LOGAN I_?i'Z'E.NATIONAL AI72ORT (STOCE) - DAY
as an airliner of the period comes in for a landing.
. YEW ENGLAND COUNITRYSIDE - DAY
A limousine is moving northbound up Interstate 93.
Maples on either side of the road are turning' red
and yellow. We pan the limousine past and continue
to pan to a sign marking the stateline between
Massachusetts and New Hampshire.
r .M. L:MC SINNE - DAY
It is almost night. Tony is looking out the window
as the limousine enters the little town of Hanover,
moves down past the Da. Louth College green on Eleazer
Wheelock Street and t7 rns right on north Main-
E`{'.r.'. XAY DAMS' ECUSr. - VIGRI'
We are an a post box, the name "Adams" on _ts Side.
We cull back _c '..:cl ude a modes +shi -e, ?aa-story
! (ccrrT+_`?-? J
4.
0 CONTI` :
clapboard house with giant elms and maples in the front
yard. The limousine stops outside the house.
4
Under its fanlight, the front door swings open and
Ray Adams comes out. As her children run to her she
kneels and gathers them into her arms. We move in
close on Tony and as we hold, the '' ?NN TITLES A.ND
CREDITS are over and we begin to hear
SPEAKER' S VOICE
our Nation is and has been histor-
ically the symbol of freedom, of
justice and opportunity and its
pecui.iar strength is that no matter
what our individual background --
EXT. NAVY AIM MA.RI Z CORPS STADIUM - DAY
We are close on a young man, Anthony Adams (Corleone),
in the uniform of a Midshipman of the Naval Academy
at Annapolis. We are pulling back as the speaker --
who is Arne Grundellius, the Secretary of State --
continues, his accent faintly Scandinavian.
• CRUNDELLIUS' VOICE
-- there are no limits to the goals
to which we can each legitimately
aspire. And now, as an unpopular war
is ended in East Asia and we set our
sights on new goals, I leave you with
the words of another Sailor ---
We continue to pull back to discover that we are at
the Navy and Marine Corps stadium. It is a late Spring
day and in the early-middle Nineteen Seventies. The
Midshipmen, their parents and guests, are gathered
for- the graduation ceremonies.
GRQNDELLIIIS
' Our will is to keep the torch of
freedom burning for all. To this
solemn purpose we call on the young,
the brave and the strong, and the
free. Heed my call. Come to the
sea. Come sail with me.'
(THEN)
I'= sure the entire 3ricade of Mid-
shimen recogr zes the words o John
^p ?aui Vo nes
S.
CONTINUED:
During this speech we find we have been. moving through
the stadium. We find Tony's mother, Ray, among the
guests. We also see Tony's sister, Mary, about twenty,
Tom Hagen and Al Neri.
ANOTHER ANGLE
The speech is over and as the audience applauds, the
Superintendent of the Academy crosses an to Grundellius.
SIIPER2NTE11DENT
Thank you, lister Secretary -
As the Secretary of State crosses back to his seat,
the Superintendent addresses the microphone.
SUPERZNT-".j. DENT
The following First Classmen will
step forward to receive their
diplomas.
The Superintendent consults a list which an Aid has
supplied- The Superintendent reads off. the first
t'o names, then
0
SUPERINTENDENT
Trident Scholar Anthony Adams
At the sound of his name Tony rises and moves toward-
the Speaker's platform. We
DISSOLVE TO:
EXT. TEE SPEAF.R'S PL?TFORM - DAY
The final First Classman -has received the final diploma
and is.moving off as a Midshipman runs up to center
stage, and.-in accordance with long tradition ---
MIDS$IPMAN
I propose three cheers for those
about to leave us. Eig hip!
(the Brigade answers
with a roar)
SIN- HIP:
(AGAIN)
HIP :LIP
The Brigade answers for the th:i.rd time aid as the Mid-
sh pma.. runs cff, his =lace is taken by a RepreSen- by
tat.?.ve of the graduating class.
0
(CCNT TL"ZD) -
6.
CON IN = :
FIRST CLASSMAN
I propose three cheers for those
we leave behind. Hip hip
(HURRAY)
Hip hip!
(HURRAY)
SIP HIP
?EA aR=G TONY
As the graduating Midshipmen give their last full-
throated response and skim their hats into the air,
Tony -- half a beat behind the others -- does like-
wise. We pull back and pan upward to the explosion
of white hats arching through the air.
CAT TO:
EXT. NAVAL ACADEMY YA?W -- DAY
We pick up a man named Stu Palmateer moving th-rough
the group of strolling Midshipmen and their guests.
Palmateer, is a poised, pleasant, tough man abcut
forty, dressed in the unifora of a Marine Caotai.n_
He spots Tony in a group with his guests, near the
0 statue of Tecumseh.
TONY AND THE OT!ERS.
Tony is standing with Kay, Mara Hagen and Al Nexi.
Tony turns as --
(COMING UP)
Congratulations, Tony.
TONY
Thank you, Sir.
(THEN)
Captain Palmateer, I'd like to
present you to my Mother, Mrs.
Adams -- my. sister, star,{ ---
(THEN)
And this is Mister 3agen, a very
old friend, and Al Teri - T used
to ride on his shoulders when I
was a little 1:ov-
Pa: ateer ,as gzeeted the ladies, shaken hands with
he men, ad l bi.: c appropriately. Nice to .eet u,
so cn.
(CL?? T )
K
7.
PALMATEER
(TO XAY
I'm sorry to drag him off this
way, Mam.
(TO TONY)
Ready?
TONY
(nods, then)
See you all tonight.
Tony kisses his mother and he and Palmateer move off.
EXC. GEORGE, WASEIYGTCN BELTWAY - DAY
We pick up a car coming along the Washington Beltway
approaching the CIA turnoff near Langley, Virginia.
We pan with it, then continue to pan over to a road
sign which reads, "Central Intelligence Agency".
LIT. T3E CAR - DAY
Palmateer is driving. Tony sits next to h.m. They
make the turnoff to the CIA, go up the access road,
0 come to a stop at the entrance. As the Marine Guard
comes out of the guardhouse and up to the car, Palmateer
is taking out his identification.
• EXT. TEE MAIN CIA 3UILDLNG - DAY
Palmateer and Tony, on foot now, move up to the build-
ing. They move through the front doors.
=4T. . CIA BUILD LNG (LOBBY). - DAY
We are in he gigantic foyer of the CIA building. The
camera is focused on the CIA motto, etched boldly into
the white marble wall. It reads: "YE SHALL M TOW T=
TRUTH AND THE TRIIT$ SEA" MA=- YOU FREE" .
We pan off the motto to pick up Palnateer and Tony
as they move through the great, columned rcom toward
the desk at the end. The Guard at the desk, seeing
Paimateer' s identification, signals h 1m and Tony up
to the Badge Office which i.s up a flight of steps on
the ricnt.
I
S.
0 I . CIA BU=SIT MA.DGE OF-vICF,) - DAY
as Palmateer shows his identification to a Woman
behind the desk:
PPL4MATEER
Captain Palzaateer.
(then, indic-
ATES TONY)
Mister- Adams. We have an appoint-
ment with the D.D.P.
The Woman gives Palmateer his badge, checking the photo
on the badge against his face before she does so.
Palmateer initials the form she gives him as she gives
Tony his pass and stamps it in large letters: "rust
BE ACCCIMPANIED%
I=. CIA BtJILAING (LOBBY) - DAY
Within the foyer is another crate separating the foyer
from the inner sanctum of the building itself. We are
on the Gate Guards as they check the badges and passes
of those entering.
They nod Palmateer and Tony through the gate. We pan
them toward the bank of varicolored elevators. As
they go to the elevators we hear ---
PALMATEER' S VC ICE
This is a. preliminary interview,
not binding on either party. The
next step, if it's agreed to take
that step, would be a session with
the Assessment and Evaluation sec-
tion. Psychological testing.
Biographical data. Ends with a
polygraph test.
SIM. CIA BUILDING (SIXTH FLOOR) - DAY
We are on the elevator doors as they open and Palmateer
and Tony emerge. They walk down the corridor with its
bare, off-white walls. The floors are covered; with
green vinyl. Only the office doors add color. They
are painted variously, red, blue and yellow. As they
go down the long ha. Tway:
PATZA,E
?.ssum ._^_c no serious orobiams cc-me
to light, y cv will be g..ven pro-
visional operao_ons apz=va_, effec-
0 tive fors .x non zhs . di x. q rich
(C JNT =ED )
I
9.
CONTINUED :
PALMATEER (Cont' d)
time you would be sent to our fac-
ility at Camp Peary for a special
training program --
Tony and Pal.mateer enter the office at the far- end
of the hall.
iT. MOREECUSE'S OFFICE - DAY
It is a reasonably large office as befits one of the
top echelon CIA men. Morehouse, himself, sits at a
large desk. The seal of the Agency is an the wall
behind him, flanked by the National flag and the
Agency flag, an standards.
We are close on Thomas Morehouse, about fifty-five,
an imposing, silver-haired mar.. He locks up from a
dossier he's been studying, then:
=REHOUSE
Would you have any objections to
being assigned to us, Mister Adams?
ANOT: R ANCLH
including Tony and Pal steer who sit across the desk
from Morehouse.
TO:JY
That would depend on the duty,
Sir.
MOREHOUSE
(TO PALMATEER)
How much have you told ii=, Stu?
PAL,`?ATEE.'
Just that there was an assignment
we thought he'd be suited for.
MOREHOQSr.
All right.
(THEN)
We've been authorized and funded
to carry out a too priority covert
operation in Latin America. Captain
Palmateer w lZ be Field Coordinator.
Your job wou.l.d be s.iasor..
There is a beat, then:
-R
10.
CONTMILTED :
MOBS' OTJSE
Something the matter, Mister Adams?
TONY
Before we go into polygraphs and
so on, there's something you might
not know.
MCB EOUS.c
Fact is, we know quite a bit.
(READS FROM
DOSSIER)
Adams, Anthony. No middle initial.
Born New York Nursery and Childs'
Hospital, rebruary 3rd, 1951.
Mother and father separated.
- TONY
Divorced.
MOREEOUSE
Divorced.
Morehouse. scratches the correction into the dossier.
with a pencil, then:
MO.'3EHOUSE.
You were raised in Hanover, New
Hampshire. Your mother teaches
school. Name legally changed in
1963. Attended Phillips Exeter.
Lettered in ice hockey.
TONY
And baseball.
MOREEOUSE
And baseball.
(NODS)
Your father is Michael Co=l--one, a
resident of Nevada. Re's principal
stockholder of Genco International,
a corporation that deals mainly in
hotels and casinos, but they also
have interests in an alive cil com-
pany, a charter airline, laundromats,
nursing homes, so on.
TONY
Does this assignment have scmet-h4 n5
to do wit nv =a;, er?
tc NT.?w.•'?VZD}
I
?I.
0 CONTIYU:
MOREHOUSE
only in so far as he has certain
business connections that might
be willing to help us.
TONY
Y haven't seen my father since I
was ten years old.
MOREEOUSE
No contact at all?
TONY
I get a Christmas present and a
check or. my birthday --that's
about it. As far as I know, he's
retired. Doesn't see anyone.
OREEOUSE M
Yes. That's why I was anxious to
have this meeting today -- while
Mister Hagen was still in Washington.
ANOTHER VGI2
0 as Tony pauses, thinking. After a moment:
TONY
I really don't know if I can help
you very much, Mister :Korehouse.
MOREHOUSE
Let me ask you a personal question,
Tony.. Do you love your Country ,-
(holds up hand)
I'm not talking about t.'::e Nathan
Hale kind of thug. Just simply,
warts and all, do you dish this
Nation well?
TONY
Yes, of course.
MOREHCUSE
Well, what if w told you -- and
trying nct to be grandiose -- that
this one operation might very ael'6
insure peace on this :iemisnhere for
the next: f.i t r vea s . Maybe Mora.
?2.
EXT. A RESTAURANT TERRACE (WASHINGTON) RIGHT
We are an the terrace of a pleasant restaurant over-
looking Washington D.C. The dome of the Capitol
building is impressively floodlit as are the Washi:g-
ton monument and the White :louse.
Tony and Hagen are leaning on the terrace railing,
looking out. A Waiter has just finished pouring coffee
for them. As the Waiter moves off, Tony throws a look
at $agen, then:
TONY
Well?
HA,EN
Let me make sure I'm clear on this.
You're telling me that the Govern-
ment would like the Corleone family
to perfatm a service for them --
probably involving some friends of
R
ours in Latin America.
TONY
RIGHT_
AAGEN
s Where? Who's concerned? What
would it entail, speci.-46ically?
TOUR
I don't know that vet.
EMMIT
When will you be able to tell me
these things?
TONY
As soon as they decide I.'m not a
Russian spy.
A IOTSM XYGLE
as Eaaen smiles, shakes his head. Sureaucracy..
TONY
What they'd like to fi:d out. right
now is: Wctzd you be interested?
3AGEI
:' L... :.et you .c.-tct?•.
TCN??Y
no ?4U save to cheCx i :tv fat er
(c N'" =NL ?D )
IT
13.
CONTIWED
HAGEN
TONY
HAGEN
TONY
I think about Tahoe sometimes.
Is the fishing still good up
there?
0 HAGZ
I suppose so. I'm in Vegas most
of the time..
F
TONY
Those were good days.
EAGEN
Yes. They were.
ANOTBER ANGLE
As Al Teri cones up, looking at his watch.
NERI
You still want to catch that
shuttle to New York?
HAGEN
Yes. Thank you, Al.
(TO TONY)
Where can I reach you?
Tony scribbles an address on a card and hands it to
Hagen. As'he looks at it:
HAGEZY
Q.S. Navy Research 'acili.ty.
(THEN)
Research on what?
TONY
Nothing. it-'s a dummy out: i,t.
That phone rings in Langley,
but they'll know where I am.
f f Agen nods and guts the card in his wallet a we
TO:
l4.
M. tNTERF.OGATION ROOM ONE (CIA) -- DAV
Tony is completing a test, fitting blocks together
against time. The First•Interrogator is watching
impassively, stopwatch in hand.
Tony finishes, straightens. The Interrogator clicks
the stopwatch impassively, giving no indication
whether or not Tony has passed the test.
CUT TO:
INT. INTERROGATION ROOM TWO (CIA) - DAY
The Second Interrogator, a psychiatrist, is seated
I
behind a desk rocking at a little steeple that he's
made of his hands.
2ND INTERROGATOR
And you were never curious?
?NCTMM NGLE
including Tony who sits across the desk from the
Interrogator.
TONY
About what?
2ND INTEMOGATOR
Why your father sent you away.
You never wondered about it?
You must have thought something.
TONY
I thought he had his reasons.
2ND INTERROGATOR
And you don't feel any resentment?
TONY
110.
2ND 7.NNT .'RR0GATOR
What do you feel?
TONY
Nothi..ng
The Secor_d Iuterro,acor glandes •cver. The ~t ace of
anger in Tor_v`s _as- response has told hiz. and us
somethinc .
C"^' TO: ui-
15.
0 T. L"tT-_.RROGATION ROOM TER= - DAY
Tony sits in a chair in a small room with acoustical
tile on the walls and ceiling. Behind hint is a desk-
like structure with a built-in apparatus of dials,
graph paper and odd, narrow metal pens.
Tony is connected to the desk ensemble by three appara-
tuses: a blood pressure cuff attached to his arm,. an
accordian tube around the chest to measure changes in
breathing rhythms; a hand-held device with electrodes
which measures changes in perspiration or galvanic skin
response.
The Third Interrogator sits at the desk behind Tony,
asking questions slowly and checking the three styluses
on the rolling graphs.
3RD INTERROGATOR
Have you ever visited a Ccnsmunist
Country?
TONY
No.
3RD INTER3CGATOR
Have you ever belonged to a Commu-
9 aist Organization?
TONY
No.
3RD IN`'ERROGATOR
Are you telling the ruth?
TONY
Yes.
3RD INTERROGATOR
Have you ever had a homosexual ex-
perience?
Tony turns and looks at the Third Interrogator.
TONY
No. Save vou?
The ;"hi=d Interrogator tenses angrily for a ncment,
THEN:
31-I0 :N'_r'ERRCGATCR
Its esser zia1 that you face the
i f lar and answer the ClUest'_oi:s ?es
at 1o.
(CCNT'Z Nt D)
16.
CCNTZ''' 'ITFED :
Tony turns back to the wall, then:
3RD I:YT RROGATOR
Do you have any friends in the
Communist Party?
TONY
No.
CTT TO:
INT. I:YT...c2ROGATZON ROOM TS-M2 - DAY
It is later. Tony is on his feet getting ready to
leave. as the Third Interrogator is checking over the
graphs with their red ink squiggles.
3RD TERROGATOR
I get a high galvanic response on
question twenty-three.
(CHECKS SECOND
GRAPH)
Z also have agitation indicated
on your cardio tracing on the
same question: 'Do you have any
close friends in. the Communist
Party?' Your answer was negative.
Would you like to amend that?
Tony has rolled down his sleeve and out on his coat.
He pauses at the door, then:
TONY
It's my roommate up at Eseter.
Phil Bodeen.
3RD INT.'RRCGATCR
He's a Ma.- xist?
TONY
Z don't know.
(GRINS)
But last time r saw him he had an
American flag sewn to --..e seat
of his pants.
3RD INT=.RCGATOR
And how did 'cu feel about tat?
TONY
( sh..?ug s
L gis y y r r 1 1 +I GrL MCI n
E (CON ` tZD)
17.
WONT : F
3RD >arr.` 3ROGATOR
That's interesting.
TONV
what?
3RD INTERROGATOR
You think it's perfectly all right
to sew the Nation's flag to the
seat of your pants?
TONY
As a matter of fact Z don't.
(THEN)
But the Supreme Court does. Syza-
bclic freedom of speach. Protec
ted under the First Amendment.
As Tony tuffs to go :
3RD INTERROGATOR
Adam me?
TONY
(TURNS BACK)
Sir?
0
3RD INTERROGATOR
I take it you're prepared to die for
that right?
TOUR
No, Sir. Dying doesn't fit in with
my plans at all.
3RD M47TRROGATOR
Just what are your plans, Mister Adams?
TONY
T plan on passing this thing
CUT TO:
TNT. HANDBALL COURT - DAY
Tony and Stu Palszateer are in sweat clothes, playing
a hard, ma-mercy game Of handball. ?almateer is close
as he hits the ball:
PAT.MATE R
YOU WILL
COHTZ.wE :
We whip pan to Tony, returning the shot.
TONY
What makes you think so?
PALMAT Z.P..
You've got friends in high places,
chino(.
As Tony puts one away:
PAI.6VxT..,ER
Shot..
P (THEN)
Believe me, you'll be reading-in
on the project by next week.
