github.com/attic-labs/noms@v0.0.0-20210827224422-e5fa29d95e8b/samples/go/decent/data/godfather3.html (about) 1 <html> 2 <body> 3 <div> 4 <pre> 5 6 7 <b> THE GODFATHER PART III 8 </b> 9 10 11 Written by 12 13 Mario Puzo & Francis Ford Coppola 14 15 16 17 <b> FIRST DRAFT. 3/22/79 18 </b> 19 20 21 22 <b> FADE IN: 23 </b> 24 <b> BEFORE TITLES: 25 </b> The screen is black. First we hear the sound of a 26 single trumpet playing slowly and sadly, the notes 27 faintly resonant as if echoing through the narrow 28 streets of some old hill village in Sicily. Now, 29 confusingly, we see a slant of light move past us 30 and another, and as our surroundings become more 31 visible, we discover that we are moving through a 32 pine forest lit by shafts of morning sunlight. Now,. 33 suddenly, we come out of the trees and find ourselves 34 on the Nevada shore of Lake Tahoe. 35 36 It is a clear, cold morning in September of Nineteen 37 Fifty-nine. We now see the Corleone compound at 38 lakeside, half-hidden by pines and firs. We move 39 toward it, past the gates and guard houses, past 40 the guest houses, past the kennels for the guard 41 dogs, and finally to the front driveway of the main 42 house where a conservative sedan is being loaded by 43 a Chauffeur and a pair. of large dark-headed men named 44 Al Neri and Rocco Lampone. Rocco limps slightly. 45 As suitcases are being placed in the trunk of the 46 car, the front door to the main house opens and Tom 47 Hagen, a trim, serious, balding man in a business 48 suit, appears He crosses to the corner of the house 49 and looks off. 50 51 <b> HAGEN'S POINT OF VIEW - THE LAKE AND LKSIDE 52 </b> Standing by the shore of the lake is a little boy,. 53 Tony Adams Corleone, aged about ten. The boy, dressed 54 for travel, is looking off at the lake, his back to- 55 ward us. 56 57 <b> REVERSE ANGLE - ON TONY 58 </b> As he looks out at the lake we might sense that he 59 is troubled and puzzled, although he is managing to 60 keep his expression stoic. Hagen can be seen in the 61 background, by the house 9 After a moment: 62 63 64 65 66 67 68 69 70 71 <b> .T 72 </b> 73 <b> 2. 74 </b> 75 <b> CONTINIIED S 76 </b> 77 <b> HAGEN 78 </b> Tony. 79 80 <b> (THEN) 81 </b> Time to go. 82 There is a beat and Tony composes himself, turns and 83 moves up toward the house and Tom Hagen. 84 85 <b> EXT. FRONT OF TAEOE HOUSE AND DRIVEWAY - DAY 86 </b> 87 The heavy, black sedan is loaded. Connie Corleane 88 and a Housekeeper, in uniform, are bringing Mary, 89 about five, out to the car. She too is dressed for 90 travelling. As they put her into the car -- 91 92 <b> CONNIE 93 </b> In you get --- 94 95 <b> MARY 96 </b> Will. Daddy be at the airport? 97 98 <b> - ANOTHER ANGLE 99 </b> as Tom and Tony come up. 100 101 <b> HAGEN 102 </b> No. Ere wanted me to tell you both 103 how sorry he was. 104 105 <b> TONY 106 </b> 107 <b> (TO CONNIE) 108 </b> Aunt Connie ..- ? 109 Connie would apparently prefer to avoid answering any 110 questions. 111 112 <b> CONNIE 113 </b> 8e sure and give my love to your 114 mother. 115 116 <b> NERI 117 </b> It isn't like you won't be back 118 from time to time. 119 120 <b> LAMPCNE 121 </b> I' 11 bet we' 11 all. be together 122 for Christmas. Wait and see. 123 Tony gems into the car. He locks out the window to-- 124 ward the house. We begin XXI-N Ti. TZS 2 C 2=17"s 125 126 127 128 129 130 131 132 133 134 <b> E 135 </b> 136 <b> 3. 137 </b> 138 <b> TEE DRIVEWAY 139 </b> Hagen is the last one into the car. As it starts down 140 the driveway on its way to the airport in Reno, Connie, 141 Lampone, Neri and the Housekeeper all wave. The auto- 142 matic gate at the foot of the driveway opens. The 143 Guard at the gate flicks a half-salute as the Limousine 144 passes through. 145 TEE GROUP r n FONT OF EOQSE 146 As the group breaks, Connie and the Housekeeper going 147 back inside, Neri and Lampone drifting off, we pan up- 148 ward to a window in the second-story and zoom in. 149 Michael Corleone has moved the curtain aside with one 150 hand and is looking after the disappearing limousine, 151 his expression unreadable-but somehow sad. 152 153 <b> ZNT. AIRLMPR - DAY 154 </b> We are close on Tony, looking out the window of the 155 airliner, his own expression matching that of his 156 father. 157 EXT. LOGAN I_?i'Z'E.NATIONAL AI72ORT (STOCE) - DAY 158 as an airliner of the period comes in for a landing. 159 160 <b> . YEW ENGLAND COUNITRYSIDE - DAY 161 </b> A limousine is moving northbound up Interstate 93. 162 Maples on either side of the road are turning' red 163 and yellow. We pan the limousine past and continue 164 to pan to a sign marking the stateline between 165 Massachusetts and New Hampshire. 166 r .M. L:MC SINNE - DAY 167 It is almost night. Tony is looking out the window 168 as the limousine enters the little town of Hanover, 169 moves down past the Da. Louth College green on Eleazer 170 Wheelock Street and t7 rns right on north Main- 171 E`{'.r.'. XAY DAMS' ECUSr. - VIGRI' 172 We are an a post box, the name "Adams" on _ts Side. 173 We cull back _c '..:cl ude a modes +shi -e, ?aa-story 174 ! (ccrrT+_`?-? J 175 176 177 178 179 180 181 182 183 184 <b> 4. 185 </b> 186 <b> 0 CONTI` : 187 </b> clapboard house with giant elms and maples in the front 188 yard. The limousine stops outside the house. 189 190 <b> 4 191 </b> Under its fanlight, the front door swings open and 192 Ray Adams comes out. As her children run to her she 193 kneels and gathers them into her arms. We move in 194 close on Tony and as we hold, the '' ?NN TITLES A.ND 195 CREDITS are over and we begin to hear 196 197 <b> SPEAKER' S VOICE 198 </b> our Nation is and has been histor- 199 ically the symbol of freedom, of 200 justice and opportunity and its 201 pecui.iar strength is that no matter 202 what our individual background -- 203 204 <b> EXT. NAVY AIM MA.RI Z CORPS STADIUM - DAY 205 </b> 206 We are close on a young man, Anthony Adams (Corleone), 207 in the uniform of a Midshipman of the Naval Academy 208 at Annapolis. We are pulling back as the speaker -- 209 who is Arne Grundellius, the Secretary of State -- 210 continues, his accent faintly Scandinavian. 211 212 <b> • CRUNDELLIUS' VOICE 213 </b> -- there are no limits to the goals 214 to which we can each legitimately 215 aspire. And now, as an unpopular war 216 is ended in East Asia and we set our 217 sights on new goals, I leave you with 218 the words of another Sailor --- 219 We continue to pull back to discover that we are at 220 the Navy and Marine Corps stadium. It is a late Spring 221 day and in the early-middle Nineteen Seventies. The 222 Midshipmen, their parents and guests, are gathered 223 for- the graduation ceremonies. 224 225 <b> GRQNDELLIIIS 226 </b> ' Our will is to keep the torch of 227 freedom burning for all. To this 228 solemn purpose we call on the young, 229 the brave and the strong, and the 230 free. Heed my call. Come to the 231 sea. Come sail with me.' 232 233 <b> (THEN) 234 </b> I'= sure the entire 3ricade of Mid- 235 shimen recogr zes the words o John 236 ^p ?aui Vo nes 237 238 239 240 241 242 243 244 245 246 <b> S. 247 </b> 248 <b> CONTINUED: 249 </b> During this speech we find we have been. moving through 250 the stadium. We find Tony's mother, Ray, among the 251 guests. We also see Tony's sister, Mary, about twenty, 252 Tom Hagen and Al Neri. 253 254 <b> ANOTHER ANGLE 255 </b> The speech is over and as the audience applauds, the 256 Superintendent of the Academy crosses an to Grundellius. 257 258 <b> SIIPER2NTE11DENT 259 </b> Thank you, lister Secretary - 260 As the Secretary of State crosses back to his seat, 261 the Superintendent addresses the microphone. 262 SUPERZNT-".j. DENT 263 The following First Classmen will 264 step forward to receive their 265 diplomas. 266 The Superintendent consults a list which an Aid has 267 supplied- The Superintendent reads off. the first 268 t'o names, then 269 270 <b> 0 271 </b> 272 <b> SUPERINTENDENT 273 </b> Trident Scholar Anthony Adams 274 At the sound of his name Tony rises and moves toward- 275 the Speaker's platform. We 276 277 <b> DISSOLVE TO: 278 </b> 279 <b> EXT. TEE SPEAF.R'S PL?TFORM - DAY 280 </b> 281 The final First Classman -has received the final diploma 282 and is.moving off as a Midshipman runs up to center 283 stage, and.-in accordance with long tradition --- 284 285 <b> MIDS$IPMAN 286 </b> I propose three cheers for those 287 about to leave us. Eig hip! 288 (the Brigade answers 289 with a roar) 290 291 <b> SIN- HIP: 292 </b> 293 <b> (AGAIN) 294 </b> 295 <b> HIP :LIP 296 </b> The Brigade answers for the th:i.rd time aid as the Mid- 297 sh pma.. runs cff, his =lace is taken by a RepreSen- by 298 tat.?.ve of the graduating class. 299 300 <b> 0 301 </b> 302 <b> (CCNT TL"ZD) - 303 </b> 304 305 306 307 308 309 310 311 312 <b> 6. 313 </b> 314 <b> CON IN = : 315 </b> 316 <b> FIRST CLASSMAN 317 </b> I propose three cheers for those 318 we leave behind. Hip hip 319 320 <b> (HURRAY) 321 </b> Hip hip! 322 323 <b> (HURRAY) 324 </b> 325 <b> SIP HIP 326 </b> ?EA aR=G TONY 327 As the graduating Midshipmen give their last full- 328 throated response and skim their hats into the air, 329 Tony -- half a beat behind the others -- does like- 330 wise. We pull back and pan upward to the explosion 331 of white hats arching through the air. 332 333 <b> CAT TO: 334 </b> 335 <b> EXT. NAVAL ACADEMY YA?W -- DAY 336 </b> 337 We pick up a man named Stu Palmateer moving th-rough 338 the group of strolling Midshipmen and their guests. 339 Palmateer, is a poised, pleasant, tough man abcut 340 forty, dressed in the unifora of a Marine Caotai.n_ 341 He spots Tony in a group with his guests, near the 342 0 statue of Tecumseh. 343 344 <b> TONY AND THE OT!ERS. 345 </b> Tony is standing with Kay, Mara Hagen and Al Nexi. 346 Tony turns as -- 347 348 <b> (COMING UP) 349 </b> Congratulations, Tony. 350 351 <b> TONY 352 </b> Thank you, Sir. 353 354 <b> (THEN) 355 </b> Captain Palmateer, I'd like to 356 present you to my Mother, Mrs. 357 Adams -- my. sister, star,{ --- 358 359 <b> (THEN) 360 </b> And this is Mister 3agen, a very 361 old friend, and Al Teri - T used 362 to ride on his shoulders when I 363 was a little 1:ov- 364 Pa: ateer ,as gzeeted the ladies, shaken hands with 365 he men, ad l bi.: c appropriately. Nice to .eet u, 366 so cn. 367 368 <b> (CL?? T ) 369 </b> 370 371 372 373 374 375 376 377 378 <b> K 379 </b> 380 <b> 7. 381 </b> 382 <b> PALMATEER 383 </b> 384 <b> (TO XAY 385 </b> I'm sorry to drag him off this 386 way, Mam. 387 388 <b> (TO TONY) 389 </b> Ready? 390 391 <b> TONY 392 </b> (nods, then) 393 See you all tonight. 394 Tony kisses his mother and he and Palmateer move off. 395 396 <b> EXC. GEORGE, WASEIYGTCN BELTWAY - DAY 397 </b> We pick up a car coming along the Washington Beltway 398 approaching the CIA turnoff near Langley, Virginia. 399 We pan with it, then continue to pan over to a road 400 sign which reads, "Central Intelligence Agency". 401 402 <b> LIT. T3E CAR - DAY 403 </b> Palmateer is driving. Tony sits next to h.m. They 404 make the turnoff to the CIA, go up the access road, 405 0 come to a stop at the entrance. As the Marine Guard 406 comes out of the guardhouse and up to the car, Palmateer 407 is taking out his identification. 408 409 <b> • EXT. TEE MAIN CIA 3UILDLNG - DAY 410 </b> 411 Palmateer and Tony, on foot now, move up to the build- 412 ing. They move through the front doors. 413 414 <b> =4T. . CIA BUILD LNG (LOBBY). - DAY 415 </b> We are in he gigantic foyer of the CIA building. The 416 camera is focused on the CIA motto, etched boldly into 417 the white marble wall. It reads: "YE SHALL M TOW T= 418 419 <b> TRUTH AND THE TRIIT$ SEA" MA=- YOU FREE" . 420 </b> We pan off the motto to pick up Palnateer and Tony 421 as they move through the great, columned rcom toward 422 the desk at the end. The Guard at the desk, seeing 423 Paimateer' s identification, signals h 1m and Tony up 424 to the Badge Office which i.s up a flight of steps on 425 the ricnt. 426 427 428 429 430 431 432 433 434 435 <b> I 436 </b> 437 <b> S. 438 </b> 0 I . CIA BU=SIT MA.DGE OF-vICF,) - DAY 439 as Palmateer shows his identification to a Woman 440 behind the desk: 441 442 <b> PPL4MATEER 443 </b> Captain Palzaateer. 444 (then, indic- 445 446 <b> ATES TONY) 447 </b> Mister- Adams. We have an appoint- 448 ment with the D.D.P. 449 The Woman gives Palmateer his badge, checking the photo 450 on the badge against his face before she does so. 451 Palmateer initials the form she gives him as she gives 452 Tony his pass and stamps it in large letters: "rust 453 454 <b> BE ACCCIMPANIED% 455 </b> I=. CIA BtJILAING (LOBBY) - DAY 456 Within the foyer is another crate separating the foyer 457 from the inner sanctum of the building itself. We are 458 on the Gate Guards as they check the badges and passes 459 of those entering. 460 They nod Palmateer and Tony through the gate. We pan 461 them toward the bank of varicolored elevators. As 462 they go to the elevators we hear --- 463 464 <b> PALMATEER' S VC ICE 465 </b> This is a. preliminary interview, 466 not binding on either party. The 467 next step, if it's agreed to take 468 that step, would be a session with 469 the Assessment and Evaluation sec- 470 tion. Psychological testing. 471 Biographical data. Ends with a 472 polygraph test. 473 474 <b> SIM. CIA BUILDING (SIXTH FLOOR) - DAY 475 </b> We are on the elevator doors as they open and Palmateer 476 and Tony emerge. They walk down the corridor with its 477 bare, off-white walls. The floors are covered; with 478 green vinyl. Only the office doors add color. They 479 are painted variously, red, blue and yellow. As they 480 go down the long ha. Tway: 481 482 <b> PATZA,E 483 </b> ?.ssum ._^_c no serious orobiams cc-me 484 to light, y cv will be g..ven pro- 485 visional operao_ons apz=va_, effec- 486 0 tive fors .x non zhs . di x. q rich 487 488 <b> (C JNT =ED ) 489 </b> 490 491 492 493 494 495 496 497 498 <b> I 499 </b> 500 <b> 9. 501 </b> 502 <b> CONTINUED : 503 </b> PALMATEER (Cont' d) 504 time you would be sent to our fac- 505 ility at Camp Peary for a special 506 training program -- 507 Tony and Pal.mateer enter the office at the far- end 508 of the hall. 509 iT. MOREECUSE'S OFFICE - DAY 510 It is a reasonably large office as befits one of the 511 top echelon CIA men. Morehouse, himself, sits at a 512 large desk. The seal of the Agency is an the wall 513 behind him, flanked by the National flag and the 514 Agency flag, an standards. 515 We are close on Thomas Morehouse, about fifty-five, 516 an imposing, silver-haired mar.. He locks up from a 517 dossier he's been studying, then: 518 519 <b> =REHOUSE 520 </b> Would you have any objections to 521 being assigned to us, Mister Adams? 522 523 <b> ANOT: R ANCLH 524 </b> including Tony and Pal steer who sit across the desk 525 from Morehouse. 526 527 <b> TO:JY 528 </b> That would depend on the duty, 529 Sir. 530 531 <b> MOREHOUSE 532 </b> 533 <b> (TO PALMATEER) 534 </b> How much have you told ii=, Stu? 535 536 <b> PAL,`?ATEE.' 537 </b> Just that there was an assignment 538 we thought he'd be suited for. 539 MOREHOQSr. 540 All right. 541 542 <b> (THEN) 543 </b> We've been authorized and funded 544 to carry out a too priority covert 545 operation in Latin America. Captain 546 Palmateer w lZ be Field Coordinator. 547 Your job wou.l.d be s.iasor.. 548 There is a beat, then: 549 550 551 552 553 554 555 556 557 558 <b> -R 559 </b> 560 <b> 10. 561 </b> 562 <b> CONTMILTED : 563 </b> 564 <b> MOBS' OTJSE 565 </b> Something the matter, Mister Adams? 566 567 <b> TONY 568 </b> Before we go into polygraphs and 569 so on, there's something you might 570 not know. 571 MCB EOUS.c 572 Fact is, we know quite a bit. 573 574 <b> (READS FROM 575 </b> 576 <b> DOSSIER) 577 </b> Adams, Anthony. No middle initial. 578 Born New York Nursery and Childs' 579 Hospital, rebruary 3rd, 1951. 580 Mother and father separated. 581 582 <b> - TONY 583 </b> Divorced. 584 585 <b> MOREEOUSE 586 </b> Divorced. 587 Morehouse. scratches the correction into the dossier. 588 with a pencil, then: 589 590 <b> MO.'3EHOUSE. 591 </b> You were raised in Hanover, New 592 Hampshire. Your mother teaches 593 school. Name legally changed in 594 1963. Attended Phillips Exeter. 595 Lettered in ice hockey. 596 597 <b> TONY 598 </b> And baseball. 599 600 <b> MOREEOUSE 601 </b> And baseball. 602 603 <b> (NODS) 604 </b> Your father is Michael Co=l--one, a 605 resident of Nevada. Re's principal 606 stockholder of Genco International, 607 a corporation that deals mainly in 608 hotels and casinos, but they also 609 have interests in an alive cil com- 610 pany, a charter airline, laundromats, 611 nursing homes, so on. 612 613 <b> TONY 614 </b> Does this assignment have scmet-h4 n5 615 to do wit nv =a;, er? 616 tc NT.?w.•'?VZD} 617 618 619 620 621 622 623 624 625 626 <b> I 627 </b> 628 <b> ?I. 629 </b> 630 <b> 0 CONTIYU: 631 </b> 632 <b> MOREHOUSE 633 </b> only in so far as he has certain 634 business connections that might 635 be willing to help us. 636 637 <b> TONY 638 </b> Y haven't seen my father since I 639 was ten years old. 640 641 <b> MOREEOUSE 642 </b> No contact at all? 643 644 <b> TONY 645 </b> I get a Christmas present and a 646 check or. my birthday --that's 647 about it. As far as I know, he's 648 retired. Doesn't see anyone. 649 650 <b> OREEOUSE M 651 </b> Yes. That's why I was anxious to 652 have this meeting today -- while 653 Mister Hagen was still in Washington. 654 655 <b> ANOTHER VGI2 656 </b> 0 as Tony pauses, thinking. After a moment: 657 658 <b> TONY 659 </b> I really don't know if I can help 660 you very much, Mister :Korehouse. 661 662 <b> MOREHOUSE 663 </b> Let me ask you a personal question, 664 Tony.. Do you love your Country ,- 665 (holds up hand) 666 I'm not talking about t.'::e Nathan 667 Hale kind of thug. Just simply, 668 warts and all, do you dish this 669 Nation well? 670 671 <b> TONY 672 </b> Yes, of course. 673 674 <b> MOREHCUSE 675 </b> Well, what if w told you -- and 676 trying nct to be grandiose -- that 677 this one operation might very ael'6 678 insure peace on this :iemisnhere for 679 the next: f.i t r vea s . Maybe Mora. 680 681 682 683 684 685 686 687 688 689 <b> ?2. 690 </b> 691 <b> EXT. A RESTAURANT TERRACE (WASHINGTON) RIGHT 692 </b> 693 We are an the terrace of a pleasant restaurant over- 694 looking Washington D.C. The dome of the Capitol 695 building is impressively floodlit as are the Washi:g- 696 ton monument and the White :louse. 697 Tony and Hagen are leaning on the terrace railing, 698 looking out. A Waiter has just finished pouring coffee 699 for them. As the Waiter moves off, Tony throws a look 700 at $agen, then: 701 702 <b> TONY 703 </b> Well? 704 705 <b> HA,EN 706 </b> Let me make sure I'm clear on this. 707 You're telling me that the Govern- 708 ment would like the Corleone family 709 to perfatm a service for them -- 710 probably involving some friends of 711 712 <b> R 713 </b> ours in Latin America. 714 715 <b> TONY 716 </b> 717 <b> RIGHT_ 718 </b> 719 <b> AAGEN 720 </b> s Where? Who's concerned? What 721 would it entail, speci.-46ically? 722 723 <b> TOUR 724 </b> I don't know that vet. 725 726 <b> EMMIT 727 </b> When will you be able to tell me 728 these things? 729 730 <b> TONY 731 </b> As soon as they decide I.'m not a 732 Russian spy. 733 734 <b> A IOTSM XYGLE 735 </b> as Eaaen smiles, shakes his head. Sureaucracy.. 736 737 <b> TONY 738 </b> What they'd like to fi:d out. right 739 now is: Wctzd you be interested? 740 741 <b> 3AGEI 742 </b> :' L... :.et you .c.-tct?•. 743 744 <b> TCN??Y 745 </b> no ?4U save to cheCx i :tv fat er 746 (c N'" =NL ?D ) 747 748 749 750 751 752 753 754 755 756 <b> IT 757 </b> 758 <b> 13. 759 </b> 760 <b> CONTIWED 761 </b> 762 <b> HAGEN 763 </b> 764 <b> TONY 765 </b> 766 <b> HAGEN 767 </b> 768 <b> TONY 769 </b> I think about Tahoe sometimes. 770 Is the fishing still good up 771 there? 772 773 <b> 0 HAGZ 774 </b> I suppose so. I'm in Vegas most 775 of the time.. 776 777 <b> F 778 </b> 779 <b> TONY 780 </b> Those were good days. 781 782 <b> EAGEN 783 </b> Yes. They were. 784 785 <b> ANOTBER ANGLE 786 </b> As Al Teri cones up, looking at his watch. 787 788 <b> NERI 789 </b> You still want to catch that 790 shuttle to New York? 791 792 <b> HAGEN 793 </b> Yes. Thank you, Al. 794 795 <b> (TO TONY) 796 </b> Where can I reach you? 797 Tony scribbles an address on a card and hands it to 798 Hagen. As'he looks at it: 799 800 <b> HAGEZY 801 </b> Q.S. Navy Research 'acili.ty. 802 803 <b> (THEN) 804 </b> Research on what? 805 806 <b> TONY 807 </b> Nothing. it-'s a dummy out: i,t. 808 That phone rings in Langley, 809 but they'll know where I am. 810 f f Agen nods and guts the card in his wallet a we 811 812 <b> TO: 813 </b> 814 815 816 817 818 819 820 821 l4. 822 M. tNTERF.OGATION ROOM ONE (CIA) -- DAV 823 Tony is completing a test, fitting blocks together 824 against time. The First•Interrogator is watching 825 impassively, stopwatch in hand. 826 Tony finishes, straightens. The Interrogator clicks 827 the stopwatch impassively, giving no indication 828 whether or not Tony has passed the test. 829 830 <b> CUT TO: 831 </b> 832 <b> INT. INTERROGATION ROOM TWO (CIA) - DAY 833 </b> 834 The Second Interrogator, a psychiatrist, is seated 835 836 <b> I 837 </b> behind a desk rocking at a little steeple that he's 838 made of his hands. 839 840 <b> 2ND INTERROGATOR 841 </b> And you were never curious? 842 843 <b> ?NCTMM NGLE 844 </b> including Tony who sits across the desk from the 845 Interrogator. 846 847 <b> TONY 848 </b> About what? 849 850 <b> 2ND INTEMOGATOR 851 </b> Why your father sent you away. 852 You never wondered about it? 853 You must have thought something. 854 855 <b> TONY 856 </b> I thought he had his reasons. 857 858 <b> 2ND INTERROGATOR 859 </b> And you don't feel any resentment? 860 861 <b> TONY 862 </b> 863 <b> 110. 864 </b> 865 <b> 2ND 7.NNT .'RR0GATOR 866 </b> What do you feel? 867 868 <b> TONY 869 </b> Nothi..ng 870 The Secor_d Iuterro,acor glandes •cver. The ~t ace of 871 anger in Tor_v`s _as- response has told hiz. and us 872 somethinc . 873 C"^' TO: ui- 874 875 876 877 878 879 880 881 882 883 <b> 15. 884 </b> 0 T. L"tT-_.RROGATION ROOM TER= - DAY 885 Tony sits in a chair in a small room with acoustical 886 tile on the walls and ceiling. Behind hint is a desk- 887 like structure with a built-in apparatus of dials, 888 graph paper and odd, narrow metal pens. 889 Tony is connected to the desk ensemble by three appara- 890 tuses: a blood pressure cuff attached to his arm,. an 891 accordian tube around the chest to measure changes in 892 breathing rhythms; a hand-held device with electrodes 893 which measures changes in perspiration or galvanic skin 894 response. 895 The Third Interrogator sits at the desk behind Tony, 896 asking questions slowly and checking the three styluses 897 on the rolling graphs. 898 899 <b> 3RD INTERROGATOR 900 </b> Have you ever visited a Ccnsmunist 901 Country? 902 903 <b> TONY 904 </b> No. 905 906 <b> 3RD INTER3CGATOR 907 </b> Have you ever belonged to a Commu- 908 9 aist Organization? 909 910 <b> TONY 911 </b> No. 912 913 <b> 3RD IN`'ERROGATOR 914 </b> Are you telling the ruth? 915 916 <b> TONY 917 </b> Yes. 918 919 <b> 3RD INTERROGATOR 920 </b> Have you ever had a homosexual ex- 921 perience? 922 Tony turns and looks at the Third Interrogator. 923 924 <b> TONY 925 </b> No. Save vou? 926 The ;"hi=d Interrogator tenses angrily for a ncment, 927 928 <b> THEN: 929 </b> 31-I0 :N'_r'ERRCGATCR 930 Its esser zia1 that you face the 931 i f lar and answer the ClUest'_oi:s ?es 932 at 1o. 933 (CCNT'Z Nt D) 934 935 936 937 938 939 940 941 942 943 <b> 16. 944 </b> 945 <b> CCNTZ''' 'ITFED : 946 </b> Tony turns back to the wall, then: 947 948 <b> 3RD I:YT RROGATOR 949 </b> Do you have any friends in the 950 Communist Party? 951 952 <b> TONY 953 </b> No. 954 955 <b> CTT TO: 956 </b> INT. I:YT...c2ROGATZON ROOM TS-M2 - DAY 957 It is later. Tony is on his feet getting ready to 958 leave. as the Third Interrogator is checking over the 959 graphs with their red ink squiggles. 