RR Auction: The Official Mario Puzo Archive featuring The Original Godfather Trilogy Manuscripts

The Official Mario Puzo Archive featuring

The Original Godfather Trilogy Manuscripts

Live auction February 18, 2016

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Lot 4093

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www.RRAuction.com

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(603) 732-4280

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Monumental 45-box Archive

Spanning from 1955 to 1999

Live Auction 7 p.m. EST February 18, 2016 Lot 4093 Estimate $400,000 + Bid online at www.RRAuction.com

Unprecedented collection of Academy Award-winning writer Mario Puzo’s personal correspondence, early drafts, manuscripts, and screenplays chronicling his half-century-long career, from his first novel, 1955’s The Dark Arena, through to 2000’s Omerta.

Expertly organized within 45 banker’s boxes, this exceptional assemblage—which covers ten Puzo books and nine screenplays— is highlighted by its extensive accounting of the best-selling author’s defining legacy: The Godfather Trilogy.

Mario Puzo crafted each of his works with judicious flair, his hard-earned success underscored by a meticulous dedication, made abundantly clear in this sweeping compendium—an intimate extension of its creator and invaluable resource for literature and film historians alike.

Books The Dark Arena (1955) 1 box

Screenplays Fools Die (1978) 1 ½ boxes

The Fortunate Pilgrim (1965) The Sicilian (1984) 1 ½ boxes 2 boxes The Godfather (1969) Originally titled “Mafia” 1 ½ boxes The Godfather Papers and Other Confessions (1972) 1 box Inside Las Vegas (1977) 2 boxes

The Fourth K (1991) 8 ½ boxes The Last Don (1996) 7 boxes Omerta (2000) 2 ½ boxes

The Godfather (1972) screenplay and novel content combined within the 1 ½ boxes noted at left The Godfather II (1974) 1 ½ boxes Earthquake (1974) 1 box Superman (1978) 1 box

Seven Graves for Rogan/ A Time to Die (1982) 1 ½ boxes Cotton Club (1984) 1 box The Godfather III (1990) 3 boxes Christopher Columbus: The Discovery (1992) 2 boxes The Lorch Team (1992) 1 box

Counts are approximate, as some boxes contain a mixture of material. A detailed list of box contents can be found on page 43.

The Godfather Trilogy

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eaturing well over an entire box of Godfather I material, including thousands of pages, notes, and drafts, of a multitude of versions of both the novel manuscript and the film screenplay, this archive sheds light on never-before-released information regarding Puzo’s character, scene, and dialogue development, and his legendary collaboration with director Francis Ford Coppola.

Though the first Godfather film was released in March, 1972, this new-to-auction archive indicates that Puzo began work on Godfather II as early as August, 1971— an endeavour extensively documented within nearly two boxes. Three boxes of Godfather III material, including eye-opening behind-the-scenes developments, are present as well. The wealth of material within the Puzo Archive’s six Godfather-content boxes—most notably a distinctive timeline of all three screenplay progressions—could potentially fill the pages of a volume of reference books on The Godfather Trilogy.

Original 744-page typed working draft manuscript for The Godfather novel, then titled “Mafia”

that are included * Items in this archive

“Mafia” 1965: Puzo begins writing The Godfather novel

1965 2

Paramount March 1967: Based on the first 60 pages of the novel, Paramount purchases rights for $12,000 with $85,000 in escalators if the film was made

1967

* Working Manuscript Later in 1967: Later-stage 744-page “Mafia” working draft manuscript

Screenplay April 1970: Puzo begins work on the screenplay

* Bart to Puzo

July 13, 1970: Official Paramount communications between Peter Bart and Puzo regarding Bart’s thoughts on the screenplay’s progress

Producer Peter Bart to Puzo on Paramount Letterhead

Puzo’s “#1 Revision Copy” of the First Draft Screenplay

* First Draft

August 10, 1970: Puzo First Draft Screenplay noted

by Puzo on front “#1 Revision Copy”

Coppola September 28, 1970: Coppola officially announced as director

* Outline Coppola’s incredibly detailed 50 page “First Step Outline”

Third Draft of Screenplay hand-annotated by Puzo on cover

Final Manuscript

#1 Status

July 1968: Puzo finishes the Godfather manuscript and submits his first draft to G.P. Putnam and Sons

March 29, 1969: Godfather novel is published and soon achieves #1 status, spending 67 weeks on the Times list

1968

1969

October 27, 1970: Coppola submitted his “First Step Outline” of The Godfather

* Third Draft

November 23, 1970: Third draft of screenplay

1970 3

that are included * Items in this archive

* Executive Peter Bart January 19, 1971: Internal Paramount studio communication from Bart to Coppola

* Revision

January 21, 1971: Revision of Coppola-Puzo first draft Cover letter for the Godfather I draft hand-signed by Puzo

Brando

Revision of Coppola-Puzo First Draft handwritten by Puzo on Paramount letterhead

January 27, 1971: Brando officially announced as the Godfather

Pacino

March 4, 1971: Pacino officially casted as Michael

Dinner

March 17, 1971: Coppola has the primary cast meet over dinner, allowing an informal improvisational session Revised first draft of Godfather II

Official second draft

Filming begins March 29th, 1971: Filming begins on the heels of the final screenplay solidification; it lasts 62 days and cost 6.5 million, well over the initially allotted $2 million

* Writing the sequel

August 11, 1971: Puzo meets with Bob Evans and Peter Bart to discuss the beginning of writing for The Godfather sequel

1971 4

* Godfather II first draft December 1, 1971: Puzo submits his first draft of The Godfather II script, then titled “The Death of Michael Corleone�

T

he Official Mario Puzo Archive is highlighted by an original 744-page typed working draft manuscript (shown on page 2) for The Godfather novel, then titled “Mafia,” featuring a plethora of important handwritten amendations by the novelist. Another thrilling aspect of the archive is the presence of six large oak tag storyboards outlining the lengthy nine-section novel. A later-stage 15-page handwritten outline (shown on page 6) of The Godfather novel’s nine sections is present as well, providing irrefutable proof that the novelist based character Johnny Fontane on Frank Sinatra.

Six large 22″ x 28″ oak tag storyboards outlining the lengthy nine-section novel

* Godfather II revised

January 25, 1972: Puzo submits a revised copy of the first draft of Godfather II

* Puzo’s final revision

May 5, 1972: Puzo submits his final revision of the Godfather II screenplay

The Godfather in theatres

March 24, 1972: The Godfather is released in theatres

1972 5

that are * Items included in this archive

A

ll in all, there are nine partial copies of the Godfather I script in various stages of completion, many of which have important notations in Puzo’s own hand; eight complete scripts for the first film are also included. The Godfather II portion of the collection contains eight complete and fourteen partial versions of the screenplay in various stages. Several of the sequel scripts also have the author’s handwritten notes. Present in the abundance of Godfather III material are 20 officially bound copies of the script. The presence of vital Paramount communications and Puzo-Coppola exchanges—including Puzo’s personal copy of Coppola’s infamous ‘Godfather Bible’—round out this historic offering.

Three pages of Puzo’s 15-page handwritten outline

Three Academy Awards March 26, 1973: Academy Awards ceremony for 1972.

The Godfather wins three awards: Best Picture, Best Adapted Screenplay, and Best Actor for Marlon Brando “Change ANY resemblance to Sinatra of Fontane character” Irrefutable proof that Puzo based character Johnny Fontane on Frank Sinatra

Coppola’s first draft July 4, 1973: Coppola submits his first draft of the Godfather II screenplay

1973 6

* Official second draft

September 24, 1973: Officially bound second draft of the Puzo-Coppola Godfather II screenplay

Godfather II in theatres December 20, 1974: Godfather II is released in theatres

1974

Godfather Origins The Evolution of a Modern Masterpiece

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It was 1965 and Mario Puzo—a 45-year-old father of five, part-time freelance writer, with $20,000 in debts—was on the verge of giving up his dream of becoming a successful writer.

Having already penned a pair of well-reviewed yet commercially unsuccessful novels, he was aware that the likelihood of a third achieving any level of success was remote. Five years later, against all odds, he published a best-selling novel, swiftly adapted it into an academy award-winning screenplay, culminating in the 1972 release of one of the greatest films of all time, The Godfather.

Chronicling the Corleone crime family’s consolidation of power in New York City from 1945–1955, The Godfather was once referred to by director Francis Ford Coppola as the romantic tale of “a king and three sons.” It tragically documents mafia head Don Corleone’s youngest son Michael’s descent into darkness—a former war hero turned head of the most powerful crime syndicate in America. The novel’s origins arose from the suggestion of the publisher of Puzo’s second novel, 1965’s The Fortunate Pilgrim* his personal pride and most critically acclaimed work. Amidst a heartfelt story about Depression-era Italian NYC immigrants, his advisors found a barely broached nugget of salability: organized crime.

Apart from brief run-ins with the local gambling circuit, Mario Puzo was oblivious to the inner workings of the mob. The iconic Italian author later wrote in his tellall The Godfather Papers and Other Confessions,* ‘I’m ashamed to admit that I wrote The Godfather entirely from research. I never met a real honest to god gangster.’

Impressed by his seamless regaling of mob stories, Puzo recalled that the mafia men he would later meet loved his book and ‘refused to believe that I had never been in the rackets.’ The iconic dialogue and imagery from The Godfather would forever change the face of the mob, even real-life Don John Gotti said it was, ‘the best interpretation of our life.’

that are * Items included in this archive

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Originally titled, “Mafia,” The Godfather began as a 10-page outline drafted to entice potential publishers and ultimately spawned a 446-page saga. Though G.P. Putnam and Son’s had already provided him a $5,000 advance, Puzo’s necessity for funds until his major paperback deal came through, resulted in his March, 1967 acceptance of Paramount Studio’s meager $12,500 for rights to The Godfather story, with $85,000 due to him if the film was made. When, in 1968, Putnam sold the paperback rights to Fawcett for $410,000, the long-suffering artist knew he had finally made it.

Though Paramount never intended for The Godfather to transcend to the big screen, the novel’s rise up the bestseller list was undeniable; before the film was even released, Puzo had sold a million hardcover and 12 million softcover copies. Soon after its March 29, 1970 publication, the novel achieved #1 status in the USA, eventually spending 67 weeks on the Times best seller list. Though, at first, he refused to write the screenplay, Puzo was eventually grateful for the studio payroll’s stability. He received an additional $100,000, 2 ½ of net profits, and $500 a week for expenses.

Undaunted by the prospect of shrinking down a massive saga, the author confidently said to Paramount, ‘I don’t ever have to see this book again in order to write a screenplay for it.’ Given a story which, in one of his early drafts* of the novel, clocked in at nearly 750 double-spaced pages, Puzo’s initial versions of the screenplay, which he worked on from April to August of 1970, admirably checked in around 150 pages.

Never before had an author played such an integral role in the dramatic realization of their work. Puzo was not pushed aside, as most writers were. He was, instead, destined to come to the forefront as part of one of the most successful author-director collaborations in film history, the Puzo-Coppola partnership.

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The Puzo-Coppola Partnership

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aramount executive Bob Evans was convinced previous gangster films, generally thought of as ‘B’ movies, had failed because they were not directed by a true Italian. Though unpopular at the time, Francis Ford Coppola was the fresh, 31-year-old director they hired to deliver this authenticity, a move which, in large part, led to the film’s success. Coppola took Puzo’s story and focused solely on ‘The Family.’ He distilled some overtly sexualized, superficial storylines from the novel, including a focus on troubled singer Johnny Fontane and Sonny Corleone’s wayward mistress, Lucy Mancini.

When Coppola signed on, he immediately corrected the studio on two main points: first, that this remain a period piece as the novel dictated (Paramount had planned to stage it in the 1970s); second, that they film primarily in New York City. Coppola also supported Puzo in his insistence that Brando play the Godfather, something the author had envisioned since he wrote the novel. Present in this archive is Puzo’s retained copy of the March 7, [1970] letter he sent to Brando expressing his disappointment that he would likely not be cast. This correspondence reveals that the actor was approached by Puzo far earlier than most realize. The novel was not published until March 29, 1970 and screenplay adaptation did not begin until April, 1970. The director also championed for then unknown actor Al Pacino for the role of Michael Corleone and Puzo supported him. Eventually the studio relented on both counts— the writer-director team had perfectly cast the two most pivotal characters in the film.

Puzo and Coppola maintained a successful co-writing relationship by scripting separately—the novelist in New York and the director in San Francisco—autonomously revising each other’s work. Included in this collection is Puzo’s retained, hand-signed copy of an amazing content January 21, 1971 letter to Al Ruddy, Francis Ford Coppola, and Peter Bart, in part: “Michael’s fall from grace (Good guy to Murderer) should be more meaningful. After this (and I assume Francis will be re-writing this now) I feel it’s ready.”

Also present here is an enlightening two-page Puzo note to Coppola regarding, “Notes on my corrections of your half.”

Two-page Puzo note to Coppola regarding, “Notes on my corrections of your half”

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This archive includes Puzo’s copy of Coppola’s infamous Godfather ‘bible,’ an enormous, impeccably organized three-ring binder covering virtually every aspect of the film.

This archive includes Puzo’s copy of Coppola’s infamous Godfather ‘bible,’ an enormous, impeccably organized three-ring binder covering virtually every aspect of the film; legend goes the director carried it with him everywhere on set. During The Godfather Restoration commentary, Coppola himself confirmed: ‘I didn’t even use the script. I used this notebook.’ Though single pages have occasionally been released, in such publications as Vanity Fair, this may be the first time the entire ‘notebook’ has been made available to the general public. In fact, this fabled piece of Godfather lore, mentioned in several reference books, was something very few people—even Paramount executives—had access to. Coppola envisioned the movie to cover five main acts consisting of 50 scenes, each separated in the binder by a numbered tab. Francis pasted in integral pages from Mario’s novel and added copious notes to the edges.

Although the infamous ‘bible’ present in this collection is a replication (the original being housed in Coppola’s Zoetrope Research Library) it’s Mario Puzo’s own personal copy, and the historical nature of the director’s private, never-before-fully-released insights are nothing short of breathtaking.

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Puzo advises Coppola on the rougher side of Italian life: “Francis: Gangsters who cook never say ‘Brown onions ect. Brown is a high class word. From Puzo handbook of Gang slang”

An essential ingredient to the successful Puzo-Coppola collaboration was their own unique ItalianAmerican insights. Puzo, born in 1920, grew up a New York City Hell’s Kitchen ruffian quoted as saying later in life, that when he was ‘exposed to all the cliches of lovable Italians,’ he ‘wondered where the... moviemakers...got their ideas from.’ Born nearly two decades later, in 1939, and raised in a nurturing Queens, NY household, it was Coppola’s addition of the loving family Italian theme that ran deep throughout the film, endearing the Corleones to the audience. Francis has been quoted as saying that The Godfather is ‘like an Italian home movie.’ Here’s an amusing example of Puzo advising Coppola on how Clemenza should speak to Michael in the ‘you might have to cook for 20 guys someday’ scene: “Francis: Gangsters who cook never say ‘brown onions ect. Brown is a high class word. From Puzo handbook of Gang slang.”

