tag:blogger.com,1999:blog-635157738501673612024-02-20T03:16:21.996-08:00THE GODFATHEREelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-63515773850167361.post-879516280123336152007-03-24T10:31:00.000-07:002007-03-24T10:33:57.780-07:00THE GODFATHERTHE GODFATHER<br /> _____________<br /><br /> Screenplay<br /><br /> by<br /><br /> MARIO PUZO<br /><br /> and<br /><br /> FRANCIS FORD COPPOLA<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br />THIRD DRAFT PARAMOUNT PICTURES<br /> 1 Gulf and Western Plaza<br />March 29, 1971 New York, New York 10019<br /><br /><br /><br /><br /><br /> INT DAY: DON'S OFFICE (SUMMER 1945)<br /><br /> The PARAMOUNT Logo is presented austerely over a black<br /> background. There is a moment's hesitation, and then the<br /> simple words in white lettering:<br /><br /> THE GODFATHER<br /><br /> While this remains, we hear: "I believe in America."<br /> Suddenly we are watching in CLOSE VIEW, AMERIGO BONASERA, a<br /> man of sixty, dressed in a black suit, on the verge of great<br /> emotion.<br /><br /> BONASERA<br /> America has made my fortune.<br /><br /> As he speaks, THE VIEW imperceptibly begins to loosen.<br /><br /> BONASERA<br /> I raised my daughter in the American<br /> fashion; I gave her freedom, but<br /> taught her never to dishonor her<br /> family. She found a boy friend,<br /> not an Italian. She went to the<br /> movies with him, stayed out late.<br /> Two months ago he took her for a<br /> drive, with another boy friend.<br /> They made her drink whiskey and<br /> then they tried to take advantage<br /> of her. She resisted; she kept her<br /> honor. So they beat her like an<br /> animal. When I went to the hospital<br /> her nose was broken, her jaw was<br /> shattered and held together by<br /> wire, and she could not even weep<br /> because of the pain.<br /><br /> He can barely speak; he is weeping now.<br /><br /> BONASERA<br /> I went to the Police like a good<br /> American. These two boys were<br /> arrested and brought to trial. The<br /> judge sentenced them to three years<br /> in prison, and suspended the<br /> sentence. Suspended sentence!<br /> They went free that very day. I<br /> stood in the courtroom like a fool,<br /> and those bastards, they smiled at<br /> me. Then I said to my wife, for<br /> Justice, we must go to The Godfather.<br /><br /> By now, THE VIEW is full, and we see Don Corleone's office<br /> in his home.<br /><br /> The blinds are closed, and so the room is dark, and with<br /> patterned shadows. We are watching BONASERA over the<br /> shoulder of DON CORLEONE. TOM HAGEN sits near a small<br /> table, examining some paperwork, and SONNY CORLEONE stands<br /> impatiently by the window nearest his father, sipping from a<br /> glass of wine. We can HEAR music, and the laughter and<br /> voices of many people outside.<br /><br /> DON CORLEONE<br /> Bonasera, we know each other for<br /> years, but this is the first time<br /> you come to me for help. I don't<br /> remember the last time you invited<br /> me to your house for coffee...even<br /> though our wives are friends.<br /><br /> BONASERA<br /> What do you want of me? I'll give<br /> you anything you want, but do what<br /> I ask!<br /><br /> DON CORLEONE<br /> And what is that Bonasera?<br /><br /> BONASERA whispers into the DON's ear.<br /><br /> DON CORLEONE<br /> No. You ask for too much.<br /><br /> BONASERA<br /> I ask for Justice.<br /><br /> DON CORLEONE<br /> The Court gave you justice.<br /><br /> BONASERA<br /> An eye for an eye!<br /><br /> DON CORLEONE<br /> But your daughter is still alive.<br /><br /> BONASERA<br /> Then make them suffer as she<br /> suffers. How much shall I pay you.<br /><br /> Both HAGEN and SONNY react.<br /><br /> DON CORLEONE<br /> You never think to protect yourself<br /> with real friends. You think it's<br /> enough to be an American. All<br /> right, the Police protects you,<br /> there are Courts of Law, so you<br /> don't need a friend like me.<br /> But now you come to me and say Don<br /> Corleone, you must give me justice.<br /> And you don't ask in respect or<br /> friendship. And you don't think to<br /> call me Godfather; instead you come<br /> to my house on the day my daughter<br /> is to be married and you ask me to<br /> do murder...for money.<br /><br /> BONASERA<br /> America has been good to me...<br /><br /> DON CORLEONE<br /> Then take the justice from the<br /> judge, the bitter with the sweet,<br /> Bonasera. But if you come to me<br /> with your friendship, your loyalty,<br /> then your enemies become my enemies,<br /> and then, believe me, they would<br /> fear you...<br /><br /> Slowly, Bonasera bows his head and murmurs.<br /><br /> BONASERA<br /> Be my friend.<br /><br /> DON CORLEONE<br /> Good. From me you'll get Justice.<br /><br /> BONASERA<br /> Godfather.<br /><br /> DON CORLEONE<br /> Some day, and that day may never<br /> come, I would like to call upon you<br /> to do me a service in return.<br /><br /> EXT DAY: MALL (SUMMER 1945)<br /><br /> A HIGH ANGLE of the CORLEONE MALL in bright daylight. There<br /> are at least five hundred guests filling the main courtyard<br /> and gardens. There is music and laughing and dancing and<br /> countless tables covered with food and wine.<br /><br /> DON CORLEONE stands at the Gate, flanked on either side by a<br /> son: FREDO and SONNY, all dressed in the formal attire of<br /> the wedding party. He warmly shakes the hands, squeezes the<br /> hands of the friends and guests, pinches the cheeks of the<br /> children, and makes them all welcome. They in turn carry<br /> with them gallons of homemade wine, cartons of freshly baked<br /> bread and pastries, and enormous trays of Italian delicacies.<br /><br /> The entire family poses for a family portrait: DON CORLEONE,<br /> MAMA, SONNY, his wife, SANDRA, and their children, TOM HAGEN<br /> and his wife, THERESA, and their BABY; CONSTANZIA, the<br /> bride, and her bridegroom, CARLO RIZZI. As they move into<br /> the pose, THE DON seems preoccupied.<br /><br /> DON CORLEONE<br /> Where's Michael?<br /><br /> SONNY<br /> He'll be here Pop, it's still early.<br /><br /> DON CORLEONE<br /> Then the picture will wait for him.<br /><br /> Everyone in the group feels the uneasiness as the DON moves<br /> back to the house. SONNY gives a delicious smile in the<br /> direction of the Maid-of-Honor, LUCY MANCINI. She returns<br /> it. Then he moves to his wife.<br /><br /> SONNY<br /> Sandra, watch the kids. They're<br /> running wild.<br /><br /> SANDRA<br /> You watch yourself.<br /><br /> HAGEN kisses his WIFE, and follows THE DON, passing the wine<br /> barrels, where a group of FOUR MEN nervously wait. TOM<br /> crooks a finger at NAZORINE, who doublechecks that he is<br /> next, straightens, and follows HAGEN.<br /><br /> EXT DAY: MALL ENTRANCE (SUMMER 1945)<br /><br /> Outside the main gate of the Mall, SEVERAL MEN in suits,<br /> working together with a MAN in a dark sedan, walk in and out<br /> of the rows of parked cars, writing license plate numbers<br /> down in their notebooks. We HEAR the music and laughter<br /> coming from the party in the distance.<br /><br /> A MAN stops at a limousine and copies down the number.<br /><br /> BARZINI, dignified in a black homburg, is always under the<br /> watchful eyes of TWO BODYGUARDS as he makes his way to<br /> embrace DON CORLEONE in the courtyard.<br /><br /> The MEN walk down another row of parked cars. Put another<br /> number in the notebook. A shiney new Cadillac with wooden<br /> bumpers.<br /><br /> PETER CLEMENZA, dancing the Tarantella joyously, bumping<br /> bellies with the ladies.<br /><br /> CLEMENZA<br /> Paulie...wine...WINE.<br /><br /> He mops his sweating forehead with a big handkerchief.<br /> PAULIE hustles, gets a glass of icy black wine, and brings<br /> it to him.<br /><br /> PAULIE<br /> You look terrif on the floor!<br /><br /> CLEMENZA<br /> What are you, a dance judge? Go do<br /> your job; take a walk around the<br /> neighborhood... see everything is<br /> okay.<br /><br /> PAULIE nods and leaves; CLEMENZA takes a breath, and leaps<br /> back into the dance.<br /><br /> The MEN walk down another row of parked cars. Put another<br /> number in the notebook.<br /><br /> TESSIO, a tall, gentle-looking man, dances with a NINE-YEAR-<br /> OLD GIRL, her little black party shoes planted on his<br /> enormous brown shoes.<br /><br /> The MEN move on to other parked cars, when SONNY storms out<br /> of the gate, his face flushed with anger, followed by<br /> CLEMENZA and PAULIE.<br /><br /> SONNY<br /> Buddy, this is a private party.<br /><br /> The MAN doesn't answer, but points to the DRIVER of the<br /> sedan. SONNY menacingly thrusts his reddened face at him.<br /> The DRIVER merely flips open his wallet to a greed card,<br /> without saying a word. SONNY steps back, spits on the<br /> ground, turns, and walks away, followed by CLEMENZA, PAULIE,<br /> and another TWO MEN. He doesn't say a thing for most of the<br /> walk back into the courtyard, and then, muttered to PAULIE.<br /><br /> SONNY<br /> Goddamn FBI...don't respect nothing.<br /><br /> INT DAY: DON'S OFFICE (SUMMER 1945)<br /><br /> DON CORLEONE sits quietly behind his massive desk in the<br /> dark study.<br /><br /> NAZORINE<br /> ...a fine boy from Sicily, captured<br /> by the American Army, and sent to<br /> New Jersey as a prisoner of war...<br /><br /> DON CORLEONE<br /> Nazorine, my friend, tell me what I<br /> can do.<br /><br /> NAZORINE<br /> Now that the war is over, Enzo,<br /> this boy is being repatriated to<br /> Italy. And you see, Godfather...<br /> (he wrings his hands,<br /> unable to express himself)<br /> He...my daughter...they...<br /><br /> DON CORLEONE<br /> You want him to stay in this country.<br /><br /> NAZORINE<br /> Godfather, you understand everything.<br /><br /> DON CORLEONE<br /> Tom, what we need is an Act of<br /> Congress to allow Enzo to become a<br /> citizen.<br /><br /> NAZORINE<br /> (impressed)<br /> An Act of Congress!<br /><br /> HAGEN<br /> (nodding)<br /> It will cost.<br /><br /> The DON shrugs; such are the way with those things; NAZORINE<br /> nods.<br /><br /> NAZORINE<br /> Is that all? Godfather, thank<br /> you...<br /> (backing out, enthusiastically)<br /> Oh, wait till you see the cake I<br /> made for your beautiful daughter!<br /><br /> NAZORINE backs out, all smiles, and nods to the GODFATHER.<br /> DON CORLEONE rises and moves to the Venetian blinds.<br /><br /> HAGEN<br /> Who do I give this job to?<br /><br /> The DON moves to the windows, peeking out through the blinds.<br /><br /> DON CORLEONE<br /> Not to one of our paisans...give it<br /> to a Jew Congressman in another<br /> district. Who else is on the list<br /> for today?<br /><br /> The DON is peeking out to the MEN around the barrel, waiting<br /> to see him.<br /><br /> HAGEN<br /> Francesco Nippi. His nephew has<br /> been refused parole. A bad case.<br /><br /> EXT DAY: MALL (SUMMER 1945)<br /><br /> WHAT HE SEES:<br /><br /> NIPPI waits nervously by the barrel.<br /><br /> HAGEN (O.S.)<br /> His father worked with you in the<br /> freight yards when you were young.<br /><br /> LUCA BRASI sitting alone, grotesque and quiet.<br /><br /> HAGEN (O.S.)<br /> He's not on the list, but Luca<br /> Brasi wants to see you.<br /><br /> INT DAY: DON'S OFFICE (SUMMER 1945)<br /><br /> The DON turns to HAGEN.<br /><br /> DON CORLEONE<br /> Is it necessary?<br /><br /> HAGEN<br /> You understand him better than<br /> anyone.<br /><br /> The DON nods to this. Turns back to the blinds and peeks out.<br /><br /> EXT DAY: MALL (SUMMER 1945)<br /><br /> WHAT HE SEES:<br /><br /> MICHAEL CORLEONE, dressed in the uniform of a Marine Captain,<br /> leads KAY ADAMS through the wedding crowd, occasionally<br /> stopped and greeted by FRIENDS of the family.<br /><br /> INT DAY: DON'S OFFICE (SUMMER 1945)<br /><br /> The DON, inside the office, peering through the blinds,<br /> following them.<br /><br /> EXT DAY: MALL (SUMMER 1945)<br /><br /> MICHAEL moves through the crowd, embraces MAMA and introduces<br /> her to his GIRL.<br /><br /> EXT DAY: OFFICE WINDOW (SUMMER 1945)<br /><br /> The DON's eyes peering through the blinds.<br /><br /> EXT DAY: MALL TABLES (SUMMER 1945)<br /><br /> KAY and MICHAEL settle by a table on the edge of the wedding,<br /> burdened down with plates of food and glasses and wine. She<br /> is exhilarated by the enormity of the affair, the music and<br /> the vitality.<br /><br /> KAY<br /> I've never seen anything like it.<br /><br /> MICHAEL<br /> I told you I had a lot of relatives.<br /><br /> KAY looking about, a young and lively thing in a gift shop.<br /> We see what she sees:<br /><br /> Her interest is caught by THREE MEN standing by the wine<br /> barrels.<br /><br /> KAY<br /> (amused)<br /> Michael, what are those men doing?<br /><br /> MICHAEL<br /> They're waiting to see my father.<br /><br /> KAY<br /> They're talking to themselves.<br /><br /> MICHAEL<br /> They're going to talk to my father,<br /> which means they're going to ask<br /> him for something, which means they<br /> better get it right.<br /><br /> KAY<br /> Why do they bother him on a day<br /> like this?<br /><br /> MICHAEL<br /> Because they know that no Sicilian<br /> will refuse a request on his<br /> daughter's wedding day.<br /><br /> EXT DAY: WEDDING PARTY (SUMMER 1945)<br /><br /> CONNIE CORLEONE, the Bride, is pressing the bodice of her<br /> overly-fluffy white gown against the groom, CARLO RIZZI. He<br /> is bronzed, with curly blondish hair and lovely dimples.<br /> She absolutely adores him and can barely take her eyes from<br /> him long enough to thank the various GUESTS for the white<br /> envelopes they are putting into the large white purse she<br /> holds. In fact, if we watch carefully, we can see that one<br /> of her hands is slid under his jacket, and into his shirt,<br /> where she is provocatively rubbing the hair on his chest.<br /> CARLO, on the other hand, has his blue eyes trained on the<br /> bulging envelopes, and is trying to guess how much cash the<br /> things hold.<br /><br /> Discreetly, he moves her hand off of his skin.<br /><br /> CARLO<br /> (whispered)<br /> Cut it out, Connie.<br /><br /> The purse, looped by a ribbon of silk around CONNIE's arm,<br /> is fat with money.<br /><br /> PAULIE (O.S.)