CUT TO:
=T. IBO CATION BUILDING (St.PSEY CITY) - DAY
We are on the front entrance of the building owned by
the International Brotherhood of Dockworkers. This is
the National Headquarters Building, so indentified by
a plaque of some kind. Tom Hagen enters this buildinq
0 followed ?;y Al, Neri.
MM. BRA.DY' S OUTER OFT= - DAY
The President of the Union, Patrick Brady, a large,
red-faced, hearty man, comes bursting out of a door
and crosses up to Hagen and Neri.
HAGEN
Tom! Alberto ! Come in. Come in
This way.
I (to Secretary)
No calls, :Maggie.
1
=41Z. CCNFEP,.N=_ BOOM - DAY
This is a very plush room with heavy carpets, a long
polished table and a large portrait of the Union's ex-
president, Danny Devito. Under this portrait is a bar
at which Brady stands pouring drinks into crystal.
glasses. -
As he t r=ls the drin s, y Yea the w..T..rzh Ner+
K
then as he gi"Ies the secon d one to Iacer: °-
(CDNT t D)
18.
CONTINVZD
BRADY
You're looking good, Tom. How do
you keep your belly so flat?
EAGEN
Mainly trying to rum you down.
$RADY
Do You think this outfit =ins
itself?
RAG=
I think you're stalling us, Pat.
BRADY
StaLLJag?
(TO UTERI)
Will you listen to this guy?
(GRINS AT
HAGEN)
You want to know when I got back
from New Orleans? Ten-thi.-ty last
night. Big problems.
3AGE1
I understand and S sympathize, but
you've had our proposal for a month ---
ANOTHER ANCE
Brady crosses to the head of the board table where
he opens a :older and starts riffling through some
papers. As he does so, Eagen opens his briefcase.
BAGEN
'1f you've misplaced it, I have a
copy of the package plus. a summary
of Genco International's assets and
projected profits based on audited
financial statements with additional
data supplied by our Comptroller.
I also have the plans and estimates.
BRADY
okay. okay. I found 4-
(THEN)
You want a i'i,ty M :?lion do? la=
line of credit to be. granted is
full to Genco azternatiorai and
Subsidiaries and so on and so -73rth --
(-OAKS AN)
For a. hotel in tlar tic City? 7-'s
a lot of money, '^o t.
(C.` CN'i _.dL: E^u )
19.
CONT'VCZD :
BAG T
Not if they vote in local option
gambling. And they will.
BRADY
That's beside the point. ?act
is, those days are over when Danny
used to hand it out like so much
free lunch. There's been a big
reduction in our c fitment to new
construction loans.
RAGR`
How Long has that policy been in
effect?
BRADY
Let me read you something.
ANGTIMR ANG '.E
as Brady withdraws a newspaper cut-out, obviously an
editorial, from the folder.
3RADY
S It's headed2 Take the hcod out
of the Brotherhood.
(LOOKS UP)
Cute?
(READS)
'It. is precisely men like Patrick
Brady -- who took over the Pres-
idency of the I3D when the former
President, Danny Devito was packed
off to prison, who must be watched
by the SEC. Because of the tremen-
dous economic power of the anion
Pension Funds, these men -- with
their syndicate connections --- are
putting the Underworld in a position
to dominate the American economy
(THEN)
What more can I tell vou?
A
You can tell me if the answer is
yes or no.
As Brady crosses to the 4a!-! where ?.e ? arge srt dio
Por-trai.t of Danny Devito, a tcugh-lcok zc __ctle Tay,
E
(CONTI ITv:.D )
I
20.
CCNTI tUEI? :
is framed in a place of honor. After a moment Brady
shakes his head and turns back to Hagen.
BRADY
t'm sorry, Tom. :Such as I love and
respect cur former president, I
don't have any burning urge to end
up rooming with him at Leavenworth.
EAGW
Before you give me your final re-
fusal., I'd like to say one thing ---
BRADY
You've just had my final refusal,
Hagen. The answer is no.
i ANOTHER ANGLZ
as Hagen looks at Brady for a moment, then starts
putting papers back into his briefcase. As he does so:
BRADY
No hard feelings. It's just a
policy decision of the Board.
BAGEN
I understand and I thank you for
your time ---
NERI
(TO BRADY)
I'll see you around, Pat.
BRADY
What's that supposed to mean?
M
It means I'll see you around.
BRADY
What am t supposed to do? Get
scared? Piss in my pants?
,,To one is trfing to intimidate you.
The Corleone :° ti.ly doesn't do
business that wacr,
3RADY
T h e Cori eons 4ami? y doesn't do
(C ON"r y zt, D )
21.
CONTZ4"D :.
BRADY (CONT'D)
a hell of a lot of business, period.
The way Z hear it, you're finished.
With Mike locked away in a rubber
room someplace, and a two million
dollar tax lein on your Vegas prop-
erty, you. got the balls to come in
here and try to run muscle on me.
Get out of here. Both of you.
SAGE N
We were just going.
Hagen has packed his papers into his briefcase. Now
he nods at Neri and as both turn, and start toward the
DOOR:
BRADY
Wait a minute.
Hagen turns back. Brady comes up with the Genco Inte.r-
national loan application.
BRADY
Take this along with you in case
you run out of toilet paper on
0 the flight back to Vegas.
3agen takes the application from Brady, then cuietly:
E ,Gr 3
Don't ever think that the Corleone
Tamily is finished, Mister Brady.
That would be a mistake.
Hagen and Neri now turn and exit. Brady is looking
after them. Gradually the bravado drains from his
big, pink, Irish face and he crosses to the telephone
and picks it up.
BRADY
Gat me Sam Maatrocina.
CITT 1 '60
ELT . MAATRCCIii .' S YACET (LONG ZS LADIM MARIMTl) - DAY
We are close on the hatchway to the main Salon as
Sam iaatroci_na, the slick, sharp, middle-aged Don
of a. powerf :.L New York faoi i y, comes up into shot
and pauses, smiling cff:
CONT==,cm
I
4
22.
CONTSNVED :
MAATROCINA
There's a trick to it, Pat.
ANOT$ER ANGLE
including the canopied afterdeck of %laatrocina's
lovely yacht, moored among others of its type in
a splendid :forth Shore Long Island marina.
Pat Brady, looking out of place in his suit and
city shoes,atands trying to light a cigar with a
table lighter.
I BRADY
Hello Sam. I'm sorry to have
bothered you.
We pull back slightly as Maatrocina --- in neat yacht-
ing whites and deck shoes - comes up followed by a
cold-looking man, Ralph Augusto, Maatrocina's hood.
TROC
No bother at all.
(TO AUGUSTO)
Light the man's cigar for him,
Ralph..
As Augusta comes up, takes the lighter from Brady and
sets about the business of lighting the big, Union
LEADER'S CIGAR:
MAATRCCINA
So what's our friend Tcm Hagen sp
to these days?
BRADY
Still shopping around for that loan.
MAATROCINA
Lots of luck to him.
BRADY
Thank you, Ralph.
Augusta, having lit Brady's cigar, nods expression-
lessly and sits as:
3RADY
T h ey ;ri ed to =1=_-W a scare at me.
w^1TI\Z'v.Z0 ;
I
23.
CONT=NRED :
MAATROCIIA
Don't worry about it.
BRADY
Something about Hagen kind of
bothered me.
Maatrocina offers a platter of grapes to Brady.
MAATRCC=TA
You like a grape?
BRADY
No thank you.
I
M ATROCINA
I'll te12 you haw tough Hagen is --
{EATS A
GRAPE)
Ralph Auqusto will make in squat
down in the middle of Times Square
in the rush hour and take a shit.
BRADY
Yeah? What about Al Neri?
0
MAATROCINA
I tell you don't worry -- don't
worry. You stick with the -Maatro-
ciza famly you're safe as church.
(THEN)
That I promise you on my mother's
grave.
As Maatrocina leans across with the grapes again:
MAATROCINA
Do me a favor.. One grape. I grow
'em at my own place. They're de-
licious.
As Brady takes a grape, Maatrocina looks over at Ralph
AUGUSTO:
ANOTHER ANGI. - FEATURING AUGu STO
As he nods almost iimperceptibly, gets un and goes,
I TO:
E
24.
0 NETWORK NEWSROOM (WASBINGTON) - DAY
We pick up Elizabeth Ann Dunne, about 30. She is a
television personality, mainly an interviewer of
celebrities, although sometime a Newsweman and talk-
show performer. She is poised, attractive, warm,
hirp. She is coming out of an office. She crosses
through the newsroom with its teletypes and general
sense of activity. A Cameraman comes up to her:
CAMERAMAN
You ready, Liz?
ELIZA$ETE
f i fteen minutes. Out in front.
We follow her out of the newsroom, dawn a hallway and
around a corner and in through a. door rrar!ced, "Projec-
tion Room One".
=T. PROJECTION ROOM ONE
Elizabeth comes into the projection room, pausing in
the doorway as her eyes adjust to the change in light.
A? M OT R ANGLE
We see that Tony, in miform, is the only otter person
in the projection 'roem. Tony takes out a cigarette
lighter.
TONY
Here.
As Tony flicks the lighter on:
ELTZAAET
Thank you.
TONY
My name's Adams. Tony Adams.
(THEN)
Z know who you are Miss Dunne.
As Elizabeth finds a seat, we see that what is being
run i.n this Projection room is an interview ime-troreen
Elizabeth and a large, attractive, Latin-American
political leader named Arnando. ?Tidal. They sit to-
get er at the --col area of a lur..ar r hotel. Tidal wears
a fatigue uni.fc= without any insignia whatsoever- The
image of Elizabeth an screen is saving-
(CONTINUED)
C
25.
0 CONTNUED:
ELIZABETH'S VCIC
Senor Presidente, there are still
those who say that in spite of the
advances you've made, your Country
still falls short of the Democratic
IDEAL ---
VIDAL
Obviously. However, the convulsions
that my Countz went through four
years ago last February were not so
much a revolution as they were a --
(PAUSES)
I am thinking of the labors of
I Herculi.o --- in the stable
ELIZABETH'S VOZC
A cleansing.
S VIDAL
Exactly. Muchas gracias. My Country
was befouled by the corruption of
its leaders and their exploitation
at the people. A hard cleansing was
needed and sometimes that is painful --
but the pain is over and now Z am
0 hoping. that qty little Cc=try and
your great Yaticn can once again be
FRIENDS ----
ELIZABETH'S VOICE
I'm sure a lot of pecple say Amen
to that, Senor Presidente.
On the screen the scene has shifted to an attractive
beach area where Vidal, in a wet suit, is adjusting
his'-scuba gear preparitory to diving. Admiring child--
red and Elizabeth Ann. Duane watch. Over this:
J
ELIZABETH'S VOICE
For a glimpse of another facet of
Armando Vidal's nat•.ire, we spent the
last day at the beach at Finca del
Sol Where El Presidente exhibited
his skills as a scuba diver -- one
of his favorite hobbies.
On the screen Vidal --ousels a kid' s ha..- and crosses
into the water. As he wades out, Tony turns to
Elizabeth.
(C CNT=IL EC ;
T
25.
CONTZLVTIED :
TONY
When will this be shown?
ELIZABETH
Sometime in the Fall.
While Elizabeth, in the projection room, is saying
this. her image on the screen has turned to the T4
camera and is saying:
ELIZABETB'S VOICE
This is Elizabeth Ann Dunne coming
to you from Finca del Sol where --
in an exclusive interview -- El
Presidents, Armando Vidal, has just
extended the hand of friendship
from quote, 'his little Country to
our great Nation . '
I
ANOTESR ANGLE
The reel is over. The screen goes blank and the
lights in the projection room go on.
ELIZA.BET?I
40 What is it that you're working on? 16
Some sort of'a psychological pro-
file on Vidal for the Navy Depart-
ment?
TONY
Right. There's a couple of ques-
tions I wanted to ask you, if that's
okay.
(THEN)
What are you doing about lunch?
ELIZABETH
I ignoring it. I've got to pick up
some shots around town, but you're
welcome to come along.
They are at the projection: room door. As Tony cpens
it for her she causes, then:
ELIZABET3
You ever play any baseball, :lister
Adams?
TONY
Sow did you guess h.at?
I
I
26-A.
CCNTTX= :
ELIZABETH
I saw you pitch a no-hitter against
Army two years ago.
TONY
You're kidding.
TI' ZA3ETH
L don't kid about no hitters..
Elizabeth exits. Tony follows. We ---
CII:' TO:
EX' T. MC= VE NQN - DAY
as a troup of Boy Scouts goes past us and clears the
Visitor's Gate, exposing the bowling green, the court-
yard and far down, framed by giant black oak and maple
trees, we see the `Mansion with its pure lines and
SIMPLE ELEGANCE-
Tony and Elizabeth appear., followed by the Cameraman
and one or t'c more. As Tony and Elizabeth cross into
the beautifully kept grounds of the old Plantation ----
TONY
None of my business, but what were
you. doing at an Army-Navy ball. game?
ELIZABETH
We were putting together a special
on Arne Grundellius. He'd just been
appointed Secretary of State. Ee
threw the first ball that day.
TONY
You've got a pretty good memory.
ELIZABETH
And you.'ve got a pretty good slider.
But L've got to be honest, you threw
a lot of junk in the last two innings .
As Tony shoots her a look:.
ELIZABETH
My old man was on the Spar rs' Desk
of the Boston Globe for wwent;r-five
(CONTMM-S-0
I
CONTINUES:
ELIZABETH (Cent' d)
years. Z was practically raised at
Fenwick Park in the Carl Yastremski
DAYS-
As Elizabeth crosses and starts working out a shot
with the Cameraman, Tony is eying her speculatively.
CUT TO:
EXT. TEE CRYPT OF GEORGE WASHINGTON - DAY
We are at. the littleopen-fronted white marble burial
vault of George Washington. . We pull back to include
Tony as he looks at the sarcophagus.
ELIZABET3'S VOICE
Tony? We're finished ----
As Tony turns, we pull back and pan to include Eliza-
beth, who stands in the little leafy path leading
from the vault. As Tony crosses and ;tins her, we
CUT TO:
0 T. SPACE AND FL GF ' M SEt M - DAY
We are on the balcony as Elizabeth sets up a shot
frog: the Wright Brother's "Flyer" panning to
"The. Spirit of St. Louis", and then to one of the
Space Capsules. Tony is watching Elizabeth. She
looks over, catches his eye, smiles.
CUT TO :
EXT. GEORGETOWN - NIGET
as Tony and Elizabeth approach her apartment on a
quiet, Georgetown side street. The cold, faintly
blue light of the- street lamp at the corner throws
leaf shadows on their faces as they come up to the
front door..
CLOSER ---AT TEE DOOR
She opens the door, steps to one side and gestures
him in.
MZZA3ETE
One dr iak, ckayr?
26-C.
INT. ELIZABETH'S APARTMENT - NIGHT
We are close on a picture of Elizabeth and Arne
Grundellius, the Secretary of state, whom we might
remember by sight as the Speaker at Tony's gradu-
ation. The picture is in.€orral, taken at an open-
ing night at Kennedy Center.
We pull back to include Tony, locking at the picture
as Elizabeth comes up with a couple of drinks.
TONY
You and Grundeilias?
EZ,I ZA.3E'_'E
At Kennedy Center.
TONY
Ee really gets around.
ELIZABETH
Well, he got around nee anyway.
TONY
Oaps.
ELIZABE'-"3
No ha=, no foul.
(THEN)
r wasn't fighting him off very
hard.
ANOTHER ANGLE
As Elizabeth picks up another picture, this one a
framed studio portrait, inscribed, of the Secretary.
As she locks at it:
ELIZA3ETE
We had quite a little thing going
.for a while. I think he ac tuually
gave up two starlettes and a bare-
back rider -- temporarily.
TONY
You stir see h,m?
EI,IZ.ABETE
Once in a while.
(THEN LAUGHSY
Said she ?ri.s4f?i? r.
I
26-D.
CONTIDI = :
TONY
Z was just going.
ELIZABETH
Don't mind me. I'm just your basic
Boston Irish. We bruise easily and
heal slowly.
CD TO:
EXT. ELIZABETH'S FRONT DOOR - NIGHT
as Tony cones out. Elizabeth stands in the doorway.
ELIZABETH
Call. me.
TONY
(NODS)
Goodnight.
Tony goes down the street. She watches after him
as we -«
CUT TO:
rXT THE BATTERY (NEW YORK CITY) - NIGHT
A limousine comes down past the Battery Park and moves
toward the Staten Island Ferry Building. It is about
ten o'clock at night.
I INT. THE L=!OUSINE - NIGHT
Frankie Rizzi, about 30, is driving. Frankie is the
son of Connie Corleone and Carlo Rizzi. In the back-
seat is Al Neri. Frankie looks off toward the river.
We can see. the ferry coming in.
1
FRANKII
Here it comes now.
ANOTHER ANGLE
as the fear comes up. Noses into the slip. Creak
of pilings. The limousine drives onto the ferry.
I
27.
IYT. : HE LS.' CUStNE - NIGHT
Frankie is listening to the baseball scores. Neri is
nervously checking his watch. A few passengers are
boarding. There are no other cars.
ANOTHER ANC LE
Salf a dozen loose, Puerto Rican kids come bopping
up the automobile deck. one is listening to a radio
that he holds to his ear. He crosses up to Frankie.
PUERTO RICAN RID
Hey Mister, you got a cigarette?
PRANRIE
I don'-.t ;smcke.
PUERTO RICAN RID
You got a dollar?
FRANRZIR
Beat it.
ANOTHER ANGT.E
I
as Neri, who hasn't been paying attention to the kids,
now looks up in annoyance.
NERI
Give him a _--
Suddenly veri breaks cg!, sensing something wrong.
The other Puerto Ricans are surrounding the limousine.
As Neri dives for the door of the car ---
;N1ERI
LOOK OUT:
ANOTHER ANGLE
Guns have appeared in the hands of the Puerto Ricans
and they start to blast at the limousine from outside.
The ferry whistle is blowing.
MWTT ANGLZ
Neri :its the deck, a !4 na , cones t _t°? -- --u n :t a-
blast:.:.CT.
28.
ANOTHER ANGLE
One of the Puerto Rican kids is hit squarely in the
chest. He flies back, azms up, legs sz readea_gI d,
like he was hit in the chest with a baseball bat.
ON FRANRSE
Prankie is out of the car, reaching for his gun. Before
he can get it clear, he is hit in the shoulder and spun
to the splintery, oily deck.
ANOTHER ANGZE
As a Puerto Rican goes to finish off Frankie, Al Neri
blows him away.
REVERSE Z.
as two other Puerto Ricans blast Neri simultaneously.
Neri's eyes go wide. He coughs.: A big, stringy sob
of blood appears in his mouth, vomits out onto his
shirtfront.
ON NERI
He goes down to his knees, tries to raise his grin
for one last shot. A Puerto Rican grins and putting
his gun. an inch from Neri's face, pulls thetrigger.