As The Godfather opens, screen stark black and Nino Rota’s iconic music strumming, you will notice that before everything—even the film’s name—comes the author, Mario Puzo. In the 2008 Godfather Restoration commentary, the director himself identifies this as the first time a writer was acknowledged so prominently. And rightly so. Coppola modestly acknowledged that practically everything in the film comes directly out of Puzo’s novel, right down to the very last image of Clemenza kissing Michael’s ring. On the film commentary, Francis proceeded to laugh self-deprecatingly as he recalled a fan saying to him, in regards to Puzo following the Godfather film’s success: ‘Hey, don’t you think that you made him. He made you.’ Though all basic content came from Puzo—see the author’s “Must Have Scenes for the Godfather”—there were countless seemingly minor, yet instrumental changes that sculpted this classic film. The great author and director worked in tandem to make the novel-turnedfilm into a lasting masterpiece.

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The Godfather

From the opening scene to the closing image, the inside story revealed through its most famous quotes

“ I believe in America. America has made my fortune,” said Amerigo Bonasera, cloaked in darkness as he pled his case to the Godfather. This poignant dialogue was direct from Puzo’s bestseller, however, in the novel, Bonasera was the last of the Don’s several visitors that day. Coppola recognized the effectiveness of introducing the most conflicted character first, a man who the Don recognized was, ‘afraid to be in his debt.’ However, in one of the first versions Puzo submitted to the studio, dated “8/3/70” the film was intended to open with Michael and Kay leaving his Ivy League college to attend the wedding, followed swiftly by introductions to main antagonists Sollozzo and Barzini. Later versions opened with a courtroom scene as it did in the book. This eventually changed to a direct cut of Connie Corleone’s wedding—a place where all the main characters could be introduced.

It was the novelist’s original wish that after each character appeared the actor’s name— both real and fictional—would flash on screen. Several drafts exhibit this style, with a prime example being a full page handwritten by Puzo stating, “Credit, Don Vito Corleone, The Godfather—Played by____” since at that time Brando, being unpopular with the studio, had yet to be cast. Today, fans familiar with The Godfather’s poignant prologue and subsequent authentic Italian wedding could scarcely imagine such a garish introduction.

Coppola maintained the film’s genuineness, while still providing some drama, when he decided to begin with Bonasera’s palpable “I believe in America” speech fashioned after his groundbreaking opening monologue in Patton. It was a stroke of brilliance—one of many to come in the film.

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“ Luca Brasi held a gun to his head and my father assured him that either his brains or his signature would be on the contract” Michael Corleone When we’re first introduced to Michael and his sweet girlfriend, Kay, at the wedding, the youngest Corleone son tells her the story of how his father helped Johnny Fontane further his career. Though the rough dialogue was part of the original novel, it did go through some changes during the scriptwriting process. Shown here, in an early Puzo draft, the author adds his unique spin on the scene.

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“ That’s my family, Kay. It’s not me” Michael Corleone In the film, after he tells Kay the Luca Brasi story, Michael says, as if to cleanse his conscience, “That’s my family, Kay. It’s not me.” In one early draft Puzo suggested removing virtually the entire Johnny Fontane story, and tweaked the line to, “This is my family. Not me.”

The archive also contains another example in which Puzo has handwritten the line, “That’s my family. Not me.”

“ It’s part of the wedding. No Sicilian can refuse any request on his daughter’s wedding day” Tom Hagen In an early Puzo-Coppola version, Michael responds to Kay’s inquiry, “Why are all those men waiting?” by answering, “To ask my father favors. He can’t refuse on his daughter’s wedding day.” Here Puzo has handwritten half of the line. In the film, it’s Mike’s adopted brother, Tom Hagen, who delivers a version of this line to his wife, Teresa, which is illogical since she is Sicilian herself and would have already known.

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“ You can act like a man!” Don Vito Corleone Later in the wedding sequence, Don Corleone’s godson, washed up singer Johnny Fontane, visits his den. Johnny whimpers about being unable to secure an important movie role; this was reportedly inspired by Frank Sinatra’s role in From Here to Eternity. Marlon Brando smacks him across the face and shakes his arms as he shouts, “You can act like a man!” This famous line was practically straight out of Puzo’s novel and only tweaked very slightly from, “You can start by acting like a man.” There is evidence in this archive that Puzo did, indeed, base Johnny Fontane on Frank Sinatra, a long-held insinuation by the legendary performer. On a page of book notes, Puzo scrawled “Don’t make Frankie whine at the beginning.” As if that weren’t enough proof, on a sheet of his 15-page novel outline, Puzo jotted down a reminder for himself: “Change any resemblance to Sinatra of Fontane character.” Though he played a brief role in the film, Johnny Fontane was a huge part of the book, portrayed as a hapless drunk with marital issues, a failing career, and ties to the mob. The similarities obviously hit too close to home for Sinatra.

“ You spend time with your family? Good. Because a man who doesn’t spend time with his family can never be a real man” Don Vito Corleone Here’s an early version of this quote handwritten by Puzo: “Don Corleone (STERN) A man who’s not a father to his children is not a real man.” The Godfather himself was the shining beacon of Puzo’s attempt at humanizing the mob. Designed to be a protective, patriarchal figure, it’s been said that Don Corleone was based on a combination of three real-life mafia heads: Frank Costello, Carlo Gambino, and Joe Profaci.

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“ I’m gonna make him an offer he can’t refuse” Don Vito Corleone Also from the ‘act like a man’ sequence, comes The Godfather’s most iconic line, ranked #2 on AFI’s 2005 list ‘100 Years...100 Movie Quotes.’ When asked by Johnny Fontane how he would get the movie studio head, Jack Woltz, to change his mind about casting him, the Godfather spoke these iconic words: “I’m gonna make him an offer he can’t refuse.” In the book, the line is practically identical, though the verbiage alters slightly, Puzo’s actual words were, “I’ll make him an offer he can’t refuse.” When Mario and Francis adapted the screenplay together, they broke down and simplified a lot of the dialogue, this particular phrase being a prime example.

Examples of this famous line in the Puzo Archive: January 21, 1971 revision of the CoppolaPuzo first draft Puzo handwrites a line before, “I’ll reason with him.” For a scene later in Las Vegas, Puzo echoes Vito Corleone’s words for his son Michael, when he handwrites the line: “Make him an offer he can’t refuse.”

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Woltz awakens to find the horsehead Shortly after the Don’s confident promise, his consigliere, Tom Hagen (Robert Duvall) flew to LA to confront the powerful studio head. Jack Woltz’s famous monologue in which he exasperatingly spouts his reasons that, ‘Johnny Fontane will never get that movie,’ is virtually directly from the book. For the subsequent, infamous horsehead sequence—one of the most sensational in the entire film—Coppola took the lead from Puzo’s pages in which Woltz awakens to find the horsehead at the foot of the bed.

The author’s written words alone elicit terror in the reader, but Coppola built upon his idea, creating suspense by having actor John Marley slowly roll down the sheets.

The audience sees blood, but neither we nor Woltz at first realize whether it’s his own. Only once the sheets are fully unfurled do we see his prize horse Khartoum’s decapitated head. Puzo was impressed by Coppola’s slight twist on the screenplay, as is documented in one of their early drafts, Puzo writes on the margin, “Francis: You rascal, very clever.” Puzo’s original screenplay version was more like his novel. Decades later, Coppola said in a documentary that he actually misread the novel passage, and the change was unintentional.

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“ It’s true—I have a lot of friends in politics—but they wouldn’t be friendly very long if they knew my business was drugs instead of gambling” Don Vito Corleone The Puzo Archive includes a fully handwritten page of Don Corleone’s famous oft-quoted response to Sollozzo’s request for a business partnership. Part of this early version read, “It’s true I have friends in politics who accommodate me but the smell of the poppy is too strong for their stomachs.”

“ I have a sentimental weakness for my children and I’ve spoiled them as you can see. They talk when they should listen” Don Vito Corleone Before the Don officially declines Sollozzo’s offer his eldest boy, the hot-headed Sonny, interjects in an effort to clarify whether ‘The Tattaglia family guarantees our investment.’

This slipup clearly reveals to Sollozzo, an outsider, that he is seriously considering the option—an option he knows his father is adamantly against. The Godfather’s polished response was: “But—anyway—Signor Sollozzo, my no is final. And I wish to congratulate you on your new business; I know you’ll do very well, and—good luck...especially since your interests don’t conflict with mine.” Puzo amends it slighly in this particular draft.

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Luca Brasi sleeps with the fishes The Don’s loyal bodyguard, a monstrous man named Luca Brasi, was killed by the rival Tattaglia family in both the novel and the film. As the Corleone family leaders met to discuss a revenge strategy for the attempt on the Godfather’s life, they are dealt a crippling blow when presented with Luca’s bulletproof vest containing dead fish—a Sicilian message that he was murdered.

Though the event and dialogue existed in the novel, there were several small tweaks, including which character delivered the line. In the final cut, Clemenza says, ‘That’s a Sicilian message. It means Luca Brasi sleeps with the fishes.’ At one point in the drafting process, Puzo had an idea to cut to a shot of Luca on the bottom of the ocean after this line was spoken. This line is now one of the most parodied in cinematic history. Another version present in the archive: “A Sicilian message.

Luca’s with the fishes.”

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“ That Sonny’s running’ wild. He’s thinking of goin’ to the mattresses already” Peter Clemenza In both the novel and the film, it’s right around the time that the Corleones learn of Luca’s death that Sonny instructs Clemenza to ‘take care of’ his right hand, Paulie Gatto, the man who betrayed the Don by calling in sick the day of his near assassination. Paulie (who often acted as the family’s chauffeur) picks the Corleone caporegime at his home and shortly after getting in his car, Clemenza says, “That Sonny’s running’ wild. He’s thinking of goin’ to the mattresses already.” This meant the Corleones were ready begin the ‘War of the Five Families,’ and with their people holed up in an apartment for months on end, they required something to rest on the bare floor: secondhand mattresses. In an early draft Puzo writes in the margin, “Show actually setting up apartment with mattresses.”

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“ Leave the gun, take the cannolis” Peter Clemenza One of the most memorable lines in the entire film, was in neither the novel nor the screenplay. It was an improvisation by the actor who played Clemenza, Richard Castellano, and reportedly inspired by his real (and onscreen) wife, Ardell Sheridan. After Paulie drove Clemenza and Rocco Lampone around New York City looking for mattresses, they parked off the main road for Clemenza to ‘take a leak.’ The caporegime waited to hear three shots ring out Paulie’s murder. After which he returned to the car and advised Rocco to, “Leave the gun, take the cannolis.”

In the novel and screenplay, Clemenza simply said, “Leave the gun.” The actor did not sign on for The Godfather II because he insisted that his wife write all his lines. Puzo and Coppola maintained their desire of Castellano reprising his role in the sequel. Ultimately, they were unable to come to reach an agreement

“ Tom, this is business and this man is takin’ it very, very personal” Sonny Corleone Sonny (James Caan) tauntingly delivers this line when his youngest brother, Michael, suggests he—the son who never wanted to be ‘part of the family business’—personally kill the police captain for his involvement in the attempt on their father’s life. The novel differs from the movie scene substantially as, in the book, Michael goes on a diatribe about how it is indeed personal, and Sonny makes no rebuke. Here is an early example of the script where Puzo makes some small, handwritten amendations. You can see how James Caan improvised when he gave the ‘taking it personal’ line some street flair; he also added ‘bada-bing’ to the following line from the film: ‘You’ve gotta get up close like this and bada-bing—you blow their brains all over your nice ivy league suit.’ The unscripted ‘bada-bing’ addition, became common mafia slang and would later be the name of the strip club in HBO’s long-running mob series, The Sopranos.

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Michael escaped to hideout in Sicily Following Michael’s murder of Sollozzo and McCluskey, he escaped to hideout in his family’s native Sicily. In one of the screenplay drafts, Puzo added a long handwritten script addition of Michael inviting his future wife, Apollonia, into his car prior to their marriage and her conservative family being upset. This scene did not occur; on film, Michael and Apollonia’s courtship was so guarded that her relatives even chaperoned them on a walk. At one point, she intentionally stumbles and he gently catches her.

Apollonia’s family smiles in approval of Michael’s restrained gentlemanliness.

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Las Vegas with Moe Greene Contained within a working draft of the script present in this archive, are two crucial sections of Coppola handwriting regarding the Las Vegas scene with Moe Greene.

In the first, Coppola writes, “I think this half [where Michael asks Johnny to perform at his Vegas hotels] is better before Greene because it is less interesting.” A few pages later, in regards to the delivery of the ‘buy you out line,’ Coppola adds, “I liked when the scene was sort of light and suddenly TURNED.” The film incorporated both of these important Coppola suggestions.

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“ I never wanted this for you” Don Vito Corleone

Shortly before the Godfather dies of a heart attack in his garden he has an important talk with Michael, his heir. During the discussion, Don Corleone confesses that he never wanted this life of crime for his son. He had hoped he would one day be the one to ‘hold the strings,’ but in the law-abiding sense, as a governor or senator. Existing in this archive are several fully handwritten pages by Puzo, outlining his early interpretation of this scene—one that was never used—as the dialogue that ended up in the film was the only piece written by neither Puzo nor Coppola, but instead by Robert Towne. For some reason, the author and director never believed they could get it quite right on their own. We have here, Puzo’s never-beforeseen attempt.

“ It’s the smart move. Tessio was always smarter” Michael Corleone

During the ‘transition of power’ scene, the Godfather advises Michael, as his successor, that ‘Whoever comes to you with this Barzini (a rival Five Family head) meeting, he’s the traitor.

Don’t forget that.’ As it turns out, it was his father’s long-time caporegime, Tessio, that turned on him. This archive includes a full page of Puzo’s handwritten dialogue in which Michael reveals to Tom Hagen that Tessio came to him with the proposed meeting. Hagen says, “Tessio?

I guessed Clemenza,” to which Michael replied “It’s the smart move. Tessio was always smarter.”

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‘Baptism of Fire’ In one early manuscript draft, Puzo titled “Book 8” (his novel’s eighth section), “The Final Chapter...Michael Corleone kills his enemies and his brother in law, Carlo Rizzi.”

In the film, to condense screen time and generate action, Coppola formulated The Godfather’s ending montage, effectively merging the innocence of the baptism with the contrasting darkness of the murders. As Michael Corleone stood Godfather to Connie and Carlo’s baby, he was simultaneously cementing his power by exterminating the other heads of NYC’s Five Families.

Groundbreaking for its time, this montage sequence remains one of the most influential in modern American cinema. Two of the four gruesome murders included in the film’s ‘Baptism of Fire’ montage originated from Puzo’s novel: Barzini and Tattaglia. The film included two additional murders foreign to the novel: Stracci and Cuneo. They also added Moe Greene’s murder to this sequence; Moe was killed in the novel, but during a different time and in a less sensational manner. The Puzo Archive includes several pages of incredible Puzo handwritten notes on the new Coppola-led direction of the baptism scene.

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“ Don Corleone” Peter Clemenza The Godfather poignantly closes with reluctant caporegime Clemenza finally relenting in acceptance of his new Don. Puzo handwrites at the bottom of one of the script’s early drafts: “Clemenza kisses Michael’s hand. Clemenza (with profound respect) Don Michael.” This was a clear indication that Michael’s ascension was complete; he had been accepted by his father’s oldest friend. Though, in the final cut of the film, Clemenza said, ‘Don Corleone’ instead.