<br /> What do you think? Twenty grand?<br /><br /> A little distance away, a young man, PAULIE GATTO, catches a<br /> prosciutto sandwich thrown by a friend, without once taking<br /> eyes from the purse.<br /><br /> PAULIE<br /> Who knows? Maybe more. Twenty,<br /> thirty grand in small bills cash in<br /> that silk purse. Holy Toledo, if<br /> this was somebody else's wedding!<br /><br /> SONNY is sitting at the Wedding Dias, talking to LUCY<br /> MANCINI, the Maid of Honor. Every once in a while he<br /> glances across the courtyard, where his WIFE is talking with<br /> some WOMEN.<br /><br /> He bends over and whispers something into LUCY's ear.<br /><br /> SANDRA and the WOMEN are in the middle of a big, ribald laugh.<br /><br /> WOMAN<br /> Is it true what they say about your<br /> husband, Sandra?<br /><br /> SANDRA's hands separate with expanding width further and<br /> further apart until she bursts into a peal of laughter.<br /> Through her separated hands she sees the Wedding Dais.<br /> SONNY and LUCY are gone.<br /><br /> INT DAY: DON'S HALL & STAIRS (SUMMER 1945)<br /><br /> The empty hallway. The bathroom door opens and LUCY<br /> surreptitiously steps out.<br /><br /> She looks up where SONNY is standing on the second landing,<br /> motioning for her to come up.<br /><br /> She lifts her petticoats off the ground and hurries upstairs.<br /><br /> EXT DAY: MALL TABLES (SUMMER 1945)<br /><br /> KAY and MICHAEL.<br /><br /> KAY<br /> (in a spooky low tone)<br /> Michael, that scarey guy...Is he a<br /> relative?<br /><br /> She has picked out LUCA BRASI.<br /><br /> MICHAEL<br /> No. His name is Luca Brasi. You<br /> wouldn't like him.<br /><br /> KAY<br /> (Excited)<br /> Who is he?<br /><br /> MICHAEL<br /> (Sizing her up)<br /> You really want to know?<br /><br /> KAY<br /> Yes. Tell me.<br /><br /> MICHAEL<br /> You like spaghetti?<br /><br /> KAY<br /> You know I love spaghetti.<br /><br /> MICHAEL<br /> Then eat your spaghetti and I'll<br /> tell you a Luca Brasi story.<br /><br /> She starts to eat her spaghetti.<br /><br /> She begins eating, looking at him eagerly.<br /><br /> MICHAEL<br /> Once upon a time, about fifteen<br /> years ago some people wanted to<br /> take over my father's olive oil<br /> business. They had Al Capone send<br /> some men in from Chicago to kill my<br /> father, and they almost did.<br /><br /> KAY<br /> Al Capone!<br /><br /> MICHAEL<br /> My Father sent Luca Brasi after<br /> them. He tied the two Capone men<br /> hand and foot, and stuffed small<br /> bath towels into their mouths.<br /> Then he took an ax, and chopped one<br /> man's feet off...<br /><br /> KAY<br /> Michael...<br /><br /> MICHAEL<br /> Then the legs at the knees...<br /><br /> KAY<br /> Michael you're trying to scare me...<br /><br /> MICHAEL<br /> Then the thighs where they joined<br /> the torso.<br /><br /> KAY<br /> Michael, I don't want to hear<br /> anymore...<br /><br /> MICHAEL<br /> Then Luca turned to the other man...<br /><br /> KAY<br /> Michael, I love you.<br /><br /> MICHAEL<br /> ...who out of sheer terror had<br /> swallowed the bath towel in his<br /> mouth and suffocated.<br /><br /> The smile on his face seems to indicate that he is telling a<br /> tall story.<br /><br /> KAY<br /> I never know when you're telling me<br /> the truth.<br /><br /> MICHAEL<br /> I told you you wouldn't like him.<br /><br /> KAY<br /> He's coming over here!<br /><br /> LUCA comes toward them to meet TOM HAGEN halfway, just near<br /> their table.<br /><br /> MICHAEL<br /> Tom...Tom, I'd like you to meet Kay<br /> Adams.<br /><br /> KAY<br /> (having survived LUCA)<br /> How do you do.<br /><br /> MICHAEL<br /> My brother, Tom Hagen.<br /><br /> HAGEN<br /> Hello Kay. Your father's inside,<br /> doing some business.<br /> (privately)<br /> He's been asking for you.<br /><br /> MICHAEL<br /> Thanks Tom.<br /><br /> HAGEN smiles and moves back to the house, LUCA ominously<br /> following.<br /><br /> KAY<br /> If he's your brother, why does he<br /> have a different name?<br /><br /> MICHAEL<br /> My brother Sonny found him living<br /> in the streets when he was a kid,<br /> so my father took him in. He's a<br /> good lawyer.<br /><br /> INT DAY: DON'S OFFICE (SUMMER 1945)<br /><br /> DON CORLEONE at the window. He has seen the intimacy of the<br /> YOUNG COUPLE.<br /><br /> LUCA (O.S.)<br /> Don Corleone...<br /><br /> THE DON turns to the stiffly formal LUCA, and he moves<br /> forward to kiss his hand. He takes the envelope from his<br /> jacket, holds it out, but does not release it until he makes<br /> a formal speech.<br /><br /> LUCA<br /> (with difficulty)<br /> Don Corleone...I am honored, and<br /> grateful...that you invited me to<br /> your home...on the wedding day of<br /> your...daughter.<br /> May their first child...be a<br /> masculine child. I pledge my never<br /> ending loyalty.<br /> (he offers the envelope)<br /> For your daughter's bridal purse.<br /><br /> DON CORLEONE<br /> Thank you, Luca, my most valued<br /> friend.<br /><br /> THE DON takes it, and then LUCA's hand, which he squeezes so<br /> tightly we might imagine it to be painful.<br /><br /> LUCA<br /> Let me leave you, Don Corleone. I<br /> know you are busy.<br /><br /> He turns, almost an about-face, and leaves the study with<br /> the same formality he entered with. DON CORLEONE breathes<br /> more easily, and gives the thick envelope to HAGEN.<br /><br /> DON CORLEONE<br /> I'm sure it's the most generous<br /> gift today.<br /><br /> HAGEN<br /> The Senator called--apologized for<br /> not coming personally, but said<br /> you'd understand. Also, some of<br /> the Judges...they've all sent gifts.<br /> And another call from Virgil<br /> Sollozzo.<br /><br /> DON CORLEONE is not pleased.<br /><br /> HAGEN<br /> The action is narcotics. Sollozzo<br /> has contacts in Turkey for the<br /> poppy, in Sicily for the plants to<br /> process down to morphine or up to<br /> heroin. Also he has access to this<br /> country. He's coming to us for<br /> financial help, and some sort of<br /> immunity from the law. For that we<br /> get a piece of the action, I<br /> couldn't find out how much.<br /> Sollozzo is vouched for by the<br /> Tattaglia family, and they may have<br /> a piece of the action. They call<br /> Sollozzo the Turk.<br /> He's spent a lot of time in Turkey<br /> and is suppose to have a Turkish<br /> wife and kids. He's suppose to be<br /> very quick with the knife, or was,<br /> when he was younger. Only in<br /> matters of business and with some<br /> reasonable complaint. Also he has<br /> an American wife and three children<br /> and he is a good family man.<br /><br /> THE DON nods.<br /><br /> HAGEN<br /> He's his own boss, and very<br /> competent.<br /><br /> DON CORLEONE<br /> And with prison record.<br /><br /> HAGEN<br /> Two terms; one in Italy, one in the<br /> United States. He's known to the<br /> Government as a top narcotics man.<br /> That could be a plus for us; he<br /> could never get immunity to testify.<br /><br /> DON CORLEONE<br /> When did he call?<br /><br /> HAGEN<br /> This morning.<br /><br /> DON CORLEONE<br /> On a day like this. Consiglero, do<br /> you also have in your notes the the<br /> Turk made his living from<br /> Prostitution before the war, like<br /> the Tattaglias do now. Write that<br /> down before you forget it. The<br /> Turk will wait.<br /><br /> We now begin to hear a song coming over the loud-speakers<br /> from outside. In Italian, with unmistakable style.<br /><br /> DON CORLEONE<br /> What that? It sounds like Johnny.<br /><br /> He moves to the window, pulls the blinds up, flooding the<br /> room with light.<br /><br /> DON CORLEONE<br /> It is Johnny. He came all the way<br /> from California to be at the wedding.<br /><br /> HAGEN<br /> Should I bring him in.<br /><br /> DON CORLEONE<br /> No. Let the people enjoy him. You<br /> see? He is a good godson.<br /><br /> HAGEN<br /> It's been two years. He's probably<br /> in trouble again.<br /><br /> EXT DAY: MALL (SUMMER 1945)<br /><br /> JOHNNY FONTANE on the bandstand, singing to the delight and<br /> excitement of the wedding GUESTS.<br /><br /> KAY<br /> I didn't know your family knew<br /> Johnny Fontane.<br /><br /> MICHAEL<br /> Sure.<br /><br /> KAY<br /> I used to come down to New York<br /> whenever he sang at the Capitol and<br /> scream my head off.<br /><br /> MICHAEL<br /> He's my father's godson; he owes<br /> him his whole career.<br /><br /> JOHNNY finishes the song and the CROWD screams with delight.<br /> They call out for another when DON CORLEONE appears.<br /><br /> DON CORLEONE<br /> My Godson has come three thousand<br /> miles to do us honor and no one<br /> thinks to wet his throat.<br /><br /> At once a dozen wine glasses are offered to JOHNNY, who<br /> takes a sip from each as he moves to embrace his GODFATHER.<br /><br /> JOHNNY<br /> I kept trying to call you after my<br /> divorce and Tom always said you<br /> were busy. When I got the Wedding<br /> invitation I knew you weren't sore<br /> at me anymore, Godfather.<br /><br /> DON CORLEONE<br /> Can I do something for you still?<br /> You're not too rich, or too famous<br /> that I can't help you?<br /><br /> JOHNNY<br /> I'm not rich anymore, Godfather,<br /> and...my career, I'm almost washed<br /> up...<br /><br /> He's very disturbed. The GODFATHER indicates that he come<br /> with him to the office so no one will notice. He turns to<br /> HAGEN.<br /><br /> DON CORLEONE<br /> Tell Santino to come in with us.<br /> He should hear some things.<br /><br /> They go, leaving HAGEN scanning the party looking for SONNY.<br /><br /> INT DAY: DON'S OFFICE (SUMMER 1945)<br /><br /> HAGEN glances up the staircase.<br /><br /> HAGEN<br /> Sonny?<br /><br /> Then he goes up.<br /><br /> INT DAY: DON'S UPSTAIRS ROOM (SUMMER 1945)<br /><br /> SONNY and LUCY are in a room upstairs; he has lifted her<br /> gown's skirts almost over her head, and has her standing<br /> against the door. Her face peeks out from the layers of<br /> petticoats around it like a flower in ecstasy.<br /><br /> LUCY<br /> Sonnyeeeeeeee.<br /><br /> Her head bouncing against the door with the rhythm of his<br /> body. But there is a knocking as well. They stop, freeze<br /> in that position.<br /><br /> HAGEN (O.S.)<br /> Sonny? Sonny, you in there?<br /><br /> INT DAY: DON'S UPSTAIRS HALLWAY (SUMMER 1945)<br /><br /> Outside, HAGEN by the door.<br /><br /> HAGEN<br /> The old man wants you; Johnny's<br /> here...he's got a problem.<br /><br /> SONNY (O.S.)<br /> Okay. One minute.<br /><br /> HAGEN hesitates. We HEAR LUCY's head bouncing against the<br /> door again. TOM leaves.<br /><br /> INT DAY: DON'S OFFICE (SUMMER 1945)<br /><br /> DON CORLEONE<br /> ACT LIKE A MAN! By Christ in<br /> Heaven, is it possible you turned<br /> out no better than a Hollywood<br /> finocchio.<br /><br /> Both HAGEN and JOHNNY cannot refrain from laughing. The DON<br /> smiles. SONNY enters as noiselessly as possible, still<br /> adjusting his clothes.<br /><br /> DON CORLEONE<br /> All right, Hollywood...Now tell me<br /> about this Hollywood Pezzonovanta<br /> who won't let you work.<br /><br /> JOHNNY<br /> He owns the studio. Just a month<br /> ago he bought the movie rights to<br /> this book, a best seller. And the<br /> main character is a guy just like<br /> me. I wouldn't even have to act,<br /> just be myself.<br /><br /> The DON is silent, stern.<br /><br /> DON CORLEONE<br /> You take care of your family?<br /><br /> JOHNNY<br /> Sure.<br /><br /> He glances at SONNY, who makes himself as inconspicuous as<br /> he can.<br /><br /> DON CORLEONE<br /> You look terrible. I want you to<br /> eat well, to rest. And spend time<br /> with your family. And then, at the<br /> end of the month, this big shot<br /> will give you the part you want.<br /><br /> JOHNNY<br /> It's too late. All the contracts<br /> have been signed, they're almost<br /> ready to shoot.<br /><br /> DON CORLEONE<br /> I'll make him an offer he can't<br /> refuse.<br /><br /> He takes JOHNNY to the door, pinching his cheek hard enough<br /> to hurt.<br /><br /> DON CORLEONE<br /> Now go back to the party and leave<br /> it to me.<br /><br /> He closes the door, smiling to himself. Turns to HAGEN.<br /><br /> DON CORLEONE<br /> When does my daughter leave with<br /> her bridegroom?<br /><br /> HAGEN<br /> They'll cut the cake in a few<br /> minutes...leave right after that.<br /> Your new son-in-law, do we give him<br /> something important?<br /><br /> DON CORLEONE<br /> No, give him a living. But never<br /> let him know the family's business.<br /> What else, Tom?<br /><br /> HAGEN<br /> I've called the hospital; they've<br /> notified Consiglere Genco's family<br /> to come and wait. He won't last<br /> out the night.<br /><br /> This saddens the DON. He sighs.<br /><br /> DON CORLEONE<br /> Genco will wait for me. Santino,<br /> tell your brothers they will come<br /> with me to the hospital to see<br /> Genco. Tell Fredo to drive the big<br /> car, and ask Johnny to come with us.<br /><br /> SONNY<br /> And Michael?<br /><br /> DON CORLEONE<br /> All my sons.<br /> (to HAGEN)<br /> Tom, I want you to go to California<br /> tonight. Make the arrangements.<br /> But don't leave until I come back<br /> from the hospital and speak to you.<br /> Understood?<br /><br /> HAGEN<br /> Understood.<br /><br /> EXT DAY: MALL (SUMMER 1945)<br /><br /> Now all the wedding GUESTS excitedly clap their hands over<br /> the entrance of the cake: NAZORINE is beaming as he wheels<br /> in a serving table containing the biggest, gaudiest, most<br /> extravagant wedding cake ever baked, an incredible monument<br /> of his gratitude. The CROWD is favorably impressed: they<br /> begin to clink their knives or forks against their glasses,<br /> in the traditional request for the Bride to cut the cake and<br /> kiss the Groom. Louder and louder, five hundred forks<br /> hitting five hundred glasses.<br /><br /> EXT DAY: MALL (SUMMER 1945)<br /><br /> Silence.<br /><br /> HIGH ANGLE ON THE MALL, late day. The GUESTS are gone. A<br /> single black car is in the courtyard. FREDDIE is behind the<br /> driver's seat: the DON enters the car, looks at MICHAEL, who<br /> sits between SONNY and JOHNNY in the rear seat.<br /><br /> DON CORLEONE<br /> Will your girl friend get back to<br /> the city all right?