960 961 <b> 3RD TERROGATOR 962 </b> I get a high galvanic response on 963 question twenty-three. 964 965 <b> (CHECKS SECOND 966 </b> 967 <b> GRAPH) 968 </b> Z also have agitation indicated 969 on your cardio tracing on the 970 same question: 'Do you have any 971 close friends in. the Communist 972 Party?' Your answer was negative. 973 Would you like to amend that? 974 Tony has rolled down his sleeve and out on his coat. 975 He pauses at the door, then: 976 977 <b> TONY 978 </b> It's my roommate up at Eseter. 979 Phil Bodeen. 980 981 <b> 3RD INT.'RRCGATCR 982 </b> 983 He's a Ma.- xist? 984 985 <b> TONY 986 </b> Z don't know. 987 988 <b> (GRINS) 989 </b> But last time r saw him he had an 990 American flag sewn to --..e seat 991 of his pants. 992 993 <b> 3RD INT=.RCGATOR 994 </b> And how did 'cu feel about tat? 995 996 <b> TONY 997 </b> ( sh..?ug s 998 L gis y y r r 1 1 +I GrL MCI n 999 E (CON ` tZD) 1000 1001 1002 1003 1004 1005 1006 1007 1008 1009 <b> 17. 1010 </b> 1011 <b> WONT : F 1012 </b> 3RD >arr.` 3ROGATOR 1013 That's interesting. 1014 1015 <b> TONV 1016 </b> what? 1017 1018 <b> 3RD INTERROGATOR 1019 </b> You think it's perfectly all right 1020 to sew the Nation's flag to the 1021 seat of your pants? 1022 1023 <b> TONY 1024 </b> As a matter of fact Z don't. 1025 1026 <b> (THEN) 1027 </b> But the Supreme Court does. Syza- 1028 bclic freedom of speach. Protec 1029 ted under the First Amendment. 1030 As Tony tuffs to go : 1031 1032 <b> 3RD INTERROGATOR 1033 </b> Adam me? 1034 1035 <b> TONY 1036 </b> 1037 <b> (TURNS BACK) 1038 </b> Sir? 1039 1040 <b> 0 1041 </b> 1042 <b> 3RD INTERROGATOR 1043 </b> I take it you're prepared to die for 1044 that right? 1045 1046 <b> TOUR 1047 </b> No, Sir. Dying doesn't fit in with 1048 my plans at all. 1049 1050 <b> 3RD M47TRROGATOR 1051 </b> Just what are your plans, Mister Adams? 1052 1053 <b> TONY 1054 </b> T plan on passing this thing 1055 1056 <b> CUT TO: 1057 </b> 1058 <b> TNT. HANDBALL COURT - DAY 1059 </b> Tony and Stu Palszateer are in sweat clothes, playing 1060 a hard, ma-mercy game Of handball. ?almateer is close 1061 as he hits the ball: 1062 1063 <b> PAT.MATE R 1064 </b> 1065 <b> YOU WILL 1066 </b> 1067 1068 1069 1070 1071 1072 1073 1074 COHTZ.wE : 1075 We whip pan to Tony, returning the shot. 1076 1077 <b> TONY 1078 </b> What makes you think so? 1079 1080 <b> PALMAT Z.P.. 1081 </b> You've got friends in high places, 1082 chino(. 1083 As Tony puts one away: 1084 PAI.6VxT..,ER 1085 Shot.. 1086 1087 <b> P (THEN) 1088 </b> Believe me, you'll be reading-in 1089 on the project by next week. 1090 1091 <b> CUT TO: 1092 </b> =T. IBO CATION BUILDING (St.PSEY CITY) - DAY 1093 We are on the front entrance of the building owned by 1094 the International Brotherhood of Dockworkers. This is 1095 the National Headquarters Building, so indentified by 1096 a plaque of some kind. Tom Hagen enters this buildinq 1097 0 followed ?;y Al, Neri. 1098 1099 <b> MM. BRA.DY' S OUTER OFT= - DAY 1100 </b> The President of the Union, Patrick Brady, a large, 1101 red-faced, hearty man, comes bursting out of a door 1102 and crosses up to Hagen and Neri. 1103 1104 <b> HAGEN 1105 </b> Tom! Alberto ! Come in. Come in 1106 This way. 1107 I (to Secretary) 1108 No calls, :Maggie. 1109 1110 <b> 1 1111 </b> 1112 <b> =41Z. CCNFEP,.N=_ BOOM - DAY 1113 </b> This is a very plush room with heavy carpets, a long 1114 polished table and a large portrait of the Union's ex- 1115 president, Danny Devito. Under this portrait is a bar 1116 at which Brady stands pouring drinks into crystal. 1117 glasses. - 1118 As he t r=ls the drin s, y Yea the w..T..rzh Ner+ 1119 1120 <b> K 1121 </b> then as he gi"Ies the secon d one to Iacer: °- 1122 (CDNT t D) 1123 1124 1125 1126 1127 1128 1129 1130 1131 1132 <b> 18. 1133 </b> 1134 <b> CONTINVZD 1135 </b> 1136 <b> BRADY 1137 </b> You're looking good, Tom. How do 1138 you keep your belly so flat? 1139 1140 <b> EAGEN 1141 </b> Mainly trying to rum you down. 1142 1143 <b> $RADY 1144 </b> Do You think this outfit =ins 1145 itself? 1146 1147 <b> RAG= 1148 </b> I think you're stalling us, Pat. 1149 1150 <b> BRADY 1151 </b> StaLLJag? 1152 1153 <b> (TO UTERI) 1154 </b> Will you listen to this guy? 1155 1156 <b> (GRINS AT 1157 </b> 1158 <b> HAGEN) 1159 </b> You want to know when I got back 1160 from New Orleans? Ten-thi.-ty last 1161 night. Big problems. 1162 1163 <b> 3AGE1 1164 </b> I understand and S sympathize, but 1165 you've had our proposal for a month --- 1166 1167 <b> ANOTHER ANCE 1168 </b> Brady crosses to the head of the board table where 1169 he opens a :older and starts riffling through some 1170 papers. As he does so, Eagen opens his briefcase. 1171 1172 <b> BAGEN 1173 </b> '1f you've misplaced it, I have a 1174 copy of the package plus. a summary 1175 of Genco International's assets and 1176 projected profits based on audited 1177 financial statements with additional 1178 data supplied by our Comptroller. 1179 I also have the plans and estimates. 1180 1181 <b> BRADY 1182 </b> okay. okay. I found 4- 1183 1184 <b> (THEN) 1185 </b> You want a i'i,ty M :?lion do? la= 1186 line of credit to be. granted is 1187 full to Genco azternatiorai and 1188 Subsidiaries and so on and so -73rth -- 1189 1190 <b> (-OAKS AN) 1191 </b> For a. hotel in tlar tic City? 7-'s 1192 a lot of money, '^o t. 1193 (C.` CN'i _.dL: E^u ) 1194 1195 1196 1197 1198 1199 1200 1201 1202 1203 <b> 19. 1204 </b> 1205 <b> CONT'VCZD : 1206 </b> 1207 <b> BAG T 1208 </b> Not if they vote in local option 1209 gambling. And they will. 1210 1211 <b> BRADY 1212 </b> That's beside the point. ?act 1213 is, those days are over when Danny 1214 used to hand it out like so much 1215 free lunch. There's been a big 1216 reduction in our c fitment to new 1217 construction loans. 1218 1219 <b> RAGR` 1220 </b> How Long has that policy been in 1221 effect? 1222 1223 <b> BRADY 1224 </b> Let me read you something. 1225 1226 <b> ANGTIMR ANG '.E 1227 </b> as Brady withdraws a newspaper cut-out, obviously an 1228 editorial, from the folder. 1229 1230 <b> 3RADY 1231 </b> S It's headed2 Take the hcod out 1232 of the Brotherhood. 1233 1234 <b> (LOOKS UP) 1235 </b> Cute? 1236 1237 <b> (READS) 1238 </b> 'It. is precisely men like Patrick 1239 Brady -- who took over the Pres- 1240 idency of the I3D when the former 1241 President, Danny Devito was packed 1242 off to prison, who must be watched 1243 by the SEC. Because of the tremen- 1244 dous economic power of the anion 1245 Pension Funds, these men -- with 1246 their syndicate connections --- are 1247 putting the Underworld in a position 1248 to dominate the American economy 1249 1250 <b> (THEN) 1251 </b> What more can I tell vou? 1252 1253 <b> A 1254 </b> You can tell me if the answer is 1255 yes or no. 1256 As Brady crosses to the 4a!-! where ?.e ? arge srt dio 1257 Por-trai.t of Danny Devito, a tcugh-lcok zc __ctle Tay, 1258 1259 <b> E 1260 </b> (CONTI ITv:.D ) 1261 1262 1263 1264 1265 1266 1267 1268 1269 1270 <b> I 1271 </b> 1272 <b> 20. 1273 </b> CCNTI tUEI? : 1274 is framed in a place of honor. After a moment Brady 1275 shakes his head and turns back to Hagen. 1276 1277 <b> BRADY 1278 </b> t'm sorry, Tom. :Such as I love and 1279 respect cur former president, I 1280 don't have any burning urge to end 1281 up rooming with him at Leavenworth. 1282 1283 <b> EAGW 1284 </b> Before you give me your final re- 1285 fusal., I'd like to say one thing --- 1286 1287 <b> BRADY 1288 </b> You've just had my final refusal, 1289 Hagen. The answer is no. 1290 i ANOTHER ANGLZ 1291 as Hagen looks at Brady for a moment, then starts 1292 putting papers back into his briefcase. As he does so: 1293 1294 <b> BRADY 1295 </b> No hard feelings. It's just a 1296 policy decision of the Board. 1297 1298 <b> BAGEN 1299 </b> I understand and I thank you for 1300 your time --- 1301 1302 <b> NERI 1303 </b> 1304 <b> (TO BRADY) 1305 </b> I'll see you around, Pat. 1306 1307 <b> BRADY 1308 </b> What's that supposed to mean? 1309 1310 <b> M 1311 </b> It means I'll see you around. 1312 1313 <b> BRADY 1314 </b> What am t supposed to do? Get 1315 scared? Piss in my pants? 1316 ,,To one is trfing to intimidate you. 1317 The Corleone :° ti.ly doesn't do 1318 business that wacr, 1319 1320 <b> 3RADY 1321 </b> T h e Cori eons 4ami? y doesn't do 1322 (C ON"r y zt, D ) 1323 1324 1325 1326 1327 1328 1329 1330 1331 1332 <b> 21. 1333 </b> 1334 <b> CONTZ4"D :. 1335 </b> 1336 <b> BRADY (CONT'D) 1337 </b> a hell of a lot of business, period. 1338 The way Z hear it, you're finished. 1339 With Mike locked away in a rubber 1340 room someplace, and a two million 1341 dollar tax lein on your Vegas prop- 1342 erty, you. got the balls to come in 1343 here and try to run muscle on me. 1344 Get out of here. Both of you. 1345 1346 <b> SAGE N 1347 </b> We were just going. 1348 Hagen has packed his papers into his briefcase. Now 1349 he nods at Neri and as both turn, and start toward the 1350 1351 <b> DOOR: 1352 </b> 1353 <b> BRADY 1354 </b> Wait a minute. 1355 Hagen turns back. Brady comes up with the Genco Inte.r- 1356 national loan application. 1357 1358 <b> BRADY 1359 </b> Take this along with you in case 1360 you run out of toilet paper on 1361 0 the flight back to Vegas. 1362 3agen takes the application from Brady, then cuietly: 1363 E ,Gr 3 1364 Don't ever think that the Corleone 1365 Tamily is finished, Mister Brady. 1366 That would be a mistake. 1367 Hagen and Neri now turn and exit. Brady is looking 1368 after them. Gradually the bravado drains from his 1369 big, pink, Irish face and he crosses to the telephone 1370 and picks it up. 1371 1372 <b> BRADY 1373 </b> Gat me Sam Maatrocina. 1374 1375 <b> CITT 1 '60 1376 </b> ELT . MAATRCCIii .' S YACET (LONG ZS LADIM MARIMTl) - DAY 1377 We are close on the hatchway to the main Salon as 1378 Sam iaatroci_na, the slick, sharp, middle-aged Don 1379 of a. powerf :.L New York faoi i y, comes up into shot 1380 and pauses, smiling cff: 1381 CONT==,cm 1382 1383 <b> I 1384 </b> 1385 1386 1387 1388 1389 1390 1391 1392 1393 <b> 4 1394 </b> 1395 <b> 22. 1396 </b> 1397 <b> CONTSNVED : 1398 </b> 1399 <b> MAATROCINA 1400 </b> There's a trick to it, Pat. 1401 1402 <b> ANOT$ER ANGLE 1403 </b> including the canopied afterdeck of %laatrocina's 1404 lovely yacht, moored among others of its type in 1405 a splendid :forth Shore Long Island marina. 1406 Pat Brady, looking out of place in his suit and 1407 city shoes,atands trying to light a cigar with a 1408 table lighter. 1409 1410 <b> I BRADY 1411 </b> Hello Sam. I'm sorry to have 1412 bothered you. 1413 We pull back slightly as Maatrocina --- in neat yacht- 1414 ing whites and deck shoes - comes up followed by a 1415 cold-looking man, Ralph Augusto, Maatrocina's hood. 1416 1417 <b> TROC 1418 </b> No bother at all. 1419 1420 <b> (TO AUGUSTO) 1421 </b> Light the man's cigar for him, 1422 Ralph.. 1423 As Augusta comes up, takes the lighter from Brady and 1424 sets about the business of lighting the big, Union 1425 1426 <b> LEADER'S CIGAR: 1427 </b> 1428 <b> MAATRCCINA 1429 </b> So what's our friend Tcm Hagen sp 1430 to these days? 1431 1432 <b> BRADY 1433 </b> Still shopping around for that loan. 1434 1435 <b> MAATROCINA 1436 </b> Lots of luck to him. 1437 1438 <b> BRADY 1439 </b> Thank you, Ralph. 1440 Augusta, having lit Brady's cigar, nods expression- 1441 lessly and sits as: 1442 1443 <b> 3RADY 1444 </b> T h ey ;ri ed to =1=_-W a scare at me. 1445 w^1TI\Z'v.Z0 ; 1446 1447 1448 1449 1450 1451 1452 1453 1454 1455 <b> I 1456 </b> 1457 <b> 23. 1458 </b> 1459 <b> CONT=NRED : 1460 </b> 1461 <b> MAATROCIIA 1462 </b> Don't worry about it. 1463 1464 <b> BRADY 1465 </b> Something about Hagen kind of 1466 bothered me. 1467 Maatrocina offers a platter of grapes to Brady. 1468 1469 <b> MAATRCC=TA 1470 </b> You like a grape? 1471 1472 <b> BRADY 1473 </b> No thank you. 1474 1475 <b> I 1476 </b> 1477 <b> M ATROCINA 1478 </b> I'll te12 you haw tough Hagen is -- 1479 1480 <b> {EATS A 1481 </b> 1482 <b> GRAPE) 1483 </b> Ralph Auqusto will make in squat 1484 down in the middle of Times Square 1485 in the rush hour and take a shit. 1486 1487 <b> BRADY 1488 </b> Yeah? What about Al Neri? 1489 1490 <b> 0 1491 </b> 1492 <b> MAATROCINA 1493 </b> I tell you don't worry -- don't 1494 worry. You stick with the -Maatro- 1495 ciza famly you're safe as church. 1496 1497 <b> (THEN) 1498 </b> That I promise you on my mother's 1499 grave. 1500 As Maatrocina leans across with the grapes again: 1501 1502 <b> MAATROCINA 1503 </b> Do me a favor.. One grape. I grow 1504 'em at my own place. They're de- 1505 licious. 1506 As Brady takes a grape, Maatrocina looks over at Ralph 1507 1508 <b> AUGUSTO: 1509 </b> ANOTHER ANGI. - FEATURING AUGu STO 1510 As he nods almost iimperceptibly, gets un and goes, 1511 1512 <b> I TO: 1513 </b> 1514 <b> E 1515 </b> 1516 1517 1518 1519 1520 1521 1522 1523 1524 <b> 24. 1525 </b> 1526 <b> 0 NETWORK NEWSROOM (WASBINGTON) - DAY 1527 </b> We pick up Elizabeth Ann Dunne, about 30. She is a 1528 television personality, mainly an interviewer of 1529 celebrities, although sometime a Newsweman and talk- 1530 show performer. She is poised, attractive, warm, 1531 hirp. She is coming out of an office. She crosses 1532 through the newsroom with its teletypes and general 1533 sense of activity. A Cameraman comes up to her: 1534 1535 <b> CAMERAMAN 1536 </b> You ready, Liz? 1537 1538 <b> ELIZA$ETE 1539 </b> f i fteen minutes. Out in front. 1540 We follow her out of the newsroom, dawn a hallway and 1541 around a corner and in through a. door rrar!ced, "Projec- 1542 tion Room One". 1543 1544 <b> =T. PROJECTION ROOM ONE 1545 </b> Elizabeth comes into the projection room, pausing in 1546 the doorway as her eyes adjust to the change in light. 1547 1548 <b> A? M OT R ANGLE 1549 </b> We see that Tony, in miform, is the only otter person 1550 in the projection 'roem. Tony takes out a cigarette 1551 lighter. 1552 1553 <b> TONY 1554 </b> Here. 1555 As Tony flicks the lighter on: 1556 1557 <b> ELTZAAET 1558 </b> Thank you. 1559 1560 <b> TONY 1561 </b> My name's Adams. Tony Adams. 1562 1563 <b> (THEN) 1564 </b> Z know who you are Miss Dunne. 1565 As Elizabeth finds a seat, we see that what is being 1566 run i.n this Projection room is an interview ime-troreen 1567 Elizabeth and a large, attractive, Latin-American 1568 political leader named Arnando. ?Tidal. They sit to- 1569 get er at the --col area of a lur..ar r hotel. Tidal wears 1570 a fatigue uni.fc= without any insignia whatsoever- The 1571 image of Elizabeth an screen is saving- 1572 1573 <b> (CONTINUED) 1574 </b> 1575 <b> C 1576 </b> 1577 1578 1579 1580 1581 1582 1583 1584 1585 <b> 25. 1586 </b> 1587 <b> 0 CONTNUED: 1588 </b> 1589 <b> ELIZABETH'S VCIC 1590 </b> Senor Presidente, there are still 1591 those who say that in spite of the 1592 advances you've made, your Country 1593 still falls short of the Democratic 1594 1595 <b> IDEAL --- 1596 </b> 1597 <b> VIDAL 1598 </b> Obviously. However, the convulsions 1599 that my Countz went through four 1600 years ago last February were not so 1601 much a revolution as they were a -- 1602 1603 <b> (PAUSES) 1604 </b> I am thinking of the labors of 1605 I Herculi.o --- in the stable 1606 1607 <b> ELIZABETH'S VOZC 1608 </b> A cleansing. 1609 1610 <b> S VIDAL 1611 </b> Exactly. Muchas gracias. My Country 1612 was befouled by the corruption of 1613 its leaders and their exploitation 1614 at the people. A hard cleansing was 1615 needed and sometimes that is painful -- 1616 but the pain is over and now Z am 1617 0 hoping. that qty little Cc=try and 1618 your great Yaticn can once again be 1619 1620 <b> FRIENDS ---- 1621 </b> 1622 <b> ELIZABETH'S VOICE 1623 </b> I'm sure a lot of pecple say Amen 1624 to that, Senor Presidente. 1625 On the screen the scene has shifted to an attractive 1626 beach area where Vidal, in a wet suit, is adjusting 1627 his'-scuba gear preparitory to diving. Admiring child-- 1628 red and Elizabeth Ann. Duane watch. Over this: 1629 1630 <b> J 1631 </b> 1632 <b> ELIZABETH'S VOICE 1633 </b> For a glimpse of another facet of 1634 Armando Vidal's nat•.ire, we spent the 1635 last day at the beach at Finca del 1636 Sol Where El Presidente exhibited 1637 his skills as a scuba diver -- one 1638 of his favorite hobbies. 1639 On the screen Vidal --ousels a kid' s ha..- and crosses 1640 into the water. As he wades out, Tony turns to 1641 Elizabeth. 1642 1643 <b> (C CNT=IL EC ; 1644 </b> 1645 1646 1647 1648 1649 1650 1651 1652 1653 <b> T 1654 </b> 1655 <b> 25. 1656 </b> 1657 <b> CONTZLVTIED : 1658 </b> 1659 <b> TONY 1660 </b> When will this be shown? 1661 1662 <b> ELIZABETH 1663 </b> Sometime in the Fall. 1664 While Elizabeth, in the projection room, is saying 1665 this. her image on the screen has turned to the T4 1666 camera and is saying: 1667 1668 <b> ELIZABETB'S VOICE 1669 </b> This is Elizabeth Ann Dunne coming 1670 to you from Finca del Sol where -- 1671 in an exclusive interview -- El 1672 Presidents, Armando Vidal, has just 1673 extended the hand of friendship 1674 from quote, 'his little Country to 1675 our great Nation . ' 1676 1677 <b> I 1678 </b> 1679 <b> ANOTESR ANGLE 1680 </b> The reel is over. The screen goes blank and the 1681 lights in the projection room go on. 1682 1683 <b> ELIZA.BET?I 1684 </b> 40 What is it that you're working on? 16 1685 Some sort of'a psychological pro- 1686 file on Vidal for the Navy Depart- 1687 ment? 1688 1689 <b> TONY 1690 </b> Right. There's a couple of ques- 1691 tions I wanted to ask you, if that's 1692 okay. 1693 1694 <b> (THEN) 1695 </b> What are you doing about lunch? 1696 1697 <b> ELIZABETH 1698 </b> I ignoring it. I've got to pick up 1699 some shots around town, but you're 1700 welcome to come along. 1701 They are at the projection: room door. As Tony cpens 1702 it for her she causes, then: 1703 1704 <b> ELIZABET3 1705 </b> You ever play any baseball, :lister 1706 Adams? 1707 1708 <b> TONY 1709 </b> Sow did you guess h.at? 1710 1711 1712 1713 1714 1715 1716 1717 1718 1719 <b> I 1720 </b> 1721 <b> I 1722 </b> 1723 <b> 26-A. 1724 </b> 1725 <b> CCNTTX= : 1726 </b> 1727 <b> ELIZABETH 1728 </b> I saw you pitch a no-hitter against 1729 Army two years ago. 1730 1731 <b> TONY 1732 </b> You're kidding. 1733 1734 <b> TI' ZA3ETH 1735 </b> L don't kid about no hitters.. 1736 Elizabeth exits. Tony follows. We --- 1737 1738 <b> CII:' TO: 1739 </b> 1740 <b> EX' T. MC= VE NQN - DAY 1741 </b> as a troup of Boy Scouts goes past us and clears the 1742 Visitor's Gate, exposing the bowling green, the court- 1743 yard and far down, framed by giant black oak and maple 1744 trees, we see the `Mansion with its pure lines and 1745 1746 <b> SIMPLE ELEGANCE- 1747 </b> Tony and Elizabeth appear., followed by the Cameraman 1748 and one or t'c more. As Tony and Elizabeth cross into 1749 the beautifully kept grounds of the old Plantation ---- 1750 1751 <b> TONY 1752 </b> None of my business, but what were 1753 you. doing at an Army-Navy ball. game? 1754 1755 <b> ELIZABETH 1756 </b> We were putting together a special 1757 on Arne Grundellius. He'd just been 1758 appointed Secretary of State. Ee 1759 threw the first ball that day. 1760 1761 <b> TONY 1762 </b> You've got a pretty good memory. 1763 1764 <b> ELIZABETH 1765 </b> And you.'ve got a pretty good slider. 1766 But L've got to be honest, you threw 1767 a lot of junk in the last two innings . 1768 As Tony shoots her a look:. 1769 1770 <b> ELIZABETH 1771 </b> My old man was on the Spar rs' Desk 1772 of the Boston Globe for wwent;r-five 1773 1774 <b> (CONTMM-S-0 1775 </b> 1776 1777 1778 1779 1780 1781 1782 1783 1784 <b> I 1785 </b> 1786 <b> CONTINUES: 1787 </b> ELIZABETH (Cent' d) 1788 years. Z was practically raised at 1789 Fenwick Park in the Carl Yastremski 1790 1791 <b> DAYS- 1792 </b> As Elizabeth crosses and starts working out a shot 1793 with the Cameraman, Tony is eying her speculatively. 1794 1795 <b> CUT TO: 1796 </b> 1797 <b> EXT. TEE CRYPT OF GEORGE WASHINGTON - DAY 1798 </b> 1799 We are at. the littleopen-fronted white marble burial 1800 vault of George Washington. . We pull back to include 1801 Tony as he looks at the sarcophagus. 1802 1803 <b> ELIZABET3'S VOICE 1804 </b> Tony? We're finished ---- 1805 As Tony turns, we pull back and pan to include Eliza- 1806 beth, who stands in the little leafy path leading 1807 from the vault. As Tony crosses and ;tins her, we 1808 1809 <b> CUT TO: 1810 </b> 0 T. SPACE AND FL GF ' M SEt M - DAY 1811 We are on the balcony as Elizabeth sets up a shot 1812 frog: the Wright Brother's "Flyer" panning to 1813 "The. Spirit of St. Louis", and then to one of the 1814 Space Capsules. Tony is watching Elizabeth. She 1815 looks over, catches his eye, smiles. 1816 1817 <b> CUT TO : 1818 </b> 1819 <b> EXT. GEORGETOWN - NIGET 1820 </b> 1821 as Tony and Elizabeth approach her apartment on a 1822 quiet, Georgetown side street. The cold, faintly 1823 blue light of the- street lamp at the corner throws 1824 leaf shadows on their faces as they come up to the 1825 front door.. 1826 1827 <b> CLOSER ---AT TEE DOOR 1828 </b> She opens the door, steps to one side and gestures 1829 him in. 1830 1831 <b> MZZA3ETE 1832 </b> One dr iak, ckayr? 1833 1834 1835 1836 1837 1838 1839 1840 1841 1842 <b> 26-C. 1843 </b> 1844 <b> INT. ELIZABETH'S APARTMENT - NIGHT 1845 </b> 1846 We are close on a picture of Elizabeth and Arne 1847 Grundellius, the Secretary of state, whom we might 1848 remember by sight as the Speaker at Tony's gradu- 1849 ation. The picture is in.€orral, taken at an open- 1850 ing night at Kennedy Center. 1851 We pull back to include Tony, locking at the picture 1852 as Elizabeth comes up with a couple of drinks. 1853 1854 <b> TONY 1855 </b> You and Grundeilias? 1856 1857 <b> EZ,I ZA.3E'_'E 1858 </b> At Kennedy Center. 1859 1860 <b> TONY 1861 </b> Ee really gets around. 1862 1863 <b> ELIZABETH 1864 </b> Well, he got around nee anyway. 1865 1866 <b> TONY 1867 </b> Oaps. 1868 1869 <b> ELIZABE'-"3 1870 </b> No ha=, no foul. 1871 1872 <b> (THEN) 1873 </b> r wasn't fighting him off very 1874 hard. 1875 1876 <b> ANOTHER ANGLE 1877 </b> As Elizabeth picks up another picture, this one a 1878 framed studio portrait, inscribed, of the Secretary. 1879 As she locks at it: 1880 1881 <b> ELIZA3ETE 1882 </b> We had quite a little thing going 1883 .for a while. I think he ac tuually 1884 gave up two starlettes and a bare- 1885 back rider -- temporarily. 1886 1887 <b> TONY 1888 </b> You stir see h,m? 1889 1890 <b> EI,IZ.ABETE 1891 </b> Once in a while. 1892 1893 <b> (THEN LAUGHSY 1894 </b> Said she ?ri.s4f?i? r. 1895 1896 1897 1898 1899 1900 1901 1902 1903 1904 <b> I 1905 </b> 1906 <b> 26-D. 1907 </b> 1908 <b> CONTIDI = : 1909 </b> 1910 <b> TONY 1911 </b> Z was just going. 1912 1913 <b> ELIZABETH 1914 </b> Don't mind me. I'm just your basic 1915 Boston Irish. We bruise easily and 1916 heal slowly. 1917 1918 <b> CD TO: 1919 </b> 1920 <b> EXT. ELIZABETH'S FRONT DOOR - NIGHT 1921 </b> 1922 as Tony cones out. Elizabeth stands in the doorway. 1923 1924 <b> ELIZABETH 1925 </b> Call. me. 1926 1927 <b> TONY 1928 </b> 1929 <b> (NODS) 1930 </b> Goodnight. 1931 Tony goes down the street. She watches after him 1932 as we -« 1933 1934 <b> CUT TO: 1935 </b> rXT THE BATTERY (NEW YORK CITY) - NIGHT 1936 A limousine comes down past the Battery Park and moves 1937 toward the Staten Island Ferry Building. It is about 1938 ten o'clock at night. 1939 1940 <b> I INT. THE L=!OUSINE - NIGHT 1941 </b> 1942 Frankie Rizzi, about 30, is driving. Frankie is the 1943 son of Connie Corleone and Carlo Rizzi. In the back- 1944 seat is Al Neri. Frankie looks off toward the river. 1945 We can see. the ferry coming in. 1946 1947 <b> 1 1948 </b> 1949 <b> FRANKII 1950 </b> Here it comes now. 1951 1952 <b> ANOTHER ANGLE 1953 </b> as the fear comes up. Noses into the slip. Creak 1954 of pilings. The limousine drives onto the ferry. 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 <b> I 1965 </b> 1966 <b> 27. 