In the novel, and right up until the final screenplay drafts, the movie was intended to end as it did in the book, with Michael’s wife Kay lighting candles in a church, praying for her husband’s soul. Though the church scene was shot and can be seen in the extended TV version, for the officially released 1972 film, Coppola decided on closing right after Clemenza’s ‘Don Corleone’ line. As bodyguard, Neri, closes the door to Michael’s office, officially cutting Kay out of his solidified life of crime, the raw look on Diane Keaton’s face was enough to convince the audience that her husband was forever changed: Michael Corleone’s new life had begun.

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The Godfather Part II

M

ario Puzo began writing the screenplay for The Godfather Part II on August 11, 1971, well before The Godfather I’s release; at the time, he was the only one signed on for the sequel. The novelist’s initial script, tentatively titled, ‘The Death of Michael Corleone,’ or ‘Son of Godfather,’ is virtually unrecognizable compared to the final Academy Award-winning film. Before Coppola agreed to direct and co-write, Puzo’s version relied heavily on Johnny Fontane, Las Vegas, Michael being kidnapped and having a mistress, Kay choosing to stay with her husband, and the FBI hearing; the latter being perhaps the only focus in the primary writer’s version that made it into the final screenplay.

The Valachi-inspired FBI hearing was included in Godfather II, but it was heavily abbreviated, and the main character involved—Frankie ‘Five Angels’ Pentangeli—was meant to be Clemenza. Right up until filming began, Coppola and Puzo were vying for the actor who played Clemenza, Richard Castellano, to concede to the terms of his contract; the main disagreement was the actor’s insistence that his wife write Clemenza’s dialogue. This archive is rife with information on the character swap as most all drafts say Clemenza, though by the Puzo-Coppola second draft (dated September 17, 1973; a photocopied version of which is contained here) all the Clemenzas have been crossed out and replaced by Pentangeli.

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Puzo’s original Godfather II draft was influenced by the Valachi FBI hearings “Show Valachi or guy like Valachi”

Puzo clamors for Castellano to reprise his role as Clemenza “I think every effort should be made to get Clemenza back into script”

Clemenza’s name changed to Pentangeli, in an unidentified hand; the ‘Geary’ switch annotated by Puzo himself

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The Story of Don Vito Corleone Though the majority of Puzo’s modern storyline was not included in the film, Coppola saw enormous potential in a portion of the original Godfather novel.

Known as ‘Book 3,’ or section three, it detailed the life of young Vito Andolini, his journey to America, and transition to the all-powerful Godfather, Don Vito Corleone. Here in the Puzo Archive’s 744-page manuscript, the novelist has handwritten on section three’s title page, “The Story of Don Vito Corleone.”

Also present is an example of Puzo’s early handwritten version of the young Vito opening in Sicily for the screenplay. Since at the time, the director had already been interested in making a movie about a father and son told in parallel time, The Godfather Part II was the perfect vehicle. Coppola once said, ‘The modern story pretty much was concocted my me and written by me...Mario had the opportunity to rewrite it and it was a wonderful collaboration as usual.’

Unfailingly modest, Puzo wrote to Coppola, admitting what was “wrong” with his original draft of the Godfather II script, including: “Not enough Michael” and “Not big enough scope. Too narrowed down;” strengths included the senate hearing and Clemenza. The novelist went on to discuss such important Coppola additions as the Cuba storyline and Hyman Roth, who was specifically based on Meyer Lansky, and the inclusion of the early Godfather story. Puzo wrote in this cover letter to the director, “Don’t be impatient. The most important thing is to know what the hell we really want to do.” On September 29, 1973, shortly before principal photography on the sequel began, Puzo wrote to Coppola regarding the third draft of their script: “I did everything I could within the time limitation.” The handwritten cover letter was retained by Puzo and is included in this collection.

On The Godfather Restoration commentary, Coppola revealed: ‘I had a bit of a shock before beginning the picture...Al didn’t like the script and he wasn’t going to make the picture.’ The director assured Pacino’s representation that: ‘I will rewrite the entire script...then he can decide whether he wants to be in it or not...I rewrote the entire script through the night...and gave it to Al Pacino...and the word came back that, yes, Al would do it and he thought the rewrite was good.’ On an undated piece of paper within the archive, Puzo jotted a few notes that may have been in relation to this unexpected script change, “Down to 160 pages; Focus on modern story and Michael; Pacino wants Michael to die; Mon & Tues to Tahoe; Or Pacino comes here with Francis.” Ultimately, Pacino’s wish for his character to die during Godfather II never came to fruition. In fact, Michael Corleone did not die until the very last scene of Godfather III, and even then, it was of natural causes.

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Puzo admits to Coppola what was “wrong” with his own original draft

The author agrees with two huge changes to the script: the opening of the film and addition of a “Lansky character”

Puzo writes a note mentioning how “Pacino wants Michael to die”

Cover letter for third draft: “Dear Francis, I did everything I could within the time limitations”

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“ I despise your masquerade, the dishonest way you pose yourself. Yourself and your whole...family” Senator Geary Aiming for complete authenticity, Coppola painstakingly researched real-life mob activities of the time period—the 1950s and 1960s—just as he had done for the first film. The Godfather II’s violence graduated to involve political figures, such as Senator Geary waking up with a dead prostitute in the brothel, a russe orchestrated by the Corleones to get the slimy senator under their control. In a July 4, 1973, Coppola-prepared copy of the script, Puzo objects to Senator Geary’s famously brazen line, when he writes in the margin: “Can’t talk to a GF that way.”

“ Tom, your the only one I can trust” Michael Corleone In a September 26, 1973 “part-by-part evaluation,” (the original handwritten version of which is included in this assemblage), Mario explained to Francis: “What pleases the audience is the Family Bond...Hagen...should be the only one who loves Michael completely...When Fredo is killed—Hagen can weep for Fredo—and for Michael—Michael cannot.” Hagen is Michael’s family in The Godfather II, his rock, just as Puzo outlines in this letter; this is made abundantly clear in their scene alone together, when Michael tells Tom he is the only person he can trust.

Included in the Puzo Archive is a handwritten piece of dialogue between Michael and Tom, apparently for a version of this scene: “Everything will be in your hands Tom. You’re the only brother I have left.” Even though Hagen is his right-hand man, in the end, it is Michael himself who gives the order to kill Fredo, solidifying just how ruthless he has become. In the 2008 Coppola Restoration, the director said of Hagen: ‘He’s like the heart of the Corleone family.’

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“ I know it was you, Fredo. You broke my heart.

You broke my heart!” Michael Corleone Puzo was never entirely comfortable with the Coppola-bred storyline of Fredo betraying ‘The Family,’ though he relented once the director agreed Michael would not kill his brother until their mother died. In fact, in the September 17, 1973 Puzo-Coppola second draft (a photocopied version of which is contained here) Puzo entirely crossed out this iconic line, “I know it was you, Fredo. You broke my heart” and even question whether or not this was the correct point in the movie to reveal Michael knew he had been betrayed. In his 12-page handwritten “part by part evaluation” sent to Coppola, Puzo wrote: “ABOUT Fredo’s Death: Fredo is one of the best things in the script. But how he dies is wrong. He should not know he is going to die which I assume he does because he is reciting a prayer. This gives him a false dignity. It also in a funny way takes away his humanity. His tragedy is that he is so human, so fallible so ignoble. He would not believe his brother would have him dead. Again: Hagen should give the order to kill him. Not Michael.

Hagen takes on this burden. As Michael did for the GF in Carlo thing.” Another page of handwritten notes in the collection includes Puzo’s ideas for Hagen’s dialogue, “What you [did] for your father with Carlo—I’ll do for you with Fredo.” Michael never forgave himself—giving the order to kill his own brother destroyed him—and he spends the entirety of The Godfather Part III in a futile attempt to cleanse himself of the unspeakable sin.

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“ I make him an offer he don’ refuse. Don’ worry” Young Don Vito Corleone

Coppola once identified the scene of Vito eating pasta with his young caporegimes, Tessio and Clemenza, as they discussed the Fanucci problem, ‘very much a Mario Puzo scene,’ using the ‘cold logic...I’ll reason with him,’ which essentially means: I’ll kill him. Present in the Puzo Archive is a beautiful handwritten piece of Vito dialogue where the author himself pens, “I’ll make him an offer he can’t refuse.” In the film, DeNiro spoke this line to Clemenza on the street the day of the festival, shortly before killing Fanucci.

On the same page, Puzo also wrote to Coppola, “I’m very sure Clemenza and Tessio should not know GF will kill Fanucci. This one time the murder should not be discussed.” Apparently at one point, the script included Fanucci being murdered in front of his family Puzo was opposed to this, and obviously won the argument. He wrote: “You cannot have Vito kill Fanucci with daughters present...it makes him less sympathetic. Remember these killings are business not personal. As sheer good manners, GFs do not kill men in front of their wives and children.”

The iconic rooftop sequence in Godfather II utilized the same parallel action as the first film’s ‘baptism of fire’ montage—a violent action juxtaposed against the purity of an Italian ritual— in this case, the street festival. Many film historians acknowledge this interspliced rooftop sequence, culminating in Vito’s murder of Fanucci, one of the best in American cinema. Interestingly, the September 17, 1973 Puzo-Coppola Second Draft indicated that the rooftop scene would be shot at night, which would have had an entirely different effect.

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“ It wasn’t a miscarriage. It was...an abortion, Michael...

I know now that it’s over...There would be no way... you could ever forgive me not with this Sicilian thing” Kay Corleone In The Godfather Restoration commentary, Coppola revealed that it was his sister Talia, who suggested the Kay abortion storyline. Even the director himself believed it was too controversial, but eventually, he relented. In a lengthy handwritten letter to Coppola, present in this archive, Puzo wrote: “In a funny kind of way. Pacino understands Michael better that [sic] you or I do, yet his hitting Kay is all wrong. I’m positive about this...On the abortion. O.K. Kay. makes a big mistake. But not a female-male thing. A GF thing. So again, Michael does not strike her. He is less potent if he does.” Unlike Puzo strongly advised, Michael does hit Kay—with so much force that she flies across the room—in one of the most explosive scenes in the film. Although Puzo wrote about criminals, he maintained strong ideals for many of his characters, the Godfather in particular, as is evidenced here.

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“ They went home and killed themselves...and their families were taken care of” Frank Pentangeli A superb piece of dialogue that came directly from Puzo’s early version of the script was Frankie’s discussion with Hagen following the Corleone’s successful outcome at the FBI trial.

Tom went to visit him and as the pair casually smoked cigars together, they had a covert discussion: a Sicilian agreement that if Frankie committed suicide to atone for turning on ‘The Family,’ his own kin would not be punished for his betrayal. The archive contains some impressive pages of dialogue fully handwritten by Puzo; this scene is one of those examples and the dialogue is strikingly similar to the final filmed version. What’s interesting in Puzo’s February 14, 1972 version is the presence of Clemenza’s name in place of Pentangeli.

“ They’re saps because they risk their lives for strangers...

Country ain’t your blood, you remember that” Sonny Corleone The final scene in The Godfather II takes us back to 1941, a few years before the first film began, and the day that Michael tells his family he is dropping out of college to join the Marines.

Paramount had been negotiating right up until the day before filming for Marlon Brando to be in this closing scene, as Mario and Francis had originally intended. A variation of this line was meant to be spoken by the Godfather himself. When Brando was unable to settle with the studio, Coppola stayed up until 3AM at the Chateau Marmont rewriting the scene the night before shooting. To compensate, he changed the family gathering from Christmas to a surprise birthday party for Don Vito. Though Brando’s not in the sequence visually, his presence can be felt when everyone, except his youngest son, rushes to the door to greet him. When Michael alone remains in the camera’s view, it mirrors the final shot of the film—an aged Don, hand at his chin, staring off as he ponders the sins he has committed—though he has won, he has lost everything. He has lost the very family he swore to protect.

The Godfather Part III

T

hough the final installment of The Godfather Trilogy is widely discounted by fans and critics alike, the long path Puzo and Coppola travelled to complete the film—revealed within these papers—remains utterly fascinating. Scripts were drafted by various writers, including Puzo, as early as 1978, but it was not until a heavily indebted Coppola agreed to direct in December, 1988, that real production began. Staged in 1979, Godfather III chronicles Michael Corleone’s attempt at atonement, his strained relationships with children Anthony and Mary, and his passing of the torch to his nephew, Vincent. In an attempt to legitimize his business dealings by joining forces with the Vatican, he finds the Catholic church to be just as—if not more—corrupt than the mob he was trying to escape. The film ends with the death of his daughter Mary, from a bullet meant for him; Michael dies much later, alone in Sicily, of natural causes.

Contained within three boxes are: over 20 officially bound copies of various versions of the Godfather III script (including Puzo’s 1978 and 1986 drafts and the 1989 Coppola-Puzo version); eight unbound complete copies of the script; and several partial copies in varying stages of completion. There are many important pieces of correspondence between the author and director including a fantastic September, 1989 letter from Coppola indicating that he was preening DeNiro for the role of Vincent; Madonna had “successfully” screen tested for Mary Corleone (though Coppola’s own daughter, Sofia, would ultimately be cast); and Frank Sinatra, being “unwieldy,” was replaced by Eli Wallach for the role of Don Altobello. Reminiscent of the most famous line in the Godfather III, ‘Just when I thought I was out...they pull me back in,’ Coppola handwrites in a 119-page, September 14, 1989 script (in regards to a line where Michael professes he is retreating a normal life and Vincent must protect him): “Need? He’s already out!”

Various officially bound versions of the Godfather III script

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Coppola writes in a September 1989 letter that he was preening DeNiro for the role of Vincent and that Madonna had “successfully” screen tested for Mary Corleone

Coppola writes “Sinatra possiblility unwieldy, so I moved to Eli Wallach and am pleased”

Reminiscent of the most famous line in the Godfather III, ‘Just when I thought I was out...they pull me back in,’ Coppola handwrites in a 119-page, September 14, 1989 script: “Need? He’s already out!”

Also present here is Puzo’s retained, hand-signed contract for writing the Godfather III script, dated June 1, 1989 granting him $275,000 upon signing, with an additional $425,000 production bonus before principal photography even began: a testament to just how successful the novelist had become in his later years. Though Godfather III, released in December 1990, was a critical failure, Mario never lost faith in the Godfather franchise. As soon as 1991 he was writing to Coppola and DeNiro with ideas for The Godfather IV, a idealistic story about the “happy days,” the lost years of Don Corleone (1936–1941) raising his family and building his empire.

It was to be a film, “with more charm than murder.”

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50 Years of Puzo’s Writing

W

ith an impressive career spanning nearly half a century, Puzo’s pre-Godfather novels include 1955’s The Dark Arena*, based on Puzo’s personal post-WWII experiences, and a decade later, 1965’s The Fortunate Pilgrim*, inspired by his own mother’s story as a determined Depression-era Italian-American immigrant. Building upon his Godfather work, Puzo wrote 1984’s The Sicilian*, the Corleone Family’s literary sequel, which explores a potential storyline of Michael remaining in Sicily following his two-year exile. Afterwards, the author penned his two only nonfiction books, the first following The Godfather film’s success, 1972’s The Godfather Papers and Other Confessions*, and five years later, 1977’s Inside Las Vegas*, a behind-the-scenes look at gambling; in 1991 he took his hand at ‘fictionalized’ history with 1991’s The Fourth K*, a story of JFK’s nephew as the commander-in-chief. Puzo additionally wrote three non-Corleone organized crime novels: 1978’s Fools Die*, 1996’s The Last Don*, and 2000’s posthumously published Omerta*.