<br /><br /> MICHAEL<br /> Tom said he'd take care of it.<br /><br /> The DON pulls the door shut; and the car pulls out, through<br /> the gate of the great Corleone Mall.<br /><br /> INT DAY: HOSPITAL CORRIDOR (SUMMER 1945)<br /><br /> A long white hospital corridor, at the end of which we can<br /> see a grouping of FIVE WOMEN, some old and some young, but<br /> all plump and dressed in black.<br /><br /> DON CORLEONE and his SONS move toward the end. But then the<br /> DON slows, putting his hand on MICHAEL's shoulder. MICHAEL<br /> stops and turns toward his FATHER. The two looks at one<br /> another for some time. SILENCE. DON CORLEONE then lifts<br /> his hand, and slowly touches a particular medal on MICHAEL's<br /> uniform.<br /><br /> DON CORLEONE<br /> What was this for?<br /><br /> MICHAEL<br /> For bravery.<br /><br /> DON CORLEONE<br /> And this?<br /><br /> MICHAEL<br /> For killing a man.<br /><br /> DON CORLEONE<br /> What miracles you do for strangers.<br /><br /> MICHAEL<br /> I fought for my country. It was my<br /> choice.<br /><br /> DON CORLEONE<br /> And now, what do you choose to do?<br /><br /> MICHAEL<br /> I'm going to finish school.<br /><br /> DON CORLEONE<br /> Good. When you are finished, come<br /> and talk to me. I have hopes for<br /> you.<br /><br /> Again they regard each other without a word. MICHAEL turns,<br /> and continues on. DON CORLEONE watches a moment, and then<br /> follows.<br /><br /> INT DAY: HOSPITAL ROOM (SUMMER 1945)<br /><br /> DON CORLEONE enters the hospital room, moving closest to OUR<br /> VIEW. He is followed by his SONS, JOHNNY and the WOMEN.<br /><br /> DON CORLEONE<br /> (whispered)<br /> Genco, I've brought my sons to pay<br /> their respects. And look, even<br /> Johnny Fontane, all the way from<br /> Hollywood.<br /><br /> GENCO is a tiny, wasted skeleton of a man. DON CORLEONE<br /> takes his bony hand, as the others arrange themselves around<br /> his bed, each clasping the other hand in turn.<br /><br /> GENCO<br /> Godfather, Godfather, it's your<br /> daughter's wedding day, you cannot<br /> refuse me. Cure me, you have the<br /> power.<br /><br /> DON CORLEONE<br /> I have no such power...but Genco,<br /> don't fear death.<br /><br /> GENCO<br /> (with a sly wink)<br /> It's been arranged, then?<br /><br /> DON CORLEONE<br /> You blaspheme. Resign yourself.<br /><br /> GENCO<br /> You need your old Consigliere. Who<br /> will replace me?<br /> (suddenly)<br /> Stay with me Godfather. Help me<br /> meet death. If he sees you, he<br /> will be frightened and leave me in<br /> peace. You can say a word, pull a<br /> few strings, eh? We'll outwit that<br /> bastard as we outwitted all those<br /> others.<br /> (clutching his hand)<br /> Godfather, don't betray me.<br /><br /> The DON motions all the others to leave the room. They do.<br /> He returns his attention to GENCO, holding his hand and<br /> whispering things we cannot hear, as they wait for death.<br /><br /> INT NIGHT: AIRPLANE (SUMMER 1945)<br /><br /> FADE IN:<br /><br /> The interior of a non-stop Constellation. HAGEN is one of<br /> the very few passengers on this late flight. He looks like<br /> any young lawyer on a business trip. He is tired from the<br /> difficult preparation and duties that he has just executed<br /> during the wedding. On the seat next to him is an enormous,<br /> bulging briefcase. He closes his eyes.<br /><br /> INT NIGHT: HONEYMOON HOTEL (SUMMER 1945)<br /><br /> The honeymoon hotel: CARLO and CONNIE. CARLO is in his<br /> undershorts, sitting up on the bed, anxiously taking the<br /> envelopes out of the silk bridal purse and counting the<br /> contents. CONNIE prepares herself in the large marble<br /> bathroom. She rubs her hands over his bronze shoulders, and<br /> tries to get his interest.<br /><br /> INT NIGHT: DON'S OFFICE (SUMMER 1945)<br /><br /> DON CORLEONE in his office. LUCA BRASI sitting near to him.<br /><br /> DON CORLEONE<br /> Luca, I am worried about this man<br /> Sollozzo. Find out what you can,<br /> through the Tattaglias. Let them<br /> believe you could be tempted away<br /> from the Corleone Family, if the<br /> right offer was made. Learn what<br /> he has under his fingernails...<br /><br /> INT NIGHT: MANCINI APT. HALL (SUMMER 1945)<br /><br /> The hallway of an apartment building. SONNY enters, climbs<br /> two steps at a time. He knocks, and then whispers.<br /><br /> SONNY<br /> It's me, Sonny.<br /><br /> The door opens, and two lovely arms are around him, pulling<br /> him into the apartment.<br /><br /> INT NIGHT: LUCA'S ROOM (WINTER 1945)<br /><br /> LUCA BRASI's tiny room. He is partly dressed. He kneels<br /> and reaches under his bed and pulls out a small, locked<br /> trunk. He opens it, and takes out a heavy, bullet-proof<br /> vest. He puts it on, over his wool undershirt, and then<br /> puts on his shirt and jacket. He takes his gun, quickly<br /> disassembles, checks, and reassembles it. And leaves.<br /><br /> INT NIGHT: DON'S OFFICE (SUMMER 1945)<br /><br /> A CLOSE VIEW of DON CORLEONE thinking quietly.<br /><br /> INT NIGHT: MOVING TRAIN (SUMMER 1945)<br /><br /> MICHAEL and KAY on a train, speeding on their way to New<br /> Hampshire.<br /><br /> INT NIGHT: SUBWAY (WINTER 1945)<br /><br /> LUCA, in his bulky jacket, sitting quietly on an empty<br /> subway train.<br /><br /> INT NIGHT: AIRPLANE (SUMMER 1945)<br /><br /> HAGEN on the Constellation. He reaches into his briefcase,<br /> and takes out several pictures and papers.<br /><br /> One photograph is of a smiling man, JACK WOLTZ, linked arm<br /> in arm with fifteen movie stars on either side, including a<br /> lovely young child star to his immediate right.<br /><br /> HAGEN considers other papers.<br /><br /> INT NIGHT: DON'S OFFICE (SUMMER 1945)<br /><br /> DON CORLEONE looks, and then moves HAGEN into an embrace.<br /> He straightens his arms and looks at TOM deeply.<br /><br /> DON CORLEONE<br /> Remember my new Consigliere, a<br /> lawyer with his briefcase can steal<br /> more than a hundred men with guns.<br /><br /> EXT DAY: WOLTZ ESTATE GATE (SUMMER 1945)<br /><br /> JACK WOLTZ ESTATE. HAGEN stands before the impressive gate,<br /> armed only with his briefcase. A GATEMAN opens the gate,<br /> and TOM enters.<br /><br /> EXT DAY: WOLTZ GARDENS (SUMMER 1945)<br /><br /> HAGEN and WOLTZ comfortably stroll along beautiful formal<br /> gardens, martinis in hand.<br /><br /> WOLTZ<br /> You should have told me your boss<br /> was Corleone, Tom, I had to check<br /> you out. I thought you were just<br /> some third rate hustler Johnny was<br /> running in to bluff me.<br /> (a piece of statuary)<br /> Florence, thirteenth century.<br /> Decorated the garden of a king.<br /><br /> They cross the garden and head toward the stables.<br /><br /> WOLTZ<br /> I'm going to show you something<br /> beautiful.<br /><br /> They pass the stables, and come to rest by a stall with a<br /> huge bronze plaque attached to the outside wall: "KHARTOUM."<br /> TWO SECURITY GUARDS are positioned in chairs nearby; they<br /> rise as WOLTZ approaches.<br /><br /> WOLTZ<br /> You like horses? I like horses, I<br /> love 'em. Beautiful, expensive<br /> Racehorses.<br /><br /> The animal inside is truly beautiful. WOLTZ whispers to him<br /> with true love in his voice.<br /><br /> WOLTZ<br /> Khartoum...Kartoum...You are<br /> looking at six hundred thousand<br /> dollars on four hoofs. I bet even<br /> Russian Czars never paid that kind<br /> of dough for a single horse. But<br /> I'm not going to race him I'm going<br /> to put him out to Stud.<br /><br /> INT NIGHT: WOLTZ DINING ROOM (SUMMER 1945)<br /><br /> HAGEN and WOLTZ sit at an enormous dining room table,<br /> attended by SEVERAL SERVANTS. Great paintings hang on the<br /> walls. The meal is elaborate and sumptuous.<br /><br /> HAGEN<br /> Mr. Corleone is Johnny's Godfather.<br /> That is very close, a very sacred<br /> religious relationship.<br /><br /> WOLTZ<br /> Okay, but just tell him this is one<br /> favor I can't give. But he should<br /> try me again on anything else.<br /><br /> HAGEN<br /> He never asks a second favor when<br /> he has been refused the first.<br /> Understood?<br /><br /> WOLTZ<br /> You smooth son of a bitch, let me<br /> lay it on the line for you, and<br /> your boss. Johnny Fontane never<br /> gets that movie. I don't care how<br /> many Dago, Guinea, wop Greaseball<br /> Goombahs come out of the woodwork!<br /><br /> HAGEN<br /> I'm German-Irish.<br /><br /> WOLTZ<br /> Okay my Kraut-Mick friend, Johnny<br /> will never get that part because I<br /> hate that pinko punk and I'm going<br /> to run him out of the Movies. And<br /> I'll tell you why. He ruined one<br /> of Woltz Brothers' most valuable<br /> proteges. For five years I had<br /> this girl under training; singing<br /> lessons! Acting lessons! Dancing<br /> lessons! We spent hundreds of<br /> thousands of dollars--I was going<br /> to make her a star. I'll be even<br /> more frank, just to show you that<br /> I'm not a hard-hearted man, that it<br /> wasn't all dollars and cents. That<br /> girl was beautiful and young and<br /> innocent and she was the greatest<br /> piece of ass I've ever ad and I've<br /> had them all over the world. Then<br /> Johnny comes along with that olive<br /> oil voice and guinea charm and she<br /> runs off. She threw it all away to<br /> make me look ridiculous. A MAN IN<br /> MY POSITION CANNOT AFFORD TO BE<br /> MADE TO LOOK RIDICULOUS!<br /><br /> EXT DAY: GENCO OLIVE OIL CO. (SUMMER 1945)<br /><br /> An unimposing little building in New York City on Mott<br /> Street with a large old sign: "GENCO OLIVE OIL IMPORTS,<br /> INC." next to an open-faced fruit market.<br /><br /> A dark Buick pulls up, and a single small man, whom we<br /> cannot see well because of the distance, gets out and enters<br /> the building. This is VIRGIL SOLLOZZO.<br /><br /> INT DAY: OLIVE OIL OFFICES (SUMMER 1945)<br /><br /> Looking toward the staircase we can hear SOLLOZZO's footsteps<br /> before he actually rises into view. He is a small man, very<br /> dark, with curly black hair. But wiry, and tight and hard,<br /> and obviously very dangerous. He is greeted at the head of<br /> the stairs by SONNY, who takes his hand and shakes it,<br /> introducing himself. For a moment, there is a complex of<br /> handshaking quite formal, and whispered respectful<br /> introductions. Finally, SOLLOZZO is taken into the DON's<br /> glass paneled office; the two principals are introduced.<br /> They are very respectful of one another. Folding chairs are<br /> brought in by FREDDIE, and soon they are all sitting around<br /> in a circle; the DON, SOLLOZZO, SONNY, HAGEN, FREDDIE,<br /> CLEMENZA and TESSIO. The DON is the slightest bit foolish<br /> with all his compatriots, whereas SOLLOZZO has brought no<br /> one. Throughout all that transpires, however, it is clear<br /> that this scene is between two men: SOLLOZZO and DON CORLEONE.<br /><br /> SOLLOZZO<br /> My business is heroin, I have poppy<br /> fields, laboratories in Narseilles<br /> and Sicily, ready to go into<br /> production. My importing methods<br /> are as safe as these things can be,<br /> about five per cent loss. The risk<br /> is nothing, the profits enormous.<br /><br /> DON CORLEONE<br /> Why do you come to me? Why do I<br /> deserve your generosity?<br /><br /> SOLLOZZO<br /> I need two million dollars in<br /> cash...more important, I need a<br /> friend who has people in high<br /> places; a friend who can guarantee<br /> that if one of my employees be<br /> arrested, they would get only light<br /> sentences. Be my friend.<br /><br /> DON CORLEONE<br /> What percentages for my family?<br /><br /> SOLLOZZO<br /> Thirty per cent. In the first year<br /> your share would be four million<br /> dollars; then it would go up.<br /><br /> DON CORLEONE<br /> And what is the percentage of the<br /> Tattaglia family?<br /><br /> SOLLOZZO nods toward HAGEN.<br /><br /> SOLLOZZO<br /> My compliments. I'll take care of<br /> them from my share.<br /><br /> DON CORLEONE<br /> So. I receive 30 per cent just for<br /> finance and legal protection. No<br /> worries about operations, is that<br /> what you tell me?<br /><br /> SOLLOZZO<br /> If you think two million dollars in<br /> cash is just finance, I congratulate<br /> you Don Corleone.<br /><br /> There is a long silence; in which each person present feels<br /> the tension. The DON is about to give his answer.<br /><br /> DON CORLEONE<br /> I said I would see you because I've<br /> heard you're a serious man, to be<br /> treated with respect...<br /> (pause)<br /> But I'll say no to you.<br /><br /> We feel this around the room.<br /><br /> DON CORLEONE<br /> I'll give you my reasons. I have<br /> many, many friends in Politics.<br /> But they wouldn't be so friendly if<br /> my business was narcotics instead<br /> of gambling. They think gambling<br /> is something like liquor, a harmless<br /> vice...and they think narcotics is<br /> dirty business.<br /><br /> SOLLOZZO takes a breath.<br /><br /> DON CORLEONE<br /> No...how a man makes his living is<br /> none of my business. But this<br /> proposition of yours is too risky.<br /> All the people in my family lived<br /> well the last ten years, I won't<br /> risk that out of greed.<br /><br /> SOLLOZZO<br /> Are you worried about security for<br /> your million?<br /><br /> DON CORLEONE<br /> No.<br /><br /> SOLLOZZO<br /> The Tattaglias will guarantee your<br /> investment also.<br /><br /> This startles SONNY; he blurts out.<br /><br /> SONNY<br /> The Tattaglia family guarantees our<br /> investment?<br /><br /> SOLLOZZO hears him first, and then very slowly turns to face<br /> him. Everyone is the room knows that SONNY has stepped out<br /> of line.<br /><br /> DON CORLEONE<br /> Young people are greedy, and they<br /> have no manners. They speak when<br /> they should listen. But I have a<br /> sentimental weakness for my<br /> children, and I've spoiled them, as<br /> you see. But Signor Sollozzo, my<br /> no is final.<br /><br /> SOLLOZZO nods, understands that this is the dismissal. He<br /> glances one last time at SONNY. He rises; all the others do<br /> as well. He bows to the DON, shakes his hand, and formally<br /> takes his leave. When the footsteps can no longer be heard:<br /><br /> The DON turns to SONNY.