1967 </b> IYT. : HE LS.' CUStNE - NIGHT 1968 Frankie is listening to the baseball scores. Neri is 1969 nervously checking his watch. A few passengers are 1970 boarding. There are no other cars. 1971 1972 <b> ANOTHER ANC LE 1973 </b> Salf a dozen loose, Puerto Rican kids come bopping 1974 up the automobile deck. one is listening to a radio 1975 that he holds to his ear. He crosses up to Frankie. 1976 1977 <b> PUERTO RICAN RID 1978 </b> Hey Mister, you got a cigarette? 1979 1980 <b> PRANRIE 1981 </b> I don'-.t ;smcke. 1982 1983 <b> PUERTO RICAN RID 1984 </b> You got a dollar? 1985 1986 <b> FRANRZIR 1987 </b> Beat it. 1988 1989 <b> ANOTHER ANGT.E 1990 </b> 1991 <b> I 1992 </b> as Neri, who hasn't been paying attention to the kids, 1993 now looks up in annoyance. 1994 1995 <b> NERI 1996 </b> Give him a _-- 1997 Suddenly veri breaks cg!, sensing something wrong. 1998 The other Puerto Ricans are surrounding the limousine. 1999 As Neri dives for the door of the car --- 2000 2001 <b> ;N1ERI 2002 </b> 2003 <b> LOOK OUT: 2004 </b> 2005 <b> ANOTHER ANGLE 2006 </b> Guns have appeared in the hands of the Puerto Ricans 2007 and they start to blast at the limousine from outside. 2008 The ferry whistle is blowing. 2009 2010 <b> MWTT ANGLZ 2011 </b> Neri :its the deck, a !4 na , cones t _t°? -- --u n :t a- 2012 blast:.:.CT. 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 <b> 28. 2023 </b> 2024 <b> ANOTHER ANGLE 2025 </b> One of the Puerto Rican kids is hit squarely in the 2026 chest. He flies back, azms up, legs sz readea_gI d, 2027 like he was hit in the chest with a baseball bat. 2028 2029 <b> ON FRANRSE 2030 </b> Prankie is out of the car, reaching for his gun. Before 2031 he can get it clear, he is hit in the shoulder and spun 2032 to the splintery, oily deck. 2033 2034 <b> ANOTHER ANGZE 2035 </b> As a Puerto Rican goes to finish off Frankie, Al Neri 2036 blows him away. 2037 2038 <b> REVERSE Z. 2039 </b> as two other Puerto Ricans blast Neri simultaneously. 2040 Neri's eyes go wide. He coughs.: A big, stringy sob 2041 of blood appears in his mouth, vomits out onto his 2042 shirtfront. 2043 2044 <b> ON NERI 2045 </b> He goes down to his knees, tries to raise his grin 2046 for one last shot. A Puerto Rican grins and putting 2047 his gun. an inch from Neri's face, pulls thetrigger. 2048 2049 <b> ANCTEER ANGLE 2050 </b> People are screaming, running. The'ferry is starting 2051 to pull from the dock. The four remaining Puerto 2052 Ricans run for the end of the boat, make the Leap 2053 over the churning water from the ferry to the landing. 2054 2055 <b> FULL SHOT - FMM LANCING 2056 </b> The ferry boat is still 2057 pulling away as the `our 2058 Puerto Ricans land on t h - e he pier and disappear into the 2059 night. The ferry boat's whistle is blowing shrilly. 2060 Off its starboard bow we can see the Statue c- Leber _r. 2061 Over this we hear --- 2062 2063 <b> -P?3T__' -.ST' S `JOIC 2064 </b> I am the ?aa^tt,-cc±±^; +n and the r. - ' 1 2065 and he teat believeth in Me, al - 2066 though he be dead, shall live --- 2067 2068 <b> E 2069 </b> DI SSO?.. iE TO : 2070 2071 2072 2073 2074 2075 2076 2077 2078 2079 <b> 29. 2080 </b> EXT. ITALIAN-CAT3CLiC GRAVEY-XI II (LONG ISLA `7D) -- DAY - - 2081 We are on the ornate tombstone of Don Vito Carlecne-, 2082 the Godfather. We are pulling back from it as 2083 2084 <b> PR2EST 2085 </b> 2086 <b> (CONTINUING) 2087 </b> And' everyone that liveth and be- 2088 lieveth in pie shall not die forever. 2089 We have pulled back to include the buria.L services 2090 for Neri. At the graveside are Tony, in dress blues, 2091 Hagen, Rocco Lampone and others. 2092 2093 <b> ANOTHER ANGLE 2094 </b> The services finish and the group breaks into smaller 2095 informal, groupings. We move to Tom Hagen and Tony, who 2096 have drifted to one side. 2097 aNOTH.ER ANGLE 2098 as Hagen indicates a moon-faced man, Imberto Croce, 2099 about sixty, who is approaching them. 2100 2101 <b> HAGEN 2102 </b> Umberto Croce out of Tama. He 2103 took over the whole Florida thing 2104 after Hyman Roth and Johnny Ola 2105 were retired. 2106 Cmberto has come up. 2107 2108 <b> HAGZ"N 2109 </b> Cmberto. Michael's son. Anthony. 2110 2111 <b> CROCZ 2112 </b> Youi father must be proud. 2113 2114 <b> (THEN) 2115 </b> What do you think, Tom? They're 2116 saying it was Maatrocina. 2117 3agen makes a little gesture, reminiscent of the God- 2118 father; a kind of upward opening of the hand, as if 2119 gently letting a tiny bird free. 2120 2121 <b> ANOTEE . ANGLE 2122 </b> As Frank ,e R .zzi. his a in a sliaq, and Sant .._^.c 2123 Cor' eone ?cnay ` s oldest son, rcW is awd . e W -i-r- 2124 ties, =Cme UM together: 2125 (CUNT:Nt7ZD ) 2126 2127 2128 2129 2130 2131 2132 2133 2134 2135 <b> - 41 2136 </b> 2137 <b> 30. 2138 </b> 2139 <b> CONTNM : 2140 </b> 2141 <b> BAGZN 2142 </b> Say hello to your cousin, 2143 2144 <b> IR RANKIE 2145 </b> Rizzi - your Aunt Connie s by-- 2146 and this- is Santino, your uncle 2147 Sonny's oldest. 2148 As Tony shakes hands with Santino and ?rinkie: 2149 2150 <b> PRANKIE 2151 </b> 2152 <b> (TO TONV) 2153 </b> Excuse my left hand. 2154 2155 <b> SANTINO 2156 </b> Frankie was in that little shit 2157 storm on the ferry boat. 2158 2159 <b> CROCE 2160 </b> The whole thing don't make sense 2161 to me. 2162 2163 <b> FRANXIE 2164 </b> All Z know is Al got a phone call 2165 from that, nephew of his, Tommy, 2166 who runs numbers in Staten Island. 2167 2168 <b> SANTINO 2169 </b> Fucking punk. 2170 2171 <b> FRAHRIE 2172 </b> It was something about Al's sister 2173 being sick bad with the ptomaine or 2174 I something. We walked right into it. 2175 2176 <b> CROCZ 2177 </b> What about Tommy? 2178 2179 <b> FRANXIZ 2180 </b> The nephew? Nobody seen him since. 2181 2182 <b> SANTINO 2183 </b> Ask me he's out in the Narrows with 2184 about eight slot machines tied 2185 around his neck. 2186 2187 <b> ANOTHER ANGLE 2188 </b> As Rocco Lamm pone comes up, clearly agitated: 2189 2190 <b> LAAONE 2191 </b> How do you Like the ally oaf that 2192 bastard? Snowing up here. 2193 2194 <b> I 2195 </b> 2196 <b> (CONTIEE 2197 </b> 2198 2199 2200 2201 2202 2203 2204 2205 2206 <b> 31. 2207 </b> 2208 <b> CONTIIUED : 2209 </b> 2210 <b> SANTI-1141O 2211 </b> Maatr-ocina? 2212 2213 <b> LAMP ONE 2214 </b> If your old man was alive, that 2215 son of a bitch would be eating 2216 his dinner in hell tonight. 2217 2218 <b> RAGE 2219 </b> Be patient, Rocco, and trust me. 2220 2221 <b> (SMILES OFF) 2222 </b> Sam. 2223 2224 <b> ANOTSER ANGLZ 2225 </b> as Sam Maat:ocina comes up, his expression suitably 2226 somber. 2227 2228 <b> MAATROCLMA 2229 </b> Tom. E'ellas. Go figure life, huh?. 2230 A guy like Al Neri. Who'd of fig- 2231 c a red him to get mousetrapped like 2232 that? 2233 Maatrocima is shaking hands with Hagen,. Rocco and 2234 0 Frankie. As he does so: 2235 2236 <b> EAGFN 2237 </b> 2238 <b> (INDICATES) 2239 </b> Mike's son, Anthony. Sam Maatrocina. 2240 Maatrocina holds out his hand to Tony. Tony just looks 2241 at him coldly for an insulting split second. Maatro- 2242 cina's expression doesn't change, and the outstretched 2243 hand moves to squeeze Tony's bicep. Now he shows his 2244 teeth in a grin 2245 2246 <b> MAATROCINA 2247 </b> The arm on the guy. 2248 2249 <b> (THEN) 2250 </b> If you ever need a job come see me. 2251 w!aatrocina ti ns and moves off. Tony Is looking after 2252 him. 2253 2254 <b> HAGEN 2255 </b> Mistake, ';.'onv. ?never let a man 2256 like that 'mow what you' :e thiak- 2257 .ng . 2258 2259 <b> =;T TO 2260 </b> 2261 <b> 11 2262 </b> 2263 2264 2265 2266 2267 2268 2269 2270 2271 <b> I 2272 </b> 2273 <b> 32. 2274 </b> TNT. LIVING ROOM (CON coRLEONE's HOUSE) - MIGHT 2275 The members of the Corleone Family and some of their 2276 friends are gathered at the Godfather's old house in. 2277 the Mall. The tenor of the group is subdued, although 2278 the tensions of the day are beginning to ease. 2279 We pick up Fraakie who is guiding Tony through the 2280 room. 2281 2282 <b> PA N = 2283 </b> Santino always liked the old place. 2284 He picked it up after Pentangeli 2285 knocked himself off. 2286 2287 <b> ANOTHER ANGLE. 2288 </b> as they pass Umberto Croce who is coming out of the 2289 diming room where a buffet has been set up. Croce 2290 has a heaping plate of, food. He pauses, shaking his 2291 head. 2292 2293 <b> C:TOCE 2294 </b> Sad day, sad day. 2295 As Croce moves on, shaking his head, _rankie locks 2296 after him. 2297 2298 <b> IS 2299 </b> 2300 <b> FRAVRIE 2301 </b> Dania near ruined his appetite. 2302 2303 <b> (THEN) 2304 </b> Good man though. From the old days 2305 before the Spics and all. 2306 2307 <b> TONY 2308 </b> How strong is the Corleone family 2309 connected in Latin America? 2310 2311 <b> FRANKTE 2312 </b> We got some people doom there used 2313 to work for us in the hotel. Now 2314 they do odd jobs. Help with the 2315 airline. Like that. 2316 2317 <b> TONY 2318 </b> Tell me about the airline. 2319 It's what you call non-scheduled. 2320 You 'now? 2321 2322 <b> (THEN) 2323 </b> Lf we ever go out of business, haL 2324 the rock groups i -he ccunt-= r J 2325 2326 <b> 40 (CCNT " + D ) 2327 </b> 2328 2329 2330 2331 2332 2333 2334 2335 2336 <b> S 2337 </b> 2338 <b> 33. 2339 </b> 2340 <b> CCNTINLTED : 2341 </b> ? R A N = (Cont'd) 2342 be standing around with empty spoons 2343 stuck up their noses. 2344 As Sonny's daughter, Francesca, comes by talking with 2345 her twin sister, Barbara, who is now a nun. They are 2346 now about forty. 2347 2348 <b> FRANZIE 2349 </b> Hey, Francesca. Barbara. 2350 2351 <b> (TO TONY) 2352 </b> You remember the twins. 2353 As the women greet Tony, old Mister Nazorine, the baker, 2354 comes by. 2355 2356 <b> FRANBIE 2357 </b> And here' s Mister Nazori.ne -- still 2358 makes the best tarelles in town. 2359 As Tony is greeting the old man: 2360 2361 <b> FRANCESCA 2362 </b> Tony, Tony. I remember the day 2363 you. were born. A blizzard. And 2364 grandpa and Tessin and Clemenza 2365 were sitting out in the backyard 2366 in the snow with a five gallon jug 2367 of grappa, celebrating. 2368 2369 <b> BARBARA 2370 </b> 2371 <b> (LAUGHS) 2372 </b> And grandma was out there yelling, 2373 disgrazia.. Infamita! You could 2374 hear her clear to Freeport. 2375 2376 <b> F RANXIZ 2377 </b> (tugs Tony off) 2378 Later, huh? 2379 2380 <b> M. DON CORLEONE'S OFFICE - NIGHT 2381 </b> Gathered in Don Corleone's old cotter office are Santino, 2382 Tom Hagen, Rocco Lampone and Umberto Croce. Tony and 2383 Frankie enter. 2384 2385 <b> BEN 2386 </b> CZ.ose the door, please, ?rankie 2387 and make yourself comfor able. 2388 2389 <b> ( THEN) 2390 </b> First, Tony, t!lank you for want c. 2391 We all aroreciate is. 2392 2393 <b> (C ONT11-N ED ) 2394 </b> 2395 2396 2397 2398 2399 2400 2401 2402 2403 <b> A 2404 </b> 2405 <b> L 2406 </b> 2407 <b> 34. 2408 </b> 2409 <b> CONTINUED : 2410 </b> Tony nods. All are seating themselves as: 2411 2412 <b> HAGEN 2413 </b> 2414 <b> (TO TONY) 2415 </b> Would you care for a little wine? 2416 A little Anisette? No? All right. 2417 2418 <b> (THEN) 2419 </b> I've invited L berto Croce to sit 2420 in with us-because of his strong 2421 connections in Latin America and 2422 in the exile comarunity down in 2423 Florida -- and because he's a 2424 trusted and valued friend of the 2425 Corl eone family. 2426 2427 <b> (THEN) 2428 </b> And now,, if your friends in Langley 2429 have decided that you're not a 2430 Russian spy, perhaps you can tell 2431 as the nature of the service they'd 2432 like us to perform. 2433 2434 <b> TONY 2435 </b> It's a political assassination. 2436 The target is Asmanda Vidal. 2437 2438 <b> 0 2439 </b> 2440 <b> A,NQ1'8ER ANGLE 2441 </b> Santino, whose attitude has been somewhat sardonic 2442 throughout, now breaks out in a bray of laughter. 2443 Tony turns on his cousin, then coldly and quietly: 2444 2445 <b> TONY 2446 </b> If it's too much for you, just say 2447 so. M can break this off right now --- 2448 Santino, taken aback at the cold authority in Tony's 2449 manner, turns for support. 2450 2451 <b> SANTINO 2452 </b> What did I say, for God sake. 2453 2454 <b> (TO TONY) 2455 </b> Whaddya so touchy? 2456 2457 <b> E AG I 2458 </b> When is this planned for? 2459 2460 <b> TONY. 2461 </b> Next February. ?!e' s having a week- 2462 long celebration o the Fif_'h. nn?.zr- 2463 ersar,7 of the Revolution. 2464 2465 <b> (THEN) 2466 </b> We're planning i t to ? cok like an 2467 2468 <b> 40 2469 </b> accident -- or natural causes. 2470 2471 <b> (CJN'RINUZD ) 2472 </b> 2473 2474 2475 2476 2477 2478 2479 2480 2481 <b> 35. 2482 </b> CCNTI i ED 2483 SA.NTTzYO 2484 That's a hell of a trick if you 2485 can do it. 2486 2487 <b> TONY 2488 </b> Our Technical Services Division is 2489 experimenting in two areas. One is 2490 a scuba: diving wet suit designed to 2491 malfunction at a critical depth. 2492 The other is a toxic biological 2493 material -»- a strain of botulism 2494 that's tasteless, colorless and 2495 odorless -- and so lethal that 2496 one drop on his food or an his 2497 toothbrush would be fatal inside 2498 of an hour. 2499 2500 <b> CROCE 2501 </b> That would mean getting somebody 2502 close to him. 2503 2504 <b> RAG'N 2505 </b> Could that be done? 2506 2507 <b> CROCE 2508 </b> t think so. 2509 2510 <b> EAGEN 2511 </b> 2512 <b> (TO TONY) 2513 </b> And what's your part in all this? 2514 2515 <b> TOW, 2516 </b> t'm the cut-out. The circuit 2517 breaker. 2518 2519 <b> BAGZN 2520 </b> The only link between our people 2521 and the Government' 2522 2523 <b> TONY 2524 </b> That's right. 2525 2526 <b> (THEN) 2527 </b> There's a second phase to this 2528 operation. It consists a spread- 2529 ing confusion -- planting explos- 2530 ives -- the Police Barracks -- the 2531 Central. Power Station -- so on. 2532 which will hopefully trigger an 2533 uprising of the Anti -Vi"'aiista 2534 forces. 2535 2536 <b> ONTI TCZ- 2537 </b> 2538 2539 2540 2541 2542 2543 2544 2545 2546 <b> 36. 2547 </b> 2548 <b> CON'RL'??IUED : 2549 </b> 2550 <b> SANTINO 2551 </b> I thought these bastards wanted a 2552 hit --?- 2553 .(then) 2554 They're locking for World War Three. 2555 2556 <b> HAGEN 2557 </b> 2558 <b> (TO LAMPONE) 2559 </b> What do you think, Rocco? 2560 2561 <b> ANOTZR AY(= 2562 </b> As Rocco Lempone -- who walks with a limp as a souvenir 2563 of his service in World War Two-- thinks about it, then: 2564 2565 <b> LAMPONE 2566 </b> You're starting to talk about a 2567 pretty big operation. You're 2568 going to need an assault team -- 2569 maybe two. Small arms. Ammo. 2570 Hand grenades. Field radios. A 2571 support network down there. You'll 2572 have to have transportation. Stag- 2573 ing areas. 2574 2575 <b> 0 TONY 2576 </b> The supplies can be made available. 2577 2578 <b> LAMFONE 2579 </b> How about getting them down there? 2580 2581 <b> FRIAS=_ 2582 </b> No problem. We can carry eight tons 2583 a trip in the DC Six. 2584 2585 <b> HAGEN 2586 </b> 2587 <b> (TO UMBERTO) 2588 </b> What do you think, Umberto? Can 2589 you get your hands on a few Anti- 2590 Vidalistas who wouldn't mind going 2591 doom there and raising a little 2592 hell? 2593 2594 <b> UMBERTO 2595 </b> I'll talk to. Doctor Earcenas, 2596 2597 <b> SANTIO 2598 </b> And we'll all end :zn. Faith cu= balls - 2599 in the g='av. 2600 2601 <b> F I.R A, N& 2602 </b> You're cetti g old, Santi no. 2603 2604 <b> (C". NTINL=) 2605 </b> 2606 2607 2608 2609 2610 2611 2612 2613 2614 <b> 37. 2615 </b> 2616 <b> CONTLVIIED 2617 </b> 2618 <b> SAN'TINO 2619 </b> I'm still young enough to whip 2620 your ass. 2621 As x'rankie starts to rise, Hagen puts a stop to any 2622 further discussion. 2623 2624 <b> HAGR"`N 2625 </b> All-right. That's it. 2626 2627 <b> (THEN) 2628 </b> We all agree -- except Santino -- 2629 that what Tony proposes is possible 2630 although not. easy. 2631 2632 <b> (THEN) 2633 </b> Of course, financial arrangements 2634 will have to be worked out -- 2635 2636 <b> TONY 2637 </b> There's no problem there. Every- 2638 thing will be handled through me 2639 and in cash. 2640 2641 <b> HAGZN 2642 </b> You can tell your friends that they 2643 have a deal. 2644 2645 <b> TONY. 2646 </b> Good. 2647 2648 <b> SAGE 2649 </b> Tell them this too --- what the 2650 Corleone family wants for its part 2651 in this operation is the uncondi- 2652 tional pardon of Danny DeVito. And 2653 that will have to come first. 2654 2655 <b> TONY 2656 </b> I don't know if they'll accept that. 2657 2658 <b> RAGE 2659 </b> It's a non-negotiable condition. 2660 2661 <b> (THHEN) 2662 </b> We'll start getting things lined 2663 up, but we won't move until Danny 2664 walks out of Leavenworth. 2665 2666 <b> ANOTS Z-R NGLL 2667 </b> Sant-4-0 -a aagen: 2668 Sr'?,N'T'I O 2669 2670 <b> YOU REALLY 2671 </b> Devito? 2672 2673 <b> ( CON'"INCED ) 2674 </b> 2675 2676 2677 2678 2679 2680 2681 2682 2683 <b> I 2684 </b> 2685 <b> 38. 2686 </b> 2687 <b> 11 CONIINEM 2688 </b> 2689 <b> HAGEN 2690 </b> Why not? 2691 2692 <b> SANTINO 2693 </b> That would have to come right from 2694 the White Souse. 2695 2696 <b> RA.GZN 2697 </b> Where do you suppose the hit order 2698 came frog? 2699 2700 <b> CDT TO: 2701 </b> 2702 <b> EXT. CAMP PEARY, VIRGINIA - DAY 2703 </b> 2704 Camp Peary is the clandestine training facility of 2705 the CIA, under military cover. It is near Williams- 2706 burg, Virginia, a couple of hours drive from. Washington. 2707 .cwa by the official cryptonym "ISOLATION" it is un- 2708 officially called The Farla" - 2709 The enormous, thickly-wooded area is divided intern- 2710 ally into tightly controlled training areas. A high 2711 chaintlink._fence topped with barbed wire surrounds 2712 the base. Signs an it read: "U.S. GOVE.SNMENT RESER- 2713 2714 <b> VATION. NO TRESPASSING." 2715 </b> We are presently on such a sign. We hold for a moment 2716 as we hear ---- 2717 2718 <b> INSTRUCTOR'S VOICE 2719 </b> A doomsday car is a vehicle which 2720 is loaded with a high explosive, 2721 such as gelignite, and left in an 2722 area where it will do the most dam- 2723 age when detonated -- 2724 2725 <b> EXT. TRAINING AEA (CAMP P_.ARY) - DAY. 2726 </b> 2727 We are on the Instructor, a lean, mean-lacking A=Y 2728 Sergeant is impeccable fatigues. His manner of speech 2729 is Southern. 2730 2731 <b> INSTRUCTOR 2732 </b> Do I read disapproval on your face, 2733 Mister Adams? 2734 AsNOTR NN-- ~' 2735 ..ncludina the tra:..'aing class. thirty or fort., men 4= 2736 army fatigues. Score are dark men, mustachiced., pass 2737 E :t iler Saudis cr Iranians. Amcnq t!?iese we finch Tony. 2738 2739 <b> ( C O N T I N U ED) 2740 </b> 2741 2742 2743 2744 2745 2746 2747 2748 2749 <b> 39. 2750 </b> 2751 <b> CCNT NUED : 2752 </b> Although he doesn't answer the Instructor, we can 2753 read something less than total approval on his face. 2754 2755 <b> INSTAUC'R'OR 2756 </b> In view of the fact that we're 2757 getting our butts kicked rosey all 2758 over the world, it might behoove 2759 us to take a lesson from the IRA 2760 and the PLO. 2761 2762 <b> (THEN) 2763 </b> Now, the first thing those boys'l1 2764 do when they aim to spread a little 2765 unhappiness in the ranks of the 2766 righteous, is steal a motor vehicle -- 2767 2768 <b> (THEN) 2769 </b> You know how to steal a motor 2770 vehicle, Mister Adams? 2771 2772 <b> TONY 2773 </b> No I don't. 2774 2775 <b> " = 4STRLICTOR 2776 </b> By the time you leave Camp Perry, 2777 you' 11 be an expert. 2778 The Sergeant turns to the others. 2779 2780 <b> INSTRUCTOR 2781 </b> 2782 <b> (CONTINUING) 2783 </b> All right, gentlemen, this is a 2784 remote control detonator.. .on safe. 2785 Be holds up a detonator in. his hand, then points Off.: 2786 2787 <b> INSTRUCTOR 2788 </b> And that yonder is a doomsday ca_r. 2789 2790 <b> ANOTHER ANA 2791 </b> including an old car set in a valley some two hundred 2792 yards away. The Instructor takes the detonator off 2793 safe and as he activates the charge in the doomsday 2794 car, we zoom in. The explosion fills the screen as 2795 the doomsday car is blown to hell. 2796 2797 <b> JISSCL'JE .C : 2798 </b> 2799 <b> "NT. CT...ASSRCOM T (CAMP ?MARY) - DXZ 2800 </b> We are ..: a cl assrcOm in wooden a--=V ar-racks _ The 2801 teacher", a :Va .- Coxxna ,de: , s ? °_c t ing . -he= e are 2802 2803 <b> E 2804 </b> 2805 <b> (CONTINUED) 2806 </b> 2807 2808 2809 2810 2811 2812 2813 2814 2815 <b> 40. 2816 </b> 2817 <b> CONT IUED: 2818 </b> chalked o ptograms on the blackboard behind him. 2819 They are variously, ODYOKc, 'ODACID, OD MM. AELAU ,, 2820 AEJAMMER, AEBROOM. Tt3DOV, =ESR, .KUCAGE. 2821 2822 <b> COMMANDER 2823 </b> The cryptonym is a name used in 2824 place of the true name. In the 2825 company, crtonyms consist of 2826 two letters that determine the 2827 general catagory followed by a 2828 word -- the United States Govern- 2829 ment is designated by the letters 2830 "O" and "D", and the word "Yoke". 2831 2832 <b> (POINTS) 2833 </b> O-D-yoke. The Department of State, 2834 O -Z-acid. 2835 2836 <b> STUDENT 2837 </b> What's that last one? 2838 2839 <b> INSTRUCTOR 2840 </b> 0-0--envy? 2841 2842 <b> (GRINS) 2843 </b> That's the FBI. 2844 As the group of trainees laugh, we 2845 2846 <b> CUT TO: 2847 </b> 2848 <b> EXT. A. CANYON ROAD (C+ '4P PAY) - DAY 2849 </b> 2850 Up'a dirt road, between the trees, comes a platoon of 2851 trainees, in jungle gear wet with sweat, double-tizsing 2852 as they chant: 2853 2854 <b> PLATOON 2855 </b> Hut two three four -- 2856 2857 <b> REEP-BY-YA-LO' 2858 </b> 2859 <b> BEEP-BY-YA-LO- 2860 </b> 2861 <b> LO-RIGHTS-LO-- 2862 </b> We move into the platoon, pick out Tony as he runs, 2863 not cocnti.nq. The Drill Instructor runs up alongside 2864 of Tony. 2865 2866 <b> INSTRUCTOR 2867 </b> You're not singing, Mister Adams. 2868 Aren't you harpy is our little 2869 croup? 2870 As Tonv locks over at the : - acing Drill inst? ?c cor , 2871 h t en starts chanting a h --he zest 2872 C:iT To : 2873 2874 2875 2876 2877 2878 2879 2880 2881 2882 <b> 41. 2883 </b> 2884 <b> EXT. PISTOL RANGE (CAMP PEAR21 - DAY 2885 </b> 2886 Tony is at the pistol range, firing. As he finishes 2887 up the clip and draws the target back to him on a 2888 pully device, the Pistol Instructor comes up and in- 2889 spects the target with the bullseye chewed out. 2890 2891 <b> PISTOL INSTRUCTOR 2892 </b> Good. shooting. You do a lot of 2893 hunting? 2894 2895 <b> TONY 2896 </b> No. 2897 2898 <b> PISTOL INSTRUCTOR 2899 </b> Mast run is the family, then. 2900 2901 <b> TONY 2902 </b> You might be right. 2903 2904 <b> CUT TO: 2905 </b> 2906 <b> INT.. LOCX P ICRITG CLASS (CAMP PEARY ) - DAY 2907 </b> 2908 There are diagrams on the blackboard. Tumblers, 2909 locks, keys. There are big, half-sections of locks. 2910 Half a dozen. members of the class, including Tony, 2911 are working with picks an locks. As the Teacher 2912 helps Tony. 2913 2914 <b> TEACHER 2915 </b> On the ordinary pin tumbler cylin- 2916 der lock, the spring actuated 2917 drivers are partly in the shell 2918 and partly in the plug. The. trick 2919 is to lift them up so the plug can 2920 turn freely -- 2921 2922 <b> (THEN) 2923 </b> That's right. 2924 The lock has opened. 2925 2926 <b> TEACHER 2927 </b> Once you've gotten the lock picked 2928 and the door opened the best thing 2929 is to tape the bolt mechanism back 2930 so you won't have to keep picking 2931 the lock - 2932 As the Teacher Instrructs the class - a la Watergate 2933 break-inn -- how to tace back the bolt mechanism, we 2934 2935 <b> CUT TO: 2936 </b> 2937 2938 2939 2940 2941 2942 2943 2944 2945 <b> L 2946 </b> 2947 <b> 42. 2948 </b> 2949 <b> EXT. T: AIMING AREA (CAMP PEARY) DAY 2950 </b> 2951 We are on the Drill Instructor who brandishes a 2952 Marine Corps knife, six-inch blade, brass knuckles 2953 incorporated into the handle. 2954 2955 <b> INSTRUCTOR 2956 </b> This object is a United States 2957 Marine Corps killing knife. I.. 2958 will now demonstrate that it is 2959 not worth doodley shit if you don't 2960 know how- to use it. 2961 2962 <b> ANA ANGLE 2963 </b> as the Instructor looks around the circle of Officer 2964 Trainees and from them chooses Tony. 2965 2966 <b> INSTRUCTOR 2967 </b> You.. You'd like to kill me, 2968 wouldn't you, Sir? Well, here's 2969 your chance. 