With Godfather Part I* and Part II* making him a Hollywood screenwriting commodity, Puzo continued work in tinseltown, including: 1974’s Earthquake*, a disaster film headlined by Charlton Heston and Ava Gardner; 1978’s Superman* (which included a brief Marlon Brando cameo as Superman’s father, Jor-El); Puzo also contributed to 1980’s Superman II*; shortly after came 1982’s A Time to Die*, based on his little-known 1967 war novel Six Graves to Munich*, written under the penname Mario Cleri; for an unrealized Coppola collaboration, 1984’s The Cotton Club*, Top row left to right: Fools Die, The Last Don, The Fortunate Pilgrim Puzo’s work as the original Bottom row left to right: Earthquake, The Cotton Club screenwriter remained unused; 1992 brought Puzo’s screenwriting work to a close with Christopher Columbus: The Discovery*, a historical work released for the 500th anniversary of the discovery of America.

* All ten books & nine screenplays are represented by material in the here-offered 45- box Mario Puzo Archive 40

Measures 11.5 x 12.5 x 5.25, with a 9.5˝ wide carriage. Reverse bears the ITC international manufacturing label, with a plate on the bottom engraved with the serial number, “3362827.”

Mario Puzo’s 1965 Olympia SM9 manual typewriter Shortly before leaving Germany at the close of World War II, Puzo made perhaps the most important purchase of his still latent writing career—a black 1947 Olympia manual typewriter. The famed Godfather scribe used the machine over the next half-century on the majority of his novels and screenplays, but not exclusively. There was a second Olympia, the clearly well-used, cream-colored example being offered here.

In an interview with the Chicago Tribune from 1996, the writer notes that Puzo’s leisure activities included ‘reading and writing fiction on one of two ancient Olympia portable typewriters.’ As far as modern technology was concerned, computers were out of the question for Puzo—‘My girlfriend got me a computer tutor…but there was no way I could write and use a computer, too.’

Already acclimated to the feel and function of the Olympia brand, Puzo would have doubtlessly used this SM9 typewriter, a more current alternative to his trusted 1947 manual, during the writing process of his now iconic crime fiction novels. Straight from the safekeeping of Puzo’s family, this vintage secondary typewriter originates from the very period Puzo began to shape the world’s image of the Mafioso underground.

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The Mario Puzo Legacy

P

assing away in 1999, in his home state of New York, the 78-year-old author left behind an unreplicatable legacy. Though it’s no secret his most famous work, The Godfather, was not his personal favorite, Puzo wrote in his nonfiction tell-all follow-up, ‘The Godfather, on a technical level is an accomplishment any professional storyteller can brag about. And it’s not a lucky best seller but the product of a writer who practiced his craft for nearly thirty years and finally got good at it.’ Chasing his literary dream since at 16, Mario told his illiterate mother he wanted to be a writer, neigh an artist—his hope may have waned, but he never deterred— finally achieving financial success near the ripe age of fifty. This massive collection of Mario Puzo’s personal material recounts the career trajectory of an author who was determined to make a name for himself. Offering a unique glimpse into Puzo’s methodology, these papers provide exclusive insight into his emergence as one of America’s most beloved authors and one of Hollywood’s most sought-after screenwriters. Mario Puzo, through his immense contributions to our popular culture and overall collective consciousness, was—and remains to this day— the Godfather of the written word.

Auction Details

Online bidding is February 11 -18 until 6 p.m. EST. Live auction will begin February 18 at 7 p.m. EST. You may register to bid at www.RRAuction.com or by calling (603) 732-4280.

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Detailed List of the 45 Boxes 1955 / 1982 (Box #6) The Dark Arena / Six Graves to Munich (Seven Graves movie for Rogan film based on Dark Arena) - Dark Arena: first draft, with some emendations by Puzo - Six Graves: several drafts, screenplays, and a manuscript (folders with notes

by Puzo are flagged) - Seven Graves: bound edited fourth draft of screenplay; original onionskin screenplay; three printed versions of the story (highlighted by 6 folders containing various stages of drafts of the screenplay, all of which feature numerous emendations and notes by Puzo) 1965 (Box #30) Fortunate Pilgrim - 5 boxes within have Puzo handwritten notations on outside of each, “The Fortunate Pilgrim, 1996”

Set up an appointment to view this archive by calling (603) 732-4280

- Master set first pass, 1996 printing of the novel, 289 pages - Second master set, 1996 printed draft of the novel, 283 pages - Box housing the design manuscript - Box of miscellaneous corrected pages, with a letter, dated March 1997 - Unbound Master copy, 283 pages, on professional quality book paper 1965 / 1978 (Box #44) Fortunate Pilgrim / Fools Die Includes two boxes within: - Box one contains 2 original Fortunate Pilgrim manuscripts (one is an earlier version; both bear copious notations and emendations

by Puzo) - Box two includes an apparent complete manuscript copy of Fools Die, loaded with emendations and annotations

by Puzo) 1972 (Box #36) The Godfather Papers and Other Confessions - Original manuscript, related articles and correspondence; numerous folders of various sections and stages of the book, including: “Success of The Godfather” and “The Making of The Godfather”; annotations and emendations by Puzo can be found throughout

1972 / 1974 / 1990 (Box #37-43, 46) The Godfather Trilogy See page 46 1974 (Box #28) “Earthquake” - Brass-button bound edited copy of the first draft of Earthquake, an “Original Screenplay by Mario Puzo,” dated April 1, 1972, 83 pages - Impressive bound storyboard for Earthquake - Numerous folders containing a wide variety of Earthquake-related material, many with Puzo annotations, including: several drafts and working copies of the Earthquake screenplay, prolonged scenes, inserts, notes, research on earthquakes, miscellaneous sheets, scene outlines, dialogue, voiceovers, cor respondence, and panoramic shots, etc.

- Collection of 30 folders featuring various photocopied scenes, including: character scenes, notes on special FX, gamblers (with a page of handwritten Puzo notes), a dam scene (with Puzo handwriting on inside folder cover), and many more - Several instances/folders/correspondence letters concerning writing credits for Earthquake and the involvement of George Fox and director Mark Robson 1977 (Box #34) Inside Las Vegas Four boxes for The Worlds of Las Vegas, including: - Larger box: containing notes from Saundra, and three drafts; the original draft bears some Puzo annotations Box #34 continues on the next page

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- Working copy of The Worlds of Las Vegas - Original copy of The Worlds of Las Vegas containing Puzo annotations

- Early draft typescript, 558 pages

- Box of photos of Las Vegas, many are stamped on the reverse, “Michael Abramson, Black Star”

- Finished original 1984 draft typescript, 556 pages

- Second draft copy

1984 (Box #2) The Sicilian

- Rough working copy with abundant Puzo notes - Correspondence book, with some Puzo notes 1977 (Box #35) Inside Las Vegas - Numerous folders, including: research notes of gambling (management, laws, famous gamblers, etc.); correspondence; bibliography notes; an original first draft; a large portion of the typescript; extra reprints with Playboy first proof (several sections bear handwritten Puzo annotations, majority are marked with post-its) - Two loose rough typescripts (blue and white) 1978 (Box #5) Superman - Various bound and unbound (folders) draft versions of the Superman screenplay; working copies include several inserts with handwritten notes

by Puzo; dated between July 7, 1975 and October 1, 1975; running between 133 and 309 pages - Set of (5) reel/script conferences between Puzo and other filmmakers; includes 5 cassette tapes - typescript features annotations by Puzo - 2 folders of rough second drafts (one pages 162 to 195 and the other 141 to 220; both include numerous Puzo annotations) - 16 additional folders for various scenes, inserts, synopses, misc. pages, research, correspondence, and notes (all bearing copious handwritten annotations by Puzo) 1982 / 1955 (Box #7) Seven Graves (movie based on 1955’s Dark Arena) - Folders with Puzo annotations are flagged - Numerous folders that contain several different drafts of the screenplay, including: master, working, second working copy, 8 second drafts, and other incomplete drafts or random notes - Two bound original screenplays and 2 bound fourth drafts

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1984 (Box #1) The Sicilian

- 2 boxes within and a large assortment of folders - Final typescript copy of “The Sicilian” May 1984, some red strike-throughs, 556 pages - Original typescript with secretarial annotations many pages/chapters in random order - Massive assortment of folders with copious handwritten notes by Puzo, including: an early draft; 26 folders spanning books 1-5, (many empty); chapter summaries; character studies folder; “Six Mafia Chief” breakdown folder; typescript of Ch.7; Puzo notes on “Guiliano” - Additional set of folders for Chapters 1 - 26 labeled in a secretarial hand 1984 (Box #29) Cotton Club - Several first and second drafts of the script, bound and unbound, many featuring several pages and scenes with annotations by Puzo and a bound version of the typescript - Bound final script by William Kennedy and Francis Coppola; bound first draft of the Cotton Club by Coppola; bound rehearsal script by Kennedy and Coppola - Collection of folders containing several scenes and notes, many of which feature annotations and emendations by Puzo 1991 / 1996 (Box #20) The Fourth K / The Last Don - 3 boxes within including: a printed The Fourth K prep for publication; and 2 boxes include complete 900 page manuscript of The Fourth K, dated July 17, 1989, includes two letters of correspondence - 692-page complete, edited, test copy manuscript of the The Last Don; and a 486 page complete printed test run publication of The Last Don 1991 (Box #21) The Fourth K - Numerous folders containing chapters and prolonged sections of The Fourth K; a large assortment of scattered sheets, scenes, and pages (plentiful annotations and emendations

by Puzo throughout entire box)

- 500-page complete manuscript for the English edition proofs 1991 (Box #22) The Fourth K - Large assortment of folders containing typescript chapters and pages of notes; scattered scenes, research items, and pages of handwritten Puzo notes are also included; four postcards to Puzo (entirety of box features a copious amount of Puzo handwritten emendations, annotations, etc.)

1991 (Box #23) The Fourth K - Complete, rough and edited manuscript; 703 pages, with various other inserts - Large assortment of folders containing typescript chapter scenes, pages, and notes, the majority bearing emendations and annotations by Puzo - Large pile of scattered scenes and notes, both typescript and handwritten by Puzo (plentiful emendations and annotations) - Two large, incomplete and rough typescript manuscripts, both containing some emendations and notes by Puzo and an editor; one possibly an original, another photocopied 1991 (Box #24) The Fourth K - Large green folder containing two incomplete typescript sections of the manuscript; one copy has annotations and emendations by Puzo - Several red folders containing various typescript scenes and stages of the final draft, plentiful annotations and emendations by Puzo - Several other manila folders with prolonged typescript scenes and chapters, some correspondence (Puzo handwriting sparse) - Several leftover folders (many empty) concerning The Fourth K chapters and scenes (Puzo handwriting present) - Orange folder with original first draft, pages 1-96; lined pages with notes ac company other Puzo emendations and annotations on typescript 1991 (Box #25) The Fourth K - Working first draft, pages 1-113, circa early 1987, annotations and emendations

by Puzo - Two folders containing early drafts of the manuscript, pages 1-186 - A printed galley version of The Fourth K with editor’s notes (near bottom)

- A loose first draft of the manuscript, dated June 30, 1987, pages 1-190

1991 (Box #45) The Fourth K

- Original working draft, with plentiful Puzo annotations

- Large, incomplete March 20, 1990 draft of the manuscript

- 746-page revised manuscript, dated February 11, 1990; includes emendations, annotations, and hand written pages by Puzo

1996 (Box #13) The Last Don (The Clericuzio)

- Large assortment of loose notes and pages of scenes, chapter outlines, correspondence, and research notes (copious handwriting by Puzo) - Loose Book IV section, 387-645, plenty of annotations by Puzo 1991 (Box # 26) The Fourth K - Complete script for the audio version of The Fourth K, with correspondence - Box containing large section of manuscript, pages 437-962 (pages 468-609 absent) - Green folder with May, 1986 manuscript draft, pages 1-106 (with Puzo annotations and emendations) - Book III folder, photocopied, pages 283-467 - Book V folder, photocopied, pages 830-962 - Green folder, pages 135-371, includes numerous annotations and emendations and several pages with extensive handwritten notes by Puzo - Several folders and extra loose pages/ scenes, all bearing outlines, emendations and notations by Puzo - Box containing The Fourth K manuscript, pages 1-436, featuring copious annotations and emendations by Puzo 1991 (Box #27) The Fourth K - Loose scattered papers include: book outline, scenes, inserts, fascist/ novel notes, plot ideas, character outlines, research, correspondence; majority with Puzo annotations and emendations, including a large selection of lined handwritten sheets by Puzo

1992 (Box #3) Columbus - Several drafts and working copies with numerous annotations and emendations by Puzo in various colored folders (dated between March 1, 1990 and December 15, 1990 and running from 26 pages to 125 pages) - Approximately 57 handwritten pages of extremely early draft notes - 10 letters of correspondence addressed to and from Puzo concerning the drafting of the script - Several first, second, and third drafts (dated between April 23, 1990 and December 15, 1990 and running between 119 and 125 pages, with some Puzo annotations) - Set of 10 folders concerning various stages of development for Acts 1-5 - Large assortment of typed scenes and pages from various points in the script, many either stapled or divided with paper clips, includes a First Working Copy with annotations in another hand 1992 (Box #4) Columbus All folders within are handwritten

by Puzo 5 complete versions of the script, including: - Unbound, with annotations throughout

by Puzo, 122 pages - Unbound, 122 pages - First working copy draft of script, dated March 1, 1990, 108 pages - Rewrite, dated April 21, with intro sheet bearing script errors; 119 pages

- Book I, manila, pages 1-58

- First draft, dated April 15, 112 pages

- Book II manila, pages 59-282, photocopy

- 5 folders bearing copious notes by Puzo, for various scenes and research

- Book III green folder, pages 148-400 - Book IV manila, pages 48-829 - Loose Book V, pages 468-555 - Loose master set copy of printed version of The Fourth K, red post-its abound, with some correspondence from editor - Several colored folders with correspondence and various scenes and outlines

- 2 slim folders featuring various correspondence 1992 (Box #33) The Lorch Team - 3 bound first drafts of The Lorch Team - 2 copies of scripts - Several folders, including: 2 synopses; a first rewrite with copious Puzo notes; a carbon draft; 3 copies of The Lorch Team, titled “The Man Who Hunts Traitors”