<br /><br /> DON CORLEONE<br /> Santino, never let anyone outside<br /> the family know what you are<br /> thinking. I think your brain is<br /> going soft from all that comedy you<br /> play with that young girl.<br /><br /> TWO OFFICE WORKERS are carrying an enormous floral display<br /> with the word "THANK YOU" spelled out in flowers.<br /><br /> DON CORLEONE<br /> What is this nonsense?<br /><br /> HAGEN<br /> It's from Johnny. It was announced<br /> this morning. He's going to play<br /> the lead in the new Woltz Brothers<br /> film.<br /><br /> INT DAY: WOLTZ'S BEDROOM (SUMMER 1945)<br /><br /> It is large, dominated by a huge bed, in which a man,<br /> presumably WOLTZ, is sleeping. Soft light bathes the room<br /> from the large windows. We move closer to him until we see<br /> his face, and recognize JACK WOLTZ. He turns uncomfortably;<br /> mutters, feels something strange in his bedsheets. Something<br /> wet.<br /><br /> He wakens, feels the sheets with displeasure; they are wet.<br /> He looks at his hand; the wetness is blood. He is<br /> frightened, pulls aside the covers, and sees fresh blood on<br /> his sheets and pajamas. He grunts, pulls the puddle of<br /> blood in his bed. He feels his own body frantically,<br /> moving, down, following the blood, until he is face to face<br /> with the great severed head of Khartoum lying at the foot of<br /> his bed. Just blood from the hacked neck. White reedy<br /> tendons show. He struggles up to his elbows in the puddle<br /> of blood to see more clearly. Froth covers the muzzle, and<br /> the enormous eyes of the animal are yellowed and covered<br /> with blood.<br /><br /> WOLTZ tries to scream; but cannot. No sound comes out.<br /> Then, finally and suddenly an ear-splitting scream of pure<br /> terror escapes from WOLTZ, who is rocking on his hands and<br /> knees in an uncontrolled fit, blood all over him.<br /><br /> INT DAY: OLIVE OIL OFFICES (SUMMER 1945)<br /><br /> CLOSE VIEW on the GODFATHER. Nodding.<br /><br /> DON CORLEONE<br /> Send Johnny my congratulations.<br /><br /> ----------------------------------------FADE OUT--------<br /><br /> (SCENES 12 & 12 OMITTED)<br /><br /> FADE IN:<br /><br /> EXT DAY: FIFTH AVENUE (WINTER 1945)<br /><br /> Fifth Avenue in the snow. Christmas week. People are<br /> bundled up with rosy faces, rushing to buy presents.<br /><br /> KAY and MICHAEL exit a Fifth Avenue department store,<br /> carrying a stack of gaily wrapped gifts, arm in arm.<br /><br /> KAY<br /> We have something for your mother,<br /> for Sonny, we have the tie for<br /> Fredo and Tom Hagen gets the<br /> Reynolds pen...<br /><br /> MICHAEL<br /> And what do you want for Christmas?<br /><br /> KAY<br /> Just you.<br /><br /> They kiss.<br /><br /> INT DAY: HOTEL ROOM (WINTER 1945)<br /><br /> CLOSE ON a wooden radio, playing quiet Music. THE VIEW PANS<br /> AROUND the dark hotel room, curtained against the daylight.<br /><br /> MICHAEL (O.S.)<br /> We'll have a quiet, civil ceremony<br /> at the City Hall, no big fuss, no<br /> family, just a couple of friends as<br /> witnesses.<br /><br /> The two are in each other's arms in a mess of bedsheets on<br /> the two single beds that they have pushed together.<br /><br /> KAY<br /> What will your father say?<br /><br /> MICHAEL<br /> As long as I tell him beforehand he<br /> won't object. He'll be hurt, but<br /> he won't object.<br /><br /> KAY<br /> What time do they expect us?<br /><br /> MICHAEL<br /> For dinner. Unless I call and tell<br /> them we're still in New Hampshire.<br /><br /> KAY<br /> Michael.<br /><br /> MICHAEL<br /> Then we can have dinner, see a<br /> show, and spend one more night.<br /><br /> He moves to the telephone.<br /><br /> MICHAEL (CONT'D.)<br /> Operator. Get me<br /> (fill in number)<br /><br /><br /> KAY<br /> Michael, what are you doing?<br /><br /> MICHAEL<br /> Shhh, you be the long distance<br /> operator. Here.<br /><br /> KAY<br /> Hello...this is Long Distance. I<br /> have a call from New Hampshire. Mr.<br /> Michael Corleone. One moment please.<br /><br /> She hands the phone to MICHAEL who continues the deception.<br /><br /> MICHAEL<br /> Hello, Tom? Michael. Yeah...<br /> listen, we haven't left yet. I'm<br /> driving down to the city with Kay<br /> tomorrow morning. There's something<br /> important I want to tell the old<br /> man before Christmas. Will he be<br /> home tomorrow night?<br /><br /> INT DAY: OLIVE OIL OFFICE (WINTER 1945)<br /><br /> HAGEN in the Olive Oil Company office. In the background,<br /> through the glass partitions, we can see the DON, at work in<br /> his office. TOM is tired, and steeped in paperwork.<br /><br /> HAGEN (O.S.)<br /> Sure. Anything I can do for you.<br /><br /> MICHAEL (O.S.)<br /> No. I guess I'll see you Christmas.<br /> Everyone's going to be out at Long<br /> Beach, right?<br /><br /> HAGEN<br /> Right.<br /><br /> He smiles. MICHAEL has hung up. He looks at the piles of<br /> work, and can't face it. He rises, puts on his coat and<br /> hat, and continues out.<br /><br /> He peeks into the DON's office.<br /><br /> HAGEN<br /> Michael called; he's not leaving<br /> New Hampshire until tomorrow<br /> morning. I've got to go, I promised<br /> Theresa I'd pick up some toys for<br /> the kids.<br /><br /> The DON smiles and nods.<br /><br /> TOM smiles, and leaves; OUR VIEW remaining with DON CORLEONE.<br /> FREDDIE is sitting on a bench in the corner, reading the<br /> afternoon paper. He puts aside the papers the office<br /> manager has prepared for him, and then moves to FREDDIE,<br /> raps his knuckles on his head to take his nose out of the<br /> paper.<br /><br /> DON CORLEONE<br /> Tell Paulie to get the car from the<br /> lot; I'll be ready to go home in a<br /> few minutes.<br /><br /> FREDO<br /> I'll have to get it myself; Paulie<br /> called in sick this morning.<br /><br /> DON CORLEONE<br /> That's the third time this month.<br /> I think maybe you'd better get a<br /> healthier bodyguard for me. Tell<br /> Tom.<br /><br /> FREDO<br /> (going)<br /> Paulie's a good kid. If he's sick,<br /> he's sick. I don't mind getting<br /> the car.<br /><br /> FREDDIE leaves. He slowly puts on his jacket. Looks out<br /> his window.<br /><br /> EXT DUSK: OLIVE OIL CO. (WINTER 1945)<br /><br /> FREDDIE crosses the street.<br /><br /> INT DUSK: OLIVE OIL OFFICE (WINTER 1945)<br /><br /> OFFICE MANAGER<br /> Buon Watale, Don Corleone.<br /><br /> The MANAGER helps him on with his overcoat. Once again, the<br /> DON glances out his window.<br /><br /> The black car pulls up; FREDDIE driving.<br /><br /> DON CORLEONE<br /> Merry Christmas.<br /> (handing the MANAGER<br /> an envelope)<br /><br /><br /> And he starts down the stairs.<br /><br /> EXT DUSK: OLIVE OIL CO. (WINTER 1945)<br /><br /> The light outside is very cold, and beginning to fail. When<br /> FREDDIE sees his FATHER coming, he moves back into the<br /> driver's seat. The DON moves to the car, and is about to<br /> get in when he hesitates, and turns back to the long, open<br /> fruit stand near the corner.<br /><br /> The PROPRIETOR springs to serve him. The DON walks among<br /> the trays and baskets, and merely points to a particular<br /> piece of fruit. As he selects, the MAN gingerly picks the<br /> pieces of fruit up and puts them into a paper bag. The DON<br /> pays with a five dollar bill, waits for his change, and then<br /> turns back to the car.<br /><br /> EXT DUSK: POLKS TOY STORE (WINTER 1945)<br /><br /> TOM HAGEN exits carrying a stack of presents, all gift<br /> wrapped. He continues past the windows. As he walks,<br /> someone walks right in his way. He looks up. It is SOLLOZZO.<br /><br /> He takes TOM by the arm and walks along with him.<br /><br /> SOLLOZZO<br /> (quietly)<br /> Don't be frightened. I just want<br /> to talk to you.<br /><br /> A car parked at the curb suddenly flings its rear door open.<br /><br /> SOLLOZZO<br /> (urgently)<br /> Get in; I want to talk to you.<br /><br /> HAGEN pulls his arm free. He is frightened.<br /><br /> HAGEN<br /> I haven't got time.<br /><br /> TWO MEN suddenly appear on either side of him.<br /><br /> SOLLOZZO<br /> Get in the car. If I wanted to<br /> kill you you'd be dead already.<br /> Trust me.<br /><br /> HAGEN, sick to his stomach, moves with his ESCORTS, leaving<br /> our VIEW on the Mechanical windows gaily bobbing the story<br /> of Hansel and Gretel. We HEAR the car doors shut, and the<br /> car drive off.<br /><br /> EXT NIGHT: RADIO CITY - PHONE BOOTH (WINTER 1945)<br /><br /> RADIO CITY MUSIC HALL during the Christmas show. KAY and<br /> MICHAEL exit; tears are still streaming down her cheeks, and<br /> she sniffles, and dries her tears with Kleenex. KAY<br /> nostalgically hums "The Bells of Saint Mary's," as they walk<br /> arm in arm.<br /><br /> KAY<br /> Would you like me better if I were<br /> a nun?<br /><br /> MICHAEL<br /> No.<br /><br /> KAY<br /> Would you like me better if I were<br /> Ingrid Bergman?<br /><br /> They have passed a little enclosed newsstand. KAY sees<br /> something that terrifies her. She doesn't know what to do.<br /> MICHAEL still walks, thinking about her question.<br /><br /> KAY<br /> (a little voice)<br /> Michael?<br /><br /> MICHAEL<br /> I'm thinking about it.<br /><br /> KAY<br /> Michael...<br /><br /> MICHAEL<br /> No, I would not like you better if<br /> you were Ingrid Bergman.<br /><br /> She cannot answer him. Rather she pulls him by the arm,<br /> back to the newsstand, and points. His face goes grave.<br /><br /> The headlines read: "VITO CORLEONE SHOT, CHIEFTAN GUNNED<br /> DOWN."<br /><br /> MICHAEL is petrified; quickly he takes each edition, drops a<br /> dollar in the tray, and hungrily reads through them. KAY<br /> knows to remain silent.<br /><br /> MICHAEL<br /> (desperately)<br /> They don't say if he's dead or alive.<br /><br /> EXT DUSK: OLIVE OIL CO. (WINTER 1945)<br /><br /> DON CORLEONE by the fruit stand; he is about to move to the<br /> car, when TWO MEN step from the corner. Suddenly, the DON<br /> drops the bag of fruit and darts with startling quickness<br /> toward the parked car.<br /><br /> DON CORLEONE<br /> Fredo, Fredo!<br /><br /> The paper bag has hit the ground, and the fruit begins<br /> rolling along the sidewalk, as we HEAR gunshots.<br /><br /> Five bullets catch the DON in the back; he arches in pain,<br /> and continues toward the car.<br /><br /> The PROPRIETOR of the fruit stand rushes for cover, knocking<br /> over an entire case of fruit.<br /><br /> The TWO GUNMEN move in quickly, anxious to finish him off.<br /><br /> Their feet careful to avoid the rolling fruit. There are<br /> more GUNSHOTS.<br /><br /> FREDDIE is hysterical; he tries to get out of the car;<br /> having difficulty opening the door. He rushes out, a gun<br /> trembling in his hand; his mouth open. He actually drops<br /> the gun.<br /><br /> The gun falls amid the rolling fruit.<br /><br /> The GUNMEN are panicked. They fire once more at the downed<br /> DON CORLEONE. His leg and arm twitch where they are hit;<br /> and pools of blood are beginning to form.<br /><br /> The GUNMEN are obviously in a state of panic and confusion;<br /> they disappear around the corner as quickly as they came.<br /><br /> The PEOPLE about the avenue have all but disappeared:<br /> rather, we catch glimpses of them, poking their heads safely<br /> from around corners, inside doorways and arches, and from<br /> windows. But the street itself is now empty.<br /><br /> FREDDIE is in shock; he looks at his FATHER; now great<br /> puddles of blood have formed, and the DON is lifeless and<br /> face down in them.<br /><br /> FREDDIE falls back on to the curb and sits there, saying<br /> something we cannot understand. He begins to weep profusely.<br /><br /> INT NIGHT: SUBWAY (WINTER 1945)<br /><br /> LUCA BRASI riding alone on a subway car, late at night. He<br /> gets off.<br /><br /> He emerges at a subway terminal, proceeds out.<br /><br /> EXT NITE: NIGHT CLUB STREET (WINTER 1945)<br /><br /> LUCA walks down the late night street. He approaches an<br /> elegant New York Nightclub, whose gaudy neon sign is still<br /> winking this late at night. He waits and watches. Then the<br /> sign goes out; and he proceeds into the club.<br /><br /> INT NITE: NIGHTCLUB (WINTER 1945)<br /><br /> The main floor of the Nightclub is very large, with endless<br /> glistening wooden floors. Now, at this late time, the<br /> chairs have been stacked on the tables and a NEGRO JANITOR<br /> is waxing them. A single HAT-CHECK GIRL is counting her<br /> receipts. LUCA moves past the empty bandstand, and sits at<br /> the bar. ANOTHER MAN, dark and very well-built, moves<br /> behind the bar.<br /><br /> MAN<br /> Luca...I'm Bruno Tattaglia.<br /><br /> LUCA<br /> I know.<br /><br /> LUCA looks up; and out of the shadows emerges SOLLOZZO.<br /><br /> SOLLOZZO<br /> Do you know who I am?<br /><br /> LUCA Nods.<br /><br /> SOLLOZZO<br /> You've been talking to the<br /> Tattaglias. They thought we could<br /> do business.<br /><br /> LUCA listens.<br /><br /> SOLLOZZO<br /> I need somebody strong to protect<br /> my operation, physically. I've<br /> heard you're not happy with your<br /> family, you might make a switch.<br /><br /> LUCA<br /> If the money is good enough.<br /><br /> SOLLOZZO<br /> On the first shipment, I can<br /> guarantee you fifty thousand dollars.<br /><br /> LUCA looks at him; he had no idea the offer would be so good.<br /><br /> SOLLOZZO extends his hand, but LUCA pretends not to see it,<br /> rather, he busies himself putting a cigarette in his mouth.<br /> BRUNO TATTAGLIA, behind the bar, makes a cigarette lighter<br /> magically appear, and holds it to LUCA's cigarette. Then,<br /> he does an odd thing; he drops the lighter on the bar, and<br /> puts his hand lightly on LUCA's, almost patting it.<br /><br /> INT NITE: SONNY'S LIVING ROOM (WINTER 1945)<br /><br /> The telephone in SONNY's house is ringing. He approaches<br /> it, obviously fresh from a nap.<br /><br /> SONNY<br /> Yeah.<br /><br /> VOICE (O.S.)<br /> Do you recognize my voice?<br /><br /> SONNY<br /> I think so. Detective squad?<br /><br /> VOICE (O.S.)<br /> Right. Don't say my name, just<br /> listen. Somebody shot your father<br /> outside his place fifteen minutes<br /> ago.<br /><br /> SONNY<br /> Is he alive?<br /><br /> VOICE (O.S.)