ANCTEER ANGLE
People are screaming, running. The'ferry is starting
to pull from the dock. The four remaining Puerto
Ricans run for the end of the boat, make the Leap
over the churning water from the ferry to the landing.
FULL SHOT - FMM LANCING
The ferry boat is still
pulling away as the `our
Puerto Ricans land on t h - e he pier and disappear into the
night. The ferry boat's whistle is blowing shrilly.
Off its starboard bow we can see the Statue c- Leber _r.
Over this we hear ---
-P?3T__' -.ST' S `JOIC
I am the ?aa^tt,-cc±±^; +n and the r. - ' 1
and he teat believeth in Me, al -
though he be dead, shall live ---
E
DI SSO?.. iE TO :
29.
EXT. ITALIAN-CAT3CLiC GRAVEY-XI II (LONG ISLA `7D) -- DAY - -
We are on the ornate tombstone of Don Vito Carlecne-,
the Godfather. We are pulling back from it as
PR2EST
(CONTINUING)
And' everyone that liveth and be-
lieveth in pie shall not die forever.
We have pulled back to include the buria.L services
for Neri. At the graveside are Tony, in dress blues,
Hagen, Rocco Lampone and others.
ANOTHER ANGLE
The services finish and the group breaks into smaller
informal, groupings. We move to Tom Hagen and Tony, who
have drifted to one side.
aNOTH.ER ANGLE
as Hagen indicates a moon-faced man, Imberto Croce,
about sixty, who is approaching them.
HAGEN
Umberto Croce out of Tama. He
took over the whole Florida thing
after Hyman Roth and Johnny Ola
were retired.
Cmberto has come up.
HAGZ"N
Cmberto. Michael's son. Anthony.
CROCZ
Youi father must be proud.
(THEN)
What do you think, Tom? They're
saying it was Maatrocina.
3agen makes a little gesture, reminiscent of the God-
father; a kind of upward opening of the hand, as if
gently letting a tiny bird free.
ANOTEE . ANGLE
As Frank ,e R .zzi. his a in a sliaq, and Sant .._^.c
Cor' eone ?cnay ` s oldest son, rcW is awd . e W -i-r-
ties, =Cme UM together:
(CUNT:Nt7ZD )
- 41
30.
CONTNM :
BAGZN
Say hello to your cousin,
IR RANKIE
Rizzi - your Aunt Connie s by--
and this- is Santino, your uncle
Sonny's oldest.
As Tony shakes hands with Santino and ?rinkie:
PRANKIE
(TO TONV)
Excuse my left hand.
SANTINO
Frankie was in that little shit
storm on the ferry boat.
CROCE
The whole thing don't make sense
to me.
FRANXIE
All Z know is Al got a phone call
from that, nephew of his, Tommy,
who runs numbers in Staten Island.
SANTINO
Fucking punk.
FRAHRIE
It was something about Al's sister
being sick bad with the ptomaine or
I something. We walked right into it.
CROCZ
What about Tommy?
FRANXIZ
The nephew? Nobody seen him since.
SANTINO
Ask me he's out in the Narrows with
about eight slot machines tied
around his neck.
ANOTHER ANGLE
As Rocco Lamm pone comes up, clearly agitated:
LAAONE
How do you Like the ally oaf that
bastard? Snowing up here.
I
(CONTIEE
31.
CONTIIUED :
SANTI-1141O
Maatr-ocina?
LAMP ONE
If your old man was alive, that
son of a bitch would be eating
his dinner in hell tonight.
RAGE
Be patient, Rocco, and trust me.
(SMILES OFF)
Sam.
ANOTSER ANGLZ
as Sam Maat:ocina comes up, his expression suitably
somber.
MAATROCLMA
Tom. E'ellas. Go figure life, huh?.
A guy like Al Neri. Who'd of fig-
c a red him to get mousetrapped like
that?
Maatrocima is shaking hands with Hagen,. Rocco and
0 Frankie. As he does so:
EAGFN
(INDICATES)
Mike's son, Anthony. Sam Maatrocina.
Maatrocina holds out his hand to Tony. Tony just looks
at him coldly for an insulting split second. Maatro-
cina's expression doesn't change, and the outstretched
hand moves to squeeze Tony's bicep. Now he shows his
teeth in a grin
MAATROCINA
The arm on the guy.
(THEN)
If you ever need a job come see me.
w!aatrocina ti ns and moves off. Tony Is looking after
him.
HAGEN
Mistake, ';.'onv. ?never let a man
like that 'mow what you' :e thiak-
.ng .
=;T TO
11
I
32.
TNT. LIVING ROOM (CON coRLEONE's HOUSE) - MIGHT
The members of the Corleone Family and some of their
friends are gathered at the Godfather's old house in.
the Mall. The tenor of the group is subdued, although
the tensions of the day are beginning to ease.
We pick up Fraakie who is guiding Tony through the
room.
PA N =
Santino always liked the old place.
He picked it up after Pentangeli
knocked himself off.
ANOTHER ANGLE.
as they pass Umberto Croce who is coming out of the
diming room where a buffet has been set up. Croce
has a heaping plate of, food. He pauses, shaking his
head.
C:TOCE
Sad day, sad day.
As Croce moves on, shaking his head, _rankie locks
after him.
IS
FRAVRIE
Dania near ruined his appetite.
(THEN)
Good man though. From the old days
before the Spics and all.
TONY
How strong is the Corleone family
connected in Latin America?
FRANKTE
We got some people doom there used
to work for us in the hotel. Now
they do odd jobs. Help with the
airline. Like that.
TONY
Tell me about the airline.
It's what you call non-scheduled.
You 'now?
(THEN)
Lf we ever go out of business, haL
the rock groups i -he ccunt-= r J
40 (CCNT " + D )
S
33.
CCNTINLTED :
? R A N = (Cont'd)
be standing around with empty spoons
stuck up their noses.
As Sonny's daughter, Francesca, comes by talking with
her twin sister, Barbara, who is now a nun. They are
now about forty.
FRANZIE
Hey, Francesca. Barbara.
(TO TONY)
You remember the twins.
As the women greet Tony, old Mister Nazorine, the baker,
comes by.
FRANBIE
And here' s Mister Nazori.ne -- still
makes the best tarelles in town.
As Tony is greeting the old man:
FRANCESCA
Tony, Tony. I remember the day
you. were born. A blizzard. And
grandpa and Tessin and Clemenza
were sitting out in the backyard
in the snow with a five gallon jug
of grappa, celebrating.
BARBARA
(LAUGHS)
And grandma was out there yelling,
disgrazia.. Infamita! You could
hear her clear to Freeport.
F RANXIZ
(tugs Tony off)
Later, huh?
M. DON CORLEONE'S OFFICE - NIGHT
Gathered in Don Corleone's old cotter office are Santino,
Tom Hagen, Rocco Lampone and Umberto Croce. Tony and
Frankie enter.
BEN
CZ.ose the door, please, ?rankie
and make yourself comfor able.
( THEN)
First, Tony, t!lank you for want c.
We all aroreciate is.
(C ONT11-N ED )
A
L
34.
CONTINUED :
Tony nods. All are seating themselves as:
HAGEN
(TO TONY)
Would you care for a little wine?
A little Anisette? No? All right.
(THEN)
I've invited L berto Croce to sit
in with us-because of his strong
connections in Latin America and
in the exile comarunity down in
Florida -- and because he's a
trusted and valued friend of the
Corl eone family.
(THEN)
And now,, if your friends in Langley
have decided that you're not a
Russian spy, perhaps you can tell
as the nature of the service they'd
like us to perform.
TONY
It's a political assassination.
The target is Asmanda Vidal.
0
A,NQ1'8ER ANGLE
Santino, whose attitude has been somewhat sardonic
throughout, now breaks out in a bray of laughter.
Tony turns on his cousin, then coldly and quietly:
TONY
If it's too much for you, just say
so. M can break this off right now ---
Santino, taken aback at the cold authority in Tony's
manner, turns for support.
SANTINO
What did I say, for God sake.
(TO TONY)
Whaddya so touchy?
E AG I
When is this planned for?
TONY.
Next February. ?!e' s having a week-
long celebration o the Fif_'h. nn?.zr-
ersar,7 of the Revolution.
(THEN)
We're planning i t to ? cok like an
40
accident -- or natural causes.
(CJN'RINUZD )
35.
CCNTI i ED
SA.NTTzYO
That's a hell of a trick if you
can do it.
TONY
Our Technical Services Division is
experimenting in two areas. One is
a scuba: diving wet suit designed to
malfunction at a critical depth.
The other is a toxic biological
material -»- a strain of botulism
that's tasteless, colorless and
odorless -- and so lethal that
one drop on his food or an his
toothbrush would be fatal inside
of an hour.
CROCE
That would mean getting somebody
close to him.
RAG'N
Could that be done?
CROCE
t think so.
EAGEN
(TO TONY)
And what's your part in all this?
TOW,
t'm the cut-out. The circuit
breaker.
BAGZN
The only link between our people
and the Government'
TONY
That's right.
(THEN)
There's a second phase to this
operation. It consists a spread-
ing confusion -- planting explos-
ives -- the Police Barracks -- the
Central. Power Station -- so on.
which will hopefully trigger an
uprising of the Anti -Vi"'aiista
forces.
ONTI TCZ-
36.
CON'RL'??IUED :
SANTINO
I thought these bastards wanted a
hit --?-
.(then)
They're locking for World War Three.
HAGEN
(TO LAMPONE)
What do you think, Rocco?
ANOTZR AY(=
As Rocco Lempone -- who walks with a limp as a souvenir
of his service in World War Two-- thinks about it, then:
LAMPONE
You're starting to talk about a
pretty big operation. You're
going to need an assault team --
maybe two. Small arms. Ammo.
Hand grenades. Field radios. A
support network down there. You'll
have to have transportation. Stag-
ing areas.
0 TONY
The supplies can be made available.
LAMFONE
How about getting them down there?
FRIAS=_
No problem. We can carry eight tons
a trip in the DC Six.
HAGEN
(TO UMBERTO)
What do you think, Umberto? Can
you get your hands on a few Anti-
Vidalistas who wouldn't mind going
doom there and raising a little
hell?
UMBERTO
I'll talk to. Doctor Earcenas,
SANTIO
And we'll all end :zn. Faith cu= balls -
in the g='av.
F I.R A, N&
You're cetti g old, Santi no.
(C". NTINL=)
37.
CONTLVIIED
SAN'TINO
I'm still young enough to whip
your ass.
As x'rankie starts to rise, Hagen puts a stop to any
further discussion.
HAGR"`N
All-right. That's it.
(THEN)
We all agree -- except Santino --
that what Tony proposes is possible
although not. easy.
(THEN)
Of course, financial arrangements
will have to be worked out --
TONY
There's no problem there. Every-
thing will be handled through me
and in cash.
HAGZN
You can tell your friends that they
have a deal.
TONY.
Good.
SAGE
Tell them this too --- what the
Corleone family wants for its part
in this operation is the uncondi-
tional pardon of Danny DeVito. And
that will have to come first.
TONY
I don't know if they'll accept that.
RAGE
It's a non-negotiable condition.
(THHEN)
We'll start getting things lined
up, but we won't move until Danny
walks out of Leavenworth.
ANOTS Z-R NGLL
Sant-4-0 -a aagen:
Sr'?,N'T'I O
YOU REALLY
Devito?
( CON'"INCED )
I
38.
11 CONIINEM
HAGEN
Why not?
SANTINO
That would have to come right from
the White Souse.
RA.GZN
Where do you suppose the hit order
came frog?
CDT TO:
EXT. CAMP PEARY, VIRGINIA - DAY
Camp Peary is the clandestine training facility of
the CIA, under military cover. It is near Williams-
burg, Virginia, a couple of hours drive from. Washington.
.cwa by the official cryptonym "ISOLATION" it is un-
officially called The Farla" -
The enormous, thickly-wooded area is divided intern-
ally into tightly controlled training areas. A high
chaintlink._fence topped with barbed wire surrounds
the base. Signs an it read: "U.S. GOVE.SNMENT RESER-
VATION. NO TRESPASSING."
We are presently on such a sign. We hold for a moment
as we hear ----
INSTRUCTOR'S VOICE
A doomsday car is a vehicle which
is loaded with a high explosive,
such as gelignite, and left in an
area where it will do the most dam-
age when detonated --
EXT. TRAINING AEA (CAMP P_.ARY) - DAY.
We are on the Instructor, a lean, mean-lacking A=Y
Sergeant is impeccable fatigues. His manner of speech
is Southern.
INSTRUCTOR
Do I read disapproval on your face,
Mister Adams?
AsNOTR NN-- ~'
..ncludina the tra:..'aing class. thirty or fort., men 4=
army fatigues. Score are dark men, mustachiced., pass
E :t iler Saudis cr Iranians. Amcnq t!?iese we finch Tony.
( C O N T I N U ED)
39.
CCNT NUED :
Although he doesn't answer the Instructor, we can
read something less than total approval on his face.
INSTAUC'R'OR
In view of the fact that we're
getting our butts kicked rosey all
over the world, it might behoove
us to take a lesson from the IRA
and the PLO.
(THEN)
Now, the first thing those boys'l1
do when they aim to spread a little
unhappiness in the ranks of the
righteous, is steal a motor vehicle --
(THEN)
You know how to steal a motor
vehicle, Mister Adams?
TONY
No I don't.
" = 4STRLICTOR
By the time you leave Camp Perry,
you' 11 be an expert.
The Sergeant turns to the others.
INSTRUCTOR
(CONTINUING)
All right, gentlemen, this is a
remote control detonator.. .on safe.
Be holds up a detonator in. his hand, then points Off.:
INSTRUCTOR
And that yonder is a doomsday ca_r.
ANOTHER ANA
including an old car set in a valley some two hundred
yards away. The Instructor takes the detonator off
safe and as he activates the charge in the doomsday
car, we zoom in. The explosion fills the screen as
the doomsday car is blown to hell.
JISSCL'JE .C :
"NT. CT...ASSRCOM T (CAMP ?MARY) - DXZ
We are ..: a cl assrcOm in wooden a--=V ar-racks _ The
teacher", a :Va .- Coxxna ,de: , s ? °_c t ing . -he= e are
E
(CONTINUED)
40.
CONT IUED:
chalked o ptograms on the blackboard behind him.
They are variously, ODYOKc, 'ODACID, OD MM. AELAU ,,
AEJAMMER, AEBROOM. Tt3DOV, =ESR, .KUCAGE.
COMMANDER
The cryptonym is a name used in
place of the true name. In the
company, crtonyms consist of
two letters that determine the
general catagory followed by a
word -- the United States Govern-
ment is designated by the letters
"O" and "D", and the word "Yoke".
(POINTS)
O-D-yoke. The Department of State,
O -Z-acid.
STUDENT
What's that last one?
INSTRUCTOR
0-0--envy?
(GRINS)
That's the FBI.
As the group of trainees laugh, we
CUT TO:
EXT. A. CANYON ROAD (C+ '4P PAY) - DAY
Up'a dirt road, between the trees, comes a platoon of
trainees, in jungle gear wet with sweat, double-tizsing
as they chant:
PLATOON
Hut two three four --
REEP-BY-YA-LO'
BEEP-BY-YA-LO-
LO-RIGHTS-LO--
We move into the platoon, pick out Tony as he runs,
not cocnti.nq. The Drill Instructor runs up alongside
of Tony.
INSTRUCTOR
You're not singing, Mister Adams.
Aren't you harpy is our little
croup?
As Tonv locks over at the : - acing Drill inst? ?c cor ,
h t en starts chanting a h --he zest
C:iT To :
41.
EXT. PISTOL RANGE (CAMP PEAR21 - DAY
Tony is at the pistol range, firing. As he finishes
up the clip and draws the target back to him on a
pully device, the Pistol Instructor comes up and in-
spects the target with the bullseye chewed out.
PISTOL INSTRUCTOR
Good. shooting. You do a lot of
hunting?
TONY
No.
PISTOL INSTRUCTOR
Mast run is the family, then.
TONY
You might be right.
CUT TO:
INT.. LOCX P ICRITG CLASS (CAMP PEARY ) - DAY
There are diagrams on the blackboard. Tumblers,
locks, keys. There are big, half-sections of locks.
Half a dozen. members of the class, including Tony,
are working with picks an locks. As the Teacher
helps Tony.
TEACHER
On the ordinary pin tumbler cylin-
der lock, the spring actuated
drivers are partly in the shell
and partly in the plug. The. trick
is to lift them up so the plug can
turn freely --
(THEN)
That's right.
The lock has opened.
TEACHER
Once you've gotten the lock picked
and the door opened the best thing
is to tape the bolt mechanism back
so you won't have to keep picking
the lock -
As the Teacher Instrructs the class - a la Watergate
break-inn -- how to tace back the bolt mechanism, we
CUT TO:
L
42.
EXT. T: AIMING AREA (CAMP PEARY) DAY
We are on the Drill Instructor who brandishes a
Marine Corps knife, six-inch blade, brass knuckles
incorporated into the handle.
INSTRUCTOR
This object is a United States
Marine Corps killing knife. I..
will now demonstrate that it is
not worth doodley shit if you don't
know how- to use it.
ANA ANGLE
as the Instructor looks around the circle of Officer
Trainees and from them chooses Tony.
INSTRUCTOR
You.. You'd like to kill me,
wouldn't you, Sir? Well, here's
your chance.
The Instructor tosses Tony the knife. Tony catches
it. As they circle,. the Instructor taunts Tony.
INSTRUCTOR
Come on. Come on. Make a move,
Sir. Are you falling in love with
me? Then do something hostile.
Make a face. Stick out your tongue.
Do something, Mister Adams.
Tony swings the knife. The Instructor avoids him.
INSTRUCTOR
My little bitty sister can make a
better move than that, Six.
ANOTHER ANGLE
The Instructor offers a tempting target. Tony swings.
The Instructor slaps his cap across Tony's face, grabs
Tony's wrist and disarms him, throwing him to the
ground.
ANOTHER ANGLE - ON TONY
The Instructor turns his back on Tony, deliherately .
Tony gets to his feet and charges the .nst=,actorls back.
(C^NT? 2IUED )
I
43.
CONTINUED
The Instructor has been waiting for this. Re flips
Tony again.-
Tony lies inert an the ground. The Instructor comes
up, beads to inspect Tony. As he does so:
- INSTRUCTOR
All right, Sir. You ---
Re breaks off as. Tony has driven an upper cut into
the Instructor's balls. The Instructor grabs his
groin and goes down in a heap.
ANOTHER ANGLE
Tony rolls to his feet, grabs up the killing knife
and presses it to the Instrutor's throat.
TONY
All right you, son of a bitch, tell
me about it..
The Instructor is looking at Tony. Suddenly he grins;
INSTRUCTOR
You're getting there, Mister Adams.
ANOT3ER ANGLE
Tony looks at the knife in his hand, then tosses it
away and starts off. At this point a jeep comes
bouncing over the hill and skids to a breadsiding
stop.. We see that PaJ.ateer is at the wheel.