- Large assortment of folders separated by various edits, chapters, and scenes; contains manuscript pages, lined sheets, and outlines (the majority of which are emended and annotated by Puzo) - Large, loose stack of manuscript pages (pp. 267-528) - Large, loose stack of manuscript pages, titled “Green Light,” dated March 4, 1994, pages 1-297 (some pages missing) - Small stack of manuscript pages (many with emendations) and several ‘outline’ sheets filled out by Puzo addressing scene development and characters 1996 (Box #14) The Last Don (The Clericuzio) - Numerous unarranged folders containing scenes, chapters, and outlines (copious emendations, annotations, and handwritten pages by Puzo) - Partial manuscript for The Clericuzio, Book II, pages 52-266 (numerous pages missing) - Partial, impressive manuscript for The Clericuzio, dated July 1, 1995, pages 1-500 (includes numerous handwritten inserts and outlines

by Puzo) 1996 (Box #15) The Last Don (The Clericuzio) - Final draft of The Clericuzio, dated December 1, 1995, pages 1-691 (minimal emendations) - Other copies of the novel’s various ‘Books,’ featuring numerous chapters with inserts, as well as the prologue (loaded with emendations, annotations, and full handwritten pages by Puzo) - Early copy, starting with Book III, Puzo writes “BURN” on front, (pages 131-609) - Numerous yellow folders containing chapters/scenes (copious notes by Puzo throughout) 1996 (Box #16) The Last Don (The Clericuzio) / Omerta - Box contains partial manuscript for The Clericuzio, dated July 1, 1995, pages 1-528 - Collection of turquoise folders comprised of scenes/chapters/characters from the various Books; many are photocopies, although some bear Puzo handwriting; also present is a bag with various manuscript scenes including plenty of emendations and notations Box #16 continues on the next page

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- Unknown typescript, 82 pages - Enormous stack of handwritten notes and manuscript pages by Puzo, presumably for Omerta (which was published posthumously) 1996 (Box #17) The Last Don (The Clericuzio) - Box containing a partial manuscript for The Clericuzio, dated July 1, 1995, (pages 1-528) - Numerous folders containing various typescript scenes, headed: “Green Light,” “Mimeographed Green Light,” “Original New Century,” “Bookman,” or “Clericuzio”; scant annotations and emendations present) - Seven different bound screenplays for the The Last Don television miniseries - Massive stack of lined note pages and manuscript pages, the majority of which bear Puzo handwriting

1996 (Box #18) The Last Don (The Clericuzio) - Numerous folders containing original manuscript pages of various scenes and chapters and a large assortment of lined papers with handwritten scene/chapter outlines and character breakdowns

- Two copies of the master draft for the published edition of The Last Don, pages i-488 (one copy had a small stack of separated sheets for editing purposes) 2000 (Box #31) Omerta

- Entirety of box features a copious amount of handwritten annotations and emendations by Puzo

- Numerous folders for chapters of Books 1 and 2, containing handwritten notes by Puzo

1996 (Box #19) The Last Don

- Three 3-ring binder folders containing 2 complete drafts of the novel, and one incomplete; no draft appears the same

- Partial manuscript, second draft of The Clericuzio, dated October 23, 1995, pages 1-590; includes: a computer disk, for “Eugene,” dated September 28, 1995 - Final typescript draft for the audio script, 4 hours long, 227 pages, 38,000 words, with correspondence letter from Random House Publishing, dated March 4, 1996

2000 (Box #32) Omerta - Numerous folders for various chapters; several pages and folders bear notes by Puzo - Several prolonged sections of the novel (Puzo notes are sparse)

- Final draft manuscript of The Clericuzio, dated December 1, 1995, pages 1-692

The Godfather Trilogy Boxes 1972 (Box #37) The Godfather I Exceptional, complete 744-page early typed manuscript for Puzo’s masterpiece “Mafia,” the original working title for The Godfather book, with copious notes by Puzo throughout mostly in bold red felt tip, but there are additional notes in black ink and pencil (also includes routine pencil editorial notes in another hand). Most all pages are of an original, quality stock, however, towards the end some pages are photocopies of an earlier version (particularly Chapter 30) though there are still a copious notes in Puzo’s hand on these photocopied pages.

Abundance of Godfather I material organized within 49 numbered manilla folders: 1. Two Puzo handwritten pages of “Technical Mafia Book Corrections” and “Spelling of Names” 2. Faithful fifteen-page Puzo handwritten outline of the nine books, mentioning Book I ending with the murder of Sollozzo and the as-of-yet unwritten Moe Greene murder 3. One page of Puzo’s handwritten potential rewrites, including a scene between Michael and Tom 4. Two Puzo handwritten pages on the Godfather novel, including “Proposed Non-Technical revisions: “Don’t make Frankie whine at beginning.” This must refer to Johnny Fontane whining about his failing career (proof that his character was based on Frank Sinatra) 5. The 744-page “Mafia” manuscript detailed as a highlight above

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6. Six-page typed opening for The Godfather novel 7. Three-page typed variation of the novel’s ending 8. Two typed pages of the early “Mafia” manuscript (pages 720 and 721) 9. Forty-page typed opening for “Mafia,” with many Puzo notations 10. Single title page of “The Godfather” Part I First Draft Screenplay (with a solo Puzo credit), dated August 10, 1970 11. Copy of “Mafia” page 108 (the introduction of Sollozzo) identified by Puzo as an “extra copy” 12. Photocopied pages of the Godfather novel (from 395-462), renumbered at top

by Puzo 13. “Mafia” book revision (page 739; no Puzo notes)

14. 29-page typed beginning of Book 8 of novel, then titled, “The Final Chapter..

Michael Corleone kills his enemies and his brother in law, Carlo” 15. 33 typed manuscript pages for the end of the novel, including revision sheets for pages 723, 716, 712, and chapters 27, 24, 29, 31. There are a few full pages of Puzo annotations including the death of Moe Greene, and a scene between Michael and Tom before the Tessio and Carlo murders 16. Not from the Godfather: 5 unannotated pages referencing: “Lines to Use,” “Set Pieces in Hollywood Section of novel,” and “novel notes.”

17. Not from the Godfather: Various unannotated typed manuscript pages 18. Photocopy of a nine-page piece of January 21, 1971 correspondence from Peter Bart to Francis Ford Coppola.

Copy contains Puzo’s own handwritten notes in response to Bart’s suggestions.

Interesting typed portions include: “Michael, as portrayed in the screenplay, seems strangely lacking in dimension”; “Sonny says ‘It’s just business and you’re taking it personal. The novel makes a point in several places that the killings are in fact personal and ‘not just business.’” Also included is a second copy with no notes.

19. Two Mario Puzo retained and signed copies of a January 21, 1971 letter send to Al Ruddy and Francis Ford Coppola concerning changes to the screenplay. Interesting notes: “Michael’s fall from grace (Good guy to Murderer) should be more meaningful - MORE TRAGIC” and “After this (and I assume Frances will be re-writing this now) I feel it’s ready.”

20. Copy of a letter from Steve Kesten, March 16, 1971, mentioning the start of principal photography for The Godfather film, beginning March 29, 1971.

21. Two typed pages from The Godfather screenplay (3/19/71 revision), portions of scenes 14 and 15; pages 38 and 39 (Michael and Kay Christmas shopping) 22. One typed page of Sidney Furie and Puzo notes (Furie was originally intended to direct The Godfather) 23. One page of typed notes on The Godfather screenplay changes 24. One page of typed revision notes on Third Draft of The Godfather screenplay

31. 35 pages of photocopied sheets bearing Coppola’s photocopied notes and early ideas (synopsis, times, imagery and tone, core, and pitfalls for scenes 20 through 41) 32. Original three-page letter from producer Peter Bart to Mario Puzo, dated July 13, 1970, concerning The Godfather screenplay. Bart makes the smart suggestion of a more exciting opening scene than the courtroom and closes the letter with a promising statement: “I think you have done an excellent job in developing the construction and the characters, and I think we are well on our way to an enormously successful motion picture.”

33. Godfather II: 13-pages filled with Puzo’s handwritten portion of a rough draft of Godfather II screenplay. Includes detailed death scene of Peter Clemenza in the bathtub (character would change to Frank Pentangeli). Two pages at end note handwritten addresses of Robert Lantz and Mario Puzo 34. 25 pages of the early script and notes on the opening of Godfather I (11 of the pages are entirely handwritten by Puzo).

Fantastic content including the introduction of characters with flashes of light and the actor’s names 35. PARTIAL SCRIPT Very early Puzo Godfather I screenplay, beginning with Michael exiting his Ivy League college, bearing copious Puzo annotations throughout (pages 1-112)

26. One page of typed notes regarding necessary Michael and Kay scenes

36. COMPLETE SCRIPT Puzo’s January 21, 1971 revision of the Puzo-Coppola First draft of the Godfather screenplay (this is the 2nd half of a complete script; the first ½ is in folder 41) (Included here are pages 81-185; page 91 seems to have been skipped). Script bears several white-out corrections and renumbered pages by Puzo

27. Godfather II: One-page typed “notes meeting with Bob Evans and Peter Bart on 8/11/71.” (Beginning of discussions for Puzo’s first draft of the sequel)

37. Post-it note on front says “Working draft - before completed first draft” COMPLETE SCRIPT 126-page Godfather script with Puzo notations

28. Two pages of typed notes from Puzo to Coppola, with a few handwritten Puzo annotations. Puzo begins, “I think the structure is fine. The corrections I’ve made are dialogue and tone. I think the whole thing works.”

38. PARTIAL SCRIPT Large portion of typed Godfather screenplay (pages 33 to 151), Puzo version, dated 8/5/70 (no notes, minor cross outs)

25. Not from The Godfather: page mentioning THE HUDSON GUILD, Dan Carpenter, and girls playing basketball

29. 13-page typed list of “MUST SCENES for ‘THE GODFATHER’” bearing copious Puzo annotations throughout. Puzo starts by “Opening with the wedding of Connie Corleone,” and finished with, “Gotta come up with a great closing image.”

39. COMPLETE SCRIPT, 189-page Official Paramount-bound third draft of PuzoCoppola Godfather screenplay, only a couple of minor pencil notations by Puzo, hand-titled on the cover by Puzo “Godfather Script 3rd draft.” The inside page refers to it as the first Puzo-Coppola “First Draft”

30. Puzo’s photocopy of Coppola’s 26-page brass fastener bound First Step Outline of The Godfather, dated October 27, 1970; includes an index of all 50 scenes (no handwritten notes).

40. PARTIAL SCRIPT (80 of 196 pages are present) January 21, 1971. On official Paramount letterhead cover letter, Puzo has written: “Revision of Coppollo [sic]-Puzo First Draft, Puzo Jan 21, 1971” Copious

Puzo emendations throughout, including his renumbering of pages at top; among other important notations, on page 54 Puzo handwrites, “I’ll make you an offer you can’t refuse” in an unusual spot where Kay is jokingly attempting to seduce Michael 41. First half of a complete script (2nd half is in folder 36) Puzo’s January 21, 1971 revision of the Puzo-Coppola First Draft of the Godfather screenplay (included here are pages 1-80). Appears to be a cleaner, typed version of the first 80 pages contained in folder 40, with some whiteout corrections and page number fixes on Puzo’s hand 42. COMPLETE SCRIPT, 189-page first Puzo-Coppola draft of the Godfather screenplay (brass fastened at top, photocopied quality to pages, no handwritten notes) 43. PARTIAL SCRIPT Early drafts of sections of Puzo’s Godfather screenplay (76 typed pages in total, no notes), one is the first 25 pages beginning with the courtroom scene; various other scenes include Puzo’s original 5-page version of the “Michael Being Trained For the Don’s Job” scene 44. COMPLETE VERSION OF A PARTIAL SCRIPT, 125-page Official Paramountbound draft of the Puzo-Coppola Godfather screenplay. Hand-notated by Puzo on cover, “Last Half 3rd Draft, Mario Puzo, Nov 23, 1970.” Script covers chapter 27 through to the end 45. Typed draft revision of the first 20 pages of the Puzo-Coppola Godfather screenplay, dated March 16, 1971 (no handwritten notes) 46. Six early draft paper-clipped scenes from the Puzo Godfather screenplay (32 pages total), including Neri, Carlo and Connie, and the ending scene (no handwritten notes) 47. PARTIAL SCRIPT - August 10, 1970 #1 Revision copy of a first draft of the Puzo Godfather screenplay, (55 pages present with several discarded and added pages of various scenes pulled for revision; includes copious Puzo annotations throughout; also included are 30 additional typed pages of various scenes, no notes) 48. Not from the Godfather: Photocopied portion (pages 26 through 126) featuring the Corleone family characters but not from the Godfather 1, 2, or 3 49. Essentially COMPLETE 129-page early draft of the Puzo Godfather screenplay: 135 pages are present as some page numbers are not included and some page numbers duplicated

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1972 / 1974 (Box #38) Godfather I and II

Contains manilla folders 50­­—85

(Due to mixture of material, Godfather I and II are specifically identified throughout) 50. PARTIAL SCRIPT Early typed 93-page draft of Puzo’s Godfather I screenplay, with an unusual opening showing the cast on an “FBI Mafia Family Chart” (no notes) 51. PARTIAL SCRIPT Beginning 29 pages of an early version of the Godfather I screenplay with a few Puzo annotations, including one involving the horsehead in Woltz’s bed 52. PARTIAL SCRIPT Early Puzo-Coppola draft of the Godfather I screenplay on 104 onionskin pages, from the beginning through to the murder of Sollozzo (several typed yellow pages with Puzo’s corrections incorporated are inserted throughout), copious Puzo annotations 53. Contains a few partial amazingcontent Godfather I scripts: 24-pages of an early 8/7/70 typed draft (no notes); seven pages from the Godfather/Michael transition of power scene (four fully handwritten by Puzo, also present is the four-page typed version); 23 pages of closing “Baptism of Fire” scene with great Puzo writing including eight pages of fully handwritten text; 13 pages of “Scene 42, Michael in Las Vegas” (including two pages with Coppola notes); 47 loose script pages (mostly early August 1970 versions, several with copious Puzo notations) 54. Note to Coppola from Puzo concerning Scene 44 of Godfather II, includes the 4-page scene; letter bears some Puzo emendations in black felt tip 55. Discarded opening of the Godfather I, covered in Puzo’s own multicolored felt tip annotations 56. Puzo’s personal Godfather I souvenir book 57. September 18, 1973 secretarial letter of transmittal from Debbie to Lanetta on Godfather II letterhead, regarding Mario and Coppola exchanging notes 58. Typed note to Coppola from Puzo concerning Scene 44 of Godfather II, accompanied by a two-page airport scene 59. February 9, 1970 telegram from Paramount producer Robert Evans to Puzo (and 13 pieces of correspondence from notable people such as William Kennedy and politicians, some photocopied) 60. August 16, 1971 (Puzo’s unsigned, retained copy of his letter to producer Robert Evans, concerning seeing the final footage of Godfather I in order to begin writing the sequel Godfather II

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61. October 1, 1971 letter to Puzo from the Writer’s Guild of America confirming that The Godfather I writing credits shall read, “Screenplay by Mario Puzo and Francis Ford Coppola. Based on the Novel by Mario Puzo” 62. Various retained copies of Puzo’s correspondence; highlighted by a retained copy of a letter written to Robert Lantz requesting a chance to see the final cut of the Godfather I, dated December 3, 1971 (includes other letters with interesting content related to Superman and the Godfather sequels) 63. Various financial correspondence, the majority concerning Puzo’s wages and tax return. Highlight is a letter requesting an increase in mortgage mentioning his “contract with Paramount Pictures which will pay me $12,500 this year minimum in option money for a book I am working on with purchase price of $80,000 if they decide to purchase.”

