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 IZAB�TE 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. �LIZASETH 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- �Xfi. 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