PALHA2'E.=
(TO TONY)
Jump in.
Tony is in the jeep. As Palmateer guns out, trailing
a plume of dust, we ---?
CUT TO:
tNT. RECREATION ROOM - CAMP PEAwM - DAY
Palnateer is watching the Recreation Room television
set on which there is a newscast of the ze ease of
Danny DeVito frc n Leaveizwcrth..
M ZUED )
44.
CONTINUED:
Danny, almost as wide as he is tali., his broad pug-
natious face wreathed in a grin, camas cut of the
prison gate, his hands held up in the "Victory" sign.
He pushes his way through the Television Cameramen
and Newsmen, not saying anything.
We pan him over to a limousine which he gets into
quickly. The limousine drives off.
NEWSCASTER'S VOICE
Today in Leavenworth, Kansas, one--
time International Brotherhood of
Dockworkers' President, Danny DeVito
i was. released. on pardon after serving
six and. a half years of a fifteen
year sentence an embezzlement and
conspiracy charges. DeVito didn't
state his future plans, but insiders
expect him to challenge the incum-
bent President, Pat Brady, in the up-
coming election.
ANOTHER ANGLE
As Tony comes into the room, Palmateer gives him a
pen and a couple of pieces of paper.
I
PAL.MATEER
A couple of things for you to sign
6 before you go operational. This is
for your piece --
(SECOND PAPER)
And this is your resignation. It's
a technicality, but in case the shit
ever really hits the fan, we'd have
p to disclaim you.
(GRINS)
It's called the principal of plaus-
ible denial. We never invoke it
until the cock crows thrice.
As Tony is signing the papers, Palmateer has produced
a service automatic from a canvas carryi+:g case. He
puts it on the table before Tony ---
E=. A WAS ZNGTCN D.C. SUZZZ G - DAY
As Tony, dressed in his blues, comes out of a build-
ing. He carries a briefcase. Cressinq to ie. curbs
gae stexas and looks up the s ?_. eet
45.
ANOTHER ARGLZ
As a large car pulls up and stops in front of Tony,
he opens the door and gets into the backseat. We
now might be able to see that F'rankie is driving.
With him in the front seat is Santino. In the back-
seat is Umberto Croce.
INT'. THE L SOUS tNE - DAY
as Tony gets in and sits next to Croce. General
greetings, then Tony gives the briefcase to Croce.
FRANRIE'
Where to?
TONY
Take a right on Sixteenth Street.
ANO ANGLE
As Croce sets the briefcase on his lap, Tony reaches
into his pocket and gives him the key. Now Croce
carefully unlocks the briefcase. As this is going on:
TONY
How's. your progress?
CROCE
Doctor Barcenas is getting an
assaS,ilt team together.
TONY
'Barcenas?
CROCE
T
A leader in the exile community.
0 One of the early revolutionaries.
Broke with Vidal when El Presidente
went Marxist and abbrogated the
Constitution. He thinks we're a
group of business men backing him
to get our hotel and casino back.
Croce has gotten the briefcase open. It is full of
cash. Tony points ahead.
TONY .
Let use of-12 at the next corner.
I
46/48.
INSE.BT - THE BRIEFCASE
As Croce picks up a packet of hundreds cut of the
suitcase, riffles it:
TONY'S VOICE
It's all there.
HACK TO SCENE
As Santino grins:
SANT=O
Straight frcm the East Coast
Distributor.
Tony looks over at Croce:
CROCZ
We're in business.
TONY
I' I L see you in Florida..
EXT. WASHINGTON STREET - DAY
0
As Tony gets out of the limousine and crosses to a
phone booth. We are moving in as he puts a. dime into
the slot. and dials.
TONY
Hiss Duane, please.
CUT TO:
=T. LOBBY (ENNEDY CENTER) - NIGHT
We are shooting past the big, nubby sculptured head of
Sohn Kennedy which identifies, but in no way dominates
the long, high handsome lobby with its crimson carpets.
The Opera is breaking for intermission and the audience
is moving toward the bars and the terrace.
We move to the bar where, in the crush, we find Tony.
As everybody seems to be ordering at once---
TONY . i
Scotch-rocks, here. Two. Aadame,
I believe those were
(THEN)
Scotch-rocks. Sere. Two.
(CODITINUED )
49.
CONTINUED
Tony turns to watch a woman move off with two drinks-
that were clearly his. 'Now, a. braided Admiral usurps
Tony's place.
TONY
I believe I was next, Sir.
The Admiral throws a look in Tony's direction, then
pays for the bourbon and coke and exits.
TONY
Scotch-rocks. Here. Two..
EXT? TEE TERRACE ( iYNEL'Y CENT~'R) - NZGET
On the broad, impressive terrace, overlooking the curve
of the river- as it mirrors the lights of Washington, we
find Elizabeth, dressed for evening. She is surrounded
by three urbane men, Morton, her Television Producer,
Swartzwalder, a Jurist and McKissick, a young Senator.
McKissick is lighting Elizabeth's cigarette as Tony
comes up with the two drinks.
TONY
Finally.
ELIZABETH
Thank God for 'the Navy.
As she takes her drink:
ELIZABETH
Mister Adams,_ I'd like you to meet
Judge Swartzwalder -- Senator
McXissick and Jack Morton from
wham all blessings flow ---
MORTON
As long as the ratings hold up.
As Tony is shaking hands around with the Judge, McKissick
turns to Elizabeth:
MC EISSICK
Burning the midnight oil at State?
ELIZABETH
(SMILES)
I wouldn't know, s°qve broken off
relations with the State Decar ..went .
I
50.
ANOTHER ANGLE
Tony has heard this last.
SWARTZWALDER
You stationed in Washington?
TONY
On temporary assignment.
ELIZABETH
He's doing a background on Azmando
Vidal.
MC RISSIC
A fine. man. And thank God we're
back on speaking terms -- or are
we?
MORTON
If you don' t know, who?
A buzzer sounds from inside. Elizabeth hands Tony
her glass.
ELIZABETH
Would you be an angel and
Tony takes the glass from her, crosses and puts it
on a nearby bench. As he does so, Elizabeth is Look-
ing after him, as to the others:
ELIZABETH
I've always had a =ad thing for
sailors- They've got such neat
little asses.
As Tony returns and escorts her back into the theater:
CG", TO:
EXT. R"" ?MY CE:TTm..,q DRIVEWAY - NZGHT
We are on the line of cars coming up to pick op their
passengers outside the Eall of States. Mi..ch honking
of Eioras, so on.
ON TON`I AND ELIZABETH
as they stand among the azagn= _coes , 1 oaki i for a
tax:.. Elizabeth spats -ne f_--st.
(CON°^Z `i?D ?
7
51.
CONTMM=
ELIZASET:
THERE'S ONE
Tony hurries for the taxicab.
ANOTSEB ANGLE
as. an Airforce General intercepts the cab.
GENERAL
Believe this is mine.
.ON ELIZABETE
As she watches Tony get outranked for his cab, then
she spots another.
ELIZABETH
f f ere comes another.
ANOTHER ANGT.E
as. Tony hurries for the. next cab, only to get beaten
cut by a. State Department type with two oil Sheiks
in tow.
STATE DEPART.'MiT TYPE
You're next, Ensign.
Tony turns, signals: to Elizabeth to wait, then exits.
CLOSE - ELIZABETE
as she looks after him., puzzled.
MT. . PARE ING AREA - NIGHT
as Tony moves into. the Eennedy Center Parking area,
looking around.
ON ELZZABET:E
She is pacing. She stops, looks at her watch, then
turns at an insistent bbonking from -.edam: veway. We
pull back and pan to include Tony s it ti_ng in a big,
beautiful, official-looking sedans. ae leans across
and opens the front door. She crosses and gets in.
52/53.
ON HALL OF STATES DOORWAY (Ba"?° CENTER) - NIGHT
as an Admiral and his wife come out toward the drive-
way with their guests. All are chuckling merrily at
• something the old sea dog has said. Now his wife's
expression alters as she looks of.
ADMIRAL' S WIFE
Charles: Isn't that our car?
He looks off. His expression changes. He starts to
run..
ANOTHER ANGLEZ=n=Y• CENTER DRIVEWAY
As Tony drives off, the Admiral runs vainly after
his car, waving his hand..
ADMIRAL
Stop: Stop!
INT. THE ADMI-RAL'S CAR_- NIGHT
Elizabeth has been looking back. Now she regards Tony
with. new and approving eyes..
ELIZABETH
You have interesting talents, Mister
Adams ..
TONY
You'll be astonished.
ELIZABETH
i I'm looking forward to it.
CUT TO:
INT. ELIZABETH' S BEDROOM - NIGHT
Tony and Elizabeth are in bed together making love.
ANOTEER ANGLE
featuring Elizabeth as
ELIZABETH
Now. Now. Yes. Now
= 14. TO :
Y
54.
INT. BEDROOM (ELIZABETH'S APT.) - NIGHT
Tony and Elizabeth are sitting up in bed. Tony is
lighting her cigarette. Suddenly he pauses.
ELIZABETE
What's wrong?
TONY
Shh.
L E IZABŁTE
What's the ?.»..
She breaks off because Tony has put his hand over her
mouth. Her eyes blaze as she reaches for his wrist.
TONY -
Noise in the living- room.
(THEN)
There it is again.
This time we too have heard something. He uncovers
her mouth.
ELIZABETH
There's a window in the front room.
It rattles.
TONY
I don't know.
ELIZASETB
Well, I do.
ANOTHER ANGLE
as Elizabeth swings out of bed, naked, crossing out
of the bedroom and into the hall.
INT. EALLWAY (ELIZASETS' S APT.) - NIGHT
We move with Elizabeth as she goes down the hallway.
SST. LIVING ROOM (EZIZABE:'B' S APT.) - "r-GET
As Elizabeth comes into the darkened ? :.ring room, suddenly
a Man from out of "-,-.e shadows, clamps one hand over her
.mouth and with the other hand he holds a :cr? a to her
.mroa t.
0
I
55.
ANOTHER ANGLE
As a. Second Man appears. This one has a gun. The First
Man turns to him, speaking in a whisper.
FIRST MAIM
Bring him down here.
The- Second. Max. nods. We follow him as very softly he
goes down the hallway.
P
CLOSE - THE SECOND MAN
as he pauses. outside the bedroom door which is half
P ajar. Now suddenly he moves ---
IDi'i:. BEDRCOM - NIGHT
0 We are angled on the hall. door as, in a single move
the Second Man kicks the door open and flicks the bedroom
light on. He has his gun pointed at the bed. We whip
pan to the bed.. It's empty.
CLOSE: - THE SECOND MAN
As for a frozen moment., surprise and consternation
0
show an his face. At this point:
TONY
(VERY SOFTLY)
Don't make a noise. Just stand
where you are or I'll kill you.
We have pulled back and panned slightly to include Tony
who is sitting on the. floor, his back against the wall.
I
The gun in. his hand is, trained on the Man who has just
-come in.
ANOTHER ANGLE
As: the Second Man stands motionless, Tony is on. his
feet and up to him. Tony takes the qua from him and
tossing it an the bed gestures, forefinger to lips,
be quiet.
Now, Tony turns to the Man and. starts down the hall
with him. Tony has him by the back of the jacket, his
Tun pressed against the back of the Second Man's head.
I
56.
INT. LIV -MIG ROOM (Z LIZABETH' S APT .) - NIGHT
As Tony enters with his prisoner, the First Man - the
one with the knife -- still has his weapon pressing
into Elizabeth's throat. He is looking the other way,
but turns as: _
TONY'S VOICE
Turn very easy.
The First Man turns, sees Tony and the Other Man.
TONY
S've got a. gun at your partner's
head.
There is 'a beat, then:
FIRST MAN
Drop the gun or I slit her throat.
TONY
You drop the knife.
FIRST MAN
Don't you think I'll kill her?
0 TONY
Z don't give a shit if you kill
her. I_ said crop the knife.
ANOTRER ANGLE.
As the Second Man -- overconfident at finding hi=self
still alive -- speaks to his partner.
SECOND MAN
Cut her a little bit to convince
this asshcle. Open up her throat.
Suddenly the Second Man's knees buckle as. Tony, in a
lightning move, brings the gun barrel down across the
Man's head.
As the Second Man is on his hands and knees, Zi.?ce a
stunned ox, dripping blood on the carpet, Tony tuns
once more to the an with the knife.
TONY
I'm going to give you one more
chance. Trot the k:i-`f:a and !'I--l
let you go .
-T
57.
CONTINTED: -
FIRST MAN
(LAUGHS)
7. 111 cut her fucking head off,
first.
ANOTSER ANGLE
as the Second Man, still on his hands and knees, now
pushes himself up to a kneeling position.
SECOND MAN
Show him a little blood.
As the Man with the- knife nods grimly, Tony puts his
gun to the back of the kneeling man's head and calmly
pulls the trigger.
ANOTBER ANGLE
The. kneeling man plunges for+qard, dead, the back of -
his head blown off.. Tony now turns, without emotion,
to the man with the knife.
TONY
That's what you're going to look
like in two seconds if you harm
that girl..
ANOTRER ANGLE
As the First Man drops his knife and releases Elizabeth,
she is locking at Tony, stunned, her aplomb totally
vanished.
TONY
Go get dressed and call the Police.
Elizabeth nods and half-stumbles out of the room. Tony
crosses to the Man.
(CONTIJ UED )
I
I
58.
(CODITINT1EI1)
FIRST XUX
when the cops come, you're going
to be up on a murder rap, baby.
TONY
No, I'm not.
Tony lifts the gun and blasts the First Man three
times in the chest.
ANOTHER ANGLE
as Elizabeth bursts bac k into the room, looks, then
starts to scream. Tony crosses up and taking her in
his arms, softly comforts her.
TONY
It's all right.. He tried to get
my gum away and I had to shoot him.
As. Tony, still comforting her, moves her away, We --
DISSOLVE TOT
EXT. EVERGLADES BAY - DAY
We are in a swampy backwater on the West Coast of
Florida, south at Fort Meyer. Hacked out of the
everglades is a clearing on which a tourist acccmmo-
dation has been built. It is called Tarpon Lodge
and signs announce "Cold Beer", "Boat Rentals" and
"Tourist Accoammdations". There is a small pier.
ANOTHER ANGLE _
as a small, commercial fishing boat comes chugging
up the bayou and blows its whistle.
CLOSER - THE FISH=TG 3O
as a Latin American, Roberto Barcenas, about 3S,
comes out to the bow of the boat, locks off toward
the tourist cabins. Roberta is a capable, cool,
izstelligent man.
E<'CT. T9Y T RPON :IODGZ - DAY
as Umberto Croce, dressed in white and weariri a straw
hat against the sun,. ccmes out or she ramshackle lodge
and moves to the of
0
59A
THE PIER
Crewmen of the fishing boat are tieing up as Roberto
Barcenas comes down onto the pier followed by half a
dozen others. They are radio, Borracho, Padre Pepe,'
El Fararon, Arrigo and Roberto's younger brother, Jorge.
Croce and Roberto embrace, then :
CROCE
This way.
M=. As AIRSTRIP - DAY
A rough airstrip has been bulldozed out of the scrib
pine and palmetto forest. At one end is a hanger and
on its side the words: INTER-CAR EAN CBAMTERS.
As Croce and the Latin Americans come up:
CROCE.
TONY:
1 0 ANOTHER ANGLE
1 Inside-the hanger we see a D.C. Six. Tony comes out
cleaning cosmolene off his hands with a rag.
CROCE
Tony, I' d :like you to meet Doctor
Barcenas.
TONY
I'm pleased to meet you, Doctor.
They shake hands, then:.
ROBERRTO
Permit me to present my companions --
Indio, Borracho, Padre Pepe, El
Fararon, Arrigo and my brother, Jorge.
The members of the assault team -- the Indian, the
Drunk, the Priest, the Pharoah, Arrigo who looks
like a pimp, and the romantic, fire-eating younger
brother -- are introduced to Tony individually. Xd
lib greetings, then to Barcenas:
TONY
Are you read-!?
(CCINNTINUED 11
60-
CONT=T Z :
ROBERTO
For many years.
As they move into the hanger:
ROBERTO
Z understand from Senor Croca that
the idea with the diving suit did
not work out.
I TONY
There were a few problems.
ROBERTO
But the other is. fine?
TONY
Yes. ,
(THEN)
D
You've been in. touch with your
underground?
ROBERTO
(NODS)
Everything is arranged.
INT THE EA2GAR - DAY
At one side of the hangar we see crates of various
weapons. Boxes of hand grenades, mortars and mortar
shells. Sub-machine guns caked in cosmolene, LAW
rockets, field radios. So on. As Tony and Roberto
come in, followed by the others:
TONY
we got you BARS and Carbines
plus ten, thirty calibre light
machine guns, and ten, four-point
t o inch mortars with a thousand
rounds of high explosive and a
thousand, rounds of white phosphorous.
Tony is pointing out the various boxes and crates:
JORGE
What about sub-machine guns?
TONY -
Thirty or; them. Tarty-five calibre
nine millimeter. With ten thousand
rounds.
(po.ints
Over there.
(CONTT-.?_-D )
61.
CONT=TISW
As Jorge crosses. over to the box of weapons, picks
one up in his.hands:
JORGE
Ten thousand rounds! Aye de mi!
ANOTEER ANGLE
as. Tony picks up and hands Roberto a long, olive green
plastic tube.
TONY
We also got you two hundred Sixty-
six, millimeter, M-72 LAW rockets.
They're lightweight, one-shot dis-
posable Bazookas.
(THEN)
There is also field gear, medical
supplies, tentage, demolition mater-
ials, combat rations ---
Arrigo, the. pimp, comes up, takes the LAW rocket from
Roberto, then:
ARRZGO
We make a little trouble for E:
Presidents, hey?
JORGE
When do we leave?
TONY
You, go in tomorrow to get it ready.
I'll meet you down there at the end
of the week.
(THEN)
Who's your radio man?
PEPE
t am.
TONY
I'll show you the set up.
As Tony and Padre Pepe move off together toward. a
short wave radio set up in the corner, ae --
CUT TO:
K
62.
EXT. LAS VEGAS HOTEL (SWT_NZU TG POOL AREA) - DAY.
We are in a long shot and angled downward on the swim-
ming pool. area of the Corleone Family's Las Vegas
flagship hotel. Into the shot, threading their way
between the girls in their bathing suits, came Sam
Xaatrocina and Ralph Augusta, walking purposefully.
We zoom back ---
INT. TOM HAGE"N' S ©FFICE (LAS VEGAS HOTEL) - DAY
We are on Rocco La=pone, who is standing by the window,
looking out onto the pool area. As he turns:
LA ONE
Here they came.
We are pulling back. Also present in the large, attrac-
tive office, are Tom Hagen, Danny DeVito and Sant no
Corleone, who is at the bar fixing drinks.