64. PARTIAL Godfather II SCRIPTS First 52 pages of Puzo’s initial draft entirely written in his hand on lined yellow paper and approximately 100 typed pages of Puzo’s early Godfather II screenplay, dated November 15, 1971, (several duplicate scenes), then titled, “The Death of Michael Corleone”; also includes cast list page 65. PARTIAL SCRIPT December 1, 1971: Heavily Puzo-annotated 37-page early screenplay of the beginning of Godfather II; a 7-page packet of various rewritten scenes with ample annotations by Puzo (also December 1, 1971); and an undated, 8-page packet of an early draft of a scene from the Godfather II 66. PARTIAL SCRIPT January 25, 1972: 92-page revised copy of Puzo’s early Godfather II screenplay, then titled “The Death of Michael Corleone” each page is hand-numbered by Puzo and annotated throughout, including the cover, which reads, “revised copy Jan 25.” Plot focuses on the FBI hearing (in this version Clemenza is the traitor instead of Frank Pentangeli), Kay Adams in New Hampshire, bodyguard Al Neri, Las Vegas and Johnny Fontane, Michael’s kidnapping and at the end, Kay is persuaded by Tom Hagen to return to Michael.

67. COMPLETE SCRIPT February 14, 1972, 149-page revised copy of the Puzo Godfather II screenplay, bearing several Puzo annotations, including the Clemenza/Hagen scene discussing his suicide as penance

68. COMPLETE SCRIPT May 5, 1972, 182-page final revision of Puzo’s Godfather II screenplay, bearing copious Puzo annotations and emendations (including a “make him an offer he can’t refuse” addition in Puzo’s hand) several pages are entirely handwritten by Puzo, including the detailed cover page; some simple modifications have been added in a secretarial hand 69. COMPLETE SCRIPT May 5, 1972, 171-page clean, typed version of the “Final Revision” for Godfather II 70. 45th Annual Academy Awards Program, March 27, 1973; Puzo nominated for and won “Best Adapted Screenplay” for Godfather I 71. PARTIAL SCRIPT First 19 pages of the Third Draft Godfather II screenplay, dated August 1, 1973 (noted as following Puzo’s May 5, 1972 draft and Coppola’s July 4, 1972 draft). Begins with Coppola’s familiar Sicilian background story (though it is very elongated) and blends into Michael’s son’s communion celebration—this is a far cry from Puzo’s early drafts which focused heavily on the FBI trial and Las Vegas.

Photocopy of another version of this script is included.

72. COMPLETE SCRIPT September 17, 1973, 183-page second draft of the Puzo-Coppola Godfather II screenplay (photocopied, annotations by Puzo are facsimiles). At this point they have finally changed the Clemenza character to Frank Pentangeli and on the page after he is introduced Puzo notes: “I think it imperative to get Clemenza back.” This screenplay version is very close to what we see on film (featuring characters Pentangeli, Roth, and Senator Geary) 73A. COMPLETE SCRIPT September 24, 1973, 200-page, second draft of the PuzoCoppola Godfather II screenplay, officially bound with Godfather Part II logo featured on the cover 73B.Same as above, but missing back cover 74. PARTIAL SCRIPT Eight separate packets of Puzo’s early draft scenes from the Godfather II (totaling 78 pages).

Copious Puzo notations, including entire handwritten pages 75. Three pages of notes handwritten by Puzo regarding Godfather I screenplay, includes the death of Carlo and introduction of Sollozzo.

76. Not from the Godfather - 11-page draft for a possible column by Puzo, with several handwritten annotations 77. COMPLETE SCRIPT - May 5, 1972, 171-page final revision of Puzo’s Godfather II screenplay, entitled, “The Death of Michael Corleone” (Puzo notes on cover only) 78. November 15, 1971 preliminary draft of Puzo’s first four pages from the Godfather II script; also includes pages 19 and 20 with a few Puzo notations 79. PARTIAL SCRIPT - December 1, 1971, two 38-page onionskin copies of Puzo’s early Godfather II screenplay (no notes)

80. PARTIAL SCRIPT July 4, 1973, Coppola’s first draft screenplay of the Godfather II with notations/critiques handwritten throughout by Puzo (appears incomplete with 105 fax paper-quality pages and includes an additional photocopied section of the script—pages 55 to 77—which don’t line up with the other script)

83. Eleven typed pages of the early Godfather II screenplay (includes FBI and Clemenza and early scenes with Vito and Fanucci)

81. COMPLETE SCRIPT - September 17, 1973, 183-page second draft of the PuzoCoppola Godfather II screenplay (entirely photocopied, it includes both Coppola and Puzo’s facsimile annotations)

85. PARTIAL SCRIPT Early Puzo typed draft of Godfather II (28 pages of various scenes; includes a Puzo handwritten notation for his original ending)

84. PARTIAL SCRIPT Early Puzo typed draft of Godfather II (prolonged scene with Michael, Margaret, and Neri; pages 5-44)

82. Eleven typed pages of the early Godfather II screenplay

1972 The Godfather Book Outline

Six huge oak tag paper sheets,

approximately 22 x 28, outlining the creative process of Puzo while he was writing The Godfather novel. Sheets are separated by scenes and locations, and are headed: “To be written, Work, New York,” “Vegas/Hollywood,” “Las Vegas/New England,” “Hollywood,” “Book VII / Book VIII / Book IX,” and “Book I / Book II / Book III.”

1974 (Box #39) Godfather II

Contains manilla folders 86—92 86.PARTIAL SCRIPT Godfather II screenplay (four paperclipped early typed scenes, 34 total pages; includes storyline of Michael’s mistress, Margaret, not included in film); Two lined sheets titled “Son of Godfather,” handwritten by Puzo; folder tab with Puzo’s handwritten notes 87. 10 typed pages from the early Godfather II screenplay (covers characters not seen in film: Zoltan, Perino, Capone, and Gutman) 88. PARTIAL SCRIPT Godfather II on onionskin pages, starting on page 104 and ending on page 149 (close of movie) 89. PARTIAL SCRIPT Godfather II (122 pages total, pages numbers range from roughly 60-140, with some not present and some duplicates, dated 1/15/71 revised) photocopied quality including copious important facsimile notes on Cuba and Roth (in neither Puzo nor Coppola’s hand); suggests Mike deliver famous “I knew it was you Fredo line” in Sicilian

90. PARTIAL SCRIPT Godfather II, orange cover bound with brass fastener (pages 131–165); also present is a six-page photocopied scene (pages 191–196); and an original three-page scene where Michael confronts Fredo (photocopy also included) 91. Amazing 12-page handwritten letter from Puzo to Coppola on yellow legal paper

- 8-page “Michael overpowering Senator scene,” written out by Puzo for Coppola, entirely in Puzo’s hand on yellow legal paper (also present is an official copy of the typed-up version and a regular copy)

- 18-page script portion entirely in Puzo’s hand on yellow legal paper (covers opening in Sicily—which is quite elongated—and also Anthony’s communion)

- 13 pages of Puzo’s handwritten script inserts; amazing content including Vito saying “I’ll make him an offer he can’t refuse,” and the discussion of Fredo’s murder being likened to the killing of Carlo

- Astounding eight-page letter from Puzo to Coppola with two fully handwritten pages, one Puzo’s thoughts on “My Original Draft of the Script,” and the other a cover letter to Coppola (In part: “Dear Francis, Here are some notes on my thinking on script. Don’t be impatient. The most important thing is to know what the hell we really want to do.”); typed letter itself, which contains fantastic content, has copious handwritten notes by Puzo as well.

Interesting material includes: agreeing to open with the Godfather in Sicily as well as Anthony’s communion; mentions Hyman Ross specifically as the “Lansky” character; discussion of Michael being kidnapped; Puzo’s thoughtful detailing of what Coppola did right in the first film regarding the focus on family; a page on “What they [the audience] want to see” (Michael coming to the end of his destiny, not interested in Fredo or Connie); have Fabrizzio killed

by Michael (responsible for Apollonia’s death) (include are two official retained copies); additionally present is a photocopy of a letter on Paramount stationery from Puzo to Coppola (August 1, 1973), mentions he now agrees with Coppola that Fredo should be important in this film Folder 91 continues on the next page

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- Page of Puzo’s typed notes compiled “during the screening of The Godfather July 30, 1973” (seems like he was refreshing himself for work on Godfather II) - Page of Puzo’s handwritten notes on Godfather II, including “Pacino wants Michael to die” - Three legal pages of Puzo’s handwritten notes on various Godfather II topics, including whether the film should be shorter than the first and does Michael get killed

- Handwritten and signed cover letter page from Puzo to Coppola, “For the 3rd draft of the GFII script.” In part:

“Dear Francis, I did everything I could within the time limitation.” (two official retained copies also present) 92. COMPLETE SCRIPT Godfather I large 185-page photocopied script titled “Revision of Coppollo [sic] - Puzo First Draft, Puzo, January 21, 1971”; no notes Also in the box are: - PARTIAL SCRIPT Godfather II: July 4, 1973, 131-page official bound copy noted inside as, “First Draft Screenplay, Prepared July 4, 1973, F.F. Coppola”

- Puzo’s own copy of Coppola’s Godfather I notebook, known on set as his ‘bible,’ housed in a binder complete with tabs covering scenes 1 through 50, and the director’s copious handwritten notes (photocopied) and insight into the film’s production; incredibly personal, shared material between writers - 4-page typed “Cuban Synopsis”; 12-page photocopy of Puzo’s handwritten notes on the ending of Godfather II (also included in the four-page typed-up version, dated Sept. 17,1973; this version includes Marlon Brando, however, he was unable to make it to filming)

1972 / 1974 (Box 46) Godfather I and II

1990 (Box #40) Godfather III

- COMPLETE SCRIPT Revision of Coppola-Puzo first draft of The Godfather I screenplay, 185 pages, dated January 21, 1971 (photocopied quality, no notes)

- Several copies and various drafts, bound and unbound, of Godfather III screenplay, dated May 10, 1989; July 10, 1989; March 30, 1989; June 20, 1989, etc.

- COMPLETE SCRIPT Godfather II, typed 149-page revision on onionskin, dated January 25, 1972, tentatively titled “The Death of Michael Corleone”

- Red mini, portable Godfather III post-production handbook, signed on the title page by Puzo, Coppola, and Pacino

- COMPLETE SCRIPT Godfather I, 151-page Xerox copy of the second draft - Six typed pages from The Godfather novel manuscript, entitled “Mafia Novel” (including two pages of opening courtroom scene and four pages covering the consolidation of the Corleone family power) - Very early August 3/4, 1970 seven-page introduction scene for The Godfather I screenplay, bearing copious Puzo handwritten annotations - Several modern copies of various material from the Godfather Trilogy (originals found elsewhere in collection) The following are contained within a binder: - Puzo’s retained copy of his letter to Marlon Brando, March 7, 1970. In full: “Talked to Paramount and to the producer, Al Ruddy.

They are very cool, seem to have other ideas. So unless you have read the book and want to use you muscle I guess that’s it. I’m sorry I wasted your time. I still think it’s a good idea. And thanks for taking the trouble to call and talk to me.”

- Letter dated March 3, 1975, from Academy of Motion Pictures Arts and Sciences informing Puzo that he’s been nominated for Godfather II

- Signed, undated letter from Coppola to Puzo, wishing him a Merry Christmas

- August 1978 issue of TIME, “The Godfather of the Paperback Boom”

- Various folders featuring scenes/chapters - Bag of articles done by Puzo - Puzo’s handwriting can be found scattered throughout drafts and folders 1990 (Box #41) The Godfather III - Several drafts, bound and unbound, of the Godfather III screenplay, including: working, shooting, third, etc.

- Numerous folders containing complete/incomplete scenes/ chapters, as well as outlines for scenes and characters; also includes a copy of the original contract for the film - Large stack of correspondence and various scenes for and from Godfather III; annotations and emendations by Puzo can be found throughout 1990 (Box #42) The Godfather III - Several original, bound and unbound, complete and abbreviated, screenplays of Godfather III including: first, second, rehearsals, and personal scripts for various crew members - Various folders containing scenes and notes, including: “Gage Treatment,” “Francis Copy,” and a folder containing a character outline - Scattered scenes and brief notes - Overall presence of Puzo handwriting comparatively low in quantity to other Godfather III boxes

50

Conditions of Sale ANYONE EITHER REGISTERING TO BID OR PLACING A BID (“BIDDER”) ACCEPTS THESE CONDITIONS OF SALE AND ENTERS INTO A LEGALLY, BINDING, ENFORCEABLE AGREEMENT WITH R&R AUCTION COMPANY OF MASSACHUSETTS, LLC (“RR AUCTION,” TOGETHER WITH BIDDER, THE “PARTIES”).

The following terms and conditions (“Conditions of Sale”) constitute the sole terms and conditions under which RR Auction will offer for sale and sell the property described in the catalog of items for auction (the “Catalog”). These Conditions of Sale constitute a binding agreement between the Parties with respect to the auction in which Bidder participates (the “Auction”). By bidding at the Auction, whether in person, through an agent or representative, by telephone, facsimile, online, absentee bid, or by any other form of bid or by any other means, Bidder acknowledges the thorough reading and understanding of all of these Conditions of Sale, all descriptions of items in the Catalog, and all matters incorporated herein by reference, and agrees to be fully bound thereby. This acknowledgement is a material term of these Conditions of Sale and of the consideration under which RR Auction agrees to these terms.

RR Auction and Auction: This Auction is presented by RR Auction, a d/b/a/ of R&R Auction Company of Massachusetts, LLC, as identified with the applicable licensing information on the title page of the Catalog or on the www.RRauction.com Internet site (“RRauction.com”). The Auction is conducted under these Conditions of Sale. Announcements and corrections from the podium at live auctions and those made through the Conditions of Sale appearing on the Internet at RRauction.com supersede those in the printed Catalog.

Bidder: Bidder shall mean the original Bidder on the property offered for sale by RR Auction and not any subsequent owner or other person who may acquire or have acquired an interest therein. If Bidder is an agent, the agency must be disclosed in writing to RR Auction prior to the time of sale, otherwise the benefits of the warranty shall be limited to the agent and not transferable to the undisclosed principal.

The rights granted to Bidder under these Conditions of Sale are personal and may not be assigned or transferred to any other person or entity, whether by operation of law or otherwise without the express written assent of RR Auction. Bidder may not transfer, assign, or otherwise convey these Conditions of Sale or any of the rights herein, and such purported transfer, assignment, or conveyance shall be null and void. No third party may rely on any benefit or right conferred on any Bidder by these Conditions of Sale, and no third party is intended as a beneficiary of these Conditions of Sale.

Bids will not be accepted from minor persons under eighteen (18) years of age without a parent’s written consent containing an acknowledgment of the Conditions of Sale herein and indicating their agreement to be bound thereby on behalf of the Bidder.

All Bidders must meet RR Auction’s qualifications to bid. Any Bidder who is not a client in good standing of RR Auction may be disqualified at RR Auction’s sole option and will not be awarded lots. Such determination may be made by RR Auction in its sole and unlimited discretion, at any time prior to, during, or even after the close of the Auction. RR Auction reserves the right to exclude any person from the Auction.