2970 The Instructor tosses Tony the knife. Tony catches 2971 it. As they circle,. the Instructor taunts Tony. 2972 2973 <b> INSTRUCTOR 2974 </b> Come on. Come on. Make a move, 2975 Sir. Are you falling in love with 2976 me? Then do something hostile. 2977 Make a face. Stick out your tongue. 2978 Do something, Mister Adams. 2979 Tony swings the knife. The Instructor avoids him. 2980 2981 <b> INSTRUCTOR 2982 </b> My little bitty sister can make a 2983 better move than that, Six. 2984 2985 <b> ANOTHER ANGLE 2986 </b> The Instructor offers a tempting target. Tony swings. 2987 The Instructor slaps his cap across Tony's face, grabs 2988 Tony's wrist and disarms him, throwing him to the 2989 ground. 2990 2991 <b> ANOTHER ANGLE - ON TONY 2992 </b> The Instructor turns his back on Tony, deliherately . 2993 Tony gets to his feet and charges the .nst=,actorls back. 2994 2995 <b> (C^NT? 2IUED ) 2996 </b> 2997 2998 2999 3000 3001 3002 3003 3004 3005 <b> I 3006 </b> 3007 <b> 43. 3008 </b> 3009 <b> CONTINUED 3010 </b> The Instructor has been waiting for this. Re flips 3011 Tony again.- 3012 Tony lies inert an the ground. The Instructor comes 3013 up, beads to inspect Tony. As he does so: 3014 3015 <b> - INSTRUCTOR 3016 </b> All right, Sir. You --- 3017 Re breaks off as. Tony has driven an upper cut into 3018 the Instructor's balls. The Instructor grabs his 3019 groin and goes down in a heap. 3020 3021 <b> ANOTHER ANGLE 3022 </b> Tony rolls to his feet, grabs up the killing knife 3023 and presses it to the Instrutor's throat. 3024 3025 <b> TONY 3026 </b> All right you, son of a bitch, tell 3027 me about it.. 3028 The Instructor is looking at Tony. Suddenly he grins; 3029 3030 <b> INSTRUCTOR 3031 </b> You're getting there, Mister Adams. 3032 3033 <b> ANOT3ER ANGLE 3034 </b> Tony looks at the knife in his hand, then tosses it 3035 away and starts off. At this point a jeep comes 3036 bouncing over the hill and skids to a breadsiding 3037 stop.. We see that PaJ.ateer is at the wheel. 3038 3039 <b> PALHA2'E.= 3040 </b> 3041 <b> (TO TONY) 3042 </b> Jump in. 3043 Tony is in the jeep. As Palmateer guns out, trailing 3044 a plume of dust, we ---? 3045 3046 <b> CUT TO: 3047 </b> tNT. RECREATION ROOM - CAMP PEAwM - DAY 3048 Palnateer is watching the Recreation Room television 3049 set on which there is a newscast of the ze ease of 3050 Danny DeVito frc n Leaveizwcrth.. 3051 3052 <b> M ZUED ) 3053 </b> 3054 3055 3056 3057 3058 3059 3060 3061 3062 <b> 44. 3063 </b> 3064 <b> CONTINUED: 3065 </b> Danny, almost as wide as he is tali., his broad pug- 3066 natious face wreathed in a grin, camas cut of the 3067 prison gate, his hands held up in the "Victory" sign. 3068 He pushes his way through the Television Cameramen 3069 and Newsmen, not saying anything. 3070 We pan him over to a limousine which he gets into 3071 quickly. The limousine drives off. 3072 3073 <b> NEWSCASTER'S VOICE 3074 </b> Today in Leavenworth, Kansas, one-- 3075 time International Brotherhood of 3076 Dockworkers' President, Danny DeVito 3077 i was. released. on pardon after serving 3078 six and. a half years of a fifteen 3079 year sentence an embezzlement and 3080 conspiracy charges. DeVito didn't 3081 state his future plans, but insiders 3082 expect him to challenge the incum- 3083 bent President, Pat Brady, in the up- 3084 coming election. 3085 3086 <b> ANOTHER ANGLE 3087 </b> As Tony comes into the room, Palmateer gives him a 3088 pen and a couple of pieces of paper. 3089 3090 <b> I 3091 </b> 3092 <b> PAL.MATEER 3093 </b> A couple of things for you to sign 3094 6 before you go operational. This is 3095 for your piece -- 3096 3097 <b> (SECOND PAPER) 3098 </b> And this is your resignation. It's 3099 a technicality, but in case the shit 3100 ever really hits the fan, we'd have 3101 p to disclaim you. 3102 3103 <b> (GRINS) 3104 </b> It's called the principal of plaus- 3105 ible denial. We never invoke it 3106 until the cock crows thrice. 3107 As Tony is signing the papers, Palmateer has produced 3108 a service automatic from a canvas carryi+:g case. He 3109 puts it on the table before Tony --- 3110 3111 <b> E=. A WAS ZNGTCN D.C. SUZZZ G - DAY 3112 </b> As Tony, dressed in his blues, comes out of a build- 3113 ing. He carries a briefcase. Cressinq to ie. curbs 3114 gae stexas and looks up the s ?_. eet 3115 3116 3117 3118 3119 3120 3121 3122 3123 3124 <b> 45. 3125 </b> 3126 <b> ANOTHER ARGLZ 3127 </b> As a large car pulls up and stops in front of Tony, 3128 he opens the door and gets into the backseat. We 3129 now might be able to see that F'rankie is driving. 3130 With him in the front seat is Santino. In the back- 3131 seat is Umberto Croce. 3132 INT'. THE L SOUS tNE - DAY 3133 as Tony gets in and sits next to Croce. General 3134 greetings, then Tony gives the briefcase to Croce. 3135 3136 <b> FRANRIE' 3137 </b> Where to? 3138 3139 <b> TONY 3140 </b> Take a right on Sixteenth Street. 3141 3142 <b> ANO ANGLE 3143 </b> As Croce sets the briefcase on his lap, Tony reaches 3144 into his pocket and gives him the key. Now Croce 3145 carefully unlocks the briefcase. As this is going on: 3146 3147 <b> TONY 3148 </b> How's. your progress? 3149 3150 <b> CROCE 3151 </b> Doctor Barcenas is getting an 3152 assaS,ilt team together. 3153 3154 <b> TONY 3155 </b> 'Barcenas? 3156 3157 <b> CROCE 3158 </b> 3159 <b> T 3160 </b> A leader in the exile community. 3161 0 One of the early revolutionaries. 3162 Broke with Vidal when El Presidente 3163 went Marxist and abbrogated the 3164 Constitution. He thinks we're a 3165 group of business men backing him 3166 to get our hotel and casino back. 3167 Croce has gotten the briefcase open. It is full of 3168 cash. Tony points ahead. 3169 3170 <b> TONY . 3171 </b> Let use of-12 at the next corner. 3172 3173 3174 3175 3176 3177 3178 3179 3180 3181 <b> I 3182 </b> 3183 <b> 46/48. 3184 </b> 3185 <b> INSE.BT - THE BRIEFCASE 3186 </b> As Croce picks up a packet of hundreds cut of the 3187 suitcase, riffles it: 3188 3189 <b> TONY'S VOICE 3190 </b> It's all there. 3191 3192 <b> HACK TO SCENE 3193 </b> As Santino grins: 3194 3195 <b> SANT=O 3196 </b> Straight frcm the East Coast 3197 Distributor. 3198 Tony looks over at Croce: 3199 3200 <b> CROCZ 3201 </b> We're in business. 3202 3203 <b> TONY 3204 </b> I' I L see you in Florida.. 3205 3206 <b> EXT. WASHINGTON STREET - DAY 3207 </b> 3208 3209 <b> 0 3210 </b> As Tony gets out of the limousine and crosses to a 3211 phone booth. We are moving in as he puts a. dime into 3212 the slot. and dials. 3213 3214 <b> TONY 3215 </b> Hiss Duane, please. 3216 3217 <b> CUT TO: 3218 </b> 3219 <b> =T. LOBBY (ENNEDY CENTER) - NIGHT 3220 </b> We are shooting past the big, nubby sculptured head of 3221 Sohn Kennedy which identifies, but in no way dominates 3222 the long, high handsome lobby with its crimson carpets. 3223 The Opera is breaking for intermission and the audience 3224 is moving toward the bars and the terrace. 3225 We move to the bar where, in the crush, we find Tony. 3226 As everybody seems to be ordering at once--- 3227 TONY . i 3228 Scotch-rocks, here. Two. Aadame, 3229 I believe those were 3230 3231 <b> (THEN) 3232 </b> Scotch-rocks. Sere. Two. 3233 3234 <b> (CODITINUED ) 3235 </b> 3236 3237 3238 3239 3240 3241 3242 3243 3244 <b> 49. 3245 </b> 3246 <b> CONTINUED 3247 </b> Tony turns to watch a woman move off with two drinks- 3248 that were clearly his. 'Now, a. braided Admiral usurps 3249 Tony's place. 3250 3251 <b> TONY 3252 </b> I believe I was next, Sir. 3253 The Admiral throws a look in Tony's direction, then 3254 pays for the bourbon and coke and exits. 3255 3256 <b> TONY 3257 </b> Scotch-rocks. Here. Two.. 3258 EXT? TEE TERRACE ( iYNEL'Y CENT~'R) - NZGET 3259 On the broad, impressive terrace, overlooking the curve 3260 of the river- as it mirrors the lights of Washington, we 3261 find Elizabeth, dressed for evening. She is surrounded 3262 by three urbane men, Morton, her Television Producer, 3263 Swartzwalder, a Jurist and McKissick, a young Senator. 3264 McKissick is lighting Elizabeth's cigarette as Tony 3265 comes up with the two drinks. 3266 3267 <b> TONY 3268 </b> Finally. 3269 3270 <b> ELIZABETH 3271 </b> Thank God for 'the Navy. 3272 As she takes her drink: 3273 3274 <b> ELIZABETH 3275 </b> Mister Adams,_ I'd like you to meet 3276 Judge Swartzwalder -- Senator 3277 McXissick and Jack Morton from 3278 wham all blessings flow --- 3279 3280 <b> MORTON 3281 </b> As long as the ratings hold up. 3282 As Tony is shaking hands around with the Judge, McKissick 3283 turns to Elizabeth: 3284 3285 <b> MC EISSICK 3286 </b> Burning the midnight oil at State? 3287 3288 <b> ELIZABETH 3289 </b> 3290 <b> (SMILES) 3291 </b> I wouldn't know, s°qve broken off 3292 relations with the State Decar ..went . 3293 3294 3295 3296 3297 3298 3299 3300 3301 3302 <b> I 3303 </b> 3304 <b> 50. 3305 </b> 3306 <b> ANOTHER ANGLE 3307 </b> Tony has heard this last. 3308 3309 <b> SWARTZWALDER 3310 </b> You stationed in Washington? 3311 3312 <b> TONY 3313 </b> On temporary assignment. 3314 3315 <b> ELIZABETH 3316 </b> He's doing a background on Azmando 3317 Vidal. 3318 3319 <b> MC RISSIC 3320 </b> A fine. man. And thank God we're 3321 back on speaking terms -- or are 3322 we? 3323 3324 <b> MORTON 3325 </b> If you don' t know, who? 3326 A buzzer sounds from inside. Elizabeth hands Tony 3327 her glass. 3328 3329 <b> ELIZABETH 3330 </b> Would you be an angel and 3331 Tony takes the glass from her, crosses and puts it 3332 on a nearby bench. As he does so, Elizabeth is Look- 3333 ing after him, as to the others: 3334 3335 <b> ELIZABETH 3336 </b> I've always had a =ad thing for 3337 sailors- They've got such neat 3338 little asses. 3339 As Tony returns and escorts her back into the theater: 3340 3341 <b> CG", TO: 3342 </b> EXT. R"" ?MY CE:TTm..,q DRIVEWAY - NZGHT 3343 We are on the line of cars coming up to pick op their 3344 passengers outside the Eall of States. Mi..ch honking 3345 of Eioras, so on. 3346 3347 <b> ON TON`I AND ELIZABETH 3348 </b> as they stand among the azagn= _coes , 1 oaki i for a 3349 tax:.. Elizabeth spats -ne f_--st. 3350 (CON°^Z `i?D ? 3351 3352 3353 3354 3355 3356 3357 3358 3359 3360 <b> 7 3361 </b> 3362 <b> 51. 3363 </b> 3364 <b> CONTMM= 3365 </b> 3366 <b> ELIZASET: 3367 </b> 3368 <b> THERE'S ONE 3369 </b> Tony hurries for the taxicab. 3370 3371 <b> ANOTSEB ANGLE 3372 </b> as. an Airforce General intercepts the cab. 3373 3374 <b> GENERAL 3375 </b> Believe this is mine. 3376 3377 <b> .ON ELIZABETE 3378 </b> As she watches Tony get outranked for his cab, then 3379 she spots another. 3380 3381 <b> ELIZABETH 3382 </b> f f ere comes another. 3383 3384 <b> ANOTHER ANGT.E 3385 </b> as. Tony hurries for the. next cab, only to get beaten 3386 cut by a. State Department type with two oil Sheiks 3387 in tow. 3388 STATE DEPART.'MiT TYPE 3389 You're next, Ensign. 3390 Tony turns, signals: to Elizabeth to wait, then exits. 3391 3392 <b> CLOSE - ELIZABETE 3393 </b> as she looks after him., puzzled. 3394 3395 <b> MT. . PARE ING AREA - NIGHT 3396 </b> as Tony moves into. the Eennedy Center Parking area, 3397 looking around. 3398 3399 <b> ON ELZZABET:E 3400 </b> She is pacing. She stops, looks at her watch, then 3401 turns at an insistent bbonking from -.edam: veway. We 3402 pull back and pan to include Tony s it ti_ng in a big, 3403 beautiful, official-looking sedans. ae leans across 3404 and opens the front door. She crosses and gets in. 3405 3406 3407 3408 3409 3410 3411 3412 3413 3414 <b> 52/53. 3415 </b> ON HALL OF STATES DOORWAY (Ba"?° CENTER) - NIGHT 3416 as an Admiral and his wife come out toward the drive- 3417 way with their guests. All are chuckling merrily at 3418 • something the old sea dog has said. Now his wife's 3419 expression alters as she looks of. 3420 3421 <b> ADMIRAL' S WIFE 3422 </b> Charles: Isn't that our car? 3423 He looks off. His expression changes. He starts to 3424 run.. 3425 ANOTHER ANGLEZ=n=Y• CENTER DRIVEWAY 3426 As Tony drives off, the Admiral runs vainly after 3427 his car, waving his hand.. 3428 3429 <b> ADMIRAL 3430 </b> Stop: Stop! 3431 3432 <b> INT. THE ADMI-RAL'S CAR_- NIGHT 3433 </b> 3434 Elizabeth has been looking back. Now she regards Tony 3435 with. new and approving eyes.. 3436 3437 <b> ELIZABETH 3438 </b> You have interesting talents, Mister 3439 Adams .. 3440 3441 <b> TONY 3442 </b> You'll be astonished. 3443 3444 <b> ELIZABETH 3445 </b> i I'm looking forward to it. 3446 3447 <b> CUT TO: 3448 </b> 3449 <b> INT. ELIZABETH' S BEDROOM - NIGHT 3450 </b> 3451 Tony and Elizabeth are in bed together making love. 3452 3453 <b> ANOTEER ANGLE 3454 </b> featuring Elizabeth as 3455 3456 <b> ELIZABETH 3457 </b> Now. Now. Yes. Now 3458 3459 <b> = 14. TO : 3460 </b> 3461 3462 3463 3464 3465 3466 3467 3468 3469 <b> Y 3470 </b> 3471 <b> 54. 3472 </b> 3473 <b> INT. BEDROOM (ELIZABETH'S APT.) - NIGHT 3474 </b> 3475 Tony and Elizabeth are sitting up in bed. Tony is 3476 lighting her cigarette. Suddenly he pauses. 3477 3478 <b> ELIZABETE 3479 </b> What's wrong? 3480 3481 <b> TONY 3482 </b> Shh. 3483 3484 <b> L E IZAB£TE 3485 </b> What's the ?.».. 3486 She breaks off because Tony has put his hand over her 3487 mouth. Her eyes blaze as she reaches for his wrist. 3488 3489 <b> TONY - 3490 </b> Noise in the living- room. 3491 3492 <b> (THEN) 3493 </b> There it is again. 3494 This time we too have heard something. He uncovers 3495 her mouth. 3496 3497 <b> ELIZABETH 3498 </b> There's a window in the front room. 3499 It rattles. 3500 3501 <b> TONY 3502 </b> I don't know. 3503 3504 <b> ELIZASETB 3505 </b> Well, I do. 3506 3507 <b> ANOTHER ANGLE 3508 </b> as Elizabeth swings out of bed, naked, crossing out 3509 of the bedroom and into the hall. 3510 3511 <b> INT. EALLWAY (ELIZASETS' S APT.) - NIGHT 3512 </b> 3513 We move with Elizabeth as she goes down the hallway. 3514 SST. LIVING ROOM (EZIZABE:'B' S APT.) - "r-GET 3515 As Elizabeth comes into the darkened ? :.ring room, suddenly 3516 a Man from out of "-,-.e shadows, clamps one hand over her 3517 .mouth and with the other hand he holds a :cr? a to her 3518 .mroa t. 3519 3520 <b> 0 3521 </b> 3522 3523 3524 3525 3526 3527 3528 3529 3530 <b> I 3531 </b> 3532 <b> 55. 3533 </b> 3534 <b> ANOTHER ANGLE 3535 </b> As a. Second Man appears. This one has a gun. The First 3536 Man turns to him, speaking in a whisper. 3537 3538 <b> FIRST MAIM 3539 </b> Bring him down here. 3540 The- Second. Max. nods. We follow him as very softly he 3541 goes down the hallway. 3542 3543 <b> P 3544 </b> 3545 <b> CLOSE - THE SECOND MAN 3546 </b> as he pauses. outside the bedroom door which is half 3547 P ajar. Now suddenly he moves --- 3548 IDi'i:. BEDRCOM - NIGHT 3549 0 We are angled on the hall. door as, in a single move 3550 the Second Man kicks the door open and flicks the bedroom 3551 light on. He has his gun pointed at the bed. We whip 3552 pan to the bed.. It's empty. 3553 3554 <b> CLOSE: - THE SECOND MAN 3555 </b> As for a frozen moment., surprise and consternation 3556 3557 <b> 0 3558 </b> show an his face. At this point: 3559 3560 <b> TONY 3561 </b> 3562 <b> (VERY SOFTLY) 3563 </b> Don't make a noise. Just stand 3564 where you are or I'll kill you. 3565 We have pulled back and panned slightly to include Tony 3566 who is sitting on the. floor, his back against the wall. 3567 3568 <b> I 3569 </b> The gun in. his hand is, trained on the Man who has just 3570 -come in. 3571 3572 <b> ANOTHER ANGLE 3573 </b> As: the Second Man stands motionless, Tony is on. his 3574 feet and up to him. Tony takes the qua from him and 3575 tossing it an the bed gestures, forefinger to lips, 3576 be quiet. 3577 Now, Tony turns to the Man and. starts down the hall 3578 with him. Tony has him by the back of the jacket, his 3579 Tun pressed against the back of the Second Man's head. 3580 3581 3582 3583 3584 3585 3586 3587 3588 3589 <b> I 3590 </b> 3591 <b> 56. 3592 </b> 3593 <b> INT. LIV -MIG ROOM (Z LIZABETH' S APT .) - NIGHT 3594 </b> 3595 As Tony enters with his prisoner, the First Man - the 3596 one with the knife -- still has his weapon pressing 3597 into Elizabeth's throat. He is looking the other way, 3598 but turns as: _ 3599 3600 <b> TONY'S VOICE 3601 </b> Turn very easy. 3602 The First Man turns, sees Tony and the Other Man. 3603 3604 <b> TONY 3605 </b> S've got a. gun at your partner's 3606 head. 3607 There is 'a beat, then: 3608 3609 <b> FIRST MAN 3610 </b> Drop the gun or I slit her throat. 3611 3612 <b> TONY 3613 </b> You drop the knife. 3614 3615 <b> FIRST MAN 3616 </b> Don't you think I'll kill her? 3617 3618 <b> 0 TONY 3619 </b> Z don't give a shit if you kill 3620 her. I_ said crop the knife. 3621 3622 <b> ANOTRER ANGLE. 3623 </b> As the Second Man -- overconfident at finding hi=self 3624 still alive -- speaks to his partner. 3625 3626 <b> SECOND MAN 3627 </b> Cut her a little bit to convince 3628 this asshcle. Open up her throat. 3629 Suddenly the Second Man's knees buckle as. Tony, in a 3630 lightning move, brings the gun barrel down across the 3631 Man's head. 3632 As the Second Man is on his hands and knees, Zi.?ce a 3633 stunned ox, dripping blood on the carpet, Tony tuns 3634 once more to the an with the knife. 3635 3636 <b> TONY 3637 </b> I'm going to give you one more 3638 chance. Trot the k:i-`f:a and !'I--l 3639 let you go . 3640 3641 3642 3643 3644 3645 3646 3647 3648 3649 <b> -T 3650 </b> 3651 <b> 57. 3652 </b> 3653 <b> CONTINTED: - 3654 </b> 3655 <b> FIRST MAN 3656 </b> 3657 <b> (LAUGHS) 3658 </b> 7. 111 cut her fucking head off, 3659 first. 3660 3661 <b> ANOTSER ANGLE 3662 </b> as the Second Man, still on his hands and knees, now 3663 pushes himself up to a kneeling position. 3664 3665 <b> SECOND MAN 3666 </b> Show him a little blood. 3667 As the Man with the- knife nods grimly, Tony puts his 3668 gun to the back of the kneeling man's head and calmly 3669 pulls the trigger. 3670 3671 <b> ANOTBER ANGLE 3672 </b> The. kneeling man plunges for+qard, dead, the back of - 3673 his head blown off.. Tony now turns, without emotion, 3674 to the man with the knife. 3675 3676 <b> TONY 3677 </b> That's what you're going to look 3678 like in two seconds if you harm 3679 that girl.. 3680 3681 <b> ANOTRER ANGLE 3682 </b> As the First Man drops his knife and releases Elizabeth, 3683 she is locking at Tony, stunned, her aplomb totally 3684 vanished. 3685 3686 <b> TONY 3687 </b> Go get dressed and call the Police. 3688 Elizabeth nods and half-stumbles out of the room. Tony 3689 crosses to the Man. 3690 3691 <b> (CONTIJ UED ) 3692 </b> 3693 3694 3695 3696 3697 3698 3699 3700 3701 <b> I 3702 </b> 3703 <b> I 3704 </b> 3705 <b> 58. 3706 </b> 3707 <b> (CODITINT1EI1) 3708 </b> 3709 <b> FIRST XUX 3710 </b> when the cops come, you're going 3711 to be up on a murder rap, baby. 3712 3713 <b> TONY 3714 </b> No, I'm not. 3715 Tony lifts the gun and blasts the First Man three 3716 times in the chest. 3717 3718 <b> ANOTHER ANGLE 3719 </b> as Elizabeth bursts bac k into the room, looks, then 3720 starts to scream. Tony crosses up and taking her in 3721 his arms, softly comforts her. 3722 3723 <b> TONY 3724 </b> It's all right.. He tried to get 3725 my gum away and I had to shoot him. 3726 As. Tony, still comforting her, moves her away, We -- 3727 3728 <b> DISSOLVE TOT 3729 </b> 3730 <b> EXT. EVERGLADES BAY - DAY 3731 </b> 3732 We are in a swampy backwater on the West Coast of 3733 Florida, south at Fort Meyer. Hacked out of the 3734 everglades is a clearing on which a tourist acccmmo- 3735 dation has been built. It is called Tarpon Lodge 3736 and signs announce "Cold Beer", "Boat Rentals" and 3737 "Tourist Accoammdations". There is a small pier. 3738 3739 <b> ANOTHER ANGLE _ 3740 </b> as a small, commercial fishing boat comes chugging 3741 up the bayou and blows its whistle. 3742 3743 <b> CLOSER - THE FISH=TG 3O 3744 </b> as a Latin American, Roberto Barcenas, about 3S, 3745 comes out to the bow of the boat, locks off toward 3746 the tourist cabins. Roberta is a capable, cool, 3747 izstelligent man. 3748 3749 <b> E<'CT. T9Y T RPON :IODGZ - DAY 3750 </b> as Umberto Croce, dressed in white and weariri a straw 3751 hat against the sun,. ccmes out or she ramshackle lodge 3752 and moves to the of 3753 3754 <b> 0 3755 </b> 3756 3757 3758 3759 3760 3761 3762 3763 3764 <b> 59A 3765 </b> 3766 <b> THE PIER 3767 </b> Crewmen of the fishing boat are tieing up as Roberto 3768 Barcenas comes down onto the pier followed by half a 3769 dozen others. They are radio, Borracho, Padre Pepe,' 3770 El Fararon, Arrigo and Roberto's younger brother, Jorge. 3771 Croce and Roberto embrace, then : 3772 3773 <b> CROCE 3774 </b> This way. 3775 M=. As AIRSTRIP - DAY 3776 A rough airstrip has been bulldozed out of the scrib 3777 pine and palmetto forest. At one end is a hanger and 3778 on its side the words: INTER-CAR EAN CBAMTERS. 3779 As Croce and the Latin Americans come up: 3780 3781 <b> CROCE. 3782 </b> 3783 <b> TONY: 3784 </b> 3785 <b> 1 0 ANOTHER ANGLE 3786 </b> 1 Inside-the hanger we see a D.C. Six. Tony comes out 3787 cleaning cosmolene off his hands with a rag. 3788 3789 <b> CROCE 3790 </b> Tony, I' d :like you to meet Doctor 3791 Barcenas. 3792 3793 <b> TONY 3794 </b> I'm pleased to meet you, Doctor. 3795 They shake hands, then:. 3796 3797 <b> ROBERRTO 3798 </b> Permit me to present my companions -- 3799 Indio, Borracho, Padre Pepe, El 3800 Fararon, Arrigo and my brother, Jorge. 3801 The members of the assault team -- the Indian, the 3802 Drunk, the Priest, the Pharoah, Arrigo who looks 3803 like a pimp, and the romantic, fire-eating younger 3804 brother -- are introduced to Tony individually. Xd 3805 lib greetings, then to Barcenas: 3806 3807 <b> TONY 3808 </b> Are you read-!? 3809 3810 <b> (CCINNTINUED 11 3811 </b> 3812 3813 3814 3815 3816 3817 3818 3819 3820 <b> 60- 3821 </b> 3822 <b> CONT=T Z : 3823 </b> 3824 <b> ROBERTO 3825 </b> For many years. 3826 As they move into the hanger: 3827 3828 <b> ROBERTO 3829 </b> Z understand from Senor Croca that 3830 the idea with the diving suit did 3831 not work out. 3832 3833 <b> I TONY 3834 </b> There were a few problems. 3835 3836 <b> ROBERTO 3837 </b> But the other is. fine? 3838 3839 <b> TONY 3840 </b> Yes. , 3841 3842 <b> (THEN) 3843 </b> 3844 <b> D 3845 </b> You've been in. touch with your 3846 underground? 3847 3848 <b> ROBERTO 3849 </b> 3850 <b> (NODS) 3851 </b> Everything is arranged. 3852 3853 <b> INT THE EA2GAR - DAY 3854 </b> At one side of the hangar we see crates of various 3855 weapons. Boxes of hand grenades, mortars and mortar 3856 shells. Sub-machine guns caked in cosmolene, LAW 3857 rockets, field radios. So on. As Tony and Roberto 3858 come in, followed by the others: 3859 3860 <b> TONY 3861 </b> we got you BARS and Carbines 3862 plus ten, thirty calibre light 3863 machine guns, and ten, four-point 3864 t o inch mortars with a thousand 3865 rounds of high explosive and a 3866 thousand, rounds of white phosphorous. 3867 Tony is pointing out the various boxes and crates: 3868 3869 <b> JORGE 3870 </b> What about sub-machine guns? 3871 3872 <b> TONY - 3873 </b> Thirty or; them. Tarty-five calibre 3874 nine millimeter. With ten thousand 3875 rounds. 3876 (po.ints 3877 Over there. 3878 3879 <b> (CONTT-.?_-D ) 3880 </b> 3881 3882 3883 3884 3885 3886 3887 3888 3889 <b> 61. 3890 </b> 3891 <b> CONT=TISW 3892 </b> As Jorge crosses. over to the box of weapons, picks 3893 one up in his.hands: 3894 3895 <b> JORGE 3896 </b> Ten thousand rounds! Aye de mi! 3897 3898 <b> ANOTEER ANGLE 3899 </b> as. Tony picks up and hands Roberto a long, olive green 3900 plastic tube. 3901 3902 <b> TONY 3903 </b> We also got you two hundred Sixty- 3904 six, millimeter, M-72 LAW rockets. 3905 They're lightweight, one-shot dis- 3906 posable Bazookas. 3907 3908 <b> (THEN) 3909 </b> There is also field gear, medical 3910 supplies, tentage, demolition mater- 3911 ials, combat rations --- 3912 Arrigo, the. pimp, comes up, takes the LAW rocket from 3913 Roberto, then: 3914 3915 <b> ARRZGO 3916 </b> We make a little trouble for E: 3917 Presidents, hey? 3918 3919 <b> JORGE 3920 </b> When do we leave? 3921 3922 <b> TONY 3923 </b> You, go in tomorrow to get it ready. 