SANTINO
Half an hour late.
DEVIT0
0 I'm happy he's here at all. That
means he's willing to talk like
a reasonable man.
L.A ONE
Tell A3..ieri about it.
HAG=
What you've got to understand,
Rocco, is that what happened to
Al was business. What's done is
done. The important thing is to
avoid trouble if we can. This
isn't the old days. The Five
'Family wars are over and done with.
LAMPONE
Maybe that's too bad.
ANOTEEQ ANGLE
as Santino comes over with the drinks io± Hagen and
DeVito. As Danny accepts his-drink and raises it to
HAGEN:
63.
CONTINUED:
DEVITO
To you -- all of you. I'll never
be able to thank you for what you
done.
As DeVito drinks, the intercom is buzzing. Hagen
flicks it.
SECRETARY'S VOICE
Mister Maatxocina and Mister Augusto
are here, Sir.
HAGEN
Send them in, please.
ANOTHER ANGLE
Eagen comes around his desk to the door to greet
Maatrocina as he enters, followed closely by the
cold-looking Ralph Augusto.
EAGEN
Sam. Z'm glad. you could come.
Ralph. Good to see you. What
are you drinking?
MAATROCINA
Z'11 take a little bourbon with
you._ On the rocks.
Sagem nods at Santino who crosses to the bar to make
the drink, as Hagen turns now to Augusto.
HAGEN
Ralph?
AUGCSTO
Nothing.
HAGEN
Coke?
AUGUSTO
Nothing.
ANOTHER AN=
As Santin_o is making the drink; Kaat--ocL-za tax.,.--ns to
Danny DeVito, shaking hands.
I
.7
64.
CONTINUED:
MAATRCCI4A
Let. me save us all some time. I
know the Hagen-Corleone Family got
Danny sprung and I'm glad about it ---
(TO DEVITO)
From the heart.
DEVII'O
Thank you, Sam. I :snow you mean
it.
MAATROCI A
(TO HAGEN)
I also know how you swung it --
(grins, holds
UP HAND)
Yeah. That's right. You aren't
the only ones with a friend or
two in. Washington. Don't under-
estimate me.
RAG=
We never have, Sam.
MAATRCCINA
One more thing I know -- Danny' s
? •
a big hero to the rank-and-file.
He'll leave Pat Brady for dead in
this Special Election that's coming
up. Okay? So that leaves one thing
to talk about.
HAGZN
How we can all accommodate to this
new situation.
MAATRCCINA
(GRINS)
I don't know from accc=cdate --
just so we all get a chance to
drink from the well.
HAGS
Problem being, for the vast five
years the well dried up an us as
you might say. It was almost as
it Pat Brady had scmethin q against
us personally.
TROCT A
T=, Tcm. "cu should have come
to me.
E (CONTINCZD )
65.
CONTZY[JZD :
EAGEN
You don't like to bother your
friends about these matters.
MAATROCINA
What are friends for?
HAGW
In any case, the problem is solved
ar will be soon. Tice well is ao
longer dry.
MAATROCINA
And. everybody gets to fill his
bucket. That's as it should be.
After us.
MAATRCCINA
Meaning what exactly?
SAG=
We need a loan of fifty million
dollars. That has to be the first
order of business ---
MAATROCI A
The Atlantic City Hotel?
BABY
1 That's right.
I
ANOTHER ANGLZ
As Maatrocina makes flat paddles of his hands and points
them inward to his chest as he turns to DeVito.
MAATROCLVA
And what am t? An orphan? I want
to get in on Atlantic City, too.
DEV.ITO
You had it all your way for the
last five years, Sam. Let some-
body else do business.
. AATROCINA
I got ao cb7ectio:t - ,a him doing
business --- i just want to do
business, too. Kay?
What Hagen gets, :: get.
LI
(CCNTI'TCZD )
66.
CONTINITE
DEVITO
Are you talking about a hundred
million dollars?
MAATRCCINA
If fifty and fifty still make a
hundred, that's what I'm talking
about.
DEVITO
it can't be done.
MAAT;RCCINA
Don`t you think I know how much
money you-'ve got in that goddamned
pension fund?
HAGEN
He's also got the Department of
Labor, a board of trustees and
the SEC looking down his throat.
He can't make that large a commit-
ment.
DEVITO
We` can't put more than twenty-five
percent of our assets into real
ESTATE ---
MAATROCINA
Is that what you brought me across
the country for?' To tell me I'm
getting frozen out?
DEVITO
Nobody's freezing anybody.
MAATROCIXA
Then why do I feel these chilly
winds nipping at my ass?
DEVITO
You should felt the winds in that
joint. It was Sagen that got me
out.
(THEN)
He comes first. You come second.
That's the way it is.
MAATH(3CINA
How f2ar second?
(CONTSNC?? )
I E
Y
67.
CQNTNMED
DEVI.TO
Youtve gat to. give me a year.
MAATRCCIYA
We both want tc get into Atlantic
City. L can't give them a year's
head. start.
ANOTEM ANGLE
asDe Vito looks over at Tom Eagen.
DEVITO
Tom? What if-you people take thirty
and Sam takes twenty?
SAG=
T have to have fifty. That`s defw
I inite.. You knew it and agreed to
it in front.
DEV2TO
Sc that we can all part friends ---
what about forty-ten?
MAATROCIA
I •st. not taking any ten. What
they get. I get. That is final.
DEVITO
I All. right, All right. Maybe Z
can work something out. Z' 11
try`.
MAATROC n A
Try hard.
ANOTSER ANGLZ
Maatrocina glances over at Augusta. They rise.
EAG=
Thank you for coming, Dan Haatro--
cina. I'm. sure we can find a way
to live toget?..er in peace.
4AATRCCI A
Of course, my old friend,
:Kaatrcc: na ad ? i s aoodbves a; ound and and Angus Lo
LEAVED HE
49 (C Ci TIN-G"ED )
68.
CON'I INIIED :
HAGE??1
(TO LAMPONE)
You might have to go one on one
with Augusto before we're finished.
LAN ONE
I'm counting on it.
ANOTHER ANGLE
As Lampone crosses to the window to watch Augusto
and Maatrocina leave through the pool area below,
Hagen moves to Danny DeVito.
HAGEN
I'd like to put a couple of people
with you,, Danny.
DEVITO
I don't need your people, Tom.
(THEN)
Sam and I go back a long ways. He
knows I' U. come up with something
for him.
SANTINO
(TO DANNY)
Why-don't you stick around? See
the show? Maybe the tooth fairy
will. stuff one of those long-legged.
blondes under your pillow.
DEVITO
I'll take a rain check.
ANOTHER ANGLE
As Devito grins, shakes hands around and exits, Hagen
turns to Santino.
HAGEN
I want you to fly to Washington
tonight. Talk to Senator Geary.
Anybody you have to. But find out
who ' s on Maatrocina' s payroll.
(THEN)
I don't like him knowing about Tony.
UUMPCNE
Neither do 1.
(CONTINMED )
I
69.
CCNTI2MED :
SANTINO
You think he's walking into some-
thinq down there?
BALM
That's what I want you to find out.
As Santino turns and goes, we ---
CUT TO:
EXZ. LATIX-AMERICAN CI"-''T- NIGHT
We are as the sky over the bay of Armando Vidal's
Capitol. It is the Fifth Anniversary of his revol-
ution and a fireworks display is taking place over
the bay. Sky rockets are arching upward over the
waters, exploding in cascades of red, green and gold.
CUT TO:
A STET COMM - NIGHT
We are on an impromptu exhibition on a street corner.
A big, marvelous looking black Girl, in almost nothing,
circles with a lean Latino almost touching but not quite,
in a hip grinding mambo .
E
ANOTSER ANGLE
as the crowd laughs and cheers them on.
A WOMAN
Aqua!
We move up to a loud speaker attached to an ornate and
bunting festooned.lampost. From the speaker we hear:
VIDAL'S VOL=
But make no mistake, any of you --
you of the North American delega-
tion in particular. We welcome
you to our Count=y -- but the days
of exploitation are over.
CUT" TO:
INT. BALL.COM - ECTE'L OE 3ZVOLCCICN - NIGHT'
Ei Presi.dente, A.. andc V .dal, is speaking to a crowd
j?n the Grand 3allrcomm. The usual tel.evisicn cameras,
so,or_.
0
T
7Q.
ANOTHER ANGLE
As the predominantly Latin American crowd cheers, we
pick out Tony, in civilian clothes, amongst. the' cheer-
ing people.
VIRAL
The blood of our martyrs is still
too fresh on our pavement. We will
be friends and neighbors, but never
again slaves to Imperialism.
1
A young Latino, and we will recognize him as Ar=igo,
has moved to Tony's side. As the cheers have erupted
once more, Amigo, with'a brief nod of the head, indic-
ates that Tony shouldfol:ow him.
ANOT'_R ANGLE
As Arrigo goes, Tony looks after him briefly, then over
to the American Delegation including Lucas, the Assistant
Secretary of State for Latin American Affairs; Cariock,
the Speaker of the House and several prominent liberal
Senators including McKissick of Utah and the elegant
Harthaiemew of Pennsylvania.
Also in the delegation, in uniform, is Stu Palmateer.
The older man's eyes meet with Tony's for a brief
moment. He has seen the exchange. He watches as
Tony leaves, then looks over toward u_agudo, Vidal's
I
Chief of Police. The harsh, heavy Policeman is laugh-
1 ing at something Vidal has said, seemingly paying no
attention to Tony's exit.
INT. LOBBY ECT!L ME LA REVOLUTION - :TIGHT
As Tony is crossing the lobby, Elizabeth Ann Dunne,
followed by 'a small entourage, enters. Half a pace
behind her is Kenny Morton, her producer and behind
them are three men carrying portable TV equipment,
cameras, tripods, batteries, so on. She is speaking
to 8e.ny..
ELIZABETH
With all due respect, that's bull-
shit.. The man's obviously inccm-
petent or the car wcu: d have been
WAITING EXACTLY
She breaks cf-f . seei nc Tony.
71.
TONY
Hi.
She stops. Ee crosses up:
TONY
r thought you weren't coming down
here.
She doesn't answer.
TONY
Aren't we speaking?
E L IZA3ET3
I. don't 'know.
Elizabeth crosses off toward the desk, Tony looks
after her for a moment, puzzled, then crosses out.
EXT. HOTEL DE LA REVOLCCION - NIGHT
As Tony comes out of the hotel and crosses the garden
grounds toward the street, we see that a fireworks
display is still in progress.
EXT. AVENIDA DE LA R VOLUCION - NIGHT
Throngs of Merry-makers are moving along the wide,
palm-lined avenue that follows the curve of the bay.
Many are in cost=e. Some play instruments. Others
have bongo drums. The atmosphere is frenetic. There
is. a pervasive beat. The whole city seems to throb
with it.
We are on Arrigo who stands outside the flaw of traffic,
cigarette in his mouth, patting his pockets for a match.
Tony comes- up and lights ArrigoIs cigarette. As he
DOES SO
A.RASGO
Se sure you have your identification.
Maguda's pescadores -- you understand?
The Police -- they're out f.sh..:g
tonight.
We are on aaather c=oup Of G-4-is azd :Men i a ?rildly
sexual dance.
I
72.
CONTINT :
We pan off them to Arrigo passing. Tony follows. We
move. in closer to Tony. A big, fat Mama comes out of
a doorway, shakes everything she has at him. Tony grins,
pats her on the ass and -passes by
EXT. EARBOR AREA - NIGHT
We are on the part of the harbor where the big fishing,
boats tie up. The sound of the celebration is fainter
now, a couple of blocks distant. We are on an old,
but seaworthy fishing boat; the name on the stern is
"Stelia.Maria". Amigo comes up the pier, pauses by
the short gangway.
ANOTEER ANGLE
I
As Tony comes up and joins Axr-igo a Third man suddenly
appears out of the darkness. As he comes up to Tony,
we recognize Jorge Baxcenas.
JORGE
(SHAKING HANDS)
You bring it?
TONY
Yes.
JORGE
This way.
Jorge leads them aboard.
INT. MAIN CABIN (STELLA MAR15) - NIGHT
In the cabin are Roberto Barcenas, Indio, ?araron,
Padre Pepe'and Borracho. There is also a girl, Angelica,
25. She has dark eyes and blonde hair. There is some-
thing faintly flashy but also enormously sensual about
her..
One Man is cleaning a stripped automatic rifle. Another
is loading a banana. clip with 30 calibre bullets. Barcenas,
the girl and some others are bent over a map on the mess
table. All. cook up as Tony, Jorge and Arrigo enter.
T _tobertc smiles warm- , canes up and embraces Tony.
(C'J1?I'r ?`ILT'ED i
T
- 73.
CONTLIUM
ROBERTO
It's good to see you, my friend.
(THEN)
All goes well?
TON
(NODS)
And you?
ROBERTO
Everything is ready. Arms and
aumm=ition distributed. Now the
waiting.
TONY
You've set a time?.
RCBEATO
Day after tomorrow. Seven A.M.
(CHECKS WATCH)
Th.zrty-four hours.
(THEN)
This is Aujelica. A great good
friend of E1 2residente. She knows
where he keeps his toothbrush-
TONY
Good.
ANJELICA
You have something for me?
ANOTHER AN=
as Tony unbuttons his shirt and strips off a money
belt which he puts on the table and opens. 'IIe takes
out some money.
TONY
A hundred thousand pesos, cash.
Count it, please.
As Roberto takes up the money and counts it., Tony
takes out a small vial in a plastic container.
TONY
And this.
(THEN)
It's tasteless and odorless, but
it has a vet-,,? short period of tox--
ic.Z. ty --- do you understand? Once
s opened it must be used within
twenty-four hours.
(CCNTI UZ )
I
74.
CONT2NUHD
ANJ ?ICA
How soon does it work?
TONY
The symptoms are those of botulisat.
High fever, nausea, vomiting, and
death. Within an hour.
ROBERTO
(TO ANJELICA)
Hadn't you better be getting back?
ANJELICA
Yes..
ANOTHER ANGLE
As Anjelica turns, her coat swings open slightly and
we see that she is dressed in a costume.-- a typical
Tropicana showgirl kind of thing.
ANJELIC .
(TO TONY)
Good night.
TONY
Thank you.
ANJ%-"LICA
For nothing. When we meet again
things will be better.
JORGE
Be careful of 4agudo's fishermen.
They're out in force tonight.
Anjelica nods. Roberto hands her the money, then
kisses her on. the cheek.
0
ROBERTO
Vaya can Dios, Chica.
ANOTSMR ALYGZZ
She staffs the money in the pocket of the overcoat and
exits. Roberto looks at A..-.rigo who nods and follows
her out. Vow Roberto looks back at Tony.
TONY
Have the supporting omeratic n.s
been set urz?
E (CCNT? iUED)
.i
75.
CONTINUED :
Jorge crosses to a map on the table.
JORGE
(POINTS)
Sere. Here. Here.
As Tony crosses and studies the map, we
CAT TO:
A SMALL CITY PARK - NIGET
The celebration on Vidal's Capitol is still in progress
in this small city park. Suddenly, a police truck
appears in one of the streets, blocking it, and a fly-
ing squad of armed police piles out of the canvas-
covered rear and. The Sergente blows his whistle.
SERGENTE
(IN SPANISH)
identification check. Have your
cards ready.
ANOTTER ANGLE -- TE CROWD
We. see A.-rigo and Anj el ca moving through the crowd.
They stop, exchange a look and then turn- and Move the
other. way_ We follow them through the crowd to a small
alley. Amigo and Anjelica and a couple of others, who
1 would apparently just as soon not be stopped by the
police, move down the alley.
INT. ALLEY - NIGST
As Anjelica and Arrigo move down the alleyway, con-
gratulating themselves on their escape from Magudo's
I
men, suddenly three Policemen materialize out of the
darkness ahead.
POLICEMAN
(IN SPANISH)
Not so fast my friends ---
(THEN)
Against the wall, Pockets inside
out. You too, blondie.
CTT TO :
171
76.
I NT. POLICE STATION - ?SIGHT
Half a dozen of the disreputable fish that have been
caught in Magudo's net are sitting on a bench against
the bare, dirty walls of the bare, high-ceilinged room
with its one unshaded bulb hanging from the ceiling
illuminating the suspects and Police alike harshly.
On one side of the room is a barred "tank" or holding
cell. There is a fat Capitan behind the desk and
another Policeman, pockmarked and hawkish, looking,
working an some papers at another desk. The Sergente
comes in with Anjelica and Arrigo.
ARRIGO
(IN SPANISH)
This is an outrage: I protest:
SEr A?E
(IN SPANISH)
Sit down!
The Sergente shoves Arrigo violently toward the bench
as we ---
CQT TO:
INT'? HOTEL DE LA REVOLTJCICN LOBBY - NIGHT
We are on the doors of the hotel as Tony enters and
crosses the large lobby toward the elevators.
ANTHER ANGLE
Over in one corner of the lobby we see Palmateer in
a group with several others of the United States
Delegation. Tony raises a hand to Palmateer who nods
back as Tony continues toward the elevators.
I
ANOTHER ANGLE - BY DESK
as the Desk Clerk, who has been watching the door,
signals over to a uniformed Security Officer. The
Security Officer nods and crosses to intercept Tony.
As he does so:
SECURITY OFFIC^11
Senor Adams.
Tony stops. The u::==sing Security Officer crosses
."p to m .
CONTZT ED:
TONY
Yes?
SECURITY CFFICZR
There is a message for you. A
friend. of yours wishes to see you
in the bar.
tN'I'. HOTEL DE LA REVOLUCION BAR - NIGHT
The place is reasonably crowded, even at this hour.
We are on Elizabeth Ann Dunne who is the center of
a small circle of admirers, including Kenny Morton.
She looks off, sees Tony entering, then excuses her-
sel-f and crosses up to Tony who stands in the doorway.
CLOSER
as Elizabeth comas up to him.
ELIZABETH
I want to talk to you.
0 TONY
I take it this definitely means
we're speaking again.
She draws him to an empty booth and as they sit:
I
ELIZABETE
I'm going to tell you a secret.
It wouldn't take an awful lot for
me to get hung up on you. Okay?
But I've got this problem --
(THEN)
You scare me.
TONY
What are you talking about?
ELIZABETH
You, sport. Adams, Anthony. No
middle initial.
(THEN)
Are you really with the Navy or
was that just so much malarkey?
TONY
What makes you thi:Lk --l'm not with
the Navy?
1 CO 1 .i...Y U 0
I
I
77-i.
CONT+MME :
?? ELIZABETE
Tou know what I heard in Washington?
That something very interesting might
happen down here.
TOONY
-Where did you hear that?
ELIZABETS
You wouldn`t know anything about it,
would 'you?
TONY
I want to know where you heard that.
ELIZASETS
What difference does it make, it's --•-
Tony is on his feet and moving oui of the bar ae 2.