If an entity places a bid, then the person executing the bid on be-

half of the entity agrees to personally guarantee payment for any successful bid.

By accepting the Conditions of Sale, Bidder personally and unconditionally guarantees payment.

Credit: In order to place bids, Bidders who have not established credit with RR Auction must either furnish satisfactory credit information (including two collectibles-related business references) or supply additional information if requested, well in advance of the Auction. Bidders who are not members of RRAuction.com should preregister before the close of the Auction to allow adequate time to contact references. Credit will be granted at the discretion of RR Auction. Additionally Bidders who have not previously established credit or who wish to bid in excess of their established credit history may be required to provide their social security number, or the last four digits thereof, so a credit check may be performed prior to RR Auction’s acceptance of a bid. Check writing privileges and immediate delivery of merchandise may also be determined by preapproval of credit based on a combination of criteria: RRAuction. com history, related industry references, bank verification, a credit bureau report and/or a personal guarantee for a corporate or partnership entity in advance of the Auction venue.

Buyer’s Premium: The Bidder acknowledges and agrees that a 22.5% buyer’s premium will be added to the hammer price on all individual lots sold in timed Auctions (the “Buyer’s Timed Premium”), and a 25% buyer’s premium will be added to the hammer price on live Auctions (the “Buyer’s Live Premium,” together with the Buyer’s Timed Premium, the “Buyer’s Premium”). For payment other than by cash, delivery will not be made unless and until full payment has been received

by RR Auction, i.e., check or wired funds have fully cleared. Unless otherwise agreed in writing, signed by RR Auction, payment in full is due within thirteen (13) calendar days of the Auction or within twelve (12) calendar days of the invoice date, whichever is later.

All purchases delivered to Massachusetts are subject to applicable Massachusetts sales tax unless the purchaser possesses a Massachusetts sales tax exemption number.

Bidding: Each Bidder’s determination of its bid should be based upon its own examination of the item(s), rather than the strict reliance as to what is represented in the Catalog, online or elsewhere. In any purchase or sale, the value of the item(s) is determined by the price. THE BIDDER HEREBY ASSUMES ALL RISKS OF VALUATION CONCERNING ANY AND ALL PURCHASES. RR AUCTION IS NOT RESPONSIBLE FOR ERRORS IN BIDDING. A Bidder should make certain to bid on the correct lot and that the bid is the maximum (plus the Buyer’s Premium) that the Bidder is willing and able to pay. Since other Bidders (by mail, facsimile, online, and in person) will be present, and since a reoffering could damage the momentum of the sale, once the hammer has fallen and RR Auction has announced the winning Bidder, such Bidder is unconditionally bound to pay for the lot, even if the Bidder has made a mistake.

All prospective Bidders who examine lots in person prior to the sale shall personally assume all responsibility for any damage they cause in so doing. RR Auction shall have sole discretion in determining the value of the damage caused, which shall be promptly paid by the prospective Bidder.

Title to any lot remains with Consignor, any secured party of the Consignor, or assignee of Consignor, as the case may be, until the lot is paid for in full by Bidder. RR Auction reserves the right to require payment in full before delivering any lot to the successful Bidder.

It is the Bidder’s responsibility and obligation to have the lots fully insured while in their possession. Bidder assumes any and all RISK OF LOSS once the lot(s) is in Bidder’s possession.

Bidder grants to RR Auction or its assigns the right to offset any sums due, or found to be due by RR Auction, and to make such offset from any past, subsequent or future consignment, or items acquired by Bidder in possession or control of RR Auction or from any sums due to Bidder by RR Auction. Bidder further grants RR Auction a purchase money security interest in such sums or items to the extent applicable, and agrees to execute such documents as may be reasonably necessary to grant RR Auction such security interest. Bidder agrees that RR Auction and its assigns shall be a secured party with respect to items bought by Bidder and in the possession of RR Auction, to the extent of the maximum indebtedness, plus all accrued expenses, until the indebtedness is paid.

By bidding in this sale, Bidder personally and unconditionally guarantees payment. The authorized representative of any corporate Bidder who is present at the sale shall provide RR Auction or its agent, prior to the commencement of the bidding (or at the time of registration), with a statement signed by a principal, director or officer that they he or she personally and unconditionally guarantees any payment due RR Auction.

RR Auction may at its sole and absolute discretion, make loans or advances to Consignors and/or prospective Bidders.

In the event of a successful challenge to the title to any goods purchased pursuant to these Conditions of Sale and the exclusive remedies provided herein, RR Auction agrees to reimburse any Bidder in an amount equal to the successful bid price actually paid

by Bidder at auction plus any Buyer’s Premium actually paid, in full and complete satisfaction of all claims, which once tendered by RR Auction, relieves and releases RR Auction from any responsibility whatsoever to the Bidder, even if the instrument is not cashed or is returned.

Bidding Options: Non-Internet bids (including but not limited to in-person, facsimile, phone and mail bids) are treated similarly to floor bids in that they must be on-increment. Any in-person, facsimile, phone, or mail bids that do not conform to a full increment will be rounded up or down to the nearest full increment and this revised amount will be considered Bidder’s high bid.

When identical mail or facsimile bids are submitted, preference is given to the first received. To ensure the greatest accuracy, written bids should be entered on the standard printed bid sheet and be received at RR Auction’s place of business at least twenty-four (24) hours before the Auction start. RR Auction is not responsible for executing mail bids or facsimile bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is RR Auction responsible for proper execution of bids submitted by telephone, mail, facsimile, e-mail, Internet, or in person once the Auction begins.

In all Auctions, bids on an item must raise the current high bid by at least 10%, or as specified on a per-Auction basis. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted. In a live sale, bids on an item can change at the discretion of RR Auction.

RR Auction reserves the right to accept or decline any bid. Bids must be for an entire lot and each lot constitutes a separate sale.

All bids are per lot unless otherwise announced. Live auction lots will be sold in their numbered sequence unless RR Auction directs otherwise. It is unlawful and illegal for Bidders to collude, pool, or agree with another Bidder to pay less than the fair value for lot(s).

For live auctions, RR Auction will have final discretion in the event that any dispute should arise between Bidders. RR Auction will determine the successful Bidder, cancel the sale, or re-offer and resell the lot or lots in dispute. RR Auction will have final discretion to resolve any disputes arising after the sale and in online auctions. If any dispute arises, RR Auction’s sale record is conclusive.

Payment: Subject to fulfillment of all of the Conditions of Sale set forth herein, upon the sooner of (1) the passing of title to the offered lot pursuant to these Conditions of Sale, or (2) possession of the offered lot by the Bidder, Bidder thereupon (a) assumes full risk and responsibility (including without limitation, liability for or damage to frames or glass covering prints, paintings, photos, or other works), and (b) will immediately pay the full purchase price or such part as RR Auction may require. In addition to other remedies available to RR Auction by law, RR Auction reserves the right to impose from the date of sale a late charge of 1.5% per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. All property must be removed from RR Auction’s premises by the Bidder at his/her expense not later than thirty (30) business days following its sale and, if it is not so removed, RR Auction may send the purchased property to a public warehouse for the account, at the risk and expense of the Bidder.

Payment is due upon closing of the Auction session, or upon presentment of an invoice. RR Auction reserves the right to void an invoice if payment in full is not received within thirteen (13) calendar days of the Auction or within twelve (12) calendar days of the invoice date. In cases of nonpayment, RR Auction’s election to void a sale does not relieve the Bidder from their obligation to pay RR Auction its fees (seller’s and Buyer’s Premium) on the lot and any other damages pertaining to the lot.

All sales are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier checks, eChecks, and bank money orders), and are subject to all reporting requirements.

All deliveries are subject to good funds; funds being received in RR Auction’s account before delivery of the Purchases; and all payments are subject to a clearing period. RR Auction reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten (10) calendar day hold, and ten (10) business days when drawn on an international bank.

Clients with pre-arranged credit status may receive immediate credit for payments via e-Check, personal or corporate checks.

In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If Bidder attempts to pay via check and the financial institution denies the transfer from Bidder’s bank account, or the payment cannot be completed using the selected funding source, Bidder agrees to complete payment.

If RR Auction refers any invoice to an attorney for collection, the Bidder agrees to pay attorney’s fees, court costs, and other collection costs incurred by RR Auction. If RR Auction assigns collection to its house counsel, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys.

RR Auction shall have a lien against the merchandise purchased by the Bidder to secure payment of the Auction invoice. RR Auction is further granted a lien and the right to retain possession of any other property of the Bidder then held by RR Auction or its affiliates to secure payment of any Auction invoice or any other amounts due RR Auction or affiliates from the Bidder. With respect to these lien rights, RR Auction shall have all the rights of a secured creditor, including but not limited to the right of sale.

In addition, with respect to payment of the Auction invoice(s), the Bidder waives any and all rights of offset he might otherwise have against RR Auction and the consignor of the merchandise included on the invoice (the “Consignor”). If a Bidder owes RR Auction or its affiliates on any account, RR Auction and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession.

All checks, cashiers checks, bank checks, or money orders are payable to R&R Auction Company of Massachusetts, LLC. Delivery; Shipping; and Handling Charges: Bidder is liable for shipping and handling. RR Auction is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except when third-party shipment occurs. Bidder agrees that service and handling charges related to shipping items which are not pre-paid may be charged to a credit card on file with RR Auction.

Successful international Bidders shall provide written shipping instructions, including specified Customs declarations, to RR Auction for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price and RR Auction shall use the correct harmonized code for the lot. Domestic Bidders on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs.

Title: Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility of the Bidder to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper.

Rights Reserved: RR Auction reserves the right to withdraw any lot before or at the time of the Auction, and/or to postpone the Auction of all or any lots or parts thereof, for any reason. RR Auction shall not be liable to any Bidder in the event of such withdrawal or postponement under any circumstances. RR Auction reserves the right to refuse to accept bids from anyone.

Conducting the Auction: RR Auction reserves the right to postpone the Auction or any session thereof for a reasonable period of time for any reason whatsoever, and no Bidder or prospective Bidder shall have any claim as a result thereof, including consequential damages.

RR Auction’s Discretion: RR Auction shall determine opening bids and bidding increments.

RR Auction has the right in its absolute discretion to reject any bid in the event of dispute between Bidders or if RR Auction has doubt as to the validity of any bid, to advance the bidding at its absolute discretion and to determine the successful Bidder in the event of a dispute between Bidders, to continue the bidding or to reoffer and resell the lot in question. In the event of a dispute after the sale, RR Auction’s record of final sale shall be conclusive. RR Auction also may reject any bid if RR Auction decides either that any bid is below the reserve of the lot or article or that an advance is insufficient. Unless otherwise announced by RR Auction at the time of sale, no lots may be divided for the purpose of sale.

Reserves: Lots may be subject to a reserve which is the confidential minimum price below which the lot will not be sold. Consignors may not bid on their own lots or property. RR Auction may, from time to time, bid on items that it does not own.

Off-Site Bidding: Bidding by telephone, facsimile, online, or absentee bidding (advance written bids submitted by mail) are offered solely as a convenience and permitted subject to advance arrangements, availability, and RR Auction’s approval which shall be exercised at RR Auction’s sole discretion. Neither RR Auction nor its agents or employees shall be held liable for the failure to execute bids or for errors relating to any transmission or execution thereof. In order to be considered for off-site bidding in any manner, Bidders must comply with all of these Conditions of Sale and the terms contained on the Registration Form.

RR Auction’s Remedies: Failure of the Bidder to comply with any of these Conditions of Sale or the terms of the Registration Form is an event of default. In such event, RR Auction may, in addition to any other available remedies specifically including the right to hold the defaulting Bidder liable for the Purchase Price or to charge and collect from the defaulting Bidder’s credit or debit accounts as provided for elsewhere herein: (a) cancel the sale, retaining any payment made by the Bidder as damages (the Bidder understands and acknowledges that RR Auction will be substantially damaged should such default occur, and that damages under sub-part (a) are necessary to compensate RR Auction for such damages); (b) resell the property without reserve at public auction or privately; (c) charge the Bidder interest on the Purchase Price at the rate of one and one-half percent (1.5%) per month or the highest allowable interest rate; (d) take any other action that RR Auction, in its sole discretion, deems necessary or appropriate to preserve and protect RR Auction’s rights and remedies. Should RR Auction resell the property, the original defaulting Bidder shall be liable for the payment of any deficiency in the purchase price and all costs and expenses associated there with, including but not limited to warehousing, sales-related expenses, reasonable attorney fees and court costs, commissions, incidental damages and any other charges due hereunder which were not collected or collectable. In the event that such Bidder is the successful Bidder on more than one lot and pays less than the purchase price for the total lots purchased, RR Auction shall apply the payment received to such lot or lots that RR Auction, in its sole discretion, deems appropriate. If RR Auction does not exercise such discretion, the lots to which the payment shall be applied will be in descending order from the highest purchase price to the lowest. Any Bidder failing to comply with these Conditions of Sale shall be deemed to have granted RR Auction a security interest in, and RR Auction may retain as collateral such security for such Bidder’s obligations to RR Auction, any property in RR Auction’s possession owned by such Bidder. RR Auction shall have the benefit of all rights of a secured party under the Uniform Commercial Code (U.C.C.) as adopted by the Commonwealth of Massachusetts.

Warranties: RR Auction does not provide any warranties to Bidders, whether expressed or implied, beyond those expressly provided in these Conditions of Sale. All property and lots are sold “as is” and “where is”. By way of illustration rather than limitation, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to merchantability or fitness for intended use, condition of the property (including any condition report), correctness of description, origin, measurement, quality, rarity, importance, exhibition, relevance, attribution, source, provenance, date, authorship, condition, culture, genuineness, value, or period of the property. Additionally, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to whether the Bidder acquires rights in copyright or other intellectual property (including exhibition or reproduction rights) or whether the property is subject to any limitations or other rights. RR Auction does not make any representation or warranty as to title.

All descriptions, photographs, illustrations, and terminology including but not limited to words describing condition (including any condition reports requested by Bidder, see also Terminology),

authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition, and relevance, used in the Catalog, bill of sale, invoice, or anywhere else, represent a good faith effort made by RR Auction to fairly represent the lots and property offered for sale as to origin, date, condition, and other information contained therein; they are statements of opinion only.

They are not representations or warranties and Bidder agrees and acknowledges that he or she shall not rely on them in determining whether or not to bid or for what price. Price estimates (which are determined well in advance of the Auction and are therefore subject to revision) and condition reports are provided solely as a convenience to Bidders and are not intended nor shall they be relied on by Bidders as statements, representations or warranties of actual value or predictions of final bid prices.

Bidders are accorded the opportunity to inspect the lots and to otherwise satisfy themselves as to the nature and sufficiency of each lot prior to bidding, and RR Auction urges Bidders to avail themselves accordingly.

All lots sold by RR Auction are accompanied by an Auction Certificate (“AC”). On any lot presented with an AC issued by RR Auction, the certification is only as to its attribution to the person or entity described or to the lot’s usage and only as explicitly stated therein (the “Certification of Authenticity”), to the exclusion of any other warranties, express or implied, including but not limited to those pursuant to the Uniform Commercial Code. The Certification of Authenticity inures only to the original Bidder (as shown in RR Auction’s records). Bidder may not transfer, assign, or otherwise convey the Certification of Authenticity, and such purported transfer, assignment, or conveyance shall be null and void. The Certification of Authenticity is valid from date of the Auction in which Bidder was awarded the lot (the “Auction Date”) until five (5) years after the Auction Date, without exception.