3924 I'll meet you down there at the end 3925 of the week. 3926 3927 <b> (THEN) 3928 </b> Who's your radio man? 3929 3930 <b> PEPE 3931 </b> t am. 3932 3933 <b> TONY 3934 </b> I'll show you the set up. 3935 As Tony and Padre Pepe move off together toward. a 3936 short wave radio set up in the corner, ae -- 3937 3938 <b> CUT TO: 3939 </b> 3940 3941 3942 3943 3944 3945 3946 3947 3948 <b> K 3949 </b> 3950 <b> 62. 3951 </b> 3952 <b> EXT. LAS VEGAS HOTEL (SWT_NZU TG POOL AREA) - DAY. 3953 </b> 3954 We are in a long shot and angled downward on the swim- 3955 ming pool. area of the Corleone Family's Las Vegas 3956 flagship hotel. Into the shot, threading their way 3957 between the girls in their bathing suits, came Sam 3958 Xaatrocina and Ralph Augusta, walking purposefully. 3959 We zoom back --- 3960 3961 <b> INT. TOM HAGE"N' S ©FFICE (LAS VEGAS HOTEL) - DAY 3962 </b> 3963 We are on Rocco La=pone, who is standing by the window, 3964 looking out onto the pool area. As he turns: 3965 3966 <b> LA ONE 3967 </b> Here they came. 3968 We are pulling back. Also present in the large, attrac- 3969 tive office, are Tom Hagen, Danny DeVito and Sant no 3970 Corleone, who is at the bar fixing drinks. 3971 3972 <b> SANTINO 3973 </b> Half an hour late. 3974 3975 <b> DEVIT0 3976 </b> 0 I'm happy he's here at all. That 3977 means he's willing to talk like 3978 a reasonable man. 3979 3980 <b> L.A ONE 3981 </b> Tell A3..ieri about it. 3982 3983 <b> HAG= 3984 </b> What you've got to understand, 3985 Rocco, is that what happened to 3986 Al was business. What's done is 3987 done. The important thing is to 3988 avoid trouble if we can. This 3989 isn't the old days. The Five 3990 'Family wars are over and done with. 3991 3992 <b> LAMPONE 3993 </b> Maybe that's too bad. 3994 3995 <b> ANOTEEQ ANGLE 3996 </b> as Santino comes over with the drinks io± Hagen and 3997 DeVito. As Danny accepts his-drink and raises it to 3998 3999 <b> HAGEN: 4000 </b> 4001 4002 4003 4004 4005 4006 4007 4008 4009 <b> 63. 4010 </b> 4011 <b> CONTINUED: 4012 </b> 4013 <b> DEVITO 4014 </b> To you -- all of you. I'll never 4015 be able to thank you for what you 4016 done. 4017 As DeVito drinks, the intercom is buzzing. Hagen 4018 flicks it. 4019 4020 <b> SECRETARY'S VOICE 4021 </b> Mister Maatxocina and Mister Augusto 4022 are here, Sir. 4023 4024 <b> HAGEN 4025 </b> Send them in, please. 4026 4027 <b> ANOTHER ANGLE 4028 </b> Eagen comes around his desk to the door to greet 4029 Maatrocina as he enters, followed closely by the 4030 cold-looking Ralph Augusto. 4031 4032 <b> EAGEN 4033 </b> Sam. Z'm glad. you could come. 4034 Ralph. Good to see you. What 4035 are you drinking? 4036 4037 <b> MAATROCINA 4038 </b> Z'11 take a little bourbon with 4039 you._ On the rocks. 4040 Sagem nods at Santino who crosses to the bar to make 4041 the drink, as Hagen turns now to Augusto. 4042 4043 <b> HAGEN 4044 </b> Ralph? 4045 4046 <b> AUGCSTO 4047 </b> Nothing. 4048 4049 <b> HAGEN 4050 </b> Coke? 4051 4052 <b> AUGUSTO 4053 </b> Nothing. 4054 4055 <b> ANOTHER AN= 4056 </b> As Santin_o is making the drink; Kaat--ocL-za tax.,.--ns to 4057 Danny DeVito, shaking hands. 4058 4059 4060 4061 4062 4063 4064 4065 4066 4067 <b> I 4068 </b> 4069 <b> .7 4070 </b> 4071 <b> 64. 4072 </b> 4073 <b> CONTINUED: 4074 </b> 4075 <b> MAATRCCI4A 4076 </b> Let. me save us all some time. I 4077 know the Hagen-Corleone Family got 4078 Danny sprung and I'm glad about it --- 4079 4080 <b> (TO DEVITO) 4081 </b> From the heart. 4082 4083 <b> DEVII'O 4084 </b> Thank you, Sam. I :snow you mean 4085 it. 4086 4087 <b> MAATROCI A 4088 </b> 4089 <b> (TO HAGEN) 4090 </b> I also know how you swung it -- 4091 (grins, holds 4092 4093 <b> UP HAND) 4094 </b> Yeah. That's right. You aren't 4095 the only ones with a friend or 4096 two in. Washington. Don't under- 4097 estimate me. 4098 4099 <b> RAG= 4100 </b> We never have, Sam. 4101 4102 <b> MAATRCCINA 4103 </b> One more thing I know -- Danny' s 4104 4105 <b> ? • 4106 </b> a big hero to the rank-and-file. 4107 He'll leave Pat Brady for dead in 4108 this Special Election that's coming 4109 up. Okay? So that leaves one thing 4110 to talk about. 4111 4112 <b> HAGZN 4113 </b> How we can all accommodate to this 4114 new situation. 4115 4116 <b> MAATRCCINA 4117 </b> 4118 <b> (GRINS) 4119 </b> I don't know from accc=cdate -- 4120 just so we all get a chance to 4121 drink from the well. 4122 4123 <b> HAGS 4124 </b> Problem being, for the vast five 4125 years the well dried up an us as 4126 you might say. It was almost as 4127 it Pat Brady had scmethin q against 4128 us personally. 4129 4130 <b> TROCT A 4131 </b> T=, Tcm. "cu should have come 4132 to me. 4133 4134 <b> E (CONTINCZD ) 4135 </b> 4136 4137 4138 4139 4140 4141 4142 4143 4144 <b> 65. 4145 </b> 4146 <b> CONTZY[JZD : 4147 </b> 4148 <b> EAGEN 4149 </b> You don't like to bother your 4150 friends about these matters. 4151 4152 <b> MAATROCINA 4153 </b> What are friends for? 4154 4155 <b> HAGW 4156 </b> In any case, the problem is solved 4157 ar will be soon. Tice well is ao 4158 longer dry. 4159 4160 <b> MAATROCINA 4161 </b> And. everybody gets to fill his 4162 bucket. That's as it should be. 4163 After us. 4164 4165 <b> MAATRCCINA 4166 </b> Meaning what exactly? 4167 4168 <b> SAG= 4169 </b> We need a loan of fifty million 4170 dollars. That has to be the first 4171 order of business --- 4172 4173 <b> MAATROCI A 4174 </b> The Atlantic City Hotel? 4175 4176 <b> BABY 4177 </b> 1 That's right. 4178 4179 <b> I 4180 </b> 4181 <b> ANOTHER ANGLZ 4182 </b> As Maatrocina makes flat paddles of his hands and points 4183 them inward to his chest as he turns to DeVito. 4184 4185 <b> MAATROCLVA 4186 </b> And what am t? An orphan? I want 4187 to get in on Atlantic City, too. 4188 4189 <b> DEV.ITO 4190 </b> You had it all your way for the 4191 last five years, Sam. Let some- 4192 body else do business. 4193 4194 <b> . AATROCINA 4195 </b> I got ao cb7ectio:t - ,a him doing 4196 business --- i just want to do 4197 business, too. Kay? 4198 What Hagen gets, :: get. 4199 4200 <b> LI 4201 </b> 4202 <b> (CCNTI'TCZD ) 4203 </b> 4204 4205 4206 4207 4208 4209 4210 4211 4212 <b> 66. 4213 </b> 4214 <b> CONTINITE 4215 </b> 4216 <b> DEVITO 4217 </b> Are you talking about a hundred 4218 million dollars? 4219 4220 <b> MAATRCCINA 4221 </b> If fifty and fifty still make a 4222 hundred, that's what I'm talking 4223 about. 4224 4225 <b> DEVITO 4226 </b> it can't be done. 4227 4228 <b> MAAT;RCCINA 4229 </b> Don`t you think I know how much 4230 money you-'ve got in that goddamned 4231 pension fund? 4232 4233 <b> HAGEN 4234 </b> He's also got the Department of 4235 Labor, a board of trustees and 4236 the SEC looking down his throat. 4237 He can't make that large a commit- 4238 ment. 4239 4240 <b> DEVITO 4241 </b> We` can't put more than twenty-five 4242 percent of our assets into real 4243 4244 <b> ESTATE --- 4245 </b> 4246 <b> MAATROCINA 4247 </b> Is that what you brought me across 4248 the country for?' To tell me I'm 4249 getting frozen out? 4250 4251 <b> DEVITO 4252 </b> Nobody's freezing anybody. 4253 4254 <b> MAATROCIXA 4255 </b> Then why do I feel these chilly 4256 winds nipping at my ass? 4257 4258 <b> DEVITO 4259 </b> You should felt the winds in that 4260 joint. It was Sagen that got me 4261 out. 4262 4263 <b> (THEN) 4264 </b> He comes first. You come second. 4265 That's the way it is. 4266 4267 <b> MAATH(3CINA 4268 </b> How f2ar second? 4269 4270 <b> (CONTSNC?? ) 4271 </b> 4272 4273 4274 4275 4276 4277 4278 4279 4280 <b> I E 4281 </b> 4282 <b> Y 4283 </b> 4284 <b> 67. 4285 </b> 4286 <b> CQNTNMED 4287 </b> 4288 <b> DEVI.TO 4289 </b> Youtve gat to. give me a year. 4290 4291 <b> MAATRCCIYA 4292 </b> We both want tc get into Atlantic 4293 City. L can't give them a year's 4294 head. start. 4295 4296 <b> ANOTEM ANGLE 4297 </b> asDe Vito looks over at Tom Eagen. 4298 4299 <b> DEVITO 4300 </b> Tom? What if-you people take thirty 4301 and Sam takes twenty? 4302 4303 <b> SAG= 4304 </b> T have to have fifty. That`s defw 4305 I inite.. You knew it and agreed to 4306 it in front. 4307 4308 <b> DEV2TO 4309 </b> Sc that we can all part friends --- 4310 what about forty-ten? 4311 4312 <b> MAATROCIA 4313 </b> I •st. not taking any ten. What 4314 they get. I get. That is final. 4315 4316 <b> DEVITO 4317 </b> I All. right, All right. Maybe Z 4318 can work something out. Z' 11 4319 try`. 4320 MAATROC n A 4321 Try hard. 4322 4323 <b> ANOTSER ANGLZ 4324 </b> Maatrocina glances over at Augusta. They rise. 4325 4326 <b> EAG= 4327 </b> Thank you for coming, Dan Haatro-- 4328 cina. I'm. sure we can find a way 4329 to live toget?..er in peace. 4330 4331 <b> 4AATRCCI A 4332 </b> Of course, my old friend, 4333 :Kaatrcc: na ad ? i s aoodbves a; ound and and Angus Lo 4334 4335 <b> LEAVED HE 4336 </b> 49 (C Ci TIN-G"ED ) 4337 4338 4339 4340 4341 4342 4343 4344 4345 4346 <b> 68. 4347 </b> 4348 <b> CON'I INIIED : 4349 </b> 4350 <b> HAGE??1 4351 </b> 4352 <b> (TO LAMPONE) 4353 </b> You might have to go one on one 4354 with Augusto before we're finished. 4355 4356 <b> LAN ONE 4357 </b> I'm counting on it. 4358 4359 <b> ANOTHER ANGLE 4360 </b> As Lampone crosses to the window to watch Augusto 4361 and Maatrocina leave through the pool area below, 4362 Hagen moves to Danny DeVito. 4363 4364 <b> HAGEN 4365 </b> I'd like to put a couple of people 4366 with you,, Danny. 4367 4368 <b> DEVITO 4369 </b> I don't need your people, Tom. 4370 4371 <b> (THEN) 4372 </b> Sam and I go back a long ways. He 4373 knows I' U. come up with something 4374 for him. 4375 4376 <b> SANTINO 4377 </b> 4378 <b> (TO DANNY) 4379 </b> Why-don't you stick around? See 4380 the show? Maybe the tooth fairy 4381 will. stuff one of those long-legged. 4382 blondes under your pillow. 4383 4384 <b> DEVITO 4385 </b> I'll take a rain check. 4386 4387 <b> ANOTHER ANGLE 4388 </b> As Devito grins, shakes hands around and exits, Hagen 4389 turns to Santino. 4390 4391 <b> HAGEN 4392 </b> I want you to fly to Washington 4393 tonight. Talk to Senator Geary. 4394 Anybody you have to. But find out 4395 who ' s on Maatrocina' s payroll. 4396 4397 <b> (THEN) 4398 </b> I don't like him knowing about Tony. 4399 4400 <b> UUMPCNE 4401 </b> Neither do 1. 4402 4403 <b> (CONTINMED ) 4404 </b> 4405 4406 4407 4408 4409 4410 4411 4412 4413 <b> I 4414 </b> 4415 <b> 69. 4416 </b> 4417 <b> CCNTI2MED : 4418 </b> 4419 <b> SANTINO 4420 </b> You think he's walking into some- 4421 thinq down there? 4422 4423 <b> BALM 4424 </b> That's what I want you to find out. 4425 As Santino turns and goes, we --- 4426 4427 <b> CUT TO: 4428 </b> 4429 <b> EXZ. LATIX-AMERICAN CI"-''T- NIGHT 4430 </b> We are as the sky over the bay of Armando Vidal's 4431 Capitol. It is the Fifth Anniversary of his revol- 4432 ution and a fireworks display is taking place over 4433 the bay. Sky rockets are arching upward over the 4434 waters, exploding in cascades of red, green and gold. 4435 4436 <b> CUT TO: 4437 </b> 4438 <b> A STET COMM - NIGHT 4439 </b> We are on an impromptu exhibition on a street corner. 4440 A big, marvelous looking black Girl, in almost nothing, 4441 circles with a lean Latino almost touching but not quite, 4442 in a hip grinding mambo . 4443 4444 <b> E 4445 </b> 4446 <b> ANOTSER ANGLE 4447 </b> as the crowd laughs and cheers them on. 4448 4449 <b> A WOMAN 4450 </b> Aqua! 4451 We move up to a loud speaker attached to an ornate and 4452 bunting festooned.lampost. From the speaker we hear: 4453 4454 <b> VIDAL'S VOL= 4455 </b> But make no mistake, any of you -- 4456 you of the North American delega- 4457 tion in particular. We welcome 4458 you to our Count=y -- but the days 4459 of exploitation are over. 4460 4461 <b> CUT" TO: 4462 </b> 4463 <b> INT. BALL.COM - ECTE'L OE 3ZVOLCCICN - NIGHT' 4464 </b> 4465 Ei Presi.dente, A.. andc V .dal, is speaking to a crowd 4466 j?n the Grand 3allrcomm. The usual tel.evisicn cameras, 4467 so,or_. 4468 4469 <b> 0 4470 </b> 4471 4472 4473 4474 4475 4476 4477 4478 4479 <b> T 4480 </b> 4481 <b> 7Q. 4482 </b> 4483 <b> ANOTHER ANGLE 4484 </b> As the predominantly Latin American crowd cheers, we 4485 pick out Tony, in civilian clothes, amongst. the' cheer- 4486 ing people. 4487 4488 <b> VIRAL 4489 </b> The blood of our martyrs is still 4490 too fresh on our pavement. We will 4491 be friends and neighbors, but never 4492 again slaves to Imperialism. 4493 4494 <b> 1 4495 </b> A young Latino, and we will recognize him as Ar=igo, 4496 has moved to Tony's side. As the cheers have erupted 4497 once more, Amigo, with'a brief nod of the head, indic- 4498 ates that Tony shouldfol:ow him. 4499 4500 <b> ANOT'_R ANGLE 4501 </b> As Arrigo goes, Tony looks after him briefly, then over 4502 to the American Delegation including Lucas, the Assistant 4503 Secretary of State for Latin American Affairs; Cariock, 4504 the Speaker of the House and several prominent liberal 4505 Senators including McKissick of Utah and the elegant 4506 Harthaiemew of Pennsylvania. 4507 Also in the delegation, in uniform, is Stu Palmateer. 4508 The older man's eyes meet with Tony's for a brief 4509 moment. He has seen the exchange. He watches as 4510 Tony leaves, then looks over toward u_agudo, Vidal's 4511 4512 <b> I 4513 </b> Chief of Police. The harsh, heavy Policeman is laugh- 4514 1 ing at something Vidal has said, seemingly paying no 4515 attention to Tony's exit. 4516 4517 <b> INT. LOBBY ECT!L ME LA REVOLUTION - :TIGHT 4518 </b> 4519 As Tony is crossing the lobby, Elizabeth Ann Dunne, 4520 followed by 'a small entourage, enters. Half a pace 4521 behind her is Kenny Morton, her producer and behind 4522 them are three men carrying portable TV equipment, 4523 cameras, tripods, batteries, so on. She is speaking 4524 to 8e.ny.. 4525 4526 <b> ELIZABETH 4527 </b> With all due respect, that's bull- 4528 shit.. The man's obviously inccm- 4529 petent or the car wcu: d have been 4530 4531 <b> WAITING EXACTLY 4532 </b> She breaks cf-f . seei nc Tony. 4533 4534 4535 4536 4537 4538 4539 4540 4541 4542 <b> 71. 4543 </b> 4544 <b> TONY 4545 </b> Hi. 4546 She stops. Ee crosses up: 4547 4548 <b> TONY 4549 </b> r thought you weren't coming down 4550 here. 4551 She doesn't answer. 4552 4553 <b> TONY 4554 </b> Aren't we speaking? 4555 4556 <b> E L IZA3ET3 4557 </b> I. don't 'know. 4558 Elizabeth crosses off toward the desk, Tony looks 4559 after her for a moment, puzzled, then crosses out. 4560 4561 <b> EXT. HOTEL DE LA REVOLCCION - NIGHT 4562 </b> 4563 As Tony comes out of the hotel and crosses the garden 4564 grounds toward the street, we see that a fireworks 4565 display is still in progress. 4566 4567 <b> EXT. AVENIDA DE LA R VOLUCION - NIGHT 4568 </b> 4569 Throngs of Merry-makers are moving along the wide, 4570 palm-lined avenue that follows the curve of the bay. 4571 Many are in cost=e. Some play instruments. Others 4572 have bongo drums. The atmosphere is frenetic. There 4573 is. a pervasive beat. The whole city seems to throb 4574 with it. 4575 We are on Arrigo who stands outside the flaw of traffic, 4576 cigarette in his mouth, patting his pockets for a match. 4577 Tony comes- up and lights ArrigoIs cigarette. As he 4578 4579 <b> DOES SO 4580 </b> 4581 <b> A.RASGO 4582 </b> Se sure you have your identification. 4583 Maguda's pescadores -- you understand? 4584 The Police -- they're out f.sh..:g 4585 tonight. 4586 We are on aaather c=oup Of G-4-is azd :Men i a ?rildly 4587 sexual dance. 4588 4589 4590 4591 4592 4593 4594 4595 4596 4597 <b> I 4598 </b> 4599 <b> 72. 4600 </b> 4601 <b> CONTINT : 4602 </b> We pan off them to Arrigo passing. Tony follows. We 4603 move. in closer to Tony. A big, fat Mama comes out of 4604 a doorway, shakes everything she has at him. Tony grins, 4605 pats her on the ass and -passes by 4606 4607 <b> EXT. EARBOR AREA - NIGHT 4608 </b> 4609 We are on the part of the harbor where the big fishing, 4610 boats tie up. The sound of the celebration is fainter 4611 now, a couple of blocks distant. We are on an old, 4612 but seaworthy fishing boat; the name on the stern is 4613 "Stelia.Maria". Amigo comes up the pier, pauses by 4614 the short gangway. 4615 4616 <b> ANOTEER ANGLE 4617 </b> 4618 <b> I 4619 </b> As Tony comes up and joins Axr-igo a Third man suddenly 4620 appears out of the darkness. As he comes up to Tony, 4621 we recognize Jorge Baxcenas. 4622 4623 <b> JORGE 4624 </b> 4625 <b> (SHAKING HANDS) 4626 </b> You bring it? 4627 4628 <b> TONY 4629 </b> Yes. 4630 4631 <b> JORGE 4632 </b> This way. 4633 Jorge leads them aboard. 4634 4635 <b> INT. MAIN CABIN (STELLA MAR15) - NIGHT 4636 </b> 4637 In the cabin are Roberto Barcenas, Indio, ?araron, 4638 Padre Pepe'and Borracho. There is also a girl, Angelica, 4639 25. She has dark eyes and blonde hair. There is some- 4640 thing faintly flashy but also enormously sensual about 4641 her.. 4642 One Man is cleaning a stripped automatic rifle. Another 4643 is loading a banana. clip with 30 calibre bullets. Barcenas, 4644 the girl and some others are bent over a map on the mess 4645 table. All. cook up as Tony, Jorge and Arrigo enter. 4646 T _tobertc smiles warm- , canes up and embraces Tony. 4647 (C'J1?I'r ?`ILT'ED i 4648 4649 4650 4651 4652 4653 4654 4655 4656 4657 <b> T 4658 </b> 4659 <b> - 73. 4660 </b> 4661 <b> CONTLIUM 4662 </b> 4663 <b> ROBERTO 4664 </b> It's good to see you, my friend. 4665 4666 <b> (THEN) 4667 </b> All goes well? 4668 4669 <b> TON 4670 </b> 4671 <b> (NODS) 4672 </b> And you? 4673 4674 <b> ROBERTO 4675 </b> Everything is ready. Arms and 4676 aumm=ition distributed. Now the 4677 waiting. 4678 4679 <b> TONY 4680 </b> You've set a time?. 4681 4682 <b> RCBEATO 4683 </b> Day after tomorrow. Seven A.M. 4684 4685 <b> (CHECKS WATCH) 4686 </b> Th.zrty-four hours. 4687 4688 <b> (THEN) 4689 </b> This is Aujelica. A great good 4690 friend of E1 2residente. She knows 4691 where he keeps his toothbrush- 4692 4693 <b> TONY 4694 </b> Good. 4695 4696 <b> ANJELICA 4697 </b> You have something for me? 4698 4699 <b> ANOTHER AN= 4700 </b> as Tony unbuttons his shirt and strips off a money 4701 belt which he puts on the table and opens. 'IIe takes 4702 out some money. 4703 4704 <b> TONY 4705 </b> A hundred thousand pesos, cash. 4706 Count it, please. 4707 As Roberto takes up the money and counts it., Tony 4708 takes out a small vial in a plastic container. 4709 4710 <b> TONY 4711 </b> And this. 4712 4713 <b> (THEN) 4714 </b> It's tasteless and odorless, but 4715 it has a vet-,,? short period of tox-- 4716 ic.Z. ty --- do you understand? Once 4717 s opened it must be used within 4718 twenty-four hours. 4719 4720 <b> (CCNTI UZ ) 4721 </b> 4722 <b> I 4723 </b> 4724 4725 4726 4727 4728 4729 4730 4731 4732 <b> 74. 4733 </b> 4734 <b> CONT2NUHD 4735 </b> 4736 <b> ANJ ?ICA 4737 </b> How soon does it work? 4738 4739 <b> TONY 4740 </b> The symptoms are those of botulisat. 4741 High fever, nausea, vomiting, and 4742 death. Within an hour. 4743 4744 <b> ROBERTO 4745 </b> 4746 <b> (TO ANJELICA) 4747 </b> Hadn't you better be getting back? 4748 4749 <b> ANJELICA 4750 </b> Yes.. 4751 4752 <b> ANOTHER ANGLE 4753 </b> As Anjelica turns, her coat swings open slightly and 4754 we see that she is dressed in a costume.-- a typical 4755 Tropicana showgirl kind of thing. 4756 4757 <b> ANJELIC . 4758 </b> 4759 <b> (TO TONY) 4760 </b> Good night. 4761 4762 <b> TONY 4763 </b> Thank you. 4764 4765 <b> ANJ%-"LICA 4766 </b> For nothing. When we meet again 4767 things will be better. 4768 4769 <b> JORGE 4770 </b> Be careful of 4agudo's fishermen. 4771 They're out in force tonight. 4772 Anjelica nods. Roberto hands her the money, then 4773 kisses her on. the cheek. 4774 4775 <b> 0 4776 </b> 4777 <b> ROBERTO 4778 </b> Vaya can Dios, Chica. 4779 4780 <b> ANOTSMR ALYGZZ 4781 </b> She staffs the money in the pocket of the overcoat and 4782 exits. Roberto looks at A..-.rigo who nods and follows 4783 her out. Vow Roberto looks back at Tony. 4784 4785 <b> TONY 4786 </b> Have the supporting omeratic n.s 4787 been set urz? 4788 E (CCNT? iUED) 4789 4790 4791 4792 4793 4794 4795 4796 4797 .i 4798 4799 <b> 75. 4800 </b> 4801 <b> CONTINUED : 4802 </b> Jorge crosses to a map on the table. 4803 4804 <b> JORGE 4805 </b> 4806 <b> (POINTS) 4807 </b> Sere. Here. Here. 4808 As Tony crosses and studies the map, we 4809 4810 <b> CAT TO: 4811 </b> 4812 <b> A SMALL CITY PARK - NIGET 4813 </b> The celebration on Vidal's Capitol is still in progress 4814 in this small city park. Suddenly, a police truck 4815 appears in one of the streets, blocking it, and a fly- 4816 ing squad of armed police piles out of the canvas- 4817 covered rear and. The Sergente blows his whistle. 4818 4819 <b> SERGENTE 4820 </b> 4821 <b> (IN SPANISH) 4822 </b> identification check. Have your 4823 cards ready. 4824 4825 <b> ANOTTER ANGLE -- TE CROWD 4826 </b> We. see A.-rigo and Anj el ca moving through the crowd. 4827 They stop, exchange a look and then turn- and Move the 4828 other. way_ We follow them through the crowd to a small 4829 alley. Amigo and Anjelica and a couple of others, who 4830 1 would apparently just as soon not be stopped by the 4831 police, move down the alley. 4832 4833 <b> INT. ALLEY - NIGST 4834 </b> 4835 As Anjelica and Arrigo move down the alleyway, con- 4836 gratulating themselves on their escape from Magudo's 4837 4838 <b> I 4839 </b> men, suddenly three Policemen materialize out of the 4840 darkness ahead. 4841 4842 <b> POLICEMAN 4843 </b> 4844 <b> (IN SPANISH) 4845 </b> Not so fast my friends --- 4846 4847 <b> (THEN) 4848 </b> Against the wall, Pockets inside 4849 out. You too, blondie. 4850 4851 <b> CTT TO : 4852 </b> 4853 <b> 171 4854 </b> 4855 4856 4857 4858 4859 4860 4861 4862 4863 <b> 76. 4864 </b> 4865 <b> I NT. POLICE STATION - ?SIGHT 4866 </b> Half a dozen of the disreputable fish that have been 4867 caught in Magudo's net are sitting on a bench against 4868 the bare, dirty walls of the bare, high-ceilinged room 4869 with its one unshaded bulb hanging from the ceiling 4870 illuminating the suspects and Police alike harshly. 4871 On one side of the room is a barred "tank" or holding 4872 cell. There is a fat Capitan behind the desk and 4873 another Policeman, pockmarked and hawkish, looking, 4874 working an some papers at another desk. The Sergente 4875 comes in with Anjelica and Arrigo. 4876 4877 <b> ARRIGO 4878 </b> 4879 <b> (IN SPANISH) 4880 </b> This is an outrage: I protest: 4881 SEr A?E 4882 4883 <b> (IN SPANISH) 4884 </b> Sit down! 4885 The Sergente shoves Arrigo violently toward the bench 4886 as we --- 4887 4888 <b> CQT TO: 4889 </b> 4890 <b> INT'? HOTEL DE LA REVOLTJCICN LOBBY - NIGHT 4891 </b> We are on the doors of the hotel as Tony enters and 4892 crosses the large lobby toward the elevators. 4893 4894 <b> ANTHER ANGLE 4895 </b> Over in one corner of the lobby we see Palmateer in 4896 a group with several others of the United States 4897 Delegation. Tony raises a hand to Palmateer who nods 4898 back as Tony continues toward the elevators. 4899 4900 <b> I 4901 </b> 4902 <b> ANOTHER ANGLE - BY DESK 4903 </b> as the Desk Clerk, who has been watching the door, 4904 signals over to a uniformed Security Officer. The 4905 Security Officer nods and crosses to intercept Tony. 4906 As he does so: 4907 4908 <b> SECURITY OFFIC^11 4909 </b> Senor Adams. 4910 Tony stops. The u::==sing Security Officer crosses 4911 ."p to m . 4912 4913 4914 4915 4916 4917 4918 4919 4920 4921 <b> CONTZT ED: 4922 </b> 4923 <b> TONY 4924 </b> Yes? 4925 4926 <b> SECURITY CFFICZR 4927 </b> There is a message for you. A 4928 friend. of yours wishes to see you 4929 in the bar. 4930 tN'I'. HOTEL DE LA REVOLUCION BAR - NIGHT 4931 The place is reasonably crowded, even at this hour. 4932 We are on Elizabeth Ann Dunne who is the center of 4933 a small circle of admirers, including Kenny Morton. 4934 She looks off, sees Tony entering, then excuses her- 4935 sel-f and crosses up to Tony who stands in the doorway. 4936 4937 <b> CLOSER 4938 </b> as Elizabeth comas up to him. 4939 4940 <b> ELIZABETH 4941 </b> I want to talk to you. 4942 4943 <b> 0 TONY 4944 </b> I take it this definitely means 4945 we're speaking again. 4946 She draws him to an empty booth and as they sit: 4947 4948 <b> I 4949 </b> 4950 <b> ELIZABETE 4951 </b> I'm going to tell you a secret. 