INT. EOTEL DE LA REVCLLCION LOBBY - NIT
The all group of Americans, of which Stu Palmateer
was part, has broken up. Palmateer is moving toward
the elevator, but turns as he hears -----
TONY'S VOID
Stu?
As Tony comes up:
PALMATEEE
Scmething wrong?
TONY
I don' t know.
They wove casually toward the newsstand. Palmateer
Picks up a'Spanish language newspaper, idly scans it,
THEN :
PALZ4AT'.'..E?B
What's the problem?
TONY
Sow many people know about t:-his
mission?
oAL.u.ATv-ZR
Why?
78.
TONY
Z think there's been a leak in
Washington.
PAT MATER
There are only five people who have
any idea what's going on.
TONY
is Artier Grundellius one of them?
PALMAT,.E'?
Yes.
TONY
F Then maybe it's not that serious. -
PALMSATEER
I If yon think the mission's compro-
mised, we'll abort.
TONY
No. I think it's all right.
(THEN)
See- you tomorrow..
ANOTAR ANGLE
Palmateer crosses to the elevator as Tony moves back
toward the barroom. We move with Tony as a Bellboy
intercepts him.
BELLBOY
Senor Adams? There is a phone call
for you. You can take it on the
house phone if you like.
Tony nods,.tips the Boy, then crosses to the house-
phone and picks it up.
TONY
Yes?
IT. DC RSILE EATING PLACE - NIGHT
Jorge 3arcenas is at a public phone.
JORGE
You zeccgnize my voice?
(THEM
You better net down here right
away,
0
I
S
79.
ANOTE R ANGLE
As Tony hangs up and turns, Elizabeth is coming up
from the bar.
ŁLIZASETH
What in the hell's going on around
here?
TONY
Z don't know..
Tony turns and crosses out of the lobby as we ---
CUT TO:
INT. MAIN CABzX (STELLA MARTS) ,- NIGHT
we are close on the pack-marked, hawk-faced Policeman
who was present at the Police Station when Anjelica
and Arrigo were brought in.
PCLIC°..MAN
I'm positive, Doctor 3arcenas. AS
soon as they found the hundred
thousand pesos in her pocket, they
called Colonel Magudo In- T. came
as soon as I could.
0
We have pulled back to include Roberto Harcenas, Tony,
Jorge and others, including the Captain of the fishing
boat, a man named Mezcurio.
ROBERTO
She's being questioned now?
The Policeman nods. tRoberto turns to Tony.
ROBERTO
You have to 'assume they'll be
tortured. You have to assume
that they'll talk.
TONY
Then you're going to have to move
right now.
ANOTL ANGL.
Jorge start: passing out weapons and hand grenades.
Tony takes a su.?:-.machine gun and checks it, as we ---
82.
EXT. JAIL OUSE ROOF - NIGHT
A couple of Policemen are on duty on the jailhcuse
roof. Their names are Lopez and Ruiz. Lopez. is look-
ing into the square.
LOPEZ'S ANGLE (THE SQUARE)
We are shooting down into the square from behind Lopez
as Ruiz comes up and joins him. We see the two cars
stop outside the jail, and the occupants pile out. Tony,
Jorge, Roberto and Indio from the first car, Sorracho,
Pepe and 'araron from the second. They are all armed,
carrying LAW rockets and slung-sub-machine guns.
ON RTXIZ
as he jumps up onto the parapet, cocks his own machine
gun and fires down into the square. As his bullets
stitch the cobblestones moving up toward the group.
ON TONY
At the sound of Ruiz 's first shot, he's got his sub-
machine gun in his hands. He fires from the hip.
Lopez throws up his hands, falling back. Ruiz spins
on the parapet and falls into the street.
=T. THE JAII.HOUSE - NIGHT
Carbajal and Mosca have started firing out of the gun
ports in the doors.
i M=. TEE STREET OUTSIDE THE JAIL -- NIGHT
As Indio gets hit in the forehead and is jolted back-
wards, his face a bloody mask, Tony, Jorge and Roberto
have picked up their LAW's and fire almost simultaneously.
EXT. TEE JAILHOUSE - NIGHT
as the big, heavy doors blow away ---
INs°. ITS...-" JAILEOL;S ?II(an
as - the second door is blown back into the roc=. The
ceiling is caving in, piaster is falling. The ai= is
thick with plaster dust and smoke.
(CCN'I'IVU ?,J )
I
a3.
CONT IU :
Mosca sits against the wall, mouth open. His leg lies
across the room.
The Prisoners in the holding cage are screaming. A
Policeman runs in from another room just in time to
be cut down by Jorge who bursts through the door
followed by Tony and Roberto.
ANOTHER ANGLE. -- BAS = STAIRS
as Colonel Magudo runs up the basement stairs, pistol
IN HAND:
ANOTHER ANGLE
as Jorge, Tony and-Roberto all `ire at the same time,
blowing Magudo back down the basement stairs. Tony
and the others dive down the stairs.
EXT. THE CENTRAL SQUARE - NIGHT
As the occupants of the first car are attacking the
Jailhouse, Fa=axon, Pepe, and Borracho launch an
0 attack on the Presidential Palace.
ANCTBER ANGLE
A.: the sleepy Soldiers come tumbling cut of the build-
ing in confusion, Barracho is spraying them with his
automatic weapon while the other two are blowing the
front doors away with their rockets. Smoke and plaster
dust is heavy in the square. rives start to lick and
flicker.
ANOTHER ANGLE
As Borracho, Pepe and.Fararon run into the Presidential
Palace, somebody has started pealing the bells of the
Cathedral.
IY'S. THE PRESZDE. ITIA.L PALACZ - NIGHT
As Borracho, Pepe and Fararon rjn into the great
central hall, wit:-1 its cu gyring S--a.=Case, and great
crystal chan_delie=
84,
CONTIYTJED :
BORRACHO
This way.
EEO rugs up the stairway, by the others. At the top
of the stairs he turns, fires at the chaia that holds
the chandelier anchored. The ceiling chews away.
The chandelier falls with a crash of crystal.
CIIT TO,.
INT. BASMiENT (CI TRAL JAIL) - MIGHT
There are a dozen doors leading into a dozen basement-
cells- Tony, Jorge and Roberto are searching them.
Tony enters a cell, then we hear:
TONY'S VOICE
Roberto!
As Roberto hurries into the cell
INT. THE CELL -- YIGET
There is a gully in the ceiling with a line led. through
it and tied off. The other end of the line is. tied
around Arrigo's ankles, suspending hi= upside down.
Eris hands are tied behind him. His head and shoulders
are not visible as he is immersed, head-down in a large
tuh of water.
TONY
Quick!
Roberto runs in, whips out a knife and as Tony grabs
the motionless body, the other cuts the line.
ANOTEFR ANGLE
As they gently lay Arrigo's body on the floor, it is
apparent he is dead.
CQT TO:
INT. THE BASEMENT - YIGET
As Jorge throws open a door, his face goes white.
FORGE
motheY of God.
85..
CONTINDED:
We have panned over to the door. We are now shooting
toward the door with our view mainly blocked out, but
we can see that Anjelica is dead, naked and tied spread-
eagled, face down on a table.
CUT TO:
ZNT. PRESIDENTIAL PALACE - NIGHT
As Bcrracho Fararon and Pepe are rune og down an
upstairs hallway, throwing open doors, a Soldier
appears, fires, 3orracho spins and falls.
ANOTHER ANGLE
As E'ararcn cuts the Soldier down, then turns to Pepe:
R ARARON
(IN SPANISH)
Let's get out of here!
They turn and ran.
• CUT TO:
S
EXT. THE JAILHOUSE AND SQUARE - NIGHT
A couple of Police vehicles and an Army truck careen
into the square, skid to a stop and the Soldiers and
Policemen pile out and take cover an the square. The
bodies of Ruiz and Indio are still, where they fall.
At a command from the Officer in charge, the Soldiers
and Policemen start moving forward, from cover to
cover, laying down a steady rattle of gunfire.
CUT TO:
MM AN ALLEY BEHIND TEE JAIL - :NIGHT
Jorge, Roberto and Tony are running along an alley
in the darkness, bent over. One street away, in the
town square, apparently all hell is breaking loose.
As they run:
FAARARON
Hey: This way.
They stop. Fara_-cn and 2epe are standing _ in -: mouth
of a i?.tp e n,ar-r-cw open -ig between houses
0
86..
ANOTHER ANGLE
as Pepe and Fararon disappear into the darkness follow-
ed by Tony, Roberto and Jorge.
CUT TO:
E=. ANOTHER STREET - NIGHT
A Police car with the numerals "22" painted on the
side is abandoned at an angle in the street, the
doors open. -
ANOTHER ANGLE
Pepe runs up, looks in. Tony and the others follow.
PEPE
The keys are gone!
TONY
Get in.
Tony is under the dashboard crossing the wires as
the others start piling in. The motor starts, Tony
slides behind the wheel. As they drive off ---
CUT TO:
ZN' . POLICE CAR TAM=-TWO- NIGHT
Tony is driving. Roberto is next to him in the front
seat. In the back are Jorge, Pepe and rararon. As
they come to a crossroads:
TONY
Which way?
ROBERTO
Lett.
(THEN)
When will the plane be coming?
PEPE
Four. They will land at Quebrada.
Roberto looks at his watch, then
ROBERTO
We can make it. Left again.
E
87.
EXT. STREET CORNER - NIGHT
As Police Car, Number 22, comes left around the corner
a second Police Car is coming the other way. The two
cars barely miss each other, just kissing as they pass.
INT. POLICE..: CAR 22 - NIGHT
The comandeered Police Car swerves as Tony fights
the wheel, and finally steadies it.
TONY'S POINT OF Vt!W (THROUGE BACK WINDOW)
I
The other police car has spun and stalled momentarily.
As the Driver of the car gets it started and straightened
out in pursuit, we can see the Second Policeman on the
hand mike. We can hear his excited voice in. Spanish
coming over the police radio.
RADIO VOICE
TIN SPANISH)
We have seen the terrorists. They
are in Police Car Twenty-too going
north on Avenue of the Martyrs.
(THEN)
0
All units. All units. Terrorists
seen going north on Avenue of the
martyrs .
Now other traffic can be heard on the Police radio as
other Police cars respond to the message.
SEVERAL COTS
of various Police cars as they get the message. Some
swing around in Q-turns, Their sirens are winding up
to a howl.
INT. POLICE CAR NITMBER 22 -- NIGHT
We are shooting back through windshield. Pepe is look-
ing out the back window and we see the following Police
car. Now another joins it. Now still another. Police-
men start firing out of their. cars. The back window is
starred as a hole suddenly appears in it, only - inches
from Padre ?ece' s head. He looks at the ho l e and tu.-ns,
crossing 7:.msei f .
PEPS
.;esus, Mary and Joseph.
(CO N'IiNII..D )
K
AS
`Cis;n7VED %
As another bullet hits the car somewhere with a clang.
of metal, Roberto turns td Tony:
GO-III E1 0
Go right on Quebrada.
THE I BSPE= C3ASE
as the pursuing Police cars increase their numbers and
come closer, the-Comandeered car, carrying Tony and the
others, makes a right- turn on Avenue Quebrada, leading
out of town. Parked at the curb is a non-descript sedan.
FEATURSITG TONY
As he drives, we see that Roberto has taken from his
knapsack-pouch a mall detonating device such as we
have seen in the demonstration of the doomsday car at
Camp Peary.
EXT. TEE STREET CORNER - NZGRT
0
As the first of the pursuing Police cars starts around
the corner, suddenly the non-descript sedan parked at
the curb detonates -- disintigrates in a blinding dazzle
of light. In the jolt of the shock wave, every window
within half a mile radius shatters.
A vast ball of flame and black, heavy smoke billows
upwards from the corner where the doomsday vehicle and
the first car were immolated.
Now, the following Police cars, unable to stop and
unable to avoid the flames which have spread like
napalm all over the whole corner, skid into the flames
and smoke, plowing into the wreckage.
The buildings are in flames. A Policeman, his uniform
and hair on fire, runs screaming out of the inferno.
DISSOLVE TO:
EX. A COUNTRY ROAD - N1 GET
as Pc?l.ce Car Nunber 22, tarns down a side road, through
a gate, then up and over a h-4-11. We pa.-n to the gate,
over which are the words: "° i.-sca Quebrada".
D
89.
EXT. AIR FIELD (F=CA. QUEBRADA) - NIGHT a
The Police Car comes to a stop at the side of what
is apparently a hacked-out -landing strip in the middle.
of a small valley. There is a cane field on one side,
the green stalks are give or six feet high.
Tony, Jorge, Roberto and Pepe get out of the car.
Roberto opens the back door and, to Fararon.
ROBERTO
Come on! Do- you want to ---
ANOTHER ANGLE
Roberto has broken off as he looks at-Fararon. We
realize that sometime during the chase the Pharoah
has taken a bullet in the chest. Se's dying, and pink
bubbles of blood fora and break on his lips as he
stiizggles for breath.
ROBERTO
I'm sorry, old friend.
Tony crosses and gets back into the car to help
Fararon.
ROBERTO
I'm afraid he's finished.
At this point we hear:
JORGE'S VOICE
Here they come:
ANOTHER ANGLE
as Jorge, Pepe and Roberto run to the center of the
airstrip, looking upward. We can hear the sound of
an approaching aircraft.
ON MOSERTO
as he points a flashlight at the sky and signals a
short and a long, the letter Alpha.
AlNCTRER A0IGL.E - I:IC=1r--NG `"HE OC-6
The aircraft is now visible. ?rcm the Pilot's coc pit
we see the answering signal , a long and th--ee shorts,
the letter Bravo.
I
9Q.
PULL SECT - THE DC-6
as it swings in on the final approach and starts to
settle in for a landing.
CUT, TO:
EXT. COUNTRY ROAD - NIGHT
A couple of jeep loads of Soldiers turn down the
same side road that we saw Police Car 22 take a few
minutes earlier. As the jeep loads of Soldiers pass
through the gate on which are the words, "Finca
Quebrada", we ---
Ct?T' TO:
EXT. THE A2RFT L - NIGHT
The DC-6 lands and swings around, taxing bark. over
the rough ground.
CLOSE - TONY
He senses something wrong, and pausing by the edge
of the airfield, calls to the at-tars.
0
TONY
Wait a minute.
ON ROBERTO, PMPE AND JORGE
as they run for the plane.
ANOTHER ANGLE - ON THE PLANE
as the plane swings around again and the door opens.
We reveal E'rankie Rizzi in the doorway.
CLOSE ON RRANRI"
as he looks out.
ON ROBERTO, P E AND J ORGE
as they ran toward. the plane.
K
91-
ŁXfi. RIM OF THE ETT.r.
as the two jeeps come up to the rim of the hill. One
jeep turns a powerful spotlight onto the airfield.
The A.IRPT T-fl - NIGHT'
as the spotlight catches Roberto, Pepe and Jorge in
its beam.
ON THE SOLDIERS
as they fire.
ON ROBERTO, PEPE AND JORGE
as they are chopped down, one after the other.
OK TONY
as he turns and fires at the jeep loads of Soldiers
with his automatic rifle.
ANQTEER ANGLE - THE SOLDIERS
as Tony's fire shatters the spotlight. Some Soldiers
fall, others fire at the DC-6.
THE DC-6
as it starts to pick up speed, trundling over the.
rough ground.
ON TONY
as he runs for the plane.
ON ?RAl?1Z
as he sees Tony.
A,NoTr.. ER ANGLZ
As Tony :'ims up -o the m lane , =rarekie reaches down,
drags him up and in. Bu-1-let hales are apvearing
the fuselage of the plane.
92.
ON THE SOL4IMRS
as they fire.
ON TIM DC-6
as it rises into the air and banks off to the Nor t. % ---
CUT TO:
E,XT'. VZDAL' S PRES=ZNTIAL PALA - DAY
Armando Vidal, his face a harsh mask, stands in the
shattered doorway of the Presidential palace looking
off toward-the central Square..
VIRAL
The cetinter-revolution has failed.
The. people once more did not -rise
up as expected.
VIRAL' S POV (THE SQUARE AN TAZLHCUSE) - DAY
In the. battle-torn square, outside the jailhouse, we
see an angry croard of Rioters care ing the dead and
bloody body of Roberto Barcenas.
VIRAL
(COMING OVER)
And once more the rich are bewilder-
ed by the fact that the poor are un-
I willing to die for them.
Somebody produces a rope, somebody else throws a loop
around his feet and Roberto is hoisted upside-down to
the top of an ornate old lam post.
NLMADT' S VOSCZ.
And while E1 Presidente was speak-
ing, in understandable bitterness,
crowds in the Capitol were running
rampant, stringing up the bodies of
the leaders of the failed coup d'etat.
QIM CROWZ
T
as the people cheer. Somebody produces an American
flag and sets it afire. it buns In the street. lids
kick at it, 5L it on it.
"
,GCN'?'. .ZD?D )
'
93.
CONTIN= :
NEWSMAN'S VOICE
They burned American flags and
threatened the safety of the Amer-
ICAN DELEGATION
EXT. AIRFIELD - DAY
Uniformed Soldiers with fixed bayonets are guarding
the airfield. Crowds are gathered outside the gates.
ANOTHER ANGLE
as limousines 4ith soldiers on the ;enders and roofs
come inching through the fist-waving, threatening mob.
As the gates are opened, Soldiers with bayoneted
rifles force the crowds back so that the cars can get
through,
NEWSMA2X' S VOICZ
-- who were taken to the airfield
under military escort.
We see the limousines stop by a waiting transport
I
plane, and -- with the guns of the Soldiers holding
off the angry mob -- the American Delegation to Vidal's
celebration hurries into the big airliner..
CLOSER
In the American group we see Elizabeth Ann Dunne; the
Senators McKissick and Barthalemew; Assistant Secretary
Lucas; Speaker of the House, Cari.ock; and Stu Palmateer,
looking cooler than he could possibly feel.- Over this
WE HEAR:
NEWSMAN' S VOICE
(CONTINUING)
Soldiers with bayonets were forced
to fight off the angry mob which
clearly blamed the United States
for the abortive coup.
CUT TO:
!XT. THE STATED PART!-= -- DA ;
As Are r? z?de::.ias comes out of the State Department
and crosses to his car, he is surrounded by Newsmen.
I
94.
CON'' I?7IIED
NEWSMAN 'S VOICE
Meanwhile in the Nation's Capitol,
Arne Grvndellius, the Secretary of
State, was beseiged by Newsmen as
he left the State Depa.tent after
an all-night session.
CLOSER - ON GRt'YDELL tD S
as the Newsmen are thrusting microphones into his face,
asking questions.
FI3ST NEWSMAN
Mister Secretary! Mister Secretary!
Can we get a statement?
Grnndelli.us stops.
GRIINDE,tLZUS
We will make an official statement
tomorrow.
NEWS ii TOGETRER
What about Vidal's accusations --
Have you Xosygia's statement? will
you speak to the United lations?