<br /> I think so, but I can't get close<br /> enough. There's a lot of blood.<br /> I'll try to find out more.<br /><br /> SONNY<br /> Find out anything you can...you got<br /> a Grand coming.<br /> (click)<br /><br /><br /> SONNY cradles the phone. An incredible rage builds up in<br /> him, his face actually turning red. He would like to rip<br /> the phone to pieces in his bare hands. Then he controls it.<br /> Quickly, he dials another number.<br /><br /> SONNY<br /> Theresa, let me talk to Tom. Not<br /> yet? Have him call me as soon as<br /> he gets home.<br /><br /> He hangs up.<br /><br /> SANDRA (O.S.)<br /> Sonny? Sonny, who is it?<br /> (she enters the room)<br /> What is it?<br /><br /> SONNY<br /> (calmly)<br /> They shot the old man.<br /><br /> SANDRA<br /> Oh God...<br /><br /> SONNY<br /> Honey...don't worry. Nothing else<br /> is going to happen.<br /><br /> There is a POUNDING on the door. A BABY starts crying.<br /><br /> SANDRA<br /> (really frightened)<br /> SONNY?<br /><br /> SONNY reaches into a cabinet drawer, takes out a gun, and<br /> moves quickly. He opens the front door quickly. It is<br /> CLEMENZA. He enters, SONNY closes the door. SANDRA goes to<br /> look after the baby.<br /><br /> CLEMENZA<br /> (excited)<br /> You heard about your father?<br /><br /> SONNY<br /> Yeah.<br /><br /> CLEMENZA<br /> The word is out in the streets that<br /> he's dead.<br /><br /> SONNY<br /> Where the hell was Paulie, why<br /> wasn't he with the Don?<br /><br /> CLEMENZA<br /> Paulie's been a little sick all<br /> winter...he was home.<br /><br /> SONNY<br /> How many times did he stay home the<br /> last couple of months?<br /><br /> CLEMENZA<br /> Maybe three, four times. I always<br /> asked Freddie if he wanted another<br /> bodyguard, but he said no. Things<br /> have been so smooth the last ten<br /> years...<br /><br /> SONNY<br /> Go get Paulie, I don't care how<br /> sick he is. Pick him up yourself,<br /> and bring him to my father's house.<br /><br /> CLEMENZA<br /> That's all? Don't you want me to<br /> send some people over here?<br /><br /> SONNY<br /> No, just you and Paulie.<br /><br /> CLEMENZA leaves; SONNY moves to SANDRA, who sits on the<br /> couch weeping quietly, comforting her BABY.<br /><br /> SONNY<br /> A couple of our people will come to<br /> stay here. Do whatever they say;<br /> I'm going over to the main house.<br /> If you want me, use Pop's special<br /> phone.<br /><br /> The telephone rings again. SONNY answers it.<br /><br /> SONNY<br /> Hello.<br /><br /> SOLLOZZO (O.S.)<br /> Santino Corleone?<br /><br /> SANDRA moves behind him, anxious to know who it is. SONNY<br /> indicates that she be quiet.<br /><br /> SONNY<br /> Yeah.<br /><br /> SOLLOZZO (O.S.)<br /> We have Tom Hagen. In about three<br /> hours he'll be released with our<br /> proposition. Don't do anything<br /> until you've heard what he has to<br /> say. You can only cause a lot of<br /> trouble. What's done is done.<br /> (a pause)<br /> Don't lose that famous temper of<br /> yours.<br /><br /> SONNY<br /> (quietly)<br /> I'll wait.<br /><br /> EXT NITE: MALL (WINTER 1945)<br /><br /> FULL VIEW OF THE CORLEONE MALL. It is night, but the<br /> courtyard is bathed with white light from floodlights on the<br /> tops of all the houses. It is very cold. We see the figure<br /> of SONNY cross the Mall, and let himself into the main house.<br /><br /> INT NITE: DON'S KITCHEN (WINTER 1945)<br /><br /> SONNY walks into the empty, darkened house. Then he calls<br /> out.<br /><br /> SONNY<br /> Ma? Ma, where are you.<br /><br /> The kitchen door swings open. He moves quickly and takes<br /> her by the arm. He is deliberately calm.<br /><br /> SONNY<br /> Ma, I just got a call. Pop's<br /> hurt...I don't know how bad.<br /><br /> MAMA<br /> (quietly)<br /> Santino? Have they killed him?<br /><br /> SONNY<br /> (almost in tears)<br /> We don't know yet, Ma.<br /><br /> MAMA<br /> I'll get dressed. In case we can<br /> see him...<br /><br /> She moves out of the kitchen, and continues upstairs. SONNY<br /> turns the gas from the pan of peppers she was frying. He<br /> takes some bread without thinking, and dips it in the oil,<br /> and sloppily eats some of the peppers, as he moves into his<br /> father's office.<br /><br /> INT NITE: DON'S OFFICE (WINTER 1945)<br /><br /> He switches the lights on in the DON's office. The massive<br /> desk dominates the room. SONNY moves quickly to the<br /> telephone, pulling a small chair to the side of the desk,<br /> and dials a number.<br /><br /> SONNY<br /> Tessio...This is Santino Corleone.<br /> I want fifty reliable men out here.<br /><br /> TESSIO (O.S.)<br /> I heard, Sonny...but what about<br /> Clemenza's regime?<br /><br /> SONNY<br /> I don't want to use Clemenza's<br /> people right now. Understood?<br /><br /> He hangs up. He moves quickly to a wall safe; operates the<br /> dial, and removes a small notebook. He takes it back to the<br /> desk, and runs over the list of numbers with his forefinger.<br /> We follow the names, until the finger stops at one: LUCA<br /> BRASI. SONNY dials the number. There is no answer.<br /><br /> SONNY<br /> Luca.<br /><br /> INT NITE: BUILDING (WINTER 1945)<br /><br /> The interior of an abandoned building. SEVERAL MEN in suits<br /> and ties sit around in the booths.<br /><br /> HAGEN sits in one: SOLLOZZO sits across from him.<br /><br /> SOLLOZZO<br /> I know you're not in the muscle end<br /> of the family--so I don't want you<br /> to be afraid. I want you to help<br /> the Corleones and I want you to<br /> help me.<br /><br /> HAGEN's hands are trembling as he tries to put a cigarette<br /> in his mouth. ONE of the BUTTON MEN brings a bottle of rye<br /> to the table, and pours a little into a delicate, flowered<br /> china cup. HAGEN sips gratefully.<br /><br /> SOLLOZZO<br /> Your boss is dead...<br /><br /> HAGEN is overwhelmed: actual tears spring to his eyes.<br /> SOLLOZZO pauses respectfully.<br /><br /> SOLLOZZO<br /> (pushing the bottle)<br /> Have some more. We got him outside<br /> his office, just before I picked<br /> you up. You have to make the peace<br /> between me and Santino.<br /><br /> HAGEN still is focused on the grief of losing the old man.<br /><br /> SOLLOZZO<br /> Sonny was hot for my deal, right?<br /> You know it's the smart thing to<br /> do, too. I want you to talk Sonny<br /> into it.<br /><br /> HAGEN<br /> (pulling himself together)<br /> Sonny will come after you with<br /> everything he's got.<br /><br /> SOLLOZZO rises, impatiently.<br /><br /> SOLLOZZO<br /> That's going to be his first<br /> reaction. You have to talk some<br /> sense into him. The Tattaglia<br /> family stands behind me with all<br /> their people. The other New York<br /> Families will go along with anything<br /> that prevents a full scale war.<br /><br /> He leans close to HAGEN.<br /><br /> SOLLOZZO<br /> The Don was slipping; in the old<br /> days I could never have gotten to<br /> him. Now he's dead, nothing can<br /> bring him back. Talk to Sonny,<br /> talk to the Caporegimes, Clemenza<br /> and Tessio...it's good business.<br /><br /> HAGEN<br /> Even Sonny won't be able to call<br /> off Luca Brasi.<br /><br /> SOLLOZZO<br /> I'll worry about Luca. You take<br /> care of Sonny and the other two kids.<br /><br /> HAGEN<br /> I'll try...It's what the Don would<br /> want us to do.<br /><br /> SOLLOZZO<br /> (lifting his hands in<br /> an expression of harmlessness)<br /> Good...then you can go...<br /> (he escorts him to<br /> the door)<br /> I don't like violence. I'm a<br /> businessman, and blood is a big<br /> expense.<br /><br /> He opens the door; they step out together.<br /><br /> EXT NITE: BUILDING<br /><br /> HAGEN, SOLLOZZO exit.<br /><br /> But a car pulls up, and ONE of SOLLOZZO'S MEN rushes out.<br /> He indicates with some urgency that he wants to talk to<br /> SOLLOZZO in private.<br /><br /> Then SOLLOZZO moves with a grave expression. He opens the<br /> door, indicating that HAGEN should be led back in.<br /><br /> SOLLOZZO<br /> The old man is still alive. Five<br /> bullets in his Sicilian hide and<br /> he's still alive.<br /> (he gives a fatalistic<br /> shrug)<br /> Bad luck for me, bad luck for you.<br /><br /> EXT NITE: MALL (WINTER 1945)<br /><br /> MICHAEL driving during the night. There is a little fog in<br /> the air, and moisture has formed on the windshield, making<br /> it difficult to see well. The wipers move across the view,<br /> as the gate of the Corleone Mall appears before us, still<br /> decorated for Christmas. The courtyard is bathed with white<br /> floodlight, giving this place a cold and isolated look. The<br /> narrow entrance mouth of the Mall is sealed off with a link<br /> chain. There are strange cars parked along the curving<br /> cement walk. SEVERAL MEN are congregated about the gate and<br /> chain; ONE of them approaches MICHAEL's car.<br /><br /> MAN<br /> Who're you?<br /><br /> ANOTHER peeks his ugly face almost right up to MICHAEL, and<br /> then turns.<br /><br /> MAN 2<br /> It's the Don's kid; take the car,<br /> I'll bring him inside.<br /><br /> The FIRST MAN opens the car door, and MICHAEL steps out.<br /><br /> INT NITE: HALL (WINTER 1945)<br /><br /> The Hallway of the main house is filled with MEN MICHAEL<br /> doesn't recognize. They pay little attention to him. Most<br /> of them are waiting; sitting uncomfortably; no one is talking.<br /><br /> INT NITE: DON'S LIVING ROOM (WINTER 1945)<br /><br /> MICHAEL moves into the living room; there is a Christmas<br /> tree, and countless greeting cards taped to the walls.<br /><br /> THERESA HAGEN is sitting stiffly on the sofa, smoking a<br /> cigarette; on the coffee table in front of her is a water<br /> glass half filled with whiskey. On the other side of the<br /> sofa sits CLEMENZA; his face is impassive, but he is<br /> sweating, and the cigar in his hand glistens slickly black<br /> with his saliva. PAULIE GATTO sits tensely and alone on the<br /> other side of the room. CLEMENZA sees MICHAEL, looks up at<br /> him.<br /><br /> CLEMENZA<br /> Your mother's at the hospital with<br /> the old man: He's gonna pull through.<br /><br /> MICHAEL nods his relief.<br /><br /> MICHAEL<br /> Thanks.<br /><br /> He moves to THERESA.<br /><br /> MICHAEL<br /> (gently)<br /> You heard from Tom yet?<br /><br /> Without looking up, she clings to him for a moment, and<br /> trembles. Occasionally, STRANGE MEN will cross through the<br /> room; everyone speaks in a whisper.<br /><br /> MICHAEL<br /> (taking her hand)<br /> C'mon.<br /><br /> He leads her into his father's office without knocking.<br /><br /> INT NITE: DON'S OFFICE (WINTER 1945)<br /><br /> SONNY and TESSIO are huddled around a yellow pad. They look<br /> up, startled.<br /><br /> SONNY<br /> Don't worry, Theresa; they just<br /> want to give Tom the proposition,<br /> then they're going to turn him loose.<br /><br /> He reassuringly hugs THERESA, and then to MICHAEL's surprise,<br /> he kisses him on the cheek.<br /><br /> SONNY<br /> I was worried when we couldn't get<br /> in touch with you in that hick town.<br /><br /> MICHAEL<br /> How's Mom?<br /><br /> SONNY<br /> Good. She's been through it before.<br /> Me too. You were too young to know<br /> about it. You better wait outside;<br /> there're some things you shouldn't<br /> hear.<br /><br /> MICHAEL<br /> I can help you out...<br /><br /> SONNY<br /> Oh no you can't, the old man'd be<br /> sore as hell if I let you get mixed<br /> up in this.<br /><br /> MICHAEL<br /> Jesus Christ, he's my father, Sonny.<br /><br /> SONNY<br /> Theresa.<br /><br /> She understands, and leaves them alone.<br /><br /> SONNY<br /> All right, Mikey...who do we have<br /> to hit, Clemenza or Paulie?<br /><br /> MICHAEL<br /> What?<br /><br /> SONNY<br /> One of them fingered the old man.<br /><br /> MICHAEL didn't realize that the men waiting outside were on<br /> trial for their lives.<br /><br /> MICHAEL<br /> Clemenza? No, I don't believe it.<br /><br /> SONNY<br /> You're right, kid, Clemenza is okay.<br /> It was Paulie.<br /><br /> MICHAEL<br /> How can you be sure?<br /><br /> SONNY<br /> On the three days Paulie was sick<br /> this month, he got calls from a<br /> payphone across from the old man's<br /> building. We got people in the<br /> phone company.<br /> (he shrugs)<br /> Thank God it was Paulie...we'll<br /> need Clemenza bad.<br /><br /> MICHAEL is just realizing the gravity and extent of the<br /> situation.<br /><br /> MICHAEL<br /> Is it going to be all-out war, like<br /> last time?<br /><br /> SONNY<br /> Until the old man tells me different.<br /><br /> MICHAEL<br /> Then wait, Sonny. Talk to Pop.<br /><br /> SONNY<br /> Sollozzo is a dead man, I don't<br /> care what it costs. I don't care<br /> if we have to fight all the five<br /> families in New York. The Tattaglia<br /> family's going to eat dirt. I<br /> don't care if we all go down<br /> together.<br /><br /> MICHAEL<br /> (softly)<br /> That's not how Pop would have<br /> played it.<br /><br /> SONNY<br /> I know I'm not the man he was. But<br /> I'll tell you this and he'll tell<br /> you too. When it comes to real<br /> action, I can operate as good as<br /> anybody short range.<br /><br /> MICHAEL<br /> (calmly)<br /> All right, Sonny. All right.<br /><br /> SONNY<br /> Christ, if I could only contact Luca.<br /><br /> MICHAEL<br /> Is it like they say? Is he that<br /> good?<br /><br /> Outside, we HEAR THERESA cry out, almost a scream of relief.<br /> Then open the door and rush out.<br /><br /> Everyone is standing: in the doorway, TOM HAGEN is wrapped<br /> in a tight embrace with his WIFE.<br /><br /> HAGEN<br /> If I plead before the Supreme<br /> Court, I'll never do better than I<br /> did tonight with that Turk.<br /><br /> EXT NITE: MALL, FEATURING DON'S HOUSE (WINTER 1945)<br /><br /> The windows of the main house are dark except for the DON's<br /> study. It stands out against the cold, dark night.<br /><br /> INT NITE: DON'S LIVING ROOM (WINTER 1945)<br /><br /> The living room is empty, save for PAULIE GATTO sitting on<br /> the edge of the sofa. The clock reads: 4:00 a.m.<br /><br /> INT NITE: DON'S OFFICE (WINTER 1945)<br /><br /> SONNY, MICHAEL, HAGEN, CLEMENZA and TESSIO; all exhausted,<br /> in shirtsleeves, about to fall asleep. It is four in the<br /> morning; there is evidence of many cups of coffee and many<br /> snacks. They can barely talk anymore.