4952 It wouldn't take an awful lot for 4953 me to get hung up on you. Okay? 4954 But I've got this problem -- 4955 4956 <b> (THEN) 4957 </b> You scare me. 4958 4959 <b> TONY 4960 </b> What are you talking about? 4961 4962 <b> ELIZABETH 4963 </b> You, sport. Adams, Anthony. No 4964 middle initial. 4965 4966 <b> (THEN) 4967 </b> Are you really with the Navy or 4968 was that just so much malarkey? 4969 4970 <b> TONY 4971 </b> What makes you thi:Lk --l'm not with 4972 the Navy? 4973 1 CO 1 .i...Y U 0 4974 4975 4976 4977 4978 4979 4980 4981 4982 4983 <b> I 4984 </b> 4985 <b> I 4986 </b> 77-i. 4987 4988 <b> CONT+MME : 4989 </b> 4990 <b> ?? ELIZABETE 4991 </b> Tou know what I heard in Washington? 4992 That something very interesting might 4993 happen down here. 4994 4995 <b> TOONY 4996 </b> -Where did you hear that? 4997 4998 <b> ELIZABETS 4999 </b> You wouldn`t know anything about it, 5000 would 'you? 5001 5002 <b> TONY 5003 </b> I want to know where you heard that. 5004 5005 <b> ELIZASETS 5006 </b> What difference does it make, it's --•- 5007 Tony is on his feet and moving oui of the bar ae 2. 5008 5009 <b> INT. EOTEL DE LA REVCLLCION LOBBY - NIT 5010 </b> 5011 The all group of Americans, of which Stu Palmateer 5012 was part, has broken up. Palmateer is moving toward 5013 the elevator, but turns as he hears ----- 5014 5015 <b> TONY'S VOID 5016 </b> Stu? 5017 As Tony comes up: 5018 5019 <b> PALMATEEE 5020 </b> Scmething wrong? 5021 5022 <b> TONY 5023 </b> I don' t know. 5024 They wove casually toward the newsstand. Palmateer 5025 Picks up a'Spanish language newspaper, idly scans it, 5026 5027 <b> THEN : 5028 </b> 5029 <b> PALZ4AT'.'..E?B 5030 </b> What's the problem? 5031 5032 <b> TONY 5033 </b> Sow many people know about t:-his 5034 mission? 5035 oAL.u.ATv-ZR 5036 Why? 5037 5038 5039 5040 5041 5042 5043 5044 5045 5046 <b> 78. 5047 </b> 5048 <b> TONY 5049 </b> Z think there's been a leak in 5050 Washington. 5051 5052 <b> PAT MATER 5053 </b> There are only five people who have 5054 any idea what's going on. 5055 5056 <b> TONY 5057 </b> is Artier Grundellius one of them? 5058 5059 <b> PALMAT,.E'? 5060 </b> Yes. 5061 5062 <b> TONY 5063 </b> F Then maybe it's not that serious. - 5064 5065 <b> PALMSATEER 5066 </b> I If yon think the mission's compro- 5067 mised, we'll abort. 5068 5069 <b> TONY 5070 </b> No. I think it's all right. 5071 5072 <b> (THEN) 5073 </b> See- you tomorrow.. 5074 5075 <b> ANOTAR ANGLE 5076 </b> Palmateer crosses to the elevator as Tony moves back 5077 toward the barroom. We move with Tony as a Bellboy 5078 intercepts him. 5079 5080 <b> BELLBOY 5081 </b> Senor Adams? There is a phone call 5082 for you. You can take it on the 5083 house phone if you like. 5084 Tony nods,.tips the Boy, then crosses to the house- 5085 phone and picks it up. 5086 5087 <b> TONY 5088 </b> Yes? 5089 5090 <b> IT. DC RSILE EATING PLACE - NIGHT 5091 </b> Jorge 3arcenas is at a public phone. 5092 5093 <b> JORGE 5094 </b> You zeccgnize my voice? 5095 5096 <b> (THEM 5097 </b> You better net down here right 5098 away, 5099 5100 <b> 0 5101 </b> 5102 5103 5104 5105 5106 5107 5108 5109 5110 <b> I 5111 </b> 5112 <b> S 5113 </b> 5114 <b> 79. 5115 </b> 5116 <b> ANOTE R ANGLE 5117 </b> As Tony hangs up and turns, Elizabeth is coming up 5118 from the bar. 5119 5120 <b> £LIZASETH 5121 </b> What in the hell's going on around 5122 here? 5123 5124 <b> TONY 5125 </b> Z don't know.. 5126 Tony turns and crosses out of the lobby as we --- 5127 5128 <b> CUT TO: 5129 </b> INT. MAIN CABzX (STELLA MARTS) ,- NIGHT 5130 we are close on the pack-marked, hawk-faced Policeman 5131 who was present at the Police Station when Anjelica 5132 and Arrigo were brought in. 5133 5134 <b> PCLIC°..MAN 5135 </b> I'm positive, Doctor 3arcenas. AS 5136 soon as they found the hundred 5137 thousand pesos in her pocket, they 5138 called Colonel Magudo In- T. came 5139 as soon as I could. 5140 5141 <b> 0 5142 </b> We have pulled back to include Roberto Harcenas, Tony, 5143 Jorge and others, including the Captain of the fishing 5144 boat, a man named Mezcurio. 5145 5146 <b> ROBERTO 5147 </b> She's being questioned now? 5148 The Policeman nods. tRoberto turns to Tony. 5149 5150 <b> ROBERTO 5151 </b> You have to 'assume they'll be 5152 tortured. You have to assume 5153 that they'll talk. 5154 5155 <b> TONY 5156 </b> Then you're going to have to move 5157 right now. 5158 5159 <b> ANOTL ANGL. 5160 </b> Jorge start: passing out weapons and hand grenades. 5161 Tony takes a su.?:-.machine gun and checks it, as we --- 5162 5163 5164 5165 5166 5167 5168 5169 5170 5171 <b> 82. 5172 </b> 5173 <b> EXT. JAIL OUSE ROOF - NIGHT 5174 </b> 5175 A couple of Policemen are on duty on the jailhcuse 5176 roof. Their names are Lopez and Ruiz. Lopez. is look- 5177 ing into the square. 5178 5179 <b> LOPEZ'S ANGLE (THE SQUARE) 5180 </b> We are shooting down into the square from behind Lopez 5181 as Ruiz comes up and joins him. We see the two cars 5182 stop outside the jail, and the occupants pile out. Tony, 5183 Jorge, Roberto and Indio from the first car, Sorracho, 5184 Pepe and 'araron from the second. They are all armed, 5185 carrying LAW rockets and slung-sub-machine guns. 5186 5187 <b> ON RTXIZ 5188 </b> as he jumps up onto the parapet, cocks his own machine 5189 gun and fires down into the square. As his bullets 5190 stitch the cobblestones moving up toward the group. 5191 5192 <b> ON TONY 5193 </b> At the sound of Ruiz 's first shot, he's got his sub- 5194 machine gun in his hands. He fires from the hip. 5195 Lopez throws up his hands, falling back. Ruiz spins 5196 on the parapet and falls into the street. 5197 5198 <b> =T. THE JAII.HOUSE - NIGHT 5199 </b> Carbajal and Mosca have started firing out of the gun 5200 ports in the doors. 5201 i M=. TEE STREET OUTSIDE THE JAIL -- NIGHT 5202 As Indio gets hit in the forehead and is jolted back- 5203 wards, his face a bloody mask, Tony, Jorge and Roberto 5204 have picked up their LAW's and fire almost simultaneously. 5205 5206 <b> EXT. TEE JAILHOUSE - NIGHT 5207 </b> 5208 as the big, heavy doors blow away --- 5209 INs°. ITS...-" JAILEOL;S ?II(an 5210 as - the second door is blown back into the roc=. The 5211 ceiling is caving in, piaster is falling. The ai= is 5212 thick with plaster dust and smoke. 5213 5214 <b> (CCN'I'IVU ?,J ) 5215 </b> 5216 5217 5218 5219 5220 5221 5222 5223 5224 <b> I 5225 </b> a3. 5226 5227 <b> CONT IU : 5228 </b> Mosca sits against the wall, mouth open. His leg lies 5229 across the room. 5230 The Prisoners in the holding cage are screaming. A 5231 Policeman runs in from another room just in time to 5232 be cut down by Jorge who bursts through the door 5233 followed by Tony and Roberto. 5234 5235 <b> ANOTHER ANGLE. -- BAS = STAIRS 5236 </b> as Colonel Magudo runs up the basement stairs, pistol 5237 5238 <b> IN HAND: 5239 </b> 5240 <b> ANOTHER ANGLE 5241 </b> as Jorge, Tony and-Roberto all `ire at the same time, 5242 blowing Magudo back down the basement stairs. Tony 5243 and the others dive down the stairs. 5244 5245 <b> EXT. THE CENTRAL SQUARE - NIGHT 5246 </b> 5247 As the occupants of the first car are attacking the 5248 Jailhouse, Fa=axon, Pepe, and Borracho launch an 5249 0 attack on the Presidential Palace. 5250 5251 <b> ANCTBER ANGLE 5252 </b> A.: the sleepy Soldiers come tumbling cut of the build- 5253 ing in confusion, Barracho is spraying them with his 5254 automatic weapon while the other two are blowing the 5255 front doors away with their rockets. Smoke and plaster 5256 dust is heavy in the square. rives start to lick and 5257 flicker. 5258 5259 <b> ANOTHER ANGLE 5260 </b> As Borracho, Pepe and.Fararon run into the Presidential 5261 Palace, somebody has started pealing the bells of the 5262 Cathedral. 5263 5264 <b> IY'S. THE PRESZDE. ITIA.L PALACZ - NIGHT 5265 </b> As Borracho, Pepe and Fararon rjn into the great 5266 central hall, wit:-1 its cu gyring S--a.=Case, and great 5267 crystal chan_delie= 5268 5269 5270 5271 5272 5273 5274 5275 5276 5277 <b> 84, 5278 </b> 5279 <b> CONTIYTJED : 5280 </b> 5281 <b> BORRACHO 5282 </b> This way. 5283 EEO rugs up the stairway, by the others. At the top 5284 of the stairs he turns, fires at the chaia that holds 5285 the chandelier anchored. The ceiling chews away. 5286 The chandelier falls with a crash of crystal. 5287 5288 <b> CIIT TO,. 5289 </b> INT. BASMiENT (CI TRAL JAIL) - MIGHT 5290 There are a dozen doors leading into a dozen basement- 5291 cells- Tony, Jorge and Roberto are searching them. 5292 Tony enters a cell, then we hear: 5293 5294 <b> TONY'S VOICE 5295 </b> Roberto! 5296 As Roberto hurries into the cell 5297 5298 <b> INT. THE CELL -- YIGET 5299 </b> 5300 There is a gully in the ceiling with a line led. through 5301 it and tied off. The other end of the line is. tied 5302 around Arrigo's ankles, suspending hi= upside down. 5303 Eris hands are tied behind him. His head and shoulders 5304 are not visible as he is immersed, head-down in a large 5305 tuh of water. 5306 5307 <b> TONY 5308 </b> Quick! 5309 Roberto runs in, whips out a knife and as Tony grabs 5310 the motionless body, the other cuts the line. 5311 5312 <b> ANOTEFR ANGLE 5313 </b> As they gently lay Arrigo's body on the floor, it is 5314 apparent he is dead. 5315 5316 <b> CQT TO: 5317 </b> 5318 <b> INT. THE BASEMENT - YIGET 5319 </b> 5320 As Jorge throws open a door, his face goes white. 5321 5322 <b> FORGE 5323 </b> motheY of God. 5324 5325 5326 5327 5328 5329 5330 5331 5332 5333 <b> 85.. 5334 </b> 5335 <b> CONTINDED: 5336 </b> We have panned over to the door. We are now shooting 5337 toward the door with our view mainly blocked out, but 5338 we can see that Anjelica is dead, naked and tied spread- 5339 eagled, face down on a table. 5340 5341 <b> CUT TO: 5342 </b> 5343 <b> ZNT. PRESIDENTIAL PALACE - NIGHT 5344 </b> As Bcrracho Fararon and Pepe are rune og down an 5345 upstairs hallway, throwing open doors, a Soldier 5346 appears, fires, 3orracho spins and falls. 5347 5348 <b> ANOTHER ANGLE 5349 </b> As E'ararcn cuts the Soldier down, then turns to Pepe: 5350 5351 <b> R ARARON 5352 </b> 5353 <b> (IN SPANISH) 5354 </b> Let's get out of here! 5355 They turn and ran. 5356 5357 <b> • CUT TO: 5358 </b> 5359 <b> S 5360 </b> 5361 <b> EXT. THE JAILHOUSE AND SQUARE - NIGHT 5362 </b> 5363 A couple of Police vehicles and an Army truck careen 5364 into the square, skid to a stop and the Soldiers and 5365 Policemen pile out and take cover an the square. The 5366 bodies of Ruiz and Indio are still, where they fall. 5367 At a command from the Officer in charge, the Soldiers 5368 and Policemen start moving forward, from cover to 5369 cover, laying down a steady rattle of gunfire. 5370 5371 <b> CUT TO: 5372 </b> 5373 <b> MM AN ALLEY BEHIND TEE JAIL - :NIGHT 5374 </b> Jorge, Roberto and Tony are running along an alley 5375 in the darkness, bent over. One street away, in the 5376 town square, apparently all hell is breaking loose. 5377 As they run: 5378 5379 <b> FAARARON 5380 </b> Hey: This way. 5381 They stop. Fara_-cn and 2epe are standing _ in -: mouth 5382 of a i?.tp e n,ar-r-cw open -ig between houses 5383 5384 <b> 0 5385 </b> 5386 5387 5388 5389 5390 5391 5392 5393 5394 <b> 86.. 5395 </b> 5396 <b> ANOTHER ANGLE 5397 </b> as Pepe and Fararon disappear into the darkness follow- 5398 ed by Tony, Roberto and Jorge. 5399 5400 <b> CUT TO: 5401 </b> 5402 <b> E=. ANOTHER STREET - NIGHT 5403 </b> A Police car with the numerals "22" painted on the 5404 side is abandoned at an angle in the street, the 5405 doors open. - 5406 5407 <b> ANOTHER ANGLE 5408 </b> Pepe runs up, looks in. Tony and the others follow. 5409 5410 <b> PEPE 5411 </b> The keys are gone! 5412 5413 <b> TONY 5414 </b> Get in. 5415 Tony is under the dashboard crossing the wires as 5416 the others start piling in. The motor starts, Tony 5417 slides behind the wheel. As they drive off --- 5418 5419 <b> CUT TO: 5420 </b> 5421 <b> ZN' . POLICE CAR TAM=-TWO- NIGHT 5422 </b> Tony is driving. Roberto is next to him in the front 5423 seat. In the back are Jorge, Pepe and rararon. As 5424 they come to a crossroads: 5425 5426 <b> TONY 5427 </b> Which way? 5428 5429 <b> ROBERTO 5430 </b> Lett. 5431 5432 <b> (THEN) 5433 </b> When will the plane be coming? 5434 5435 <b> PEPE 5436 </b> Four. They will land at Quebrada. 5437 Roberto looks at his watch, then 5438 5439 <b> ROBERTO 5440 </b> We can make it. Left again. 5441 5442 <b> E 5443 </b> 5444 5445 5446 5447 5448 5449 5450 5451 5452 <b> 87. 5453 </b> 5454 <b> EXT. STREET CORNER - NIGHT 5455 </b> 5456 As Police Car, Number 22, comes left around the corner 5457 a second Police Car is coming the other way. The two 5458 cars barely miss each other, just kissing as they pass. 5459 5460 <b> INT. POLICE..: CAR 22 - NIGHT 5461 </b> 5462 The comandeered Police Car swerves as Tony fights 5463 the wheel, and finally steadies it. 5464 TONY'S POINT OF Vt!W (THROUGE BACK WINDOW) 5465 5466 <b> I 5467 </b> The other police car has spun and stalled momentarily. 5468 As the Driver of the car gets it started and straightened 5469 out in pursuit, we can see the Second Policeman on the 5470 hand mike. We can hear his excited voice in. Spanish 5471 coming over the police radio. 5472 5473 <b> RADIO VOICE 5474 </b> 5475 <b> TIN SPANISH) 5476 </b> We have seen the terrorists. They 5477 are in Police Car Twenty-too going 5478 north on Avenue of the Martyrs. 5479 5480 <b> (THEN) 5481 </b> 5482 <b> 0 5483 </b> All units. All units. Terrorists 5484 seen going north on Avenue of the 5485 martyrs . 5486 Now other traffic can be heard on the Police radio as 5487 other Police cars respond to the message. 5488 5489 <b> SEVERAL COTS 5490 </b> of various Police cars as they get the message. Some 5491 swing around in Q-turns, Their sirens are winding up 5492 to a howl. 5493 5494 <b> INT. POLICE CAR NITMBER 22 -- NIGHT 5495 </b> 5496 We are shooting back through windshield. Pepe is look- 5497 ing out the back window and we see the following Police 5498 car. Now another joins it. Now still another. Police- 5499 men start firing out of their. cars. The back window is 5500 starred as a hole suddenly appears in it, only - inches 5501 from Padre ?ece' s head. He looks at the ho l e and tu.-ns, 5502 crossing 7:.msei f . 5503 5504 <b> PEPS 5505 </b> .;esus, Mary and Joseph. 5506 (CO N'IiNII..D ) 5507 5508 5509 5510 5511 5512 5513 5514 5515 5516 <b> K 5517 </b> 5518 <b> AS 5519 </b> `Cis;n7VED % 5520 As another bullet hits the car somewhere with a clang. 5521 of metal, Roberto turns td Tony: 5522 5523 <b> GO-III E1 0 5524 </b> Go right on Quebrada. 5525 5526 <b> THE I BSPE= C3ASE 5527 </b> as the pursuing Police cars increase their numbers and 5528 come closer, the-Comandeered car, carrying Tony and the 5529 others, makes a right- turn on Avenue Quebrada, leading 5530 out of town. Parked at the curb is a non-descript sedan. 5531 5532 <b> FEATURSITG TONY 5533 </b> As he drives, we see that Roberto has taken from his 5534 knapsack-pouch a mall detonating device such as we 5535 have seen in the demonstration of the doomsday car at 5536 Camp Peary. 5537 5538 <b> EXT. TEE STREET CORNER - NZGRT 5539 </b> 5540 5541 <b> 0 5542 </b> As the first of the pursuing Police cars starts around 5543 the corner, suddenly the non-descript sedan parked at 5544 the curb detonates -- disintigrates in a blinding dazzle 5545 of light. In the jolt of the shock wave, every window 5546 within half a mile radius shatters. 5547 A vast ball of flame and black, heavy smoke billows 5548 upwards from the corner where the doomsday vehicle and 5549 the first car were immolated. 5550 Now, the following Police cars, unable to stop and 5551 unable to avoid the flames which have spread like 5552 napalm all over the whole corner, skid into the flames 5553 and smoke, plowing into the wreckage. 5554 The buildings are in flames. A Policeman, his uniform 5555 and hair on fire, runs screaming out of the inferno. 5556 5557 <b> DISSOLVE TO: 5558 </b> 5559 <b> EX. A COUNTRY ROAD - N1 GET 5560 </b> as Pc?l.ce Car Nunber 22, tarns down a side road, through 5561 a gate, then up and over a h-4-11. We pa.-n to the gate, 5562 over which are the words: "° i.-sca Quebrada". 5563 5564 5565 5566 5567 5568 5569 5570 5571 5572 <b> D 5573 </b> 5574 <b> 89. 5575 </b> EXT. AIR FIELD (F=CA. QUEBRADA) - NIGHT a 5576 The Police Car comes to a stop at the side of what 5577 is apparently a hacked-out -landing strip in the middle. 5578 of a small valley. There is a cane field on one side, 5579 the green stalks are give or six feet high. 5580 Tony, Jorge, Roberto and Pepe get out of the car. 5581 Roberto opens the back door and, to Fararon. 5582 5583 <b> ROBERTO 5584 </b> Come on! Do- you want to --- 5585 5586 <b> ANOTHER ANGLE 5587 </b> Roberto has broken off as he looks at-Fararon. We 5588 realize that sometime during the chase the Pharoah 5589 has taken a bullet in the chest. Se's dying, and pink 5590 bubbles of blood fora and break on his lips as he 5591 stiizggles for breath. 5592 5593 <b> ROBERTO 5594 </b> I'm sorry, old friend. 5595 Tony crosses and gets back into the car to help 5596 Fararon. 5597 5598 <b> ROBERTO 5599 </b> I'm afraid he's finished. 5600 At this point we hear: 5601 5602 <b> JORGE'S VOICE 5603 </b> Here they come: 5604 5605 <b> ANOTHER ANGLE 5606 </b> as Jorge, Pepe and Roberto run to the center of the 5607 airstrip, looking upward. We can hear the sound of 5608 an approaching aircraft. 5609 5610 <b> ON MOSERTO 5611 </b> as he points a flashlight at the sky and signals a 5612 short and a long, the letter Alpha. 5613 AlNCTRER A0IGL.E - I:IC=1r--NG `"HE OC-6 5614 The aircraft is now visible. ?rcm the Pilot's coc pit 5615 we see the answering signal , a long and th--ee shorts, 5616 the letter Bravo. 5617 5618 5619 5620 5621 5622 5623 5624 5625 5626 <b> I 5627 </b> 5628 <b> 9Q. 5629 </b> 5630 <b> PULL SECT - THE DC-6 5631 </b> as it swings in on the final approach and starts to 5632 settle in for a landing. 5633 5634 <b> CUT, TO: 5635 </b> 5636 <b> EXT. COUNTRY ROAD - NIGHT 5637 </b> 5638 A couple of jeep loads of Soldiers turn down the 5639 same side road that we saw Police Car 22 take a few 5640 minutes earlier. As the jeep loads of Soldiers pass 5641 through the gate on which are the words, "Finca 5642 Quebrada", we --- 5643 Ct?T' TO: 5644 5645 <b> EXT. THE A2RFT L - NIGHT 5646 </b> 5647 The DC-6 lands and swings around, taxing bark. over 5648 the rough ground. 5649 5650 <b> CLOSE - TONY 5651 </b> He senses something wrong, and pausing by the edge 5652 of the airfield, calls to the at-tars. 5653 5654 <b> 0 5655 </b> 5656 <b> TONY 5657 </b> Wait a minute. 5658 5659 <b> ON ROBERTO, PMPE AND JORGE 5660 </b> as they run for the plane. 5661 5662 <b> ANOTHER ANGLE - ON THE PLANE 5663 </b> as the plane swings around again and the door opens. 5664 We reveal E'rankie Rizzi in the doorway. 5665 5666 <b> CLOSE ON RRANRI" 5667 </b> as he looks out. 5668 5669 <b> ON ROBERTO, P E AND J ORGE 5670 </b> as they ran toward. the plane. 5671 5672 5673 5674 5675 5676 5677 5678 5679 5680 <b> K 5681 </b> 5682 <b> 91- 5683 </b> £Xfi. RIM OF THE ETT.r. 5684 as the two jeeps come up to the rim of the hill. One 5685 jeep turns a powerful spotlight onto the airfield. 5686 The A.IRPT T-fl - NIGHT' 5687 as the spotlight catches Roberto, Pepe and Jorge in 5688 its beam. 5689 5690 <b> ON THE SOLDIERS 5691 </b> as they fire. 5692 5693 <b> ON ROBERTO, PEPE AND JORGE 5694 </b> as they are chopped down, one after the other. 5695 5696 <b> OK TONY 5697 </b> as he turns and fires at the jeep loads of Soldiers 5698 with his automatic rifle. 5699 5700 <b> ANQTEER ANGLE - THE SOLDIERS 5701 </b> as Tony's fire shatters the spotlight. Some Soldiers 5702 fall, others fire at the DC-6. 5703 5704 <b> THE DC-6 5705 </b> as it starts to pick up speed, trundling over the. 5706 rough ground. 5707 5708 <b> ON TONY 5709 </b> as he runs for the plane. 5710 ON ?RAl?1Z 5711 as he sees Tony. 5712 A,NoTr.. ER ANGLZ 5713 As Tony :'ims up -o the m lane , =rarekie reaches down, 5714 drags him up and in. Bu-1-let hales are apvearing 5715 the fuselage of the plane. 5716 5717 5718 5719 5720 5721 5722 5723 5724 5725 <b> 92. 5726 </b> 5727 <b> ON THE SOL4IMRS 5728 </b> as they fire. 5729 5730 <b> ON TIM DC-6 5731 </b> as it rises into the air and banks off to the Nor t. % --- 5732 5733 <b> CUT TO: 5734 </b> 5735 <b> E,XT'. VZDAL' S PRES=ZNTIAL PALA - DAY 5736 </b> Armando Vidal, his face a harsh mask, stands in the 5737 shattered doorway of the Presidential palace looking 5738 off toward-the central Square.. 5739 5740 <b> VIRAL 5741 </b> The cetinter-revolution has failed. 5742 The. people once more did not -rise 5743 up as expected. 5744 5745 <b> VIRAL' S POV (THE SQUARE AN TAZLHCUSE) - DAY 5746 </b> In the. battle-torn square, outside the jailhouse, we 5747 see an angry croard of Rioters care ing the dead and 5748 bloody body of Roberto Barcenas. 5749 5750 <b> VIRAL 5751 </b> 5752 <b> (COMING OVER) 5753 </b> And once more the rich are bewilder- 5754 ed by the fact that the poor are un- 5755 I willing to die for them. 5756 Somebody produces a rope, somebody else throws a loop 5757 around his feet and Roberto is hoisted upside-down to 5758 the top of an ornate old lam post. 5759 5760 <b> NLMADT' S VOSCZ. 5761 </b> And while E1 Presidente was speak- 5762 ing, in understandable bitterness, 5763 crowds in the Capitol were running 5764 rampant, stringing up the bodies of 5765 the leaders of the failed coup d'etat. 5766 5767 <b> QIM CROWZ 5768 </b> 5769 <b> T 5770 </b> as the people cheer. Somebody produces an American 5771 flag and sets it afire. it buns In the street. lids 5772 kick at it, 5L it on it. 5773 5774 <b> " 5775 </b> 5776 <b> ,GCN'?'. .ZD?D ) 5777 </b> 5778 <b> ' 5779 </b> 5780 5781 5782 5783 5784 5785 5786 5787 5788 <b> 93. 5789 </b> 5790 <b> CONTIN= : 5791 </b> 5792 <b> NEWSMAN'S VOICE 5793 </b> They burned American flags and 5794 threatened the safety of the Amer- 5795 5796 <b> ICAN DELEGATION 5797 </b> 5798 <b> EXT. AIRFIELD - DAY 5799 </b> 5800 Uniformed Soldiers with fixed bayonets are guarding 5801 the airfield. Crowds are gathered outside the gates. 5802 5803 <b> ANOTHER ANGLE 5804 </b> as limousines 4ith soldiers on the ;enders and roofs 5805 come inching through the fist-waving, threatening mob. 5806 As the gates are opened, Soldiers with bayoneted 5807 rifles force the crowds back so that the cars can get 5808 through, 5809 5810 <b> NEWSMA2X' S VOICZ 5811 </b> -- who were taken to the airfield 5812 under military escort. 5813 We see the limousines stop by a waiting transport 5814 5815 <b> I 5816 </b> plane, and -- with the guns of the Soldiers holding 5817 off the angry mob -- the American Delegation to Vidal's 5818 celebration hurries into the big airliner.. 5819 5820 <b> CLOSER 5821 </b> In the American group we see Elizabeth Ann Dunne; the 5822 Senators McKissick and Barthalemew; Assistant Secretary 5823 Lucas; Speaker of the House, Cari.ock; and Stu Palmateer, 5824 looking cooler than he could possibly feel.- Over this 5825 5826 <b> WE HEAR: 5827 </b> 5828 <b> NEWSMAN' S VOICE 5829 </b> 5830 <b> (CONTINUING) 5831 </b> Soldiers with bayonets were forced 5832 to fight off the angry mob which 5833 clearly blamed the United States 5834 for the abortive coup. 5835 5836 <b> CUT TO: 5837 </b> 5838 <b> !XT. THE STATED PART!-= -- DA ; 5839 </b> As Are r? z?de::.ias comes out of the State Department 5840 and crosses to his car, he is surrounded by Newsmen. 5841 5842 5843 5844 5845 5846 5847 5848 5849 5850 <b> I 5851 </b> 5852 <b> 94. 5853 </b> 5854 <b> CON'' I?7IIED 5855 </b> 5856 <b> NEWSMAN 'S VOICE 5857 </b> Meanwhile in the Nation's Capitol, 5858 Arne Grvndellius, the Secretary of 5859 State, was beseiged by Newsmen as 5860 he left the State Depa.tent after 5861 an all-night session. 5862 CLOSER - ON GRt'YDELL tD S 5863 as the Newsmen are thrusting microphones into his face, 5864 asking questions. 5865 5866 <b> FI3ST NEWSMAN 5867 </b> Mister Secretary! Mister Secretary! 5868 Can we get a statement? 5869 Grnndelli.us stops. 5870 GRIINDE,tLZUS 5871 We will make an official statement 5872 tomorrow. 