Was Doctor Barcenas an 1nerican
agent?
GR=EZS.ZC S
P One at a time. One at a time.
2ND NEWSMA,
According to world opinion, the
CIA was behind this.
- GRONDELL."II5
Gentlemen: Gentlemen: I am late
for a meeting at the White House
i but we catagorically deny these
allegations. The United States
Government does not use assassin-
ation as an iastrent of foreign
policy.
ANOTHSR ANGLI
AS G-=de? ii us starts to move throuch --he crowd of
3eoorters,
(CCNT_-6 _qT '
0
95.
CONTMED :
3RD NEWSMAN
What about the rumors' that the under-
world was involved in this?
GRDNDELLIIIS
If the underworld was behind it
and I don't rule out the possibility
at all -- that fact will be brought
to light in open hearings before a-
special committee of Congress. It's
in the works right this minute, and
subpoenas will be coming out by the
weekend.
INT. ELIZABETH'S AP T - DAY
Tony, dressed as last we saw him at the airfield, is
in Elizabeth's apartment watching the news on. her liv-
ing room television set.
NEWSCASTER ° S. VOICE
And now for further reactions to
today's developments, we take you
to the United Nations where Sander
VANOCUZ --
Tony has turned off the television set with a remote
control switch, having heard the. sound of a key in
the front door. He rises and turns as Elizabeth enters
carrying a paper bag.
TONY
Listen, I --
He breaks off as Elizabeth's face goes pale with shock
and she drops the bag on the floor. A couple of oranges
roll across the rug as:
TONY
I'm sorry, I had to talk to you
She looks at him her expression almost readable as anger;
ELIZABETH
You're listed as missing. It's on
the wire.
I
TONY.
Well, much as I.hate to disappoint
everybody.
(CONTINCRM )
I
96.
CONT=M= :
Suddenly Elizabeth drops to her knees and starts
crawling around on the floor, blindly searching for
the oranges.
- ON TONY
as he locks at her for a puzzled moment, then drops
to his own knees and taking her by the shoulders,
straightens her. Tears are pouring down her cheeks.
TONY
Bey, wait a minute
He kisses her.
TONY
What's all. this crying shit?
She smiles, sniffles, blinks the tears out of her eyes,
THEN:
ELZZ.A$ETE
You want an egg sandwich?
CUT TO
INT. ELIZABETE' S EITCHEY - NIGHT
Tony and Elizabeth are in. the kitchen having sandwiches
and coffee as the kitchen wallphone rings. Elizabeth
gets up and answers it.
ELI ZABETH
Hello?
NT. MoREHCIISE's O TI Y (LA.vGLEY) - NI zHT
1
Stu Palmateer is at the desk. Morehouse is with him,
reading some reports.
PAIMATE' R
This is Captain Pa.TLrnateer. I got
a message to call this number.
ON ELIZABETH
as she speaks into the phane
LI2ABE:'H
Yes. Hold on for a minuts, will
you.
+ ( ( ( to Tony??yy
Is your call.
(CCNT E0 )
97.
CCNTINCTED
Tony crosses over and takes the phone.
TONY
Stu?
PATWMATEER
Are you all right?
TONY
Considering.
(THEN)
Some friends of mine flew me up
to Maryland this morning. I thought
maybe I'd better not go directly
home.
PALMATEER
Good.
TONY
How are you?
PAL?`SATEYR
Ten kinds of blue hell are breaking
loose out here. Are you all right
at that number till tomorrow?
TONY
Fes.
PAL.MATEER
Then I' 11 get back to you.
Click, as Palmateer hangs up. Tony t•.irns to Elizabeth.
TONY
I hope you don't mind a house guest.
0 CU TO:
I INT. AN AUDITQRIGM (NEST ORLEANS) - NIGH
We are an a cheering audience of Longshoremen.
ANOi= AN= 1:,i.iii S2EA2=' S ?LA -'- Qi M
Danny'DeVito is holding up his hands to the crowd.
Behind him., red, white and blue bunti.^g. ?oste.zs
reading: 1 OTT YOR i=TO -- Gi V' Tom: CYZON . ACX
To : E VMSBERSHZP" .
98.
EXT. AUDITORIIIM -- NIGH':'
As Danny DeVito comes out of the stage door of the
auditorium, Ralph Augusta comes up to him.
AUGUSTO
Sam wants to see you.
DEVITO
I'= at the Pcnchartrain.
Ralph takes Danny by the arm and moves him toward a
chauffeured limousine waiting at the curb. As he does
SO :
AUGUSTO
Now. Tonight. He's got an idea
how to get everybody off the hook.
As.Augusto opens the door and ushers Danny into the
back seat of the car, we ----
CUT TO:
MCT. BOURBON STREET MEW ORLEANS) - NIGHT
0 As the limousine moves dawn Bourbon Street with its
hockey tonks and jazz joints.
INT. THE LZIMOUS INE - NIGHT
As they drive down Bourbon Street, Augusta leans for-
I
ward to the Chauffeur.
AUGUSTO
We'll go in the back way.
CHAUFF EM
I Yes Sir.
The Chauffeur turns down a side street and up an alley.
E=. TEE ALLET -- NIGHT
A truck is blocking the alley. A big, cheerful-Looking
Laborer with a ;knit cap on his head, is sitting on a
big barrel by th rear of t h t= ck.
h T e Eli cusine pu e l ls ap be fer hi ? n d e 1 s the 2 trac /+ k, s c y/?Yy?? toys a :'+t^i /? i a
inside a nearby cltth we hear a Jazz t=,=zet on a long
ride.
??T
99.
MT. THE LnKOII&INE
as Augusta leans forward.
AUGIISTO
Give him the horn.
The Chauffeur honks the horn. The Laborer grins over
at the limousine, gestures, palms up.
AUGUSTO
So we walk. It's not far.
ANOTHER ANGLE
as Augusta, Danny Devito and the Chauffeur move up
toward the rear of the truck, the Laborer jumps down
off the big barrel he's been sitting on.
LABORER
Hello Danny.
At this point the Chauffeur wheels and grabs Devito
in an arm lock, with one gloved hand clamped over his
mouth.
ON ABGUSTO
as a knife suddenly glitters in his hand and he plunges
it into Devito. Danny is kic-ting and st-aggling.
ACWSTO
Hold the cocksucker still..
As Augusta plunges the knife into Danny again and
again and again.
AN WAVZ"11 r?Nf:I.E
The Laborer has taken the lid of, the barrel. Danny
sinks to the pavement, convulses and dies.
ANCTEER ANGLE
as the three men pick up Devito`s body, stuff him
into the barrel, then hoist the barrel into the back
of the truck.
The jazz tr ttpet is sti l playing, as we --
CTT IRA
K
100.
=NT. ELIZABETH'S BEDROOM - DAY
It is the folloaring morning. Tony is in bed, asleep.
Elizabeth enters, turns on the bedroom TV set and
these crosses and shakes Tony. Tony comes awake fast.
TONY
Wha_ is it?
ELIZABETH
Your friend, DeVito ---
The TV` set has warmed up and now the Newscaster's voice
comes over the pict'..ire of a middle-class house in
Bayonne, New Jersey.
NEWS CASTER
There have been no ransom demands
and the Devito family -- although
concerned -- are not yet alarmed.
(THEN)
Police have stationed a guard on
the ex-union Leader's Bayonne, New
Jersey home were his 'rife and groom
daughter are in seclusion. Informed
sources fear an eruption of mob
violence if the popular Labor Leader
has met with foul play.
I
ANOTHER ANGLE
As the Television Newscaster switches to another item,
we see a burning house, fire engines, so on.
NEWSCASTER
Long Beach, New York. In a possibly
related incident, the home of re-
puted Syndicate figure Santsno
Corleone was firebombed early this
morning. Corleone, thirty-five, is
in guarded condition at Saint
Catherine's hospital with first
} degree burns over two thirds of his ---
Tony is out of bed. Be has switched off the TV set
and crossed to the phone.
TONY
Long distance =;fc_aa,ion, please.
h T e number of the Ve?as ?alms ---
C , D TO:
??3
EXT. LAS VEGAS AIRPORT - MIGHT
It is early evening of the same day.
INT. LAS VEGAS AIRPORT - VIGET
as Tony comes out into the central area of the Vegas
Airport. He pauses, looks around.
ANOTHER ANGLE
as Rocco Lampcne crosses up to him.
?? LAMPONE
Let's go.
ANOTEER AUG=
as Tony follows Lampone.
EXT. LAS VEGAS AIRPORT - NIGHT
as a big car driven by a Button an named Fritz pu.Us
up. Rocco opens the door to the backseat, gestures
Tony in. As Tony gets in ---
ON ROCCO
I He looks around. There is a car full of Button Men
in front of them. Another car full of button men
behind. Rocco nods. Gets a nod back >rom each driver.
INT. CAR - D1=GET
As Tony gets into the backseat, we see that Tom Hagen
is there. Rocco Lampone now gets into the front seat
alongside the driver, Fritz.
A L MP ORE.
Tony, this is Fritz.
(THEN)
Let's move.
?NOT= AIGI2
as the cars drive out om! the ai Ci .. a 1 e, 2Eagef' S
car in the middle.
I
102.
INT. HAGEN `S CAR
as Hagen turns to. Tony.
- SAGR'??1
Danny's dead. They found him in
a barrel at the mouth of the
Mississippi.
TONY
Maatrocina?
HAGEN
(NODS }
It's going to be bad for a while,
that`s wby I wanted you out here.
It's time you-Jesus Christ Fritz
This last as another car swings out of a side street
and a Hood leans out of the rear window with a t•.reLve
gauge p=p gun, and blasts at Fritz.
ON RAG-EN'S CAR
as a blast of heavy shot takes out the windshield
and blows most of Fritz's head away.
' : NT. SAGrzN ' S CAR
As a fountain of blood gushes up from the stalk of
Fritz's neck and Hagen's car starts to swerve into
the curbing, the Gunman in the other car sends two
more blasts of deer--load into Hagen's car.
ANOTHER ANGLE
as the Corleone Button Men in the following car blasts
at the attackers, the Shotgun Man blasts away.
I ANOTT ER ANG=
as Hagen is hit by half a dozen buckshot and he flaps
over dead, onto Tony. The caw hits and tolls.
ANOTSER ANGLE
The Hagen car comes to a s tor on its wheels again.
The Corleone Butt-an Men it the fol icwinc ca= -snt?
cut, run up.
0
I
103.
CLOSER
As Rocco Lampone comes out of the wreckage, the Button
men are pulling Tony -- who is unconscious -- out.
Lampone looks at Fritz and Hagen.
LONE
Not a goddamned thug you can do
for them. Let's get out of here.
ANOTBER ANGLE :
As The Corleone Men carry Tony to the other ca= and
get him inside, people are starting to gather.
LAMPONE
It's all right. It's all right.
Gangway. We're getting him to
the hospital! Man's hurt here!
Clear the road:.
As the Bystanders move back, the Corleone car burns
rubber and digs out
CQT TO:
MT. BEDROOM (CORLEONE COMPOIINf, TAHOE) - NIGTT
Camera is subjective, the screen is pitch black with
a single red-orange dot moving erratically in the
center. It is the coal of a cigarette as someone
takes a last puff, tamps it out, then scratches a
match and. lights another.
In the flare of the match we see a Nurse's bulldog
face.
ANOTHER ANGLE - INCLC1 ING TONY
He wears a bandage around his head like a burban. Be
is looking at the Nurse in the flicker of the match
flame.
TONY
Who are you?
XURSE
OY., gc?od, you're awake.
TC Y
Wait a minute.
S
t CfJI3'?'LD }
A
104.
CONTD DZD :
NU'RSZ
I'll be right back.
The nurse has risen. She switches on a lamp and
exits.
ANOThR ANGLE (MIRROR SHOT)
We are angled into a mirror over a chest of drawers,
holding on Tony as he sits up in bed, then gingerly
gets to his feet. He is wearing silk pajamas. Now
he crosses to the mirror and checks himself out.
Aside from the bandage he seems to be in one -piece.
Now, in the mirror we see the door open and silhou-
etted in the doorway, the figure of Michael. Tony
turns.
ANOTffER ANGL -
as Tony and Michael look at one another for. a long
moment.
HICEAEL
How are you feeling?
S TONY
What am I doing here?
As Michael comes into the room and closes the door:
HICEAEL
I had Rocco bring you.
(THEN)
How's the head? A little -pain?
TONY
A little.
MICHAEL
The Doctor says it's nothing.to
bother you, but I've always found
it's easier to be brave about some-
body else's headache.
TONY
Did he say how soon T could leave?
MIC'Z??
Sit dcwn. Sim down..
S
ANO'TEMR ANGLE
Tony doesn't sit down.
TONY
r'd like to get out of here as soon
as possible.
MICHAEL
Let me ask you a question. Have
you any idea where you stand?
TONY
I'm not totally stupid.
MICHAEL
I aC 't think you're stupid. I
think you're smart. 3 t not smart
enough.
TONY
t'n willing to learn.
MICHAEL
Good.
(THEN)
You've let your enemies get too
close to you.
(THEN)
Those people who tried to kill you
in Las Vegas, they were Maatrocina's
people.
TONY
Are 'you sure?
Michael answers that question with a look: Of course
in sure.
MICHAZZ,
The question to ask is this: Who
knew you were flying to Las Vegas?-
TONY
The girl I was staying with and ---
Tony breaks off:
HICI=L
Someone f_ cm Langley?
TONY
Before I left, I called a man named
Stuart ?almateer.
(CONY r ED)
106.
CONTINOEA
MICHAEL
I told Tom Hagen -- God rest his
soul --- but I warned him. it was a.
mistake -- that whole Vidal business.
As the only contact between our people
and the Government you had no protec-
tion. You were naked.
(THEN)
It they want to break the contact,
they elimirate you and they're clean.
As long as you're alive,. you're a
threat -- do you understand?
ANOTHER ANGLE
As Tony sits. He's not sure whether he likes or
trusts or is ready to forgive his father, but he
knows the sound of good sense when he hears it.
MICHAEL
How long do you think the-Administra-
tion would last if it were to come
out that the President used the
Corleone family to assassinate the
head of a foreign state.
0 (THEN)
The question is rhetorical.
ANOTHER ANGLE
Michael takes out a cigar and goes about the ceremony
of lighting it.
- MICHAEL
I'm not supposed to smoke these
things, but it, isn't every day
a man's son comes home.
TONY
You were saying?
XICHAEL
Every year- -- on February third --
I've sent you a check. Those ohecks
were never cashed
TCNY
Would you like to '.cacw why?
107.
CONTINUED:
MICHAEL
r've always know why -- and z res-
pect your reasons. But, neverthe-
less, I'm your lather and anything
t have is yours - if it's money you
want, my friendship, the benefit of
my experience -- if you'll accept it.
It's yours.
TONY
I I need your advice.
MICHAEL
(nods, then)
There are two ways I see to handle
this. First, I can make you dis-
appear in. Sicily until everything
blows over. Things change. Men get
old and angers cool. In four or
five years you could probably be
safe to come home again..
TONY
What's the other way?
1
MICE?
0 The other way is a gamble that you
could lose.
(THEN)
And it would mean becoming a part
of the family -- for a while anyway.
Tony is just looking at Michael.
MICHAEL
Think about it. Sleep on it.
We'll talk again in the morning.
I=. THE BOATHOUSE (CORLEONE COMPOUND) - DAE
Tony enters the glassed-in boathouse. Outside, cold
white winter and the deep, blue Lake. With hi= is a
Sezv'ant..
SERVANT
Your father will be out in a moment.
(INDICATES)
There's coffee on the sideboard.
Tony tads. The Ser-want exits. 'ror.?y crosses to the
sideboard, pours a cup of coffee. As he t:uzmns with
it, his eyes fall on a table in the corner on which
(CCdN V E )
I
108.
CONT??IUED :
are many Pictures, mostly in heavy silver frames.
Some are studio portraits. Some are grainy blow-ups
of snapshots. Tony crosses to the table of pictures.
VERY CLOSE - THE PICTURES
As Tony looks, we are moving from picture to picture.
The first is a wedding portrait taken on Connie's
wedding day. Carlo is kissing the Bride. The God-
father stands, proud and uncom.fortable in his tuxedo.
Michael in his uniform. The twins, - all heavy eyebrows
and baby fat.
'"here is a picture of Sonny with his fists up and
laughing as if about to hit someone.
There is a photograph of the three brothers, Sonny,
Michael and 'redo, their arms around each other, at
an outing someplace. Sonny is in the middle of a
big grin. Fredo looks shy and scared. Michael is
staring straight ahead, a boyish smile on h 1s face
although his eyes are cold.
There is a picture of Michael and Ray at Tony's con-
firmation.
0
There is a blown-up snapshot of the Godfather in his
tomato garden in the backyard..
ON TONY
as he picks up the picture of the Godfather, remem-
BERING ---
DISSOLVE TO:
A FLLASHBACE SEQUENCE - {FROM GODFATHER I)
The old Don is tending his tomato vines. With him
is the little boy, Tony. aged three or four. They
have the special rapport that sometimes exists be-
tween the old and the very youzg. They play teasing
games with paper fangs and the bug spray can, then
suddenly, the old man's heart ;ailed him, and he falls
i n to the tomato vines. After a moment the lit :le boy
understands that the old man is no l anger playing a
game, and he beomes frightened:
CUT TO:
L
LOS.
INT. TifE BOATHOIISZ•- DAY
We are on the door as Michael enters. He pauses for
a moment, then:
MICHAEL ' .
Do you remember your grandfather?
ANOTHER ANC
as Tony turns from the table full of pictures with his
grandfather's framed portrait still in his hand.
TONY
Yes..
As Tony puts down the picture, Michael comes up.
1SICEAEL
Do you remember him with admira-
tion and respect?
TONY
Z remember that I loved him.
MILBAEL
0 So did I.
TONY
I've been thinking about these
choices.
Michael holds up his hand to delay the decision.
141C RAM
Talk with me for a moment.
(THEN)
Let me learn something about my
son.. What's Trident Scholar?
TONY
It's a special honors program for
First Classmen.
MIC3AEL
You liked Annapolis?
_ONY
Yes.
AICZAEL
Enough to make a life in t e Navy?
(CONT"-RLGCZD)
??I
ILA
CONTINUED
TONY
No. Not that much.
MICHAEL
2 was surprised you didn't go to
Dartmouth.
TONY
I thought about it, but Kay wanted
me to go to Annapolis and the price
was right.
MICHAEL
How's Hanover these days?
TONY
About the same.
MICHAEL
I always liked that town. That' S
where Z met your mother -- when I
was going to school up there.
TONY
I know.
0 MICHAEL
I'd planned to live there, you know.
Teach maybe -- or go into law. A.
little office on Wheelock Street.
Deeds and wills. I would have liked
that.
TONY
Why didn't you do it?
