The Godfather: Part II Page #12

VITO:

(Sicilian)

Santino, your papa loves you.

DISSOLVE TO:

INT. ANTHONY'S TAHOE ROOM - NIGHT

The room is large, lit from the outside by a bright evening.

We can see the outline of many toys on the shelves built

along the wall. We see the dark figure of Michael Corleone

enter the room and approach the bed where his son Anthony

lies curled in messy blankets. Michael quietly arranges his

small hands and feet and covers the little boy. Suddenly,

Anthony turns, his eyes open. He is staring, perfectly

awake, at his father.

MICHAEL:

Can't you sleep?

No answer.

MICHAEL:

Are you alright?

ANTHONY:

Yes.

MICHAEL:

Did you like your party?

ANTHONY:

I got lots of presents.

MICHAEL:

Do you like them?

ANTHONY:

I didn't know the people who gave

them to me.

MICHAEL:

They were friends.

He kisses his boy, and then turns.

ANTHONY:

Did you see my present for you?

MICHAEL:

No, where is it?

ANTHONY:

On your pillow.

MICHAEL:

I'm leaving very early tomorrow,

before you wake up.

ANTHONY:

I know. How long will you be gone?

MICHAEL:

Just a few days.

ANTHONY:

Will you take me?

MICHAEL:

I can't.

ANTHONY:

Why do you have to go?

MICHAEL:

To do business.

ANTHONY:

I can help you.

MICHAEL:

Some day you will.

Michael kisses him again.

INT. MICHAEL-KAY'S BEDROOM - NIGHT

The room is lit from a small night lamp on Michael's side of

the large bed.

Kay is huddled in blankets, asleep. Michael closes the door

to his room, moves to his side of the bed, and glances down

to the pillow.

VIEW ON THE PILLOW

is a child's drawing of a long limousine, with a man in a

hat sitting in the back seat.

An arrow pointing to him is marked "DAD." Under it, a nine

year old's handwriting says: "Do you like it? Check YES __

I liked it or NO __ I didn't like it." Michael turns,

looking for a pencil, and moves to the dresser, where he

places a check next to "YES."

He starts to cross back toward his side of the bed, when Kay

turns, almost in her sleep:

KAY:

Michael? Why are the drapes open?

His eyes dart back to the curved, beautifully leaded windows

of the room. The DRAPES are opened. Then, without a

second's hesitation, he leaps to the floor, still holding

his son's drawing, as a spray of machine gun bullets sweep

across the windows; glass shattering all over the room.

Kay screams out; rising, still half-asleep. Michael crawls

toward her, and pulls her down to the floor to him.

Then, for a moment, there is silence, soon filled by the

shouts of men; as flashes of light sweep by the window, as

guards with flashlights come running.

Michael holds Kay to him, knowing they have both survived,

and then gently:

MICHAEL:

Go with the kids.

EXT. THE TAHOE ESTATE - NIGHT

Suddenly, the great floodlights are turned on, bathing lawns

in an intense blue light.

Groups of ordinarily dressed security men drawn in from all

directions; a state of confusion prevails. There is no sign

of the attackers.

VIEW BY MICHAEL'S HOUSE

Michael is joined by Rocco Lampone, his gun drawn.

ROCCO:

They're still on the property.

Maybe you better stay inside.

MICHAEL:

Keep them alive.

Six men take up posts by Michael's house.

ROCCO:

We'll try.

MICHAEL:

It's important.

He returns inside.

EXT. MAIN GATE AND KENNELS - NIGHT

The character of the summer estate has changed: bright

floodlights illuminate the main points of entry: the main

gate; the waterway; the stone wall that encompasses the

estate on all sides.

Several men with flashlights reinforce the guard at the main

gate.

FULL VIEW:

Off in the distance, we see another group of men with

flashlights combing the waterline. We hear indistinguishable

shouts.

VIEW ON THE KENNELS

The wire gates are opened, and the trained dogs go out

yelping into the outer edge of the estate.

ROOFTOP:

One of Rocco's men turns the large floodlight scanning

darkened forest areas, where men could hide.

MOVING VIEW:

Men with flashlights and dogs. Moving through the dark areas.

LOOSE VIEW:

A small Corleone launch, with a bright spotlight slowly

cruises the boundaries of the estate. We SEE the silhouette

of men with guns, quietly waiting and watching.

EXT. MICHAEL'S HOUSE - NIGHT

Some of the bodyguards by the shattered windows of Michael's

bedroom.

The curtains are drawn from inside.

INT. MICHAEL'S HOUSE - NIGHT

Kay, the children, and some women servants have come down

from the various rooms into the central living area, that

can be most easily secured. The little girl is still

asleep; they make you think of an immigrant family, with

their blankets and frightened faces, all waiting in a

central room.

Michael goes up to Kay, squeezes her hand, and whispers:

MICHAEL:

It will be all right. We were lucky.

She says nothing; but her face expresses the anger she feels

over the jeopardy Michael has placed his children in. She

holds her young daughter in her arms.

The door opens, and Rocco enters. He quickly realizes he is

holding his gun in plain view in front of the family, and

puts it away. Michael moves to him, and they talk a distance

away from Kay.

ROCCO:

Your family all seem to be okay in

the other houses; your Mother's

still sleeping.

MICHAEL:

And?

ROCCO:

No sign of them yet; but they're

still on the Estate.

We HEAR loud shouting from outside.

DEANNA (O.S.)

Goddamn you! You're all nuts here,

I'm not goin' to calm down...

MICHAEL'S VIEW

Through the door, that Rocco opens.

Deanna, in her nightgown, has been frightened by the

gunshots; while Fredo in his bathrobe, tries to get her back

into the house.

FREDO:

Deanna, will you get back into the

house!

DEANNA:

I'm getting out of here I said;

these guys all have guns!

MICHAEL:

Fredo, can't you shut that woman up!

(to Rocco's men)

Get her in here!

The bodyguards, gracefully help Fredo bring the hysterical

Deanna into the safety of the house.

DEANNA:

(whimpering)

I don't want to stay here...

FREDO:

Mike, what can I do, she's a

hysterical woman...

KAY:

Leave her alone! You're talking as

though she has no right to be

frightened when there are machine

guns going off in her backyard.

MICHAEL:

(to Rocco)

Have Tom Hagen meet me in the

Harbor House.

EXT. TAHOE ESTATE - HIGH ANGLE - NIGHT

Michael walks the short distance from his house, to the

boathouse where he conducts his business away from his family.

A small group of bodyguards, carrying machine guns, make the

walk with him from all sides, a respectful distance away.

It gives the appearance of a lonely President moving in his

compound, followed by teams of Secret Service men.

The boathouse is already secured by teams of men, hastily

wakened from their lodge house; a barracks-like structure

where reinforcements are lodged just for this kind of

emergency.

FULL VIEW:

In the distance, we can see the teams of men and dogs, with

their lights, guns and shouts, combing every inch of the

estate.

INT. THE BOATHOUSE - EMPTY VIEW - NIGHT

Michael alone in the great room. He moves to a walk-in

safe, quickly runs through the combination, and opens it.

He takes out an envelope, and puts it into his pocket;

there's a KNOCK on the door, and Hagen enters. He had been

asleep, and has quickly thrown on a robe.

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