<br /><br /> HAGEN<br /> Is the hospital covered?<br /><br /> SONNY<br /> The cops have it locked in and I<br /> got my people there visiting Pop<br /> all the time. What about the hit<br /> list.<br /><br /> HAGEN widens his sleepy eyes, and looks at the yellow pad.<br /><br /> HAGEN<br /> Too much, too far, too personal.<br /> The Don would consider this all<br /> purely a business dispute: Get rid<br /> of Sollozzo, and everything falls<br /> in line. YOU don't have to go<br /> after the Tattaglias.<br /><br /> CLEMENZA nods.<br /><br /> HAGEN<br /> What about Luca? Sollozzo didn't<br /> seem worried about Luca. That<br /> worries me.<br /><br /> SONNY<br /> If Luca sold out we're in real<br /> trouble.<br /><br /> HAGEN<br /> Has anyone been able to get in<br /> touch with him?<br /><br /> SONNY<br /> No, and I've been calling all night.<br /> Maybe he's shacked up.<br /><br /> HAGEN<br /> Luca never sleeps over with a broad.<br /> He always goes home when he's<br /> through. Mike, keep ringing Luca's<br /> number.<br /><br /> MICHAEL, very tired, picks up the phone, and dials the<br /> number once again. He can hear the phone ringing on the<br /> other end but no one answers. Then hangs up.<br /><br /> HAGEN<br /> Keep trying every fifteen minutes.<br /> (exhausted)<br /><br /><br /> SONNY<br /> Tom, you're the Consigliere, what<br /> do we do if the old man dies?<br /><br /> HAGEN<br /> Without your father's political<br /> contacts and personal influence,<br /> the Corleone family loses half its<br /> strength. Without your father, the<br /> other New York families might wind<br /> up supporting Sollozzo, and the<br /> Tattaglias just to make sure there<br /> isn't a long destructive war. The<br /> old days are over, this is 1946;<br /> nobody wants bloodshed anymore. If<br /> your father dies...make the deal,<br /> Sonny.<br /><br /> SONNY<br /> (angry)<br /> That's easy to say; it's not your<br /> father.<br /><br /> HAGEN<br /> (quietly)<br /> I was as good a son to him as you<br /> or Mike.<br /><br /> SONNY<br /> Oh Christ Tom, I didn't mean it<br /> that way.<br /><br /> HAGEN<br /> We're all tired...<br /><br /> SONNY<br /> OK, we sit tight until the old man<br /> can give us the lead. But Tom, I<br /> want you to stay inside the Mall.<br /> You too, Mike, no chances. Tessio,<br /> you hold your people in reserve,<br /> but have them nosing around the<br /> city. The hospital is yours; I<br /> want it tight, fool-proof, 24 hours<br /> a day.<br /><br /> There is a timid knock on the door.<br /><br /> SONNY<br /> What is it?<br /><br /> PAULIE GATTO looks in.<br /><br /> CLEMENZA<br /> I tol' you to stay put, Paulie...<br /><br /> PAULIE<br /> The guy at the gate's outside...says<br /> there's a package...<br /><br /> SONNY<br /> Tessio, see what it is.<br /><br /> TESSIO gets up, leaves.<br /><br /> PAULIE<br /> You want me to hang around?<br /><br /> SONNY<br /> Yeah. Hang around.<br /><br /> PAULIE<br /> Outside?<br /><br /> CLEMENZA<br /> Outside.<br /><br /> PAULIE<br /> Sure.<br /><br /> He closes the door.<br /><br /> SONNY<br /> Clemenza. You take care of Paulie.<br /> I don't ever want to see him again.<br /> Understood?<br /><br /> CLEMENZA<br /> Understood.<br /><br /> SONNY<br /> Okay, now you can move your men<br /> into the Mall, replace Tessio's<br /> people. Mike, tomorrow you take a<br /> couple of Clemenza's people and go<br /> to Luca's apartment and wait for<br /> him to show. That crazy bastard<br /> might be going after Sollozzo right<br /> now if he's heard the news.<br /><br /> HAGEN<br /> Maybe Mike shouldn't get mixed up<br /> in this so directly. You know the<br /> old man doesn't want that.<br /><br /> SONNY<br /> OK forget it, just stay on the phone.<br /><br /> MICHAEL is embarrassed to be so protected. He dials Luca<br /> Brasi's number once again. The ring repeats, but no one<br /> answers.<br /><br /> TESSIO comes back, carrying Luca Brasi's bullet-proof vest<br /> in his hand. He unwraps it; there is a large fish wrapped<br /> inside.<br /><br /> CLEMENZA<br /> A Sicilian message: Luca Brasi<br /> sleeps with the fishes.<br /><br /> INT. NITE: NIGHTCLUB (WINTER 1945)<br /><br /> LUCA sits at the Bar of the Tattaglia Nightclub, as we<br /> remember him. BRUNO TATTAGLIA had just patted his hand.<br /> LUCA looks up at him.<br /><br /> Then SOLLOZZO pats the other hand, almost affectionately.<br /> LUCA is just about to twist his hands away, when they both<br /> clamp down as hard as they can. Suddenly, a garrote is<br /> thrown around his neck, and pulled violently tight. His<br /> face begins to turn to purple blotches, and then totally<br /> purple, right before our eyes; his tongue hangs out, in a<br /> far more extreme way than a normal tongue could. His eyes<br /> bulge.<br /><br /> ONE of the MEN looks down at him in disgust as LUCA's<br /> strength leaves him.<br /><br /> BRUNO<br /> (making an ugly face)<br /> Oh Christ...all over the floor.<br /><br /> SOLLOZZO lets LUCA's hand go with a victorious smile on his<br /> face.<br /><br /> LUCA falls to the floor.<br /><br /> SOLLOZZO<br /> The Godfather is next.<br /><br /> ----------------------------------------FADE OUT--------<br /><br /> FADE IN:<br /><br /> EXT DAY: CLEMENZA'S HOUSE (WINTER 1945)<br /><br /> Morning in a simple Brooklyn suburb. There are rows of<br /> pleasant houses; driveway after driveway, down the block. A<br /> dark, somber young man of thirty-one or two walks with a<br /> noticeable limp down the sidewalk, and rings the bell. This<br /> is ROCCO LAMPONE. The woman of the house, MRS. CLEMENZA,<br /> talks to him through the screen door, and then points to the<br /> side of the house. ROCCO moves to the garage, which is<br /> specially heated, and in which CLEMENZA is busy at work<br /> washing a shiny brand new Lincoln. LAMPONE admires the car.<br /><br /> LAMPONE<br /> Nice.<br /><br /> CLEMENZA<br /> Crazy Detroit delivered it with a<br /> wooden bumper. They're going to<br /> send me the chrome bumpers in a<br /> couple months. I waited two years<br /> for this car to come with wooden<br /> bumpers!<br /><br /> He scrubs and polishes with great affection.<br /><br /> CLEMENZA<br /> Today you make your bones on Paulie.<br /> You understand everything?<br /><br /> LAMPONE<br /> Sure.<br /><br /> As he scrubs around the glove compartment, he opens it,<br /> unwraps a gun and gives it to LAMPONE.<br /><br /> CLEMENZA<br /> .22 soft-nosed load. Accurate up<br /> to five feet.<br /><br /> LAMPONE expertly puts the gun away. GATTO's car pulls into<br /> the driveway, and he sounds the horn.<br /><br /> The two men walk to the car. GATTO is driving, a bit<br /> nervous, like he doesn't know what is up. LAMPONE gets in<br /> the rear seat; CLEMENZA in the front, making a grunt of<br /> recognition. He looks at his wristwatch, as though wanting<br /> to chide PAULIE for being late. PAULIE flinches a little<br /> when he sees LAMPONE will ride behind him; he half turns:<br /><br /> PAULIE<br /> Rocco, sit on the other side. A<br /> big guy like you blocks my rearview<br /> mirror.<br /><br /> CLEMENZA turns sourly to PAULIE.<br /><br /> CLEMENZA<br /> Goddamn Sonny. He's running scared.<br /> He's already thinking of going to<br /> the mattresses. We have to find a<br /> place on the West Side. Paulie,<br /> you know a good location?<br /><br /> PAULIE relaxes a bit; he thinks he's off any possible hook<br /> he was on. Also there's the money he can make by selling<br /> Sollozzo any secret location.<br /><br /> PAULIE<br /> I'll think about it.<br /><br /> CLEMENZA<br /> (grunting)<br /> Drive while you thinking; I wanna<br /> get to the City this month!<br /><br /> The car pulls out.<br /><br /> EXT DAY: PAULIE'S CAR - ON ROAD (WINTER 1945)<br /><br /> Inside PAULIE drives; and CLEMENZA sits in a grump. OUR<br /> VIEW does not show LAMPONE in the rear seat.<br /><br /> EXT DAY: PAULIE'S CAR AT TUNNEL (WINTER 1945)<br /><br /> The Car crosses to the Midtown Tunnel in the late Winter<br /> light.<br /><br /> INT DAY: PAULIE'S CAR IN TUNNEL (WINTER 1945)<br /><br /> Inside the tunnel; GATTO doesn't like not seeing LAMPONE.<br /> He tries to adjust his rearview mirror to catch a glimpse of<br /> him.<br /><br /> CLEMENZA<br /> Pay attention!<br /><br /> EXT DAY: PAULIE'S CAR AT MATTRESS (WINTER 1945)<br /><br /> The car is parked in the City. PAULIE comes down from an<br /> available apartment and gets back into the car.<br /><br /> PAULIE<br /> Good for ten men...<br /><br /> CLEMENZA<br /> OK, go to Arthur Avenue; I'm<br /> suppose to call when I found<br /> somethin'.<br /><br /> The car pulls off.<br /><br /> EXT DAY: RESTAURANT (WINTER 1945)<br /><br /> New part of the city; the car pulls up in a parking lot.<br /> CLEMENZA get outs, glances at LAMPONE, then to PAULIE.<br /><br /> CLEMENZA<br /> You wait; I'll call.<br /><br /> He walks, tucking his shirt into his pants, around the<br /> corner and enters the Luna Restaurant.<br /><br /> INT DAY: RESTAURANT (WINTER 1945)<br /><br /> CLEMENZA enters the little restaurant, sits down at a table.<br /> The WAITERS know him; immediately put a bottle of wine, some<br /> bread--and then a plate of veal on his table. He eats.<br /><br /> EXT DAY: RESTAURANT (WINTER 1945)<br /><br /> CLEMENZA exits the restaurant, belches, adjusts his pants;<br /> he is well fed.<br /><br /> We move with him around the corner, not knowing what to<br /> expect has happened to Paulie.<br /><br /> There is the car; PAULIE is still sitting behind the wheel,<br /> LAMPONE in the rear seat. CLEMENZA steps in.<br /><br /> CLEMENZA<br /> He talked my ear off. Want us to<br /> go back to Long Beach; have another<br /> job for us. Rocco, you live in the<br /> City, can we drop you off?<br /><br /> LAMPONE (O.S.)<br /> Ah, I left my car at your place.<br /><br /> CLEMENZA<br /> OK, then you gotta come back.<br /><br /> The car pulls out. By now, PAULIE is completely relaxed and<br /> secure.<br /><br /> PAULIE<br /> You think we'll go for that last<br /> place?<br /><br /> CLEMENZA<br /> Maybe, or you gotta know now.<br /><br /> PAULIE<br /> Holy cow, I don't gotta know nothing.<br /><br /> EXT DAY: PAULIE'S CAR ON CAUSEWAY (WINTER 1945)<br /><br /> The car moves along the ready beach area of the causeway.<br /> Inside, CLEMENZA turns to PAULIE.<br /><br /> CLEMENZA<br /> Paulie, pull over. I gotta take a<br /> leak.<br /><br /> The car pulls off the Causeway, into the reeds. CLEMENZA<br /> steps out of the car, OUR VIEW MOVING with him.<br /><br /> He turns his back three quarters from us (we can no longer<br /> see the car), unzips, and we hear the sound of urine hitting<br /> the ground. We wait on this for a moment; and then there<br /> are two GUNSHOTS. CLEMENZA finishes his leak, zips up and<br /> turns, moving back to the car.<br /><br /> PAULIE is dead, bleeding from the mouth; the windows behind<br /> him are shattered.<br /><br /> CLEMENZA<br /> Leave the gun.<br /><br /> LAMPONE gets out, the two men walk through the reeds a few<br /> feet where there is another car. They get in, and drive off.<br /><br /> ---------------------------------------FADE OUT---------<br /><br /> EXT DAY: MALL (WINTER 1945)<br /><br /> HIGH ANGLE OF THE MALL. It is late afternoon. Many strange<br /> cars are parked on the nearby streets. We can see the group<br /> of BUTTON MEN, stationed here and there, obviously sentries<br /> with concealed weapons.<br /><br /> MICHAEL walks along in the rear yard.<br /><br /> He is bundled in a warm marine coat. He looks at the<br /> strange men, regarding them with an uncertain awe. They<br /> look back at him, at first suspiciously and then with the<br /> respect of his position. He is like an exile Prince. He<br /> wanders past them, and hesitates and looks at the yard.<br /><br /> A rusted set of garden swings; and other home playground<br /> equipment. The basketball ring now half coming off. This<br /> is where he was a child. Then a shout.<br /><br /> CLEMENZA (O.S.)<br /> Mike. Hey Mikey; telephone.<br /><br /> CLEMENZA had shouted from the kitchen window. MICHAEL<br /> hurries into the house.<br /><br /> INT DAY: DON'S KITCHEN (WINTER 1945)<br /><br /> CLEMENZA is in the kitchen, cooking over an enormous pot.<br /> He points to the kitchen wall phone which is hanging off the<br /> hook.<br /><br /> CLEMENZA<br /> Some dame.<br /><br /> MICHAEL picks it up.<br /><br /> MICHAEL<br /> Hello. Kay?<br /><br /> KAY (O.S.)<br /> How is your father?<br /><br /> MICHAEL<br /> He'll be OK.<br /><br /> KAY (O.S.)<br /> (pause)<br /> I love you.<br /><br /> He glances at the THUGS in the kitchen. Tries to shield the<br /> phone.<br /><br /> KAY (O.S.)<br /> I LOVE YOU.<br /><br /> MICHAEL<br /> Yeah Kay, I'm here.<br /><br /> KAY (O.S.)<br /> Can you say it?<br /><br /> MICHAEL<br /> Huh?<br /><br /> KAY (O.S.)<br /> Tell me you love me.<br /><br /> MICHAEL glances at the HOODS at the kitchen table. He curls<br /> up in a corner, and in a quarter voice:<br /><br /> MICHAEL<br /> I can't...<br /><br /> KAY (O.S.)<br /> Please say it.<br /><br /> MICHAEL<br /> Look. I'll see you tonight, OK?<br /><br /> KAY (O.S.)<br /> OK.<br /> (click)<br /><br /><br /> CLEMENZA is getting ready to build a tomato sauce for all<br /> the button men stationed around the house.<br /><br /> CLEMENZA<br /> How come you don't tell that nice<br /> girl you love her...here, learn<br /> something... you may have to feed<br /> fifty guys some day. You start<br /> with olive oil...fry some garlic,<br /> see. And then fry some sausage...or meat<br /> balls if you like...then you throw<br /> in the tomatoes, the tomato<br /> paste...some basil; and a little<br /> red wine...that's my trick.<br /><br /> SONNY peeks into the kitchen; sees CLEMENZA.<br /><br /> SONNY<br /> You take care of Paulie?<br /><br /> CLEMENZA<br /> You won't see Paulie anymore. He's<br /> sick for good this winter.<br /><br /> MICHAEL starts to leave.<br /><br /> SONNY<br /> Where are you going?<br /><br /> MICHAEL<br /> To the city.<br /><br /> SONNY<br /> (to Clemenza; dipping<br /> bread into the sauce)<br /> Send some bodyguards.<br /><br /> MICHAEL<br /> I don't need them, Sonny. I'm just<br /> going to see Pop in the hospital.<br /> Also, I got other things.<br /><br /> CLEMENZA<br /> Sollozzo knows Mike's a civilian.