MICHAEL
Because one day a Sicilian pimp
and dope peddlar named Virgil
Solla2 O tried to assassinate my
father -- your grandfather -- and
I had to do something about it.
(THEN)
It was a mistake. S took a road.
The wrong road for me. It ended
here.
TONY
is this so bad? Sa
don't know. it depends or. what
you call terrib? e . You have to
CCDN'TINV D)
CONTINUED:
MICHAEL (cant 'd)
live a certain way --- a cold way -
or you won't live long.
(THEN)
Do you remember your uncle credo?
TONY
(SMILES)
?redo, the fisherman. Yes. I'll
always remember, he had a secret
way to catch fish. 'He taught me.
You say a Hail. Mary' before you
put the line down. It never fails.
MICHAEL
You know what happened to ?'redo?
TONY
He died didn't he?
MIS
I had him killed. My own brother.
It was something r had to do -- or
felt I had to.
TONY
Why?
MICHAEL
He went against the family. So I
waited until our mother died and
then I --
(breaks off ,
THEN)
Not too many people are fitted for
this kind of a life. I've had to
do mazy hard things, but sending
you and your sister away -- that
was the hardest.
ANOTHER ANGLE
There is a beat. To= and his father look at each
other and for a moment we feel that Tony is going
to cross to his father, then the moment passes:
MYC""L
And now, that I've said t~ at, I'd
like to hear your decision.
' :CN'Y
I don't th.iL k I'd ? ike Sicil v
(CON'R 1MED )
112.
CONTINOED:
MICHAEL
Good.
(THEN)
Come sit with me. Time is short
and I have a lot to tell you.
CUT TO:
t N T. CIA BUILDING (LOBBY) - DAY
As Tony, in civilian clothes, passes through the
inner- checkpoint with his legitimate credentials.
CUT TO:
ZNT. MOREHOUSE'S OFFICE - DAY
Morehouse and Palmateer are in the office. Their atti-
tudes are. less than cordial as Tony enters.
MOREHOUSE
Come in Adams, sit down. I've
called Stu in on this --
(GLANCES AT
WATCH)
Though I'm afraid I can't give
you much time. I've got a brief-
ing with the Z-orty Committee at
noon.
TONY
what I have to say won't take long.
(THEN)
And I think we 111 all be happier
if it's not on tape.
Morehouse pauses a moment then openens a drawer and
switches ofd his tape machine.
MOREHOUSE
Sow's your health? I understand
you got a crack on the head?
TONY
I'm fine now.
MOREBOUSE
you were up at your father's place
in Tahoe?
T::at d s rig
(CONTINUED)
113.
CONTINUED :
MOREHOUSE
Has he changed much?
TONY
Not as much as I' d. expected.
MO 2 CUSZ
I remember him very well -- from
the Senate hearings on crime. Heat
little man. Very polite, spoke in
a soft, reasonable voice. He sat
there with two million dollars worth
of legal talent at his elbow and told
the United States Government to go
piss up a rope.
(SMILES)
You had to admire the pretentious
little bastard.
TONY
We're wasting each other's time
with this, Mister Morehouse.
' M OREHOUSE
All right, Son. This is your party.
You've got five minutes.
0 (THEN)
But before we start, I'm not going
to listen to a lot of recriminations
about that cveration. Your people
blew it, pure and sim le. It was
totally mishandled. A mistake from
beginning to end.
TONY
The big mistake was that I'm still
alive.
`SOREROUSE
Come again?
TONY
11 you'd managed to get rid of me
down there - or in Vegas -- you' d
be all right. silt it's too Late
now. You've lost your chance.
HOREZOUSE
I don't know what the hell you're
talking about.
(C 0 di': I?It )
I
.7
114.
CONTINU
TONY
If anything should happen to me --
anything at all -- you can find out.
The full story will be all over the
six o'clock news.
MOREHCQSE
I'd like to hear your conception of
the full story..
TONY
You were running a no-lose operation.
if we succeeded, you were rid of
Vidal. -- if we failed, the Corleone
family was set up to take the blame.
Your hands were clean. I was the
only one who could dispute your
story and I wasn't supposed to come
back. I've found out that my res-
ignation from the Navy was processed
and accepted a full week before I
went down here ---
MOPEEOUSE
Stu?
PALMATE=
Well, yes, Sir. His resignation did
E
go through, but it was a snafu -- a
Yeoman's mistake, that's all.
MOREHOUSE
A clerical error.
TONY
And I don't buy it.
MOREBOUSE
don't give a shit if you buy it
or not. And I'll tell you some-
thing else, Mister Adams, or what-
ever your fucking name is, I don't
react favorably to blackmail.
TONY
It's not blackmail. It's a simple
statement of fact. If anything
happens to me or if the Corleone
Family is damaged iz these Senate
Hearings, then the whistle blows
and the whole zdmin .st_ation aces.
7
(CONTINUED) ?
MOREHOUSE
And what makes you think T. give a
shit about what happens to the Admin-
istration?
Morehouse grins without humor. Tony's eyes flicker.
Morehouse has told something that Tony needed to know.
Morehouse is up and coming around the desk, as he
continues. _
_14ORE8OVSE
Whatever I did was done under dix-
ect orders from the President of
the United States, and I. will. so
testify in open hearing. if that
upsets some of you= guinea gumbarrs
in Nevada, then so be it. The days
are over when your father and his
like could corrupt and intimidate
this Nation.
TONY
No. You've taken over the job.
MORE&OUSE
Your five minutes are up -- now get
the hell out of here.
As Tony turns and goes, Morehouse glares after him,
the glint of victory in his eyes.
CST TO:
INT. SENATE BU=DING - FOYER - DAY
We axe outside the huge Senate Caucus room. The
double doors are open and inside we can see the
preparations for the Hearing. The Senators are
taking their seats -- the Press is being given the
Press hand-out (stamped: "Embargoed until Witness
Testifies"). Technicians are carrying cables for
the TV cameras and lights past Lawyers and Committee
Staff Members.
Planted In front of all this, speaking to a TV camera,
is Elizabeth Ann Dunne.
ELIZABETH
This is Elizabeth Ann Dunne coming
to you from outside, the. Senate. Caucus
Room where the Senate Select Co=i.--tee
on Intelligence is meeting this morn--
ing ..,...
(THEN)
Oh, Senator)
(CaNTI_ TU?:D )
I
I
L16.
This last to the polished Senator Barthalemew of
Pennsylvania who pauses in front of the camera.
ELIZABET3
This is Senator Paul Barthalemew
Of Pennsylvania who will chair the
Committee.
(THEN)
Can you tell us the specific purpose
of this Committee, Senator?
This Committee has been mandated
to address two questiocis: One, did
the United States Government -- or
any of its officials --- authorize,
instigate or in any way-abet a plot
to assassinate the Head of a friendly
foreign State, Armando Vidal.
(THEN)
And Two, if not -- who did?
ELZZA3ETFF
Thank you, Senator.
0
As Barthalazaew moves into the Caucus Room, shaking his
head, we ----
CIIT TO:
ZNT. SE35MTw CAUCUS ROOM - DAY
Barthalemew is. pounding his gavel for order.
HARTHALE EW
Take your seats, please. Sergeant
at Arms' Will. you see that every-
an takes his seat?
We pan over to the door as Tony enters and finds a
seat.
CUT TO:
EXT. A WOODED AREA (PCMPTON LA=S, NNW SBRSEY) - DAY
Ralph •Augusto, bare to the waist, is half way up a
hill, in a stand of trees, working with an ax. Se
has stripped off his shirt and his coat. is shirt
and his gun are placed aver a fallen t=ee, ten yards
away.
117.
ANCTHER ANGLE
as Prankie Rizzi and Rocco Lampone are coming up the
hill toward Augusto. They pause:
LAMPONE
Hey Ralph?
Augusta torus. His eyes flicker to the gun, then
back to Rocco and Frankie. He smiles warmly:
AGSTO
Hey Rocky. Whaddya say? Waddya
doin' up here?
? R A N =
We just came up to say goodbye,
Ralph.
L?JWONE
for Neri and DeVito.
Frankie and Lampone have spoken almost simultaneously,
and as they speak, their guns are out and blasting.
ANCTHwR ANGLE - ON AaGt7STO
10
As the bullets thwack into his body. he jerks, but
doesn't go down. His cold face twists in fury as
he is moving down toward Tony, raising the ax.
ON FRANI(TZ
as he stands his ground, blasting. Twice. 171A%ree
times. Four times.
ANOTBER ANGLE
as Augusta wavers, his face goes slack and he plunges
into the ground at F'rankie' s feet. The ax has fallen
from his hands.
CUT TO:
IN'r . S MIATE CAUCUS ROOM - OAT
?Among the Senators an the Committee, we recognize
Mc:tissick and mossib? y we w i-11. remember old Geary,
from Nevada. Tonv is an interested spectator as
3artha? amew,r quest ions the witness, Martin Davideau.
0
I
CUNT t3ED
3ARTKALZ W
And.'what light can you throw on
this matter, Mister Davideau?
DAVIDEAII
S have. a memo here from the Director
of the FBI to the Director of the CIA
with copies to the Army, Air Force,
Navy and State Department Intelligence
Offices. It states that one of our
informants -- well, I' l1 read it (ro
ADS)
'during. a recent conversation with
several friends, underworld figure
Sam Maatrocina, stated that there
was going to be an attempt on Armando
Vidal' s life and this attempt ---
this hit, in the argot -- was to
be carried out by another underworld
FAMILY
MC RISSICX
Did this informant identify the other
underworld family?
DAVIDEAU
0 so Sir, he did not.
MC KISSICX
Would you care to speculate,
GEARY
Just a minute, Senator -- I whole-
heartedly object to this Committee
being used as a for,= for spec-
ulation based on an anonymous report
of an alleged conversation. Reput-
tations. could be recklessly and i --e-
grievably damaged.
MC RISSICR
Very well, very well. We wouldn't
want to damage any of the constituency
of my esteemed Collegue from Nevada. --
GEARY
Many thanks to the distinguished Sv..nior
Senator from our Wes tern Sister State
of Utah.
C7T TC :
I
119.
n ?T. MAATROCINA' S OFFICE (NEW YORK CITY) - DAY _
Sam Maatrccina is seated in his office on the thirty-
third,floor of an old downtown Manhattan office build-
ing. The buzzer sounds.
MAATROCINA
Yes?
SECRETARY'S VOICE
A couple of gentlemen here from the
Internal Revenue, Mister Maatrocina.
MAATRCCIVA
(SCOWLS)
The Internal Revenue!?
SECRETARY
Yes sir.
MAATROCINA
All right. Send 'em in.
ANOTEER AN=
The door buzzes open and. two young,- rather conserva-
tive looking Men, enter with briefcases.
I FIRST MAN
Mister Maatrocina?
Maatrocina is coming around the desk:
MAATROCI:YA
What- is this? Some kind of a roust?
FIRST MAN
It's about your income tax, Sir.
MAATROCITA
My taxes are handled by the biggest
firm of accountants in New York City.
It costs me a hundred thousand doll-
ars a year and you two assholes in
cheap- suits are going to come in here
AND
Sam Maatroci.na breaks off. The Second Young man has
hit him an open-handed karate chop on the side of
the neck. Now, before Maatroctna can speak or cry
cut, the Aan has hit :taatrocina a seccad chop, shat-
ter .ag his adams apple.
I
120.
ANOTHER ANGLE
As Maatrocina goes to his knees, his eyes goggling,
the First Young Man has crosses to the window and
opened it.
Now he and the Second Young Man carry the wide-eyed
New York Don to the window and throw him out.
CUT T0:
EXT. D0WNTG"N MAAJBATZAN STREET - DAY
as crowds are gathering around the body of Maatrocina
on the sidewalk, the Two Men come out of the building,
cross the street and go around the corner.. In the
distance, sound of approaching sirens.
EXT. TEE CORNER - DAY
as the Two Men come around the corner and get into a
waiting car. Driving the car is Frankie Rizzi. As
they drive off, we ---
CDT TO:
LYT. SENATE CAUCUS. ROOM - DAY
it is late afternoon. A Uitness, General Vanderhorst,
the Director of the CIA, is at the table. Geary is
quizzing him.
GEARY
No. No. What I'm trying to get
from you, General, is, as Director
of the Central Zntelligence Agency,
did you ever have any kind of order
in writing authorizing you to assass-
inate the head of a foreign state?
VANDERHORST
No, Sir. Z did not.
MC XISSICX
Well, come on now.. That's hardly
the thing that would be put in
writing, now is it?
EXRY
Well what would it be put n 44
aol writ=q?
I
121.
CONTIII=
MC KISSICX
X suggest that it would be put into
the same kind of phraseology that
Henry used to his Barons when he
said, 'Will, no one rid me of this
turbulent priest?' He didn't tell
them to go kill Thomas --z6 Beckett.,
but the final result of it was
murder in the Cathedral ---
GARY
What has Thomas 3.~ Beckett got to
do. witii the subject at hand? ---
CSC RISSICX
If the Distinguished Senator from
Nevada will refrain from ----
Ba -halemew is beating with the gavel on his desk.
BARTSALEMEW
Gentlemen: Gentlemen!
CUT TO:
EXT.. THE MALL - DAY
Tony is buying a hot dog at one of the dog-wagons on
the Mall. as crosses and sits on a bench where Palmateer
is sunning himself, looking at a newspaper.
CLOSER
as Tony takes a bite of his hot dog.
TONY
These are good. You ought to
stave one.
PALMATEER
I don't have a lot of time, Tony.
TONY
First, I wanted to say that although
I'm sure that I was set--um to be
killed down there, I never thought
you were mixed up in i t.
PA M TEER
Pine. ' clad to hear that.Now,
what was it that you wanted?
(C©NT TC =rD )
I
122.
CONTI': UED :
TONY
Z hear that Morehouse is being called
in by the CommI tree to testify.
PALMATEER
So they tell me.
TONY
Well if he does -- and. I'm telling
you this as a friend --- he's going
to bring the roof down on him self ---
and you too.
As Pa.lmateer puts the newspaper down, looks at Tony:
TONY
That's definite, Stu.
(THEN)
VIM sorry.
CUT TO:
?.XT. A MARILAND ROAD (NEAR PATUXENT) - ?IIG3T
We pick up an automobile moving south along a road
that edges Chesapeake Bay.
is Q.
INT. THE CAR - NIGHT
We see that Tom Morehouse is driving. We are angling
through the front. windshield as he turns off into a
marina parking lot.
EXT. THE FLOATS - VIC T
as Morehouse comes out onto the float, then climbs
aboard. a nice little yawl, apparently his own.
CLOSER
as Morehouse goes to the cabin. The snap lock has
been unlocked and the hatchway is open. There is a
dim light in the cabin.
(OREEOUSE
Stu?
P Z;? yR
Down here.
123..
1 T. CAS= - NIGHT
as Morehouse comes down the four steps that lead into
the cabin, then stops.
ANOT R ANGLE
Palmateer and Rocco Lampone are waiting for him in the
cabin.
MOREEOUSE
What the hell is this?
ANOT'E' ER ANGLE
as Rocco rises, drawing a twenty-two calibre pistol
with silencer, and shoots Morehouse three times in
the chest.
As Morehouse goes down:
LAMPONE
Is he dead?
Palmateer kneels to check Morehouse.
PAL.yATEER
Yes.
LAMPONE'
So are you.
i Lampone had leaned down, put the gun to Palmateer's
head and pulled the trigger.
EXT. CHESAPEAXE SAY -- DAWN
A small Coast Guard patrol boat moves up Chesapeake
Bay, flat calm reflecting a pearly pink sky. As Look-
out on the flying bridge scans the bay ahead, then.
i n to the sneaking tube.
LOOKOUT
Bridge.
I . W'SMIZZOUSE - DAWN
As the Officer o-6' the deck, a yo:;.ng C: a 3cs,.:' .,
ANSWERS:
_T
124.
CONTINGED:
BOSUN
Bridge aye.
LOOKOUT'S VOICE
That yawl looks like it's adrift.
ANOTHER ANGLE
As Morehouse's sailboat drifts in the calm, it's
sails up and motionless, it's tiller untended. The
patrol boat noses up:
BOSUN
Ahoy, the yawl. You all right? -
No answer. The Bosun jumps aboard.
BOSUN
Hello? Avon Lady. if anybody
down there's doing anything they
shouldn't, now's the time to -
Tae Bosun has looked down into the cabin. 3e breaks
off and turns back to the Patrol boat.
0 BOSUN
Get on the horn to base. We got
two bodies here.
CUT TO:
k =. SFYLATE CAUCUS ROOM - DAY
Arne Grundellius is at the witness table.
GRUNDELLIUS
And in conclusion, I'd like to say
that I believe these hearings have
served a great, good purpose. in
spite of the fears that the hear-
ings would do hartto the fabric of
democracy, our Nation's stronger to-
day in the knowledge that we do not
export revolution or use murder as
an extension of diplomacy.
ANOTHER ANG:
as Grmdelli.us fi.'2is:?es, Geary And one or wwo others
rise, applatsd.i.r.g.
125.
CONTIKTTED :
GEARY
Hear. Hear.
ANOTHER ANGLE - THE At7D IENCE
Tony and Elizabeth are together. Elizabeth is applaud-
ing Grundellius. Tony looks over at her.
CUT TO:
INT. THE LOBBY (SENATE BUILDING) = DAY
The meeting has broken up. Spectators, Legislators,
News Sian and Womea,. Staff and Committee Members are
leaving or standing in knots, gossiping.
We pick up Elizabeth and Tony as they cross out, pausing
to speak with Senator Geary and Grundellius who have
stopped to chat.
ELIZABETH
Mister Secretary, Senator Geary, I'd
like to present Tony Adams.
There are general greetings, and then, as they move
S toward the doors.
GEARY
I believe we have mutual friends
in Nevada, Mister Adams.
TONY
Yes Sir. I believe so.
GEARY
If there's ever anything I can do
you come see me.
TCNY
I might just take you up on that,
Senator.
As they exit ----
CUT TO:
EXT. WASHINGTON D.C. STREET
It is sunset. Tony and Elizabeth are walking toward
the capital building, outlined against a pink sky.
As they walk toward J.-_ we begin to hear t .he Gcdwa ther
THEME
SLOW DISSOLVE
126.
EXT. CORLEONE COMPOUND - NIGHT
We pick up the headlights of a car coming up the
long approach driveway toward us. It comes past
the gate, past the kennels for the guard dogs, past
the guest houses and finally up to the main house
where it stops.
The front door to the house opens and Michael stands
silhouetted against the block of yellow light. Tony
gets out of the car and comes up to him. They embrace
briefly and move into the house together.
As the door closes behind them, we start to move up
and back. The sound of the single trumpet can still
be heard, playing slowly and sadly, the notes faintly
resonant as if echoing through the narrow streets of
some old hill village in Sicily.
We have pulled up and up and up c ntil everting is
darkness, as we ---
FADE OUT
THE END
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