FIREARMS. RR Auction complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A Bidder is required to provide appropriate documents and the payment of associated fees, if any. Bidder is responsible for providing a shipping address that is suitable for the receipt of a firearm.

Limitation of Damages: In the event that RR Auction is prevented for any reason from delivering any property to Bidder, or Bidder is otherwise dissatisfied with the performance of RR Auction, the liability, if any, of RR Auction, shall be limited to, and shall not exceed, the amount actually paid for the property by Bidder. In no event shall RR Auction be liable for incidental, special, indirect, exemplary or consequential damages of any kind, including but not limited to loss of profits, value of investment or opportunity cost.

Unauthorized Statements: Under no circumstances is any employee, agent or representative of RR Auction authorized by RR Auction to modify, amend, waive or contradict any of these Conditions of Sale, any term or condition set forth on a registration form, any warranty or limitation or exclusion of warranty, any term or condition in either the Registration Form or these Terms and Conditions regarding payment requirements, including but not limited to due date, manner of payment, and what constitutes payment in full, or any other term or condition contained in any documents issued by RR Auction unless such modification, amendment, waiver or contradiction is contained in a writing signed by all parties. Any statements, oral or written, made by employees, agents or representatives of RR Auction to Bidder, including statements regarding specific lots, even if such employee, agent or representative represents that such statement

is authorized, unless reduced to a writing signed by all parties, are statements of personal opinion only and are not binding on RR Auction, and under no circumstances shall be relied upon by Bidder as a statement, representation or warranty of RR Auction.

Bidder’s Remedies: Under no circumstance will RR Auction incur liability to a Bidder in excess of the purchase price actually paid.

This section sets forth the sole and exclusive remedies of Bidder in conformity with the Warranties and Limitation of Damages provisions of these Conditions of Sale, and is expressly in lieu of any other rights or remedies which might be available to Bidder by law.

The Bidder hereby accepts the benefit of the Consignor’s warranty of title and any other representations and warranties made by the Consignor for the Bidder’s benefit. In the event that Bidder demonstrates in writing, in the sole discretion of RR Auction, that there was a breach of the Consignor’s warranty of title concerning a lot purchased by Bidder, RR Auction shall make demand upon the Consignor to pay to Bidder the Purchase Price (including any premiums, taxes, or other amounts paid or due to RR Auction).

Should the Consignor not pay the Purchase Price to Bidder within thirty days after such demand, RR Auction shall disclose the identity of the Consignor to Bidder and assign to Bidder all of RR Auction’s rights against the Consignor with respect to such lot or property. Upon such disclosure and assignment, all responsibility and liability, if any, of RR Auction with respect to said lot or property shall automatically terminate. RR Auction shall be entitled to retain the premiums and other amounts paid to RR Auction - this remedy is as to the Consignor only. The rights and remedies provided herein are for the original Bidder only and they may not be assigned or relied upon by any transferee or assignee under any circumstances.

If Bidder wishes to challenge the AC within the period of the Certification of Authenticity, Bidder must present written evidence that the lot is not authentic as determined by a known expert in the field. If RR Auction agrees that the lot is not as represented, Bidder’s sole and exclusive remedy shall be a refund of their purchase price, with no other costs, liabilities or amounts recoverable.

If RR Auction does not agree with the claim by Bidder, then the Parties shall follow the dispute resolution procedures of these Conditions of Sale.

Any such challenge concerning an AC or Certification of Authenticity must, without any exception, be brought within one (1) year of Bidder’s notice to RR Auction of Bidder’s contention that the lot was not authentic, or six (6) years from the Auction Date, whichever is sooner.

If the description of any lot in the Catalog is materially incorrect (e.g., gross cataloging error), the lot is returnable if returned within five (5) calendar days of receipt, and received by RR Auction no later than twenty-one (21) calendar days after the Auction Date. If there is any discrepancy between the description in the Catalog and the AC, then the description in the AC shall control. This paragraph shall constitute Bidder’s sole right with respect to the return of items, and no refunds shall be given for any items not returned to and received by RR Auction.

NO RETURN OR REFUND OF ANY AUCTION LOT WILL BE CONSIDERED EXCEPT AS PROVIDED IN THESE CONDITIONS OF SALE. RR Auction’s Additional Services: For Bidders who do not remove purchased property from RR Auction’s premises, RR Auction, in its sole discretion and solely as a service and accommodation to Bidders, may arrange to have purchased lots packed, insured and forwarded at the sole request, ex-

pense, and risk of Bidder. RR Auction assumes no and disclaims all responsibility and liability for acts or omissions in such packing or shipping by RR Auction or other packers and carriers, whether or not recommended by RR Auction. RR Auction assumes no and disclaims all responsibility and liability for damage to frames, glass or other breakable items. Where RR Auction arranges and bills for such services via invoice, RR Auction will include an administration charge.

Headings: Headings are for convenience only and shall not be used to interpret the substantive sections to which they refer.

Entire Agreement: These Conditions of Sale constitute the entire agreement between the parties together with the terms and conditions contained in the Registration Form. They may not be amended, modified or superseded except in a signed writing executed by all parties. No oral or written statement by anyone employed by RR Auction or acting as agent or representative of RR Auction may amend, modify, waive or supersede the terms herein unless such amendment, waiver or modification is contained in a writing signed by all parties.

If any section of these Conditions of Sale or any term or provision of any section is held to be invalid, void, or unenforceable by any court of competent jurisdiction, the remaining sections or terms and provisions of a section shall continue in full force and effect without being impaired or invalidated in any way.

Governing Law and Enforcement The Parties agree that any agreements between the Parties including but not limited to these Conditions of Sale are entered into in Boston, Massachusetts, no matter where Bidder is situated and no matter by what means or where Bidder was informed of the Auction and regardless of whether catalogs, materials, or other communications were received by Bidder in another location.

The Parties agree that these Conditions of Sale, and any other related agreement(s) are governed by the laws of the Commonwealth of Massachusetts, without regard for its conflict of laws principles. The Parties agree that any dispute related to or arising out of these Conditions of Sale, or related to or arising out of any other related agreement(s) shall be submitted to confidential binding arbitration (the “Arbitration”) before a single Arbitrator of the American Arbitration Association (the “AAA”). The Parties agree that the Arbitration shall be conducted pursuant to the commercial rules of the AAA. In the event that the Parties cannot agree on the selection of the Arbitrator, then the Arbitrator shall be selected by the AAA. The prevailing Party in the Arbitration shall be entitled to recover all of its related costs, whether before or after the formal institution of the Arbitration, including but not limited to its reasonable attorneys’ fees and, if RR Auction prevails, the Buyer’s Premium as defined in these Conditions of Sale. The Parties agree that Bidder shall have no right to recover consequential or indirect damages, or lost profits damages.

The Parties consent to the enforcement of the decision in the Arbitration pursuant to the Federal Arbitration Act in either the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts.

Except as provided in Bidder’s Remedies with regard to the Certification of Authenticity, any dispute, claim, cause of action related to or arising out of these Conditions of Sale or any other agreement(s) between the Parties must be brought within one (1) year of the acts, omissions or circumstances giving rise to the alleged claim, without exceptions. This provision is intended as a full, complete and absolute release of any claims after one (1) year of such acts, omissions or circumstances. The Parties agree further that these waiver provisions are intended to be binding on all parties in the

event of any dispute, specifically including but not limited to third party claims and cross-actions brought by either RR Auction or Bidder. These provisions are consideration for the execution of these Conditions of Sale.

The Bidder hereby agrees that RR Auction shall be entitled to present these Conditions of Sale to a court in any jurisdiction other than set forth in this paragraph as conclusive evidence of the Parties’ agreement, and the Parties further agree that the court shall immediately dismiss any action filed in such jurisdiction.

Notwithstanding the foregoing, RR Auction may, in its sole discretion, enforce its rights pursuant to these Conditions of Sale in the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts rather than in an Arbitration related to or arising out of any Auction of an item sold for less than $10,000. This right shall relate to the individual item price, such that RR Auction may, in its sole discretion, enforce its rights pursuant to these Conditions of Sale in the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts rather than in an Arbitration for items that in the aggregate exceed $10,000. The prevailing Party in such a proceeding shall be entitled to recover all of its related costs, whether before or after the formal institution of the proceeding, including but not limited to its reasonable attorneys’ fees and, if RR Auction prevails, the Buyer’s Premium as defined in these Conditions of Sale. This right of enforcement is unique to RR Auction, and these Conditions of Sale are a waiver by the Bidder of any right to enforcement or adjudication outside of an Arbitration.

CONDUCT OF AUCTION Estimate Prices: In addition to descriptive information, each item in the Catalog sometimes includes a price range which reflects opinion as to the price expected at auction (the “Estimate Prices”). In other instances, Estimate Prices can be obtained by calling RR Auction at (603) 732-4280. The Estimate Prices are based upon various factors including prices recently paid at auction for comparable property, condition, rarity, quality, history and provenance. Estimate Prices are prepared well in advance of the sale and subject to revision.

Estimates do not include the Buyer’s Premium or sales tax (see under separate heading).

Owned or Guaranteed Property: RR Auction generally offers property consigned by others for sale at public auction; in very limited occasion, lots are offered that are the property of RR Auction.

Before the Auction: Bidder may attend pre-sale viewing for all of RR Auction’s auctions at no charge. All property to be auctioned is usually on view for several days prior to the sale. Bidder is encouraged to examine lots thoroughly. Bidder may also request condition reports (see below). RR Auction’s staff are available at viewings and by appointment.

Maximum Bids – All Auctions: To maximize Bidder’s chance of winning, RR Auction strongly encourages the use of maximum bids. RR Auction will then bid for Bidder until the lot reaches Bidder’s specified maximum. Maximum bids are strictly confidential. Placing arbitrary, non-incremental bids on lots with prior maximum bids may result in these lots being sold for less than 10% above the under Bidder’s bid.

Successful Bids: The fall of RR Auction’s hammer indicates the final bid. RR Auction will record the paddle number of the Bidder. If Bidder’s salesroom or absentee bid is successful, Bidder will be notified after the sale by mailed or emailed invoice.

Unsold Lots: If a lot does not reach the reserve, it is bought-in. In other words, it remains unsold and is returned to the Consignor. RR Auction has the right to sell certain unsold items after the close of the Auction.

Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers.

Bidding—Timed Auction: Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right. The auctioneer may also execute a bid on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve.

To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids.

Any Bidder may bid on any lot prior to 6 pm EST/EDT. At that time, an extended bidding period goes into effect. If Bidder has not bid on a lot before 6 pm EST/EDT, Bidder may not bid on that lot after 6 pm EST/EDT. Only those Bidders who have placed bids on a lot before 6 pm EST/EDT will be allowed to bid on that lot after 6 pm EST/EDT. If Bidder is the only Bidder on a lot at 6 pm EST/ EDT, that lot is awarded to Bidder. During the extended bidding period, a lot will remain open only to those who bid on that lot prior to 6 pm EST/EDT. All lots WITHOUT an opening bid at 6 pm EST/ EDT will remain OPEN to ALL Bidders until 7 pm EST/EDT or until they receive their first bid. These lots will close immediately upon receipt of a bid or at 7 pm EST/EDT, whichever comes first. For all lots that are active after 7 pm EST/EDT, bidding will remain open until 30 minutes pass without a bid being placed on THAT lot (the “30 Minute Rule”). The 30 Minute Rule is applied on a PER LOT BASIS; each lot in the Auction closes individually based on bidding activity after 7 pm EST/EDT. On a PER LOT BASIS, the 30 minute timer will reset each time a bid is placed after 7 pm EST/EDT. If Bidder is the high Bidder, raising Bidder’s maximum bid will NOT reset the timer. RR Auction reserves the right to close the Auction at any time at its sole discretion.

Bidding - Internet – Live Auction: Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however,

RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right.

To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids.

Property is auctioned in consecutive numerical order, as it appears in the catalog. The auctioneer will accept bids from those present in the salesroom or absentee bidders participating by telephone, internet or by written bid left with RR Auction in advance of the auction. The auctioneer may also execute a bid on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve.

During live Auctions, internet bids can be placed in real time through one or more of the following Third Party services: www. liveauctioneers.com, www.invaluable.com and www.icollector. com. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids. RR Auction treats any third-party site bids as floor or telephone bids. Floor bids and telephone bids are always considered first over third party sites bids, and floor bids are considered earlier than telephone bids. All RR Auction lots purchased through the third party sites carry an additional Buyer’s Premium.

Miscellaneous: Agreements between Bidders and Consignors to effectuate a nonsale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize RR Auction’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, RR Auction reserves the right to charge Bidder the applicable Buyer’s Premium and Consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement.

Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by RR Auction in the future. In conformity with “do-not-call” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. RR Auction may from time to time contact Bidder concerning sale, purchase, and auction opportunities available.

Rules of Construction: RR Auction presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Conditions of Sale by these additional rules and shall be construed to give force and effect to the rules in their entirety.

THE OFFICIAL MARIO PUZO ARCHIVE featuring The Godfather Trilogy Manuscripts Bob Eaton CEO, Acquisitions bob.eaton@rrauction.com

Kelly Daniell Consignment Director kelly.daniell@rrauction.com

Dan McCarthy Writer, Researcher dan.mccarthy@rrauction.com

Carla Eaton Owner, Auctioneer carla.eaton@rrauction.com

Linda Hernandez Quality Control, Consignor Services Manager linda.hernandez@rrauction.com

Evan Mugford Writer evan.mugford@rrauction.com

Bobby Livingston Executive Vice President, Public Relations bobby.livingston@rrauction.com Bobby Eaton Vice President of Operations Auctioneer, MA/Lic. #3214 bobby.eaton@rrauction.com Mandy Eaton-Casey Finance Manager amanda.casey@rrauction.com Elizebeth Otto Consignment Director elizebeth.otto@rrauction.com Jon Siefken Consignment Director jon.siefken@RRAuction.com

CONTACT INFO (603) 732-4280 www.RRAuction.com AUCTION GALLERY 236 Commercial Street, Boston, MA 02109 MA/Lic #3214

Joe Doucette Lead Inventory Executive joe.doucette@rrauction.com Ernesto Gonzalez Inventory Executive shipping@rrauction.com Erika Rosenfeld Managing Editor erika.rosenfeld@rrauction.com Tricia Eaton Specialty Editor, Handwriting Expert tricia.eaton@rrauction.com Bill White Handwriting Expert bill.white@rrauction.com

Sue Recks Customer Service Executive sue.recks@rrauction.com Sarina Carlo Creative Director sarina.carlo@rrauction.com Cameron Johnson Photographer, Media Specialist cameron.johnson@rrauction.com Robert S. Eaton Sr. 1940–2001

The Official Mario Puzo Archive featuring The Original Godfather Trilogy Manuscript

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| Live Auction 7 p.m. EST, February 18, 2016

www.RRAuction.com

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(603) 732-4280

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Boston, Massachusetts