5873 NEWS ii TOGETRER 5874 What about Vidal's accusations -- 5875 Have you Xosygia's statement? will 5876 you speak to the United lations? 5877 Was Doctor Barcenas an 1nerican 5878 agent? 5879 5880 <b> GR=EZS.ZC S 5881 </b> P One at a time. One at a time. 5882 5883 <b> 2ND NEWSMA, 5884 </b> According to world opinion, the 5885 CIA was behind this. 5886 5887 <b> - GRONDELL."II5 5888 </b> Gentlemen: Gentlemen: I am late 5889 for a meeting at the White House 5890 i but we catagorically deny these 5891 allegations. The United States 5892 Government does not use assassin- 5893 ation as an iastrent of foreign 5894 policy. 5895 5896 <b> ANOTHSR ANGLI 5897 </b> AS G-=de? ii us starts to move throuch --he crowd of 5898 3eoorters, 5899 (CCNT_-6 _qT ' 5900 5901 <b> 0 5902 </b> 5903 5904 5905 5906 5907 5908 5909 5910 5911 <b> 95. 5912 </b> 5913 <b> CONTMED : 5914 </b> 5915 <b> 3RD NEWSMAN 5916 </b> What about the rumors' that the under- 5917 world was involved in this? 5918 5919 <b> GRDNDELLIIIS 5920 </b> If the underworld was behind it 5921 and I don't rule out the possibility 5922 at all -- that fact will be brought 5923 to light in open hearings before a- 5924 special committee of Congress. It's 5925 in the works right this minute, and 5926 subpoenas will be coming out by the 5927 weekend. 5928 5929 <b> INT. ELIZABETH'S AP T - DAY 5930 </b> 5931 Tony, dressed as last we saw him at the airfield, is 5932 in Elizabeth's apartment watching the news on. her liv- 5933 ing room television set. 5934 5935 <b> NEWSCASTER ° S. VOICE 5936 </b> And now for further reactions to 5937 today's developments, we take you 5938 to the United Nations where Sander 5939 5940 <b> VANOCUZ -- 5941 </b> Tony has turned off the television set with a remote 5942 control switch, having heard the. sound of a key in 5943 the front door. He rises and turns as Elizabeth enters 5944 carrying a paper bag. 5945 5946 <b> TONY 5947 </b> Listen, I -- 5948 He breaks off as Elizabeth's face goes pale with shock 5949 and she drops the bag on the floor. A couple of oranges 5950 roll across the rug as: 5951 5952 <b> TONY 5953 </b> I'm sorry, I had to talk to you 5954 She looks at him her expression almost readable as anger; 5955 5956 <b> ELIZABETH 5957 </b> You're listed as missing. It's on 5958 the wire. 5959 5960 <b> I 5961 </b> 5962 <b> TONY. 5963 </b> Well, much as I.hate to disappoint 5964 everybody. 5965 5966 <b> (CONTINCRM ) 5967 </b> 5968 5969 5970 5971 5972 5973 5974 5975 5976 <b> I 5977 </b> 5978 <b> 96. 5979 </b> 5980 <b> CONT=M= : 5981 </b> Suddenly Elizabeth drops to her knees and starts 5982 crawling around on the floor, blindly searching for 5983 the oranges. 5984 5985 <b> - ON TONY 5986 </b> as he locks at her for a puzzled moment, then drops 5987 to his own knees and taking her by the shoulders, 5988 straightens her. Tears are pouring down her cheeks. 5989 5990 <b> TONY 5991 </b> Bey, wait a minute 5992 He kisses her. 5993 5994 <b> TONY 5995 </b> What's all. this crying shit? 5996 She smiles, sniffles, blinks the tears out of her eyes, 5997 5998 <b> THEN: 5999 </b> 6000 <b> ELZZ.A$ETE 6001 </b> You want an egg sandwich? 6002 6003 <b> CUT TO 6004 </b> 6005 <b> INT. ELIZABETE' S EITCHEY - NIGHT 6006 </b> 6007 Tony and Elizabeth are in. the kitchen having sandwiches 6008 and coffee as the kitchen wallphone rings. Elizabeth 6009 gets up and answers it. 6010 6011 <b> ELI ZABETH 6012 </b> Hello? 6013 NT. MoREHCIISE's O TI Y (LA.vGLEY) - NI zHT 6014 6015 <b> 1 6016 </b> Stu Palmateer is at the desk. Morehouse is with him, 6017 reading some reports. 6018 6019 <b> PAIMATE' R 6020 </b> This is Captain Pa.TLrnateer. I got 6021 a message to call this number. 6022 6023 <b> ON ELIZABETH 6024 </b> as she speaks into the phane 6025 6026 <b> LI2ABE:'H 6027 </b> Yes. Hold on for a minuts, will 6028 you. 6029 + ( ( ( to Tony??yy 6030 Is your call. 6031 6032 <b> (CCNT E0 ) 6033 </b> 6034 6035 6036 6037 6038 6039 6040 6041 6042 <b> 97. 6043 </b> 6044 <b> CCNTINCTED 6045 </b> Tony crosses over and takes the phone. 6046 6047 <b> TONY 6048 </b> Stu? 6049 6050 <b> PATWMATEER 6051 </b> Are you all right? 6052 6053 <b> TONY 6054 </b> Considering. 6055 6056 <b> (THEN) 6057 </b> Some friends of mine flew me up 6058 to Maryland this morning. I thought 6059 maybe I'd better not go directly 6060 home. 6061 6062 <b> PALMATEER 6063 </b> Good. 6064 6065 <b> TONY 6066 </b> How are you? 6067 6068 <b> PAL?`SATEYR 6069 </b> Ten kinds of blue hell are breaking 6070 loose out here. Are you all right 6071 at that number till tomorrow? 6072 6073 <b> TONY 6074 </b> Fes. 6075 6076 <b> PAL.MATEER 6077 </b> Then I' 11 get back to you. 6078 Click, as Palmateer hangs up. Tony t•.irns to Elizabeth. 6079 6080 <b> TONY 6081 </b> I hope you don't mind a house guest. 6082 6083 <b> 0 CU TO: 6084 </b> 6085 <b> I INT. AN AUDITQRIGM (NEST ORLEANS) - NIGH 6086 </b> 6087 We are an a cheering audience of Longshoremen. 6088 ANOi= AN= 1:,i.iii S2EA2=' S ?LA -'- Qi M 6089 Danny'DeVito is holding up his hands to the crowd. 6090 Behind him., red, white and blue bunti.^g. ?oste.zs 6091 reading: 1 OTT YOR i=TO -- Gi V' Tom: CYZON . ACX 6092 To : E VMSBERSHZP" . 6093 6094 6095 6096 6097 6098 6099 6100 6101 6102 <b> 98. 6103 </b> 6104 <b> EXT. AUDITORIIIM -- NIGH':' 6105 </b> 6106 As Danny DeVito comes out of the stage door of the 6107 auditorium, Ralph Augusta comes up to him. 6108 6109 <b> AUGUSTO 6110 </b> Sam wants to see you. 6111 6112 <b> DEVITO 6113 </b> I'= at the Pcnchartrain. 6114 Ralph takes Danny by the arm and moves him toward a 6115 chauffeured limousine waiting at the curb. As he does 6116 6117 <b> SO : 6118 </b> 6119 <b> AUGUSTO 6120 </b> Now. Tonight. He's got an idea 6121 how to get everybody off the hook. 6122 As.Augusto opens the door and ushers Danny into the 6123 back seat of the car, we ---- 6124 6125 <b> CUT TO: 6126 </b> 6127 <b> MCT. BOURBON STREET MEW ORLEANS) - NIGHT 6128 </b> 0 As the limousine moves dawn Bourbon Street with its 6129 hockey tonks and jazz joints. 6130 6131 <b> INT. THE LZIMOUS INE - NIGHT 6132 </b> 6133 As they drive down Bourbon Street, Augusta leans for- 6134 6135 <b> I 6136 </b> ward to the Chauffeur. 6137 6138 <b> AUGUSTO 6139 </b> We'll go in the back way. 6140 6141 <b> CHAUFF EM 6142 </b> I Yes Sir. 6143 The Chauffeur turns down a side street and up an alley. 6144 6145 <b> E=. TEE ALLET -- NIGHT 6146 </b> A truck is blocking the alley. A big, cheerful-Looking 6147 Laborer with a ;knit cap on his head, is sitting on a 6148 big barrel by th rear of t h t= ck. 6149 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 6150 inside a nearby cltth we hear a Jazz t=,=zet on a long 6151 ride. 6152 6153 6154 6155 6156 6157 6158 6159 6160 6161 <b> ??T 6162 </b> 6163 <b> 99. 6164 </b> MT. THE LnKOII&INE 6165 as Augusta leans forward. 6166 6167 <b> AUGIISTO 6168 </b> Give him the horn. 6169 The Chauffeur honks the horn. The Laborer grins over 6170 at the limousine, gestures, palms up. 6171 6172 <b> AUGUSTO 6173 </b> So we walk. It's not far. 6174 6175 <b> ANOTHER ANGLE 6176 </b> as Augusta, Danny Devito and the Chauffeur move up 6177 toward the rear of the truck, the Laborer jumps down 6178 off the big barrel he's been sitting on. 6179 6180 <b> LABORER 6181 </b> Hello Danny. 6182 At this point the Chauffeur wheels and grabs Devito 6183 in an arm lock, with one gloved hand clamped over his 6184 mouth. 6185 6186 <b> ON ABGUSTO 6187 </b> as a knife suddenly glitters in his hand and he plunges 6188 it into Devito. Danny is kic-ting and st-aggling. 6189 6190 <b> ACWSTO 6191 </b> Hold the cocksucker still.. 6192 As Augusta plunges the knife into Danny again and 6193 again and again. 6194 AN WAVZ"11 r?Nf:I.E 6195 The Laborer has taken the lid of, the barrel. Danny 6196 sinks to the pavement, convulses and dies. 6197 6198 <b> ANCTEER ANGLE 6199 </b> as the three men pick up Devito`s body, stuff him 6200 into the barrel, then hoist the barrel into the back 6201 of the truck. 6202 The jazz tr ttpet is sti l playing, as we -- 6203 6204 <b> CTT IRA 6205 </b> 6206 6207 6208 6209 6210 6211 6212 6213 6214 <b> K 6215 </b> 6216 <b> 100. 6217 </b> 6218 <b> =NT. ELIZABETH'S BEDROOM - DAY 6219 </b> It is the folloaring morning. Tony is in bed, asleep. 6220 Elizabeth enters, turns on the bedroom TV set and 6221 these crosses and shakes Tony. Tony comes awake fast. 6222 6223 <b> TONY 6224 </b> Wha_ is it? 6225 6226 <b> ELIZABETH 6227 </b> Your friend, DeVito --- 6228 The TV` set has warmed up and now the Newscaster's voice 6229 comes over the pict'..ire of a middle-class house in 6230 Bayonne, New Jersey. 6231 6232 <b> NEWS CASTER 6233 </b> There have been no ransom demands 6234 and the Devito family -- although 6235 concerned -- are not yet alarmed. 6236 6237 <b> (THEN) 6238 </b> Police have stationed a guard on 6239 the ex-union Leader's Bayonne, New 6240 Jersey home were his 'rife and groom 6241 daughter are in seclusion. Informed 6242 sources fear an eruption of mob 6243 violence if the popular Labor Leader 6244 has met with foul play. 6245 6246 <b> I 6247 </b> 6248 <b> ANOTHER ANGLE 6249 </b> As the Television Newscaster switches to another item, 6250 we see a burning house, fire engines, so on. 6251 6252 <b> NEWSCASTER 6253 </b> Long Beach, New York. In a possibly 6254 related incident, the home of re- 6255 puted Syndicate figure Santsno 6256 Corleone was firebombed early this 6257 morning. Corleone, thirty-five, is 6258 in guarded condition at Saint 6259 Catherine's hospital with first 6260 } degree burns over two thirds of his --- 6261 Tony is out of bed. Be has switched off the TV set 6262 and crossed to the phone. 6263 6264 <b> TONY 6265 </b> Long distance =;fc_aa,ion, please. 6266 h T e number of the Ve?as ?alms --- 6267 6268 <b> C , D TO: 6269 </b> 6270 6271 6272 6273 6274 6275 6276 6277 6278 <b> ??3 6279 </b> 6280 <b> EXT. LAS VEGAS AIRPORT - MIGHT 6281 </b> 6282 It is early evening of the same day. 6283 6284 <b> INT. LAS VEGAS AIRPORT - VIGET 6285 </b> 6286 as Tony comes out into the central area of the Vegas 6287 Airport. He pauses, looks around. 6288 6289 <b> ANOTHER ANGLE 6290 </b> as Rocco Lampcne crosses up to him. 6291 6292 <b> ?? LAMPONE 6293 </b> Let's go. 6294 6295 <b> ANOTEER AUG= 6296 </b> as Tony follows Lampone. 6297 6298 <b> EXT. LAS VEGAS AIRPORT - NIGHT 6299 </b> 6300 as a big car driven by a Button an named Fritz pu.Us 6301 up. Rocco opens the door to the backseat, gestures 6302 Tony in. As Tony gets in --- 6303 6304 <b> ON ROCCO 6305 </b> I He looks around. There is a car full of Button Men 6306 in front of them. Another car full of button men 6307 behind. Rocco nods. Gets a nod back >rom each driver. 6308 6309 <b> INT. CAR - D1=GET 6310 </b> 6311 As Tony gets into the backseat, we see that Tom Hagen 6312 is there. Rocco Lampone now gets into the front seat 6313 alongside the driver, Fritz. 6314 6315 <b> A L MP ORE. 6316 </b> Tony, this is Fritz. 6317 6318 <b> (THEN) 6319 </b> Let's move. 6320 6321 <b> ?NOT= AIGI2 6322 </b> as the cars drive out om! the ai Ci .. a 1 e, 2Eagef' S 6323 car in the middle. 6324 6325 6326 6327 6328 6329 6330 6331 6332 6333 <b> I 6334 </b> 6335 <b> 102. 6336 </b> 6337 <b> INT. HAGEN `S CAR 6338 </b> 6339 as Hagen turns to. Tony. 6340 6341 <b> - SAGR'??1 6342 </b> Danny's dead. They found him in 6343 a barrel at the mouth of the 6344 Mississippi. 6345 6346 <b> TONY 6347 </b> Maatrocina? 6348 6349 <b> HAGEN 6350 </b> 6351 <b> (NODS } 6352 </b> It's going to be bad for a while, 6353 that`s wby I wanted you out here. 6354 It's time you-Jesus Christ Fritz 6355 This last as another car swings out of a side street 6356 and a Hood leans out of the rear window with a t•.reLve 6357 gauge p=p gun, and blasts at Fritz. 6358 6359 <b> ON RAG-EN'S CAR 6360 </b> as a blast of heavy shot takes out the windshield 6361 and blows most of Fritz's head away. 6362 ' : NT. SAGrzN ' S CAR 6363 As a fountain of blood gushes up from the stalk of 6364 Fritz's neck and Hagen's car starts to swerve into 6365 the curbing, the Gunman in the other car sends two 6366 more blasts of deer--load into Hagen's car. 6367 6368 <b> ANOTHER ANGLE 6369 </b> as the Corleone Button Men in the following car blasts 6370 at the attackers, the Shotgun Man blasts away. 6371 6372 <b> I ANOTT ER ANG= 6373 </b> as Hagen is hit by half a dozen buckshot and he flaps 6374 over dead, onto Tony. The caw hits and tolls. 6375 6376 <b> ANOTSER ANGLE 6377 </b> The Hagen car comes to a s tor on its wheels again. 6378 The Corleone Butt-an Men it the fol icwinc ca= -snt? 6379 cut, run up. 6380 6381 <b> 0 6382 </b> 6383 6384 6385 6386 6387 6388 6389 6390 6391 <b> I 6392 </b> 6393 <b> 103. 6394 </b> 6395 <b> CLOSER 6396 </b> As Rocco Lampone comes out of the wreckage, the Button 6397 men are pulling Tony -- who is unconscious -- out. 6398 Lampone looks at Fritz and Hagen. 6399 6400 <b> LONE 6401 </b> Not a goddamned thug you can do 6402 for them. Let's get out of here. 6403 6404 <b> ANOTBER ANGLE : 6405 </b> As The Corleone Men carry Tony to the other ca= and 6406 get him inside, people are starting to gather. 6407 6408 <b> LAMPONE 6409 </b> It's all right. It's all right. 6410 Gangway. We're getting him to 6411 the hospital! Man's hurt here! 6412 Clear the road:. 6413 As the Bystanders move back, the Corleone car burns 6414 rubber and digs out 6415 6416 <b> CQT TO: 6417 </b> MT. BEDROOM (CORLEONE COMPOIINf, TAHOE) - NIGTT 6418 Camera is subjective, the screen is pitch black with 6419 a single red-orange dot moving erratically in the 6420 center. It is the coal of a cigarette as someone 6421 takes a last puff, tamps it out, then scratches a 6422 match and. lights another. 6423 In the flare of the match we see a Nurse's bulldog 6424 face. 6425 6426 <b> ANOTHER ANGLE - INCLC1 ING TONY 6427 </b> He wears a bandage around his head like a burban. Be 6428 is looking at the Nurse in the flicker of the match 6429 flame. 6430 6431 <b> TONY 6432 </b> Who are you? 6433 6434 <b> XURSE 6435 </b> OY., gc?od, you're awake. 6436 6437 <b> TC Y 6438 </b> Wait a minute. 6439 6440 <b> S 6441 </b> t CfJI3'?'LD } 6442 6443 6444 6445 6446 6447 6448 6449 6450 6451 <b> A 6452 </b> 6453 <b> 104. 6454 </b> 6455 <b> CONTD DZD : 6456 </b> 6457 <b> NU'RSZ 6458 </b> I'll be right back. 6459 The nurse has risen. She switches on a lamp and 6460 exits. 6461 ANOThR ANGLE (MIRROR SHOT) 6462 We are angled into a mirror over a chest of drawers, 6463 holding on Tony as he sits up in bed, then gingerly 6464 gets to his feet. He is wearing silk pajamas. Now 6465 he crosses to the mirror and checks himself out. 6466 Aside from the bandage he seems to be in one -piece. 6467 Now, in the mirror we see the door open and silhou- 6468 etted in the doorway, the figure of Michael. Tony 6469 turns. 6470 ANOTffER ANGL - 6471 as Tony and Michael look at one another for. a long 6472 moment. 6473 6474 <b> HICEAEL 6475 </b> How are you feeling? 6476 6477 <b> S TONY 6478 </b> What am I doing here? 6479 As Michael comes into the room and closes the door: 6480 6481 <b> HICEAEL 6482 </b> I had Rocco bring you. 6483 6484 <b> (THEN) 6485 </b> How's the head? A little -pain? 6486 6487 <b> TONY 6488 </b> A little. 6489 6490 <b> MICHAEL 6491 </b> The Doctor says it's nothing.to 6492 bother you, but I've always found 6493 it's easier to be brave about some- 6494 body else's headache. 6495 6496 <b> TONY 6497 </b> Did he say how soon T could leave? 6498 6499 <b> MIC'Z?? 6500 </b> Sit dcwn. Sim down.. 6501 6502 <b> S 6503 </b> 6504 6505 6506 6507 6508 6509 6510 6511 6512 <b> ANO'TEMR ANGLE 6513 </b> Tony doesn't sit down. 6514 6515 <b> TONY 6516 </b> r'd like to get out of here as soon 6517 as possible. 6518 6519 <b> MICHAEL 6520 </b> Let me ask you a question. Have 6521 you any idea where you stand? 6522 6523 <b> TONY 6524 </b> I'm not totally stupid. 6525 6526 <b> MICHAEL 6527 </b> I aC 't think you're stupid. I 6528 think you're smart. 3 t not smart 6529 enough. 6530 6531 <b> TONY 6532 </b> t'n willing to learn. 6533 6534 <b> MICHAEL 6535 </b> Good. 6536 6537 <b> (THEN) 6538 </b> You've let your enemies get too 6539 close to you. 6540 6541 <b> (THEN) 6542 </b> Those people who tried to kill you 6543 in Las Vegas, they were Maatrocina's 6544 people. 6545 6546 <b> TONY 6547 </b> Are 'you sure? 6548 Michael answers that question with a look: Of course 6549 in sure. 6550 6551 <b> MICHAZZ, 6552 </b> The question to ask is this: Who 6553 knew you were flying to Las Vegas?- 6554 6555 <b> TONY 6556 </b> The girl I was staying with and --- 6557 Tony breaks off: 6558 6559 <b> HICI=L 6560 </b> Someone f_ cm Langley? 6561 6562 <b> TONY 6563 </b> Before I left, I called a man named 6564 Stuart ?almateer. 6565 (CONY r ED) 6566 6567 6568 6569 6570 6571 6572 6573 6574 6575 <b> 106. 6576 </b> 6577 <b> CONTINOEA 6578 </b> 6579 <b> MICHAEL 6580 </b> I told Tom Hagen -- God rest his 6581 soul --- but I warned him. it was a. 6582 mistake -- that whole Vidal business. 6583 As the only contact between our people 6584 and the Government you had no protec- 6585 tion. You were naked. 6586 6587 <b> (THEN) 6588 </b> It they want to break the contact, 6589 they elimirate you and they're clean. 6590 As long as you're alive,. you're a 6591 threat -- do you understand? 6592 6593 <b> ANOTHER ANGLE 6594 </b> As Tony sits. He's not sure whether he likes or 6595 trusts or is ready to forgive his father, but he 6596 knows the sound of good sense when he hears it. 6597 6598 <b> MICHAEL 6599 </b> How long do you think the-Administra- 6600 tion would last if it were to come 6601 out that the President used the 6602 Corleone family to assassinate the 6603 head of a foreign state. 6604 6605 <b> 0 (THEN) 6606 </b> The question is rhetorical. 6607 6608 <b> ANOTHER ANGLE 6609 </b> Michael takes out a cigar and goes about the ceremony 6610 of lighting it. 6611 6612 <b> - MICHAEL 6613 </b> I'm not supposed to smoke these 6614 things, but it, isn't every day 6615 a man's son comes home. 6616 6617 <b> TONY 6618 </b> You were saying? 6619 6620 <b> XICHAEL 6621 </b> Every year- -- on February third -- 6622 I've sent you a check. Those ohecks 6623 were never cashed 6624 6625 <b> TCNY 6626 </b> Would you like to '.cacw why? 6627 6628 6629 6630 6631 6632 6633 6634 6635 6636 <b> 107. 6637 </b> 6638 <b> CONTINUED: 6639 </b> 6640 <b> MICHAEL 6641 </b> r've always know why -- and z res- 6642 pect your reasons. But, neverthe- 6643 less, I'm your lather and anything 6644 t have is yours - if it's money you 6645 want, my friendship, the benefit of 6646 my experience -- if you'll accept it. 6647 It's yours. 6648 6649 <b> TONY 6650 </b> I I need your advice. 6651 6652 <b> MICHAEL 6653 </b> (nods, then) 6654 There are two ways I see to handle 6655 this. First, I can make you dis- 6656 appear in. Sicily until everything 6657 blows over. Things change. Men get 6658 old and angers cool. In four or 6659 five years you could probably be 6660 safe to come home again.. 6661 6662 <b> TONY 6663 </b> What's the other way? 6664 6665 <b> 1 6666 </b> 6667 <b> MICE? 6668 </b> 0 The other way is a gamble that you 6669 could lose. 6670 6671 <b> (THEN) 6672 </b> And it would mean becoming a part 6673 of the family -- for a while anyway. 6674 Tony is just looking at Michael. 6675 6676 <b> MICHAEL 6677 </b> Think about it. Sleep on it. 6678 We'll talk again in the morning. 6679 6680 <b> I=. THE BOATHOUSE (CORLEONE COMPOUND) - DAE 6681 </b> Tony enters the glassed-in boathouse. Outside, cold 6682 white winter and the deep, blue Lake. With hi= is a 6683 Sezv'ant.. 6684 6685 <b> SERVANT 6686 </b> Your father will be out in a moment. 6687 6688 <b> (INDICATES) 6689 </b> There's coffee on the sideboard. 6690 Tony tads. The Ser-want exits. 'ror.?y crosses to the 6691 sideboard, pours a cup of coffee. As he t:uzmns with 6692 it, his eyes fall on a table in the corner on which 6693 (CCdN V E ) 6694 6695 6696 6697 6698 6699 6700 6701 6702 6703 <b> I 6704 </b> 6705 <b> 108. 6706 </b> 6707 <b> CONT??IUED : 6708 </b> are many Pictures, mostly in heavy silver frames. 6709 Some are studio portraits. Some are grainy blow-ups 6710 of snapshots. Tony crosses to the table of pictures. 6711 6712 <b> VERY CLOSE - THE PICTURES 6713 </b> As Tony looks, we are moving from picture to picture. 6714 The first is a wedding portrait taken on Connie's 6715 wedding day. Carlo is kissing the Bride. The God- 6716 father stands, proud and uncom.fortable in his tuxedo. 6717 Michael in his uniform. The twins, - all heavy eyebrows 6718 and baby fat. 6719 '"here is a picture of Sonny with his fists up and 6720 laughing as if about to hit someone. 6721 There is a photograph of the three brothers, Sonny, 6722 Michael and 'redo, their arms around each other, at 6723 an outing someplace. Sonny is in the middle of a 6724 big grin. Fredo looks shy and scared. Michael is 6725 staring straight ahead, a boyish smile on h 1s face 6726 although his eyes are cold. 6727 There is a picture of Michael and Ray at Tony's con- 6728 firmation. 6729 6730 <b> 0 6731 </b> There is a blown-up snapshot of the Godfather in his 6732 tomato garden in the backyard.. 6733 6734 <b> ON TONY 6735 </b> as he picks up the picture of the Godfather, remem- 6736 6737 <b> BERING --- 6738 </b> 6739 <b> DISSOLVE TO: 6740 </b> 6741 <b> A FLLASHBACE SEQUENCE - {FROM GODFATHER I) 6742 </b> The old Don is tending his tomato vines. With him 6743 is the little boy, Tony. aged three or four. They 6744 have the special rapport that sometimes exists be- 6745 tween the old and the very youzg. They play teasing 6746 games with paper fangs and the bug spray can, then 6747 suddenly, the old man's heart ;ailed him, and he falls 6748 i n to the tomato vines. After a moment the lit :le boy 6749 understands that the old man is no l anger playing a 6750 game, and he beomes frightened: 6751 6752 <b> CUT TO: 6753 </b> 6754 6755 6756 6757 6758 6759 6760 6761 6762 <b> L 6763 </b> 6764 <b> LOS. 6765 </b> INT. TifE BOATHOIISZ•- DAY 6766 We are on the door as Michael enters. He pauses for 6767 a moment, then: 6768 6769 <b> MICHAEL ' . 6770 </b> Do you remember your grandfather? 6771 6772 <b> ANOTHER ANC 6773 </b> as Tony turns from the table full of pictures with his 6774 grandfather's framed portrait still in his hand. 6775 6776 <b> TONY 6777 </b> Yes.. 6778 As Tony puts down the picture, Michael comes up. 6779 6780 <b> 1SICEAEL 6781 </b> Do you remember him with admira- 6782 tion and respect? 6783 6784 <b> TONY 6785 </b> Z remember that I loved him. 6786 6787 <b> MILBAEL 6788 </b> 0 So did I. 6789 6790 <b> TONY 6791 </b> I've been thinking about these 6792 choices. 6793 Michael holds up his hand to delay the decision. 6794 6795 <b> 141C RAM 6796 </b> Talk with me for a moment. 6797 6798 <b> (THEN) 6799 </b> Let me learn something about my 6800 son.. What's Trident Scholar? 6801 6802 <b> TONY 6803 </b> It's a special honors program for 6804 First Classmen. 6805 6806 <b> MIC3AEL 6807 </b> You liked Annapolis? 6808 6809 <b> _ONY 6810 </b> Yes. 6811 6812 <b> AICZAEL 6813 </b> Enough to make a life in t e Navy? 6814 6815 <b> (CONT"-RLGCZD) 6816 </b> 6817 6818 6819 6820 6821 6822 6823 6824 6825 <b> ??I 6826 </b> 6827 <b> ILA 6828 </b> 6829 <b> CONTINUED 6830 </b> 6831 <b> TONY 6832 </b> No. Not that much. 6833 6834 <b> MICHAEL 6835 </b> 2 was surprised you didn't go to 6836 Dartmouth. 6837 6838 <b> TONY 6839 </b> I thought about it, but Kay wanted 6840 me to go to Annapolis and the price 6841 was right. 6842 6843 <b> MICHAEL 6844 </b> How's Hanover these days? 6845 6846 <b> TONY 6847 </b> About the same. 6848 6849 <b> MICHAEL 6850 </b> I always liked that town. That' S 6851 where Z met your mother -- when I 6852 was going to school up there. 6853 6854 <b> TONY 6855 </b> I know. 6856 6857 <b> 0 MICHAEL 6858 </b> I'd planned to live there, you know. 6859 Teach maybe -- or go into law. A. 6860 little office on Wheelock Street. 