<br /><br /> SONNY<br /> OK, but be careful.<br /><br /> EXT NITE: CAR<br /><br /> MICHAEL sits in the rear seat, calmly, as he is being driven<br /> into the city. THREE BUTTONMEN are crowded into the front<br /> seat.<br /><br /> INT NITE: HOTEL LOBBY<br /><br /> MICHAEL crosses the lobby, past lines of servicemen trying<br /> to book rooms.<br /><br /> INT NITE: HOTEL<br /><br /> MICHAEL and KAY eating a quiet dinner at the hotel. He is<br /> preoccupied, she's concerned.<br /><br /> MICHAEL<br /> Visiting hour ends at eight thirty.<br /> I'll just sit with him; I want to<br /> show respect.<br /><br /> KAY<br /> Can I go to the hospital with you?<br /><br /> MICHAEL<br /> I don't think so. You don't want<br /> to end up on page 3 of the Daily<br /> News.<br /><br /> KAY<br /> My parents don't read the Daily<br /> News. All right, if you think I<br /> shouldn't. I can't believe the<br /> things the papers are printing.<br /> I'm sure most of it's not true.<br /><br /> MICHAEL<br /> I don't think so either.<br /> (silence)<br /> I better go.<br /><br /> KAY<br /> When will I see you again?<br /><br /> MICHAEL<br /> I want you to go back to New<br /> Hampshire...think things over.<br /><br /> He leans over her; kisses her.<br /><br /> KAY<br /> When will I see you again?<br /><br /> MICHAEL<br /> Goodbye.<br /><br /> Quietly, he moves out the door.<br /><br /> KAY lies on the bed a while, and then, to herself:<br /><br /> KAY<br /> Goodbye.<br /><br /> EXT NITE: DON'S HOSPITAL (WINTER 1945)<br /><br /> A taxi pulls up in front of a hospital, marked clearly with<br /> a neon sign "HOSPITAL--EMERGENCY." MICHAEL steps out, pays<br /> the fare...and then stops dead in his tracks.<br /><br /> MICHAEL looks.<br /><br /> He sees the hospital in the night; but it is deserted. He<br /> is the only one on the street. There are gay, twinkling<br /> Christmas decorations all over the building. He walks,<br /> slowly at first, and then ever so quickly, up the steps. He<br /> hesitates, looks around. This area is empty. He checks the<br /> address on a scrap of paper. It is correct. He tries the<br /> door, it is empty.<br /><br /> He walks in.<br /><br /> INT NITE: HOSPITAL LOBBY (WINTER 1945)<br /><br /> MICHAEL stands in the center of an absolutely empty hospital<br /> lobby. He looks to the right; there is a long, empty<br /> corridor. To the left: the same.<br /><br /> HIGH FULL ANGLE, as MICHAEL walks through the desolated<br /> building lit by eerie green neon lighting. All we hear are<br /> his sole footsteps.<br /><br /> He walks up to a desk marked "INFORMATION". No one is there.<br /> He moves quickly to a door marked "OFFICE"; swings into it;<br /> no one is there. He looks onto the desk: There is half a<br /> sandwich, and a half-filled bottle of coke.<br /><br /> MICHAEL<br /> Hello? Hello?<br /><br /> Now he knows something is happening, he moves quickly,<br /> alertly. MICHAEL walking down the hospital corridors; all<br /> alone. The floors have just been mopped. They are still wet.<br /><br /> INT NITE: HOSPITAL STAIRS<br /><br /> Now he turns onto a staircase; ever quickening; up several<br /> flights.<br /><br /> INT NITE: 4TH FLOOR CORRIDOR<br /><br /> He steps out onto the fourth floor. He looks. There are<br /> merely empty corridors. He takes out his scrap of paper;<br /> checks it. "Room 4A." Now he hurries, trying to follow the<br /> code of hospital rooms; following the right arrows, quicker<br /> and quicker they flash by him. Now he stops, looks up "4A--<br /> Corleone".<br /><br /> There is a special card table set up there with some<br /> magazines...and some smoking cigarettes still in the<br /> ashtray--but no detectives, no police, no bodyguards.<br /><br /> INT NITE: DON'S ROOM 4A<br /><br /> Slowly he pushes the door open, almost afraid at what he<br /> will find. He looks. Lit by the moonlight through the<br /> window, he can see a FIGURE in the hospital bed alone in the<br /> room, and under a transparent oxygen tent. All that can be<br /> heard is the steady though strained breathing. Slowly<br /> MICHAEL walks up to it, and is relieved to see his FATHER,<br /> securely asleep. Tubes hang from a steel gallows beside the<br /> bed, and run to his nose and mouth.<br /><br /> VOICE (O.S.)<br /> What are you doing here?<br /><br /> This startles MICHAEL; who almost jumps around. It is a<br /> NURSE lit from the light behind her in the hallway.<br /><br /> NURSE<br /> You're not supposed to be here now.<br /><br /> MICHAEL calms himself, and moves to her.<br /><br /> MICHAEL<br /> I'm Michael Corleone--this is my<br /> father. What happened to the<br /> detectives who were guarding him?<br /><br /> NURSE<br /> Oh your father just had too many<br /> visitors. It interfered with the<br /> hospital service. The police came<br /> and made them all leave just ten<br /> minutes ago.<br /> (comfortingly)<br /> But don't worry. I look in on him.<br /><br /> MICHAEL<br /> You just stand here one minute...<br /><br /> Quickly he moves to the telephone, dials a number.<br /><br /> MICHAEL<br /> Sonny...Sonny--Jesus Christ, I'm<br /> down at the hospital. I came down<br /> late. There's no one here. None<br /> of Tessio's people--no detectives,<br /> no one. The old man is completely<br /> unprotected.<br /><br /> SONNY (O.S.)<br /> All right, get him in a different<br /> room; lock the door from the inside.<br /> I'll have some men there inside of<br /> fifteen minutes. Sit tight, and<br /> don't panic.<br /><br /> MICHAEL<br /> (furiously, but kept inside)<br /> I won't panic.<br /><br /> He hangs up; returns to the NURSE...<br /><br /> NURSE<br /> You cannot stay here...I'm sorry.<br /><br /> MICHAEL<br /> (coldly)<br /> You and I are going to move my<br /> father right now...to another room<br /> on another floor...Can you<br /> disconnect those tubes so we can<br /> wheel the bed out?<br /><br /> NURSE<br /> Absolutely not! We have to get<br /> permission from the Doctor.<br /><br /> MICHAEL<br /> You've read about my father in the<br /> papers. You've seen that no one's<br /> here to guard him. Now I've just<br /> gotten word that men are coming to<br /> this hospital to kill him. Believe<br /> me and help me.<br /><br /> NURSE<br /> (frightened)<br /> We don't have to disconnect them,<br /> we can wheel the stand with the bed.<br /><br /> She does so...and they perform the very difficult task of<br /> moving the bed and the apparatus, out of the room.<br /><br /> INT NITE: 4TH FLOOR HOSPITAL (WINTER 1945)<br /><br /> They roll the bed, the stand, and all the tubes silently<br /> down the corridor. We hear FOOTSTEPS coming up the stairs.<br /> MICHAEL hears them, stops.<br /><br /> MICHAEL<br /> Hurry, into there.<br /><br /> They push it into the first available room. MICHAEL peeks<br /> out from the door. The footsteps are louder; then they<br /> emerge. It is ENZO, NAZORINE's helper, carrying a bouquet<br /> of flowers.<br /><br /> MICHAEL<br /> (stepping out)<br /> Who is it?<br /><br /> ENZO<br /> Michael...do you remember me, Enzo,<br /> the baker's helper to Nazorine, now<br /> his son-in-law.<br /><br /> MICHAEL<br /> Enzo, get out of here. There's<br /> going to be trouble.<br /><br /> A look of fear sweeps through ENZO's face.<br /><br /> ENZO<br /> If there...will be trouble...I stay<br /> with you, to help. I owe it to the<br /> Godfather.<br /><br /> MICHAEL thinks, realizes he needs all the help he can get.<br /><br /> MICHAEL<br /> Go outside; stand in front...I'll<br /> be out in a minute.<br /><br /> INT NITE: DON'S SECOND HOSPITAL ROOM (WINTER 1945)<br /><br /> They part. MICHAEL moves into the hospital room where they<br /> put his FATHER.<br /><br /> NURSE<br /> (frightened)<br /> He's awake.<br /><br /> MICHAEL looks at the OLD MAN, his eyes are open, though he<br /> cannot speak. MICHAEL touches his face tenderly.<br /><br /> MICHAEL<br /> Pop...Pop, it's me Michael. Shhhh,<br /> don't try to speak. There are men<br /> who are coming to try to kill you.<br /> But I'm with you...I'm with you<br /> now...<br /><br /> The OLD MAN tries to speak...but cannot. MICHAEL tenderly<br /> puts his finger to his FATHER's lips.<br /><br /> EXT NITE: DON'S HOSPITAL STREET (WINTER 1945)<br /><br /> Outside the hospital is empty save for a nervous ENZO,<br /> pacing back and forth brandishly the flowers as his only<br /> weapon. MICHAEL exits the hospital and moves to him. They<br /> both stand under a lamppost in the cold December night.<br /> They are both frightened; MICHAEL gives ENZO a cigarette,<br /> lights it. ENZO's hands are trembling, MICHAEL's are not.<br /><br /> MICHAEL<br /> Get rid of those and look like<br /> you've got a gun in your pocket.<br /><br /> The windows of the hospital twinkle with Christmas<br /> decorations.<br /><br /> MICHAEL<br /> Listen...<br /><br /> We HEAR the sound of a single automobile coming. MICHAEL<br /> and ENZO look with fear in their eyes. Then MICHAEL takes<br /> the bouquet of flowers and stuffs them under his jacket.<br /> They stand, hands in their pockets.<br /><br /> A long low black car turns the corner and cruises by them.<br /> MICHAEL's and ENZO's faces are tough, impassive. The car<br /> seems as though it will stop; and then quickly accelerates.<br /> MICHAEL and ENZO are relieved. MICHAEL looks down; the<br /> BAKER's hands are shaking. He looks at his own, and they<br /> are not.<br /><br /> Another moment goes by and we can hear the distant sound of<br /> police sirens. They are clearly coming toward the hospital,<br /> getting louder and louder. MICHAEL heaves a sigh of relief.<br /><br /> In a second, a patrol car makes a screaming turn in front of<br /> the hospital; then two more squad cars follow with uniformed<br /> POLICE and DETECTIVES. He smiles his relief and starts<br /> toward them. TWO huge, burly POLICEMEN suddenly grab his<br /> arms while ANOTHER frisks him. A massive POLICE CAPTAIN,<br /> spattered with gold braid and scrambled eggs on his hat,<br /> with beefy red face and white hair seems furious. This is<br /> McCLUSKEY.<br /><br /> MCCLUSKEY<br /> I thought I got all you guinea<br /> hoods locked up. Who the hell are<br /> you and what are you doing here?<br /><br /> ANOTHER COP standing nearby:<br /><br /> COP<br /> He's clean, Captain.<br /><br /> MICHAEL studies McCLUSKEY closely.<br /><br /> MICHAEL<br /> (quietly)<br /> What happened to the detectives who<br /> were supposed to be guarding my<br /> father?<br /><br /> MCCLUSKEY<br /> (furious)<br /> You punk-hood. Who the hell are<br /> you to tell me my business. I<br /> pulled them off. I don't care how<br /> many Dago gangsters kill each other.<br /> I wouldn't lift a finger to keep<br /> your old man from getting knocked<br /> off. Now get the hell out of here;<br /> get off this street you punk, and<br /> stay away from this hospital.<br /><br /> MICHAEL stands quiet.<br /><br /> MICHAEL<br /> I'll stay until you put guards<br /> around my father's room.<br /><br /> MCCLUSKEY<br /> Phil, lock this punk up.<br /><br /> A DETECTIVE<br /> The Kid's clean, Captain...He's a<br /> war hero, and he's never been mixed<br /> up in the rackets...<br /><br /> MCCLUSKEY<br /> (furious)<br /> Goddam it, I said lock him up. Put<br /> the cuffs on him.<br /><br /> MICHAEL<br /> (deliberately, right<br /> to McCLUSKEY's face,<br /> as he's being handcuffed)<br /> How much is the Turk paying you to<br /> set my father up, Captain?<br /><br /> Without any warning, McCLUSKEY leans back and hits MICHAEL<br /> squarely on the jaw with all his weight and strength.<br /> MICHAEL groans, and lifts his hand to his jaw. He looks at<br /> McCLUSKEY; we are his VIEW and everything goes spinning, and<br /> he falls to the ground, just as we see HAGEN and CLEMENZA'S<br /> MEN arrive.<br /><br /> ---------------------------------------FADE OUT---------<br /><br /> EXT DAY: MALL (WINTER 1945)<br /><br /> HIGH ANGLE VIEW of THE CORLEONE MALL. The gateway now has a<br /> long black car blocking it. There are more BUTTON MEN<br /> stationed more formally; and some of them visibly carrying<br /> rifles; those of the houses close to the courtyard have MEN<br /> standing by open windows. It is clear that the war is<br /> escalating. A car pulls up and out get CLEMENZA, LAMPONE,<br /> MICHAEL and HAGEN. MICHAEL's jaw is wired and bandaged. He<br /> stops and looks up at the open window. We can see MEN<br /> holding rifles.<br /><br /> MICHAEL<br /> Christ, Sonny really means business.<br /><br /> They continue walking. TESSIO joins them. The various<br /> BODYGUARDS make no acknowledgment.<br /><br /> CLEMENZA<br /> How come all the new men?<br /><br /> TESSIO<br /> We'll need them now. After the<br /> hospital incident, Sonny got mad.<br /> We hit Bruno Tattaglia four o'clock<br /> this morning.<br /><br /> INT DAY: DON'S HALLWAY<br /><br /> They enter the house past the scores of new and strange faces.<br /><br /> INT DAY: DON'S OFFICE (WINTER 1945)<br /><br /> SONNY is in the DON's office; he is excited and exuberant.<br /><br /> SONNY<br /> I've got a hundred button men on<br /> the streets twenty-four hours a day.<br /> If Sollozzo shows one hair on his<br /> ass he's dead.<br /><br /> He sees MICHAEL, and holds his bandaged face in his hand,<br /> kiddingly.<br /><br /> SONNY<br /> Mikey, you look beautiful!<br /><br /> MICHAEL<br /> Cut it out.<br /><br /> SONNY<br /> The Turk wants to talk! The nerve<br /> of that son of a bitch! After he<br /> craps out last night he wants a meet.<br /><br /> HAGEN<br /> Was there a definite proposal?<br /><br /> SONNY<br /> Sure, he wants us to send Mike to<br /> meet him to hear his proposition.<br /> The promise is the deal will be so<br /> good we can't refuse.<br /><br /> HAGEN<br /> What about that Tattaglias? What<br /> will they do about Bruno?<br /><br /> SONNY<br /> Part of the deal: Bruno cancels out<br /> what they did to my father.<br /><br /> HAGEN<br /> We should hear what they have to say.<br /><br /> SONNY<br /> No, no Consiglere. Not this time.<br /> No more meetings, no more<br /> discussions, no more Sollozzo<br /> tricks. Give them one message: I<br /> WANT SOLLOZZO. If not, it's all<br /> out war. We go to the mattresses<br /> and we put all the button men out<br /> on the street.<br /><br /> HAGEN<br /> The other families won't sit still<br /> for all out war.