6861 Deeds and wills. I would have liked 6862 that. 6863 6864 <b> TONY 6865 </b> Why didn't you do it? 6866 6867 <b> MICHAEL 6868 </b> Because one day a Sicilian pimp 6869 and dope peddlar named Virgil 6870 Solla2 O tried to assassinate my 6871 father -- your grandfather -- and 6872 I had to do something about it. 6873 6874 <b> (THEN) 6875 </b> It was a mistake. S took a road. 6876 The wrong road for me. It ended 6877 here. 6878 6879 <b> TONY 6880 </b> is this so bad? Sa 6881 don't know. it depends or. what 6882 you call terrib? e . You have to 6883 6884 <b> CCDN'TINV D) 6885 </b> 6886 6887 6888 6889 6890 6891 6892 6893 6894 <b> CONTINUED: 6895 </b> MICHAEL (cant 'd) 6896 live a certain way --- a cold way - 6897 or you won't live long. 6898 6899 <b> (THEN) 6900 </b> Do you remember your uncle credo? 6901 6902 <b> TONY 6903 </b> 6904 <b> (SMILES) 6905 </b> ?redo, the fisherman. Yes. I'll 6906 always remember, he had a secret 6907 way to catch fish. 'He taught me. 6908 You say a Hail. Mary' before you 6909 put the line down. It never fails. 6910 6911 <b> MICHAEL 6912 </b> You know what happened to ?'redo? 6913 6914 <b> TONY 6915 </b> He died didn't he? 6916 6917 <b> MIS 6918 </b> I had him killed. My own brother. 6919 It was something r had to do -- or 6920 felt I had to. 6921 6922 <b> TONY 6923 </b> Why? 6924 6925 <b> MICHAEL 6926 </b> He went against the family. So I 6927 waited until our mother died and 6928 then I -- 6929 (breaks off , 6930 6931 <b> THEN) 6932 </b> Not too many people are fitted for 6933 this kind of a life. I've had to 6934 do mazy hard things, but sending 6935 you and your sister away -- that 6936 was the hardest. 6937 6938 <b> ANOTHER ANGLE 6939 </b> There is a beat. To= and his father look at each 6940 other and for a moment we feel that Tony is going 6941 to cross to his father, then the moment passes: 6942 6943 <b> MYC""L 6944 </b> And now, that I've said t~ at, I'd 6945 like to hear your decision. 6946 6947 <b> ' :CN'Y 6948 </b> I don't th.iL k I'd ? ike Sicil v 6949 6950 <b> (CON'R 1MED ) 6951 </b> 6952 6953 6954 6955 6956 6957 6958 6959 6960 <b> 112. 6961 </b> 6962 <b> CONTINOED: 6963 </b> 6964 <b> MICHAEL 6965 </b> Good. 6966 6967 <b> (THEN) 6968 </b> Come sit with me. Time is short 6969 and I have a lot to tell you. 6970 6971 <b> CUT TO: 6972 </b> t N T. CIA BUILDING (LOBBY) - DAY 6973 As Tony, in civilian clothes, passes through the 6974 inner- checkpoint with his legitimate credentials. 6975 6976 <b> CUT TO: 6977 </b> 6978 <b> ZNT. MOREHOUSE'S OFFICE - DAY 6979 </b> Morehouse and Palmateer are in the office. Their atti- 6980 tudes are. less than cordial as Tony enters. 6981 6982 <b> MOREHOUSE 6983 </b> Come in Adams, sit down. I've 6984 called Stu in on this -- 6985 6986 <b> (GLANCES AT 6987 </b> 6988 <b> WATCH) 6989 </b> Though I'm afraid I can't give 6990 you much time. I've got a brief- 6991 ing with the Z-orty Committee at 6992 noon. 6993 6994 <b> TONY 6995 </b> what I have to say won't take long. 6996 6997 <b> (THEN) 6998 </b> And I think we 111 all be happier 6999 if it's not on tape. 7000 Morehouse pauses a moment then openens a drawer and 7001 switches ofd his tape machine. 7002 7003 <b> MOREHOUSE 7004 </b> Sow's your health? I understand 7005 you got a crack on the head? 7006 7007 <b> TONY 7008 </b> I'm fine now. 7009 7010 <b> MOREBOUSE 7011 </b> you were up at your father's place 7012 in Tahoe? 7013 T::at d s rig 7014 7015 <b> (CONTINUED) 7016 </b> 7017 7018 7019 7020 7021 7022 7023 7024 7025 <b> 113. 7026 </b> 7027 <b> CONTINUED : 7028 </b> 7029 <b> MOREHOUSE 7030 </b> Has he changed much? 7031 7032 <b> TONY 7033 </b> Not as much as I' d. expected. 7034 7035 <b> MO 2 CUSZ 7036 </b> I remember him very well -- from 7037 the Senate hearings on crime. Heat 7038 little man. Very polite, spoke in 7039 a soft, reasonable voice. He sat 7040 there with two million dollars worth 7041 of legal talent at his elbow and told 7042 the United States Government to go 7043 piss up a rope. 7044 7045 <b> (SMILES) 7046 </b> You had to admire the pretentious 7047 little bastard. 7048 7049 <b> TONY 7050 </b> We're wasting each other's time 7051 with this, Mister Morehouse. 7052 7053 <b> ' M OREHOUSE 7054 </b> All right, Son. This is your party. 7055 You've got five minutes. 7056 7057 <b> 0 (THEN) 7058 </b> But before we start, I'm not going 7059 to listen to a lot of recriminations 7060 about that cveration. Your people 7061 blew it, pure and sim le. It was 7062 totally mishandled. A mistake from 7063 beginning to end. 7064 7065 <b> TONY 7066 </b> The big mistake was that I'm still 7067 alive. 7068 7069 <b> `SOREROUSE 7070 </b> Come again? 7071 7072 <b> TONY 7073 </b> 11 you'd managed to get rid of me 7074 down there - or in Vegas -- you' d 7075 be all right. silt it's too Late 7076 now. You've lost your chance. 7077 7078 <b> HOREZOUSE 7079 </b> I don't know what the hell you're 7080 talking about. 7081 (C 0 di': I?It ) 7082 7083 7084 7085 7086 7087 7088 7089 7090 7091 <b> I 7092 </b> 7093 <b> .7 7094 </b> 7095 <b> 114. 7096 </b> 7097 <b> CONTINU 7098 </b> 7099 <b> TONY 7100 </b> If anything should happen to me -- 7101 anything at all -- you can find out. 7102 The full story will be all over the 7103 six o'clock news. 7104 7105 <b> MOREHCQSE 7106 </b> I'd like to hear your conception of 7107 the full story.. 7108 7109 <b> TONY 7110 </b> You were running a no-lose operation. 7111 if we succeeded, you were rid of 7112 Vidal. -- if we failed, the Corleone 7113 family was set up to take the blame. 7114 Your hands were clean. I was the 7115 only one who could dispute your 7116 story and I wasn't supposed to come 7117 back. I've found out that my res- 7118 ignation from the Navy was processed 7119 and accepted a full week before I 7120 went down here --- 7121 7122 <b> MOPEEOUSE 7123 </b> Stu? 7124 7125 <b> PALMATE= 7126 </b> Well, yes, Sir. His resignation did 7127 7128 <b> E 7129 </b> go through, but it was a snafu -- a 7130 Yeoman's mistake, that's all. 7131 7132 <b> MOREHOUSE 7133 </b> A clerical error. 7134 7135 <b> TONY 7136 </b> And I don't buy it. 7137 7138 <b> MOREBOUSE 7139 </b> don't give a shit if you buy it 7140 or not. And I'll tell you some- 7141 thing else, Mister Adams, or what- 7142 ever your fucking name is, I don't 7143 react favorably to blackmail. 7144 7145 <b> TONY 7146 </b> It's not blackmail. It's a simple 7147 statement of fact. If anything 7148 happens to me or if the Corleone 7149 Family is damaged iz these Senate 7150 Hearings, then the whistle blows 7151 and the whole zdmin .st_ation aces. 7152 7153 7154 7155 7156 7157 7158 7159 7160 7161 <b> 7 7162 </b> 7163 <b> (CONTINUED) ? 7164 </b> 7165 <b> MOREHOUSE 7166 </b> And what makes you think T. give a 7167 shit about what happens to the Admin- 7168 istration? 7169 Morehouse grins without humor. Tony's eyes flicker. 7170 Morehouse has told something that Tony needed to know. 7171 Morehouse is up and coming around the desk, as he 7172 continues. _ 7173 7174 <b> _14ORE8OVSE 7175 </b> Whatever I did was done under dix- 7176 ect orders from the President of 7177 the United States, and I. will. so 7178 testify in open hearing. if that 7179 upsets some of you= guinea gumbarrs 7180 in Nevada, then so be it. The days 7181 are over when your father and his 7182 like could corrupt and intimidate 7183 this Nation. 7184 7185 <b> TONY 7186 </b> No. You've taken over the job. 7187 7188 <b> MORE&OUSE 7189 </b> Your five minutes are up -- now get 7190 the hell out of here. 7191 As Tony turns and goes, Morehouse glares after him, 7192 the glint of victory in his eyes. 7193 7194 <b> CST TO: 7195 </b> 7196 <b> INT. SENATE BU=DING - FOYER - DAY 7197 </b> 7198 We axe outside the huge Senate Caucus room. The 7199 double doors are open and inside we can see the 7200 preparations for the Hearing. The Senators are 7201 taking their seats -- the Press is being given the 7202 Press hand-out (stamped: "Embargoed until Witness 7203 Testifies"). Technicians are carrying cables for 7204 the TV cameras and lights past Lawyers and Committee 7205 Staff Members. 7206 Planted In front of all this, speaking to a TV camera, 7207 is Elizabeth Ann Dunne. 7208 7209 <b> ELIZABETH 7210 </b> This is Elizabeth Ann Dunne coming 7211 to you from outside, the. Senate. Caucus 7212 Room where the Senate Select Co=i.--tee 7213 on Intelligence is meeting this morn-- 7214 ing ..,... 7215 7216 <b> (THEN) 7217 </b> Oh, Senator) 7218 (CaNTI_ TU?:D ) 7219 7220 7221 7222 7223 7224 7225 7226 7227 7228 <b> I 7229 </b> 7230 <b> I 7231 </b> 7232 <b> L16. 7233 </b> This last to the polished Senator Barthalemew of 7234 Pennsylvania who pauses in front of the camera. 7235 7236 <b> ELIZABET3 7237 </b> This is Senator Paul Barthalemew 7238 Of Pennsylvania who will chair the 7239 Committee. 7240 7241 <b> (THEN) 7242 </b> Can you tell us the specific purpose 7243 of this Committee, Senator? 7244 This Committee has been mandated 7245 to address two questiocis: One, did 7246 the United States Government -- or 7247 any of its officials --- authorize, 7248 instigate or in any way-abet a plot 7249 to assassinate the Head of a friendly 7250 foreign State, Armando Vidal. 7251 7252 <b> (THEN) 7253 </b> And Two, if not -- who did? 7254 7255 <b> ELZZA3ETFF 7256 </b> Thank you, Senator. 7257 7258 <b> 0 7259 </b> As Barthalazaew moves into the Caucus Room, shaking his 7260 head, we ---- 7261 7262 <b> CIIT TO: 7263 </b> ZNT. SE35MTw CAUCUS ROOM - DAY 7264 Barthalemew is. pounding his gavel for order. 7265 7266 <b> HARTHALE EW 7267 </b> Take your seats, please. Sergeant 7268 at Arms' Will. you see that every- 7269 an takes his seat? 7270 We pan over to the door as Tony enters and finds a 7271 seat. 7272 7273 <b> CUT TO: 7274 </b> 7275 <b> EXT. A WOODED AREA (PCMPTON LA=S, NNW SBRSEY) - DAY 7276 </b> 7277 Ralph •Augusto, bare to the waist, is half way up a 7278 hill, in a stand of trees, working with an ax. Se 7279 has stripped off his shirt and his coat. is shirt 7280 and his gun are placed aver a fallen t=ee, ten yards 7281 away. 7282 7283 7284 7285 7286 7287 7288 7289 7290 7291 <b> 117. 7292 </b> 7293 <b> ANCTHER ANGLE 7294 </b> as Prankie Rizzi and Rocco Lampone are coming up the 7295 hill toward Augusto. They pause: 7296 7297 <b> LAMPONE 7298 </b> Hey Ralph? 7299 Augusta torus. His eyes flicker to the gun, then 7300 back to Rocco and Frankie. He smiles warmly: 7301 7302 <b> AGSTO 7303 </b> Hey Rocky. Whaddya say? Waddya 7304 doin' up here? 7305 7306 <b> ? R A N = 7307 </b> We just came up to say goodbye, 7308 Ralph. 7309 7310 <b> L?JWONE 7311 </b> for Neri and DeVito. 7312 Frankie and Lampone have spoken almost simultaneously, 7313 and as they speak, their guns are out and blasting. 7314 ANCTHwR ANGLE - ON AaGt7STO 7315 7316 <b> 10 7317 </b> As the bullets thwack into his body. he jerks, but 7318 doesn't go down. His cold face twists in fury as 7319 he is moving down toward Tony, raising the ax. 7320 7321 <b> ON FRANI(TZ 7322 </b> as he stands his ground, blasting. Twice. 171A%ree 7323 times. Four times. 7324 7325 <b> ANOTBER ANGLE 7326 </b> as Augusta wavers, his face goes slack and he plunges 7327 into the ground at F'rankie' s feet. The ax has fallen 7328 from his hands. 7329 7330 <b> CUT TO: 7331 </b> IN'r . S MIATE CAUCUS ROOM - OAT 7332 ?Among the Senators an the Committee, we recognize 7333 Mc:tissick and mossib? y we w i-11. remember old Geary, 7334 from Nevada. Tonv is an interested spectator as 7335 3artha? amew,r quest ions the witness, Martin Davideau. 7336 7337 <b> 0 7338 </b> 7339 7340 7341 7342 7343 7344 7345 7346 7347 <b> I 7348 </b> CUNT t3ED 7349 7350 <b> 3ARTKALZ W 7351 </b> And.'what light can you throw on 7352 this matter, Mister Davideau? 7353 7354 <b> DAVIDEAII 7355 </b> S have. a memo here from the Director 7356 of the FBI to the Director of the CIA 7357 with copies to the Army, Air Force, 7358 Navy and State Department Intelligence 7359 Offices. It states that one of our 7360 informants -- well, I' l1 read it (ro 7361 7362 <b> ADS) 7363 </b> 'during. a recent conversation with 7364 several friends, underworld figure 7365 Sam Maatrocina, stated that there 7366 was going to be an attempt on Armando 7367 Vidal' s life and this attempt --- 7368 this hit, in the argot -- was to 7369 be carried out by another underworld 7370 7371 <b> FAMILY 7372 </b> 7373 <b> MC RISSICX 7374 </b> Did this informant identify the other 7375 underworld family? 7376 7377 <b> DAVIDEAU 7378 </b> 0 so Sir, he did not. 7379 7380 <b> MC KISSICX 7381 </b> Would you care to speculate, 7382 7383 <b> GEARY 7384 </b> Just a minute, Senator -- I whole- 7385 heartedly object to this Committee 7386 being used as a for,= for spec- 7387 ulation based on an anonymous report 7388 of an alleged conversation. Reput- 7389 tations. could be recklessly and i --e- 7390 grievably damaged. 7391 7392 <b> MC RISSICR 7393 </b> Very well, very well. We wouldn't 7394 want to damage any of the constituency 7395 of my esteemed Collegue from Nevada. -- 7396 7397 <b> GEARY 7398 </b> Many thanks to the distinguished Sv..nior 7399 Senator from our Wes tern Sister State 7400 of Utah. 7401 7402 <b> C7T TC : 7403 </b> 7404 7405 7406 7407 7408 7409 7410 7411 7412 <b> I 7413 </b> 7414 <b> 119. 7415 </b> n ?T. MAATROCINA' S OFFICE (NEW YORK CITY) - DAY _ 7416 Sam Maatrccina is seated in his office on the thirty- 7417 third,floor of an old downtown Manhattan office build- 7418 ing. The buzzer sounds. 7419 7420 <b> MAATROCINA 7421 </b> Yes? 7422 7423 <b> SECRETARY'S VOICE 7424 </b> A couple of gentlemen here from the 7425 Internal Revenue, Mister Maatrocina. 7426 7427 <b> MAATRCCIVA 7428 </b> 7429 <b> (SCOWLS) 7430 </b> The Internal Revenue!? 7431 7432 <b> SECRETARY 7433 </b> Yes sir. 7434 7435 <b> MAATROCINA 7436 </b> All right. Send 'em in. 7437 7438 <b> ANOTEER AN= 7439 </b> The door buzzes open and. two young,- rather conserva- 7440 tive looking Men, enter with briefcases. 7441 7442 <b> I FIRST MAN 7443 </b> Mister Maatrocina? 7444 Maatrocina is coming around the desk: 7445 7446 <b> MAATROCI:YA 7447 </b> What- is this? Some kind of a roust? 7448 7449 <b> FIRST MAN 7450 </b> It's about your income tax, Sir. 7451 7452 <b> MAATROCITA 7453 </b> My taxes are handled by the biggest 7454 firm of accountants in New York City. 7455 It costs me a hundred thousand doll- 7456 ars a year and you two assholes in 7457 cheap- suits are going to come in here 7458 7459 <b> AND 7460 </b> Sam Maatroci.na breaks off. The Second Young man has 7461 hit him an open-handed karate chop on the side of 7462 the neck. Now, before Maatroctna can speak or cry 7463 cut, the Aan has hit :taatrocina a seccad chop, shat- 7464 ter .ag his adams apple. 7465 7466 7467 7468 7469 7470 7471 7472 7473 7474 <b> I 7475 </b> 7476 <b> 120. 7477 </b> 7478 <b> ANOTHER ANGLE 7479 </b> As Maatrocina goes to his knees, his eyes goggling, 7480 the First Young Man has crosses to the window and 7481 opened it. 7482 Now he and the Second Young Man carry the wide-eyed 7483 New York Don to the window and throw him out. 7484 7485 <b> CUT T0: 7486 </b> 7487 <b> EXT. D0WNTG"N MAAJBATZAN STREET - DAY 7488 </b> 7489 as crowds are gathering around the body of Maatrocina 7490 on the sidewalk, the Two Men come out of the building, 7491 cross the street and go around the corner.. In the 7492 distance, sound of approaching sirens. 7493 7494 <b> EXT. TEE CORNER - DAY 7495 </b> 7496 as the Two Men come around the corner and get into a 7497 waiting car. Driving the car is Frankie Rizzi. As 7498 they drive off, we --- 7499 7500 <b> CDT TO: 7501 </b> 7502 <b> LYT. SENATE CAUCUS. ROOM - DAY 7503 </b> it is late afternoon. A Uitness, General Vanderhorst, 7504 the Director of the CIA, is at the table. Geary is 7505 quizzing him. 7506 7507 <b> GEARY 7508 </b> No. No. What I'm trying to get 7509 from you, General, is, as Director 7510 of the Central Zntelligence Agency, 7511 did you ever have any kind of order 7512 in writing authorizing you to assass- 7513 inate the head of a foreign state? 7514 7515 <b> VANDERHORST 7516 </b> No, Sir. Z did not. 7517 7518 <b> MC XISSICX 7519 </b> Well, come on now.. That's hardly 7520 the thing that would be put in 7521 writing, now is it? 7522 7523 <b> EXRY 7524 </b> Well what would it be put n 44 7525 aol writ=q? 7526 7527 7528 7529 7530 7531 7532 7533 7534 7535 <b> I 7536 </b> 7537 <b> 121. 7538 </b> 7539 <b> CONTIII= 7540 </b> 7541 <b> MC KISSICX 7542 </b> X suggest that it would be put into 7543 the same kind of phraseology that 7544 Henry used to his Barons when he 7545 said, 'Will, no one rid me of this 7546 turbulent priest?' He didn't tell 7547 them to go kill Thomas --z6 Beckett., 7548 but the final result of it was 7549 murder in the Cathedral --- 7550 7551 <b> GARY 7552 </b> What has Thomas 3.~ Beckett got to 7553 do. witii the subject at hand? --- 7554 7555 <b> CSC RISSICX 7556 </b> If the Distinguished Senator from 7557 Nevada will refrain from ---- 7558 Ba -halemew is beating with the gavel on his desk. 7559 7560 <b> BARTSALEMEW 7561 </b> Gentlemen: Gentlemen! 7562 7563 <b> CUT TO: 7564 </b> 7565 <b> EXT.. THE MALL - DAY 7566 </b> 7567 Tony is buying a hot dog at one of the dog-wagons on 7568 the Mall. as crosses and sits on a bench where Palmateer 7569 is sunning himself, looking at a newspaper. 7570 7571 <b> CLOSER 7572 </b> as Tony takes a bite of his hot dog. 7573 7574 <b> TONY 7575 </b> These are good. You ought to 7576 stave one. 7577 7578 <b> PALMATEER 7579 </b> I don't have a lot of time, Tony. 7580 7581 <b> TONY 7582 </b> First, I wanted to say that although 7583 I'm sure that I was set--um to be 7584 killed down there, I never thought 7585 you were mixed up in i t. 7586 7587 <b> PA M TEER 7588 </b> Pine. ' clad to hear that.Now, 7589 what was it that you wanted? 7590 (C©NT TC =rD ) 7591 7592 7593 7594 7595 7596 7597 7598 7599 7600 <b> I 7601 </b> 7602 <b> 122. 7603 </b> 7604 <b> CONTI': UED : 7605 </b> 7606 <b> TONY 7607 </b> Z hear that Morehouse is being called 7608 in by the CommI tree to testify. 7609 7610 <b> PALMATEER 7611 </b> So they tell me. 7612 7613 <b> TONY 7614 </b> Well if he does -- and. I'm telling 7615 you this as a friend --- he's going 7616 to bring the roof down on him self --- 7617 and you too. 7618 As Pa.lmateer puts the newspaper down, looks at Tony: 7619 7620 <b> TONY 7621 </b> That's definite, Stu. 7622 7623 <b> (THEN) 7624 </b> VIM sorry. 7625 7626 <b> CUT TO: 7627 </b> 7628 <b> ?.XT. A MARILAND ROAD (NEAR PATUXENT) - ?IIG3T 7629 </b> We pick up an automobile moving south along a road 7630 that edges Chesapeake Bay. 7631 is Q. 7632 7633 <b> INT. THE CAR - NIGHT 7634 </b> 7635 We see that Tom Morehouse is driving. We are angling 7636 through the front. windshield as he turns off into a 7637 marina parking lot. 7638 7639 <b> EXT. THE FLOATS - VIC T 7640 </b> 7641 as Morehouse comes out onto the float, then climbs 7642 aboard. a nice little yawl, apparently his own. 7643 7644 <b> CLOSER 7645 </b> as Morehouse goes to the cabin. The snap lock has 7646 been unlocked and the hatchway is open. There is a 7647 dim light in the cabin. 7648 7649 <b> (OREEOUSE 7650 </b> Stu? 7651 P Z;? yR 7652 Down here. 7653 7654 7655 7656 7657 7658 7659 7660 7661 7662 <b> 123.. 7663 </b> 7664 <b> 1 T. CAS= - NIGHT 7665 </b> as Morehouse comes down the four steps that lead into 7666 the cabin, then stops. 7667 7668 <b> ANOT R ANGLE 7669 </b> Palmateer and Rocco Lampone are waiting for him in the 7670 cabin. 7671 7672 <b> MOREEOUSE 7673 </b> What the hell is this? 7674 7675 <b> ANOT'E' ER ANGLE 7676 </b> as Rocco rises, drawing a twenty-two calibre pistol 7677 with silencer, and shoots Morehouse three times in 7678 the chest. 7679 As Morehouse goes down: 7680 7681 <b> LAMPONE 7682 </b> Is he dead? 7683 Palmateer kneels to check Morehouse. 7684 PAL.yATEER 7685 Yes. 7686 7687 <b> LAMPONE' 7688 </b> So are you. 7689 i Lampone had leaned down, put the gun to Palmateer's 7690 head and pulled the trigger. 7691 7692 <b> EXT. CHESAPEAXE SAY -- DAWN 7693 </b> 7694 A small Coast Guard patrol boat moves up Chesapeake 7695 Bay, flat calm reflecting a pearly pink sky. As Look- 7696 out on the flying bridge scans the bay ahead, then. 7697 i n to the sneaking tube. 7698 7699 <b> LOOKOUT 7700 </b> Bridge. 7701 7702 <b> I . W'SMIZZOUSE - DAWN 7703 </b> As the Officer o-6' the deck, a yo:;.ng C: a 3cs,.:' ., 7704 7705 <b> ANSWERS: 7706 </b> 7707 7708 7709 7710 7711 7712 7713 7714 7715 <b> _T 7716 </b> 7717 <b> 124. 7718 </b> 7719 <b> CONTINGED: 7720 </b> 7721 <b> BOSUN 7722 </b> Bridge aye. 7723 7724 <b> LOOKOUT'S VOICE 7725 </b> That yawl looks like it's adrift. 7726 7727 <b> ANOTHER ANGLE 7728 </b> As Morehouse's sailboat drifts in the calm, it's 7729 sails up and motionless, it's tiller untended. The 7730 patrol boat noses up: 7731 7732 <b> BOSUN 7733 </b> Ahoy, the yawl. You all right? - 7734 No answer. The Bosun jumps aboard. 7735 7736 <b> BOSUN 7737 </b> Hello? Avon Lady. if anybody 7738 down there's doing anything they 7739 shouldn't, now's the time to - 7740 Tae Bosun has looked down into the cabin. 3e breaks 7741 off and turns back to the Patrol boat. 7742 7743 <b> 0 BOSUN 7744 </b> Get on the horn to base. We got 7745 two bodies here. 7746 7747 <b> CUT TO: 7748 </b> k =. SFYLATE CAUCUS ROOM - DAY 7749 Arne Grundellius is at the witness table. 7750 7751 <b> GRUNDELLIUS 7752 </b> And in conclusion, I'd like to say 7753 that I believe these hearings have 7754 served a great, good purpose. in 7755 spite of the fears that the hear- 7756 ings would do hartto the fabric of 7757 democracy, our Nation's stronger to- 7758 day in the knowledge that we do not 7759 export revolution or use murder as 7760 an extension of diplomacy. 7761 7762 <b> ANOTHER ANG: 7763 </b> as Grmdelli.us fi.'2is:?es, Geary And one or wwo others 7764 rise, applatsd.i.r.g. 7765 7766 7767 7768 7769 7770 7771 7772 7773 7774 <b> 125. 7775 </b> 7776 <b> CONTIKTTED : 7777 </b> 7778 <b> GEARY 7779 </b> Hear. Hear. 7780 ANOTHER ANGLE - THE At7D IENCE 7781 Tony and Elizabeth are together. Elizabeth is applaud- 7782 ing Grundellius. Tony looks over at her. 7783 7784 <b> CUT TO: 7785 </b> 7786 <b> INT. THE LOBBY (SENATE BUILDING) = DAY 7787 </b> 7788 The meeting has broken up. Spectators, Legislators, 7789 News Sian and Womea,. Staff and Committee Members are 7790 leaving or standing in knots, gossiping. 7791 We pick up Elizabeth and Tony as they cross out, pausing 7792 to speak with Senator Geary and Grundellius who have 7793 stopped to chat. 7794 7795 <b> ELIZABETH 7796 </b> Mister Secretary, Senator Geary, I'd 7797 like to present Tony Adams. 7798 There are general greetings, and then, as they move 7799 S toward the doors. 7800 7801 <b> GEARY 7802 </b> I believe we have mutual friends 7803 in Nevada, Mister Adams. 7804 7805 <b> TONY 7806 </b> Yes Sir. I believe so. 7807 7808 <b> GEARY 7809 </b> If there's ever anything I can do 7810 you come see me. 7811 7812 <b> TCNY 7813 </b> I might just take you up on that, 7814 Senator. 7815 As they exit ---- 7816 7817 <b> CUT TO: 7818 </b><b> EXT. WASHINGTON D.C. STREET 7819 </b> It is sunset. Tony and Elizabeth are walking toward 7820 the capital building, outlined against a pink sky. 7821 As they walk toward J.-_ we begin to hear t .he Gcdwa ther 7822 7823 <b> THEME 7824 </b><b> SLOW DISSOLVE 7825 </b> 7826 7827 7828 7829 7830 7831 7832 7833 7834 <b> 126. 7835 </b> 7836 <b> EXT. CORLEONE COMPOUND - NIGHT 7837 </b> 7838 We pick up the headlights of a car coming up the 7839 long approach driveway toward us. It comes past 7840 the gate, past the kennels for the guard dogs, past 7841 the guest houses and finally up to the main house 7842 where it stops. 7843 The front door to the house opens and Michael stands 7844 silhouetted against the block of yellow light. Tony 7845 gets out of the car and comes up to him. They embrace 7846 briefly and move into the house together. 7847 As the door closes behind them, we start to move up 7848 and back. The sound of the single trumpet can still 7849 be heard, playing slowly and sadly, the notes faintly 7850 resonant as if echoing through the narrow streets of 7851 some old hill village in Sicily. 7852 We have pulled up and up and up c ntil everting is 7853 darkness, as we --- 7854 7855 <b> FADE OUT 7856 </b> 7857 <b> THE END 7858 </b> 7859 7860 </pre> 7861 </div> 7862 </body> 7863 </html>