<br /><br /> SONNY<br /> Then THEY hand me Sollozzo.<br /><br /> HAGEN<br /> Come ON Sonny, your father wouldn't<br /> want to hear this. This is not a<br /> personal thing, this is Business.<br /><br /> SONNY<br /> And when they shot me father...<br /><br /> HAGEN<br /> Yes, even the shooting of your<br /> father was business, not personal...<br /><br /> SONNY<br /> No no, no more advice on how to<br /> patch it up Tom. You just help me<br /> win. Understood?<br /><br /> HAGEN bows his head; he is deeply concerned.<br /><br /> HAGEN<br /> I found out about this Captain<br /> McCluskey who broke Mike's jaw.<br /> He's definitely on Sollozzo's<br /> payroll, and for big money.<br /> McCluskey's agreed to be the Turk's<br /> bodyguard. What you have to<br /> understand is that while Sollozzo<br /> is guarded like this, he's<br /> invulnerable. Nobody has ever<br /> gunned down a New York Police<br /> Captain. Never. It would be<br /> disastrous. All the five families<br /> would come after you Sonny; the<br /> Corleone family would be outcasts;<br /> even the old man's political<br /> protection would run for cover. So<br /> just...take that into consideration.<br /><br /> SONNY<br /> (still fuming)<br /> McCluskey can't stay with the Turk<br /> forever. We'll wait.<br /><br /> MICHAEL<br /> We can't wait. No matter what<br /> Sollozzo say about a deal, he's<br /> figuring out how to kill Pop. You<br /> have to get Sollozzo now.<br /><br /> SONNY<br /> The kid's right.<br /><br /> HAGEN<br /> What about McCluskey?<br /><br /> MICHAEL<br /> Let's say now that we have to kill<br /> McCluskey. We'll clear that up<br /> through our Newspaper contacts later.<br /><br /> SONNY<br /> Go on Mike.<br /><br /> MICHAEL<br /> They want me to go to the conference<br /> with Sollozzo. Set up the meeting<br /> for two days from now. Sonny, get<br /> our informers to find out where the<br /> meeting will be held.<br /> Insist it has to be a public place:<br /> a bar or restaurant at the height<br /> of the dinner hour. So I'll feel<br /> safe. They'll check me when I meet<br /> them so I won't be able to carry a<br /> weapon; but Clemenza, figure out a<br /> way to have one planted there for<br /> me.<br /> (pause)<br /> Then I'll kill them both.<br /><br /> Everyone in the room is astonished; they all look at MICHAEL.<br /> Silence. SONNY suddenly breaks out in laughter. He points<br /> a finger at MICHAEL, trying to speak.<br /><br /> SONNY<br /> You? You, the high-class college<br /> kid. You never wanted to get mixed<br /> up in the family business. Now you<br /> wanta gun down a police Captain and<br /> the Turk just because you got<br /> slapped in the face. You're taking<br /> it personal, it's just business and<br /> he's taking it personal.<br /><br /> Now CLEMENZA and TESSIO are also smiling; only HAGEN keeps<br /> his face serious.<br /><br /> MICHAEL<br /> (angrily, but cold)<br /> Sonny, it's all personal, and I<br /> learned it from him, the old man,<br /> the Godfather. He took my joining<br /> the Marines personal. I take<br /> Sollozzo trying to kill my father<br /> personal, and you know I'll kill<br /> them Sonny.<br /><br /> MICHAEL radiates danger...SONNY stops laughing.<br /><br /> INT DAY: CLEMENZA'S CELLAR (WINTER 1945)<br /><br /> CLOSE on a revolver.<br /><br /> CLEMENZA (O.S.)<br /> It's as cold as they come,<br /> impossible to trace.<br /> (he turns it upside down)<br /> Don't worry about prints Mike, I<br /> put a special tape on the trigger<br /> and butt. Here.<br /> (he hands the gun to<br /> another pair of hands)<br /> Whatsamatter? Trigger too tight.<br /> (it fires: very LOUD)<br /> I left it noisy, so it'll scare any<br /> pain-in-the-neck innocent bystander<br /> away.<br /><br /> MICHAEL is alone with CLEMENZA in a cellar workshop.<br /><br /> CLEMENZA<br /> Just let your hand drop to your<br /> side, and let the gun slip out.<br /> Everybody will still think you got<br /> it. They'll be starin' at your<br /> face, see? Then walk out of the<br /> place real fast, but don't run.<br /> Don't look anybody directly in the<br /> eye, but don't look away from them<br /> neither. Hey, they'll be scared<br /> stiff o you, believe me. Nobody's<br /> gonna bother with you. Don't worry<br /> about nothing; you'd be surprised<br /> how good these things go. O.K.,<br /> put your hat on, let's see how you<br /> look. Helps with identification.<br /><br /> They put the hat on; CLEMENZA adjusts it.<br /><br /> CLEMENZA<br /> Mostly it gives witnesses an excuse<br /> to change their identification when<br /> we make them see the light. Then<br /> you take a long vacation and we<br /> catch the hell.<br /><br /> MICHAEL<br /> How bad will it be?<br /><br /> CLEMENZA<br /> Probably all the other families<br /> will line up against us. But, it's<br /> alright. These things have to<br /> happen once every ten years or<br /> so...gets rid of the bad blood.<br /> You gotta stop 'em at the beginning.<br /> Like they shoulda stopped Hitler at<br /> Munich, they shoulda never let him<br /> get away with that, they were just<br /> asking for big trouble...<br /><br /> INT DAY: DON'S HALL & LIVING ROOM (WINTER 1945)<br /><br /> MICHAEL steps into the foyer of the main house. A card<br /> table is set up with a man playing cards with three of the<br /> Corleone buttonmen.<br /><br /> He continues into the living room. It's a mess. SONNY<br /> asleep on the sofa. On the coffee table are the remains of<br /> a take-out Chinese food dinner, and a half-empty bottle of<br /> whisky. The radio is playing.<br /><br /> MICHAEL<br /> Why don't you stop living like a<br /> bum and get this place cleaned up.<br /><br /> SONNY<br /> What are you, inspecting the<br /> barracks?<br /> (SONNY sits up with<br /> his head in his hands)<br /> You ready? Did Clemenza tell you<br /> be sure to drop the gun right away?<br /><br /> MICHAEL<br /> A million times.<br /><br /> SONNY<br /> Sollozzo and McCluskey are going to<br /> pick you up in an hour and a half<br /> on Times Square, under the big<br /> Camels sign.<br /><br /> HAGEN<br /> We don't let Mike go until we have<br /> the hostage, Sonny.<br /><br /> CLEMENZA<br /> It's okay...the hostage is outside<br /> playing pinochle with three of my<br /> men.<br /><br /> The phone rings in the DON's office.<br /><br /> SONNY<br /> That could be a Tattaglia informer<br /> with the meeting place.<br /><br /> INT DAY: DON'S OFFICE (WINTER 1945)<br /><br /> HAGEN has hurried into the Den to get the phone; the OTHERS<br /> move in.<br /><br /> HAGEN's on the phone; he writes something down.<br /><br /> SONNY<br /> One of Tattaglia's people?<br /><br /> HAGEN<br /> No. Our informer in McCluskey's<br /> precinct. Tonight at 8:00 he<br /> signed out for Louis' Restaurant in<br /> the Bronx. Anyone know it.<br /><br /> TESSIO<br /> Sure, I do. It's perfect for us.<br /> A small family place with big<br /> booths where people can talk in<br /> private. Good food. Everybody<br /> minds their business. Perfect.<br /> (he moves to the desk<br /> and makes a crude drawing)<br /> This is the entrance, Mike. When<br /> you finish just walk out and turn<br /> left, then turn the corner.<br /> Clemenza, you gotta work fast to<br /> plant the gun. They got an old-<br /> fashioned toilet with a space<br /> between the water container and the<br /> wall. We can tape the gun behind<br /> there.<br /><br /> CLEMENZA<br /> Mike, they're gonna frisk you in<br /> the car. You'll be clean so they<br /> won't worry 'bout nothing. In the<br /> restaurant, wait and talk a while,<br /> and then ask permission to go. See?<br /> Then when you come out, don't waste<br /> time; don't sit down...you come out<br /> blasting. And don't take chances.<br /> In the head, two shots apiece. And<br /> out as fast as your legs can move.<br /><br /> SONNY<br /> I want somebody very good, very<br /> safe to plant that gun. I don't<br /> want my brother coming out of that<br /> toilet with just his dick in his<br /> hand.<br /><br /> CLEMENZA<br /> The gun will be there.<br /><br /> SONNY<br /> (to MICHAEL, warmly)<br /> You're on, kid...I'll square it<br /> with Mom your not seeing her before<br /> you left. And I'll get a message<br /> to your girl friend when I think<br /> the time is right.<br /><br /> CLEMENZA<br /> We gotta move...<br /><br /> MICHAEL<br /> O.K. How long do you think before<br /> I can come back?<br /><br /> SONNY<br /> Probably a year...<br /><br /> HAGEN<br /> (starting to crack)<br /> Jesus, I don't know...<br /><br /> SONNY<br /> Can you do it Mike?<br /><br /> MICHAEL moves out.<br /><br /> EXT NITE: CAMELS SIGN (WINTER 1945)<br /><br /> The enormous "CAMELS" sign, puffing smoke, below it stands<br /> MICHAEL, dressed in a warm overcoat, and wearing the hat<br /> CLEMENZA had given him. A long black car pulls around the<br /> corner and slows before him. The DRIVER, leaning over, open<br /> the front door.<br /><br /> DRIVER<br /> Get in, Mike.<br /><br /> He does, the car drives off.<br /><br /> EXT NITE: SOLLOZZO'S CAR (WINTER 1945)<br /><br /> Inside the car, SOLLOZZO reaches his hand over the back seat<br /> and shakes MIKE's hand.<br /><br /> SOLLOZZO<br /> I'm glad you came, Mike. I hope we<br /> can straighten everything out. All<br /> this is terrible, it's not the way<br /> I wanted things to happen at all.<br /> It should never have happened.<br /><br /> MICHAEL<br /> I want to settle things tonight. I<br /> want my father left alone.<br /><br /> SOLLOZZO<br /> He won't be; I swear to you be my<br /> children he won't be. Just keep an<br /> open mind when we talk. I hope<br /> you're not a hothead like your<br /> brother, Sonny. It's impossible to<br /> talk business with him.<br /><br /> McCLUSKEY grunts.<br /><br /> MCCLUSKEY<br /> He's a good kid. He's all right.<br /> Turn around, up on your knees,<br /> facing me.<br /><br /> He gives MICHAEL a thorough frisk.<br /><br /> MCCLUSKEY<br /> I'm sorry about the other night<br /> Mike. I'm getting too old for my<br /> job, too grouchy. Can't stand the<br /> aggravation. You know how it is.<br /> He's clean.<br /><br /> EXT NITE: SOLLOZZO'S CAR - WEST SIDE HIGHWAY (WINTER 1945)<br /><br /> MICHAEL looks at the DRIVER and then ahead to see where<br /> they're heading.<br /><br /> The car takes the George Washington Bridge. MICHAEL is<br /> concerned.<br /><br /> MICHAEL<br /> We're going to New Jersey?<br /><br /> SOLLOZZO<br /> (sly)<br /> Maybe.<br /><br /> MICHAEL closes his eyes.<br /><br /> EXT NITE: SOLLOZZO'S CAR ON G.W. BRIDGE (WINTER 1945)<br /><br /> The car speeds along the George Washington Bridge on its way<br /> to New Jersey. Then suddenly it hits the divider,<br /> temporarily lifts into the air, and bounces over into the<br /> lanes going back to New York. It then hits it very fast, on<br /> the way back to the city.<br /><br /> EXT NITE: SOLLOZZO'S CAR (WINTER 1945)<br /><br /> SOLLOZZO checks to see the cars that had been following, and<br /> then leans to the DRIVER.<br /><br /> SOLLOZZO<br /> Nice work; I'll remember it.<br /><br /> MICHAEL is relieved.<br /><br /> EXT NITE: LUNA AZURA RESTAURANT (WINTER 1945)<br /><br /> The car pulls up in front of a little family restaurant in<br /> the Bronx: The "LUNA AZURA". There is no one on the street.<br /> MICHAEL looks to see if the DRIVER is going to get out with<br /> them. He gets out, and opens the door. SOLLOZZO, McCLUSKEY<br /> and MICHAEL get out; the DRIVER remains leaning against the<br /> car. They enter the restaurant.<br /><br /> INT NITE: LUNA AZURA (WINTER 1945)<br /><br /> A very small family restaurant with a mosaic tile floor.<br /> SOLLOZZO, MICHAEL and McCLUSKEY sit around a rather small<br /> round table near the center of the room. There are empty<br /> booths along the side walls; with a handful of CUSTOMERS,<br /> and ONE or TWO WAITERS. It is very quiet.<br /><br /> MCCLUSKEY<br /> Is the Italian food good here?<br /><br /> SOLLOZZO<br /> Try the veal; it's the finest in<br /> New York.<br /><br /> The solitary WAITER brings a bottle of wine to the table.<br /> They watch him silently as he uncorks it and pours three<br /> glasses. Then, when he leaves, SOLLOZZO turns to McCLUSKEY:<br /><br /> SOLLOZZO<br /> I am going to talk Italian to Mike.<br /><br /> MCCLUSKEY<br /> Sure, you two go right ahead; I'll<br /> concentrate on my veal and my<br /> spaghetti.<br /><br /> SOLLOZZO now begins in rapid Sicilian. MICHAEL listening<br /> carefully and nodding every so often. Then MICHAEL answers<br /> in Sicilian, and SOLLOZZO goes on. The WAITER occasionally<br /> brings food; and they hesitate while he is there; then go on.<br /> Then MICHAEL, having difficulty expressing himself in<br /> Italian, accidentally lapses into English.<br /><br /> MICHAEL<br /> (using English for emphasis)<br /> Most important...I want a sure<br /> guarantee that no more attempts<br /> will be made on my father's life.<br /><br /> SOLLOZZO<br /> What guarantees can I give you? I<br /> am the hunted one. I've missed my<br /> chance. You think too highly of<br /> me, my friend...I am not so<br /> clever...all I want if a truce...<br /><br /> MICHAEL looks long and hard at SOLLOZZO, who is smiling<br /> holding his open hands up as if to say: "I have no tricks up<br /> my sleeve". Then he looks away and makes a distressed look<br /> on his face.<br /><br /> SOLLOZZO<br /> What is it?<br /><br /> MICHAEL<br /> Is it all right if I go to the<br /> bathroom?<br /><br /> SOLLOZZO is intuitively suspicious. He studies MICHAEL with<br /> his dark eyes. Then he thrusts his hand onto MICHAEL's<br /> thigh feeling in and around, searching for a weapon.<br /><br /> MCCLUSKEY<br /> I frisked him; I've frisked<br /> thousands of young punks; he's clean.<br /><br /> He looks at a MAN sitting at a table opposite them;<br /> indicating the bathroom with his eyes. The MAN nods,<br /> indicating no one is there.<br /><br /> SOLLOZZO<br /> Don't take too long.<br /><br /> MICHAEL gets up and calmly walks to the bathroom, and<br /> disappears inside.<br /><br /> INT NITE: LUNA AZURA TOILET (WINTER 1945)<br /><br /> MICHAEL steps into the small bathroom; he is breathing very<br /> hard. He actually uses the urinal. Then he washes his<br /> hands with the bar of pink soap; and dries them thoroughly.<br /> Then he moves to the booth, up to the old-fashioned toilet.<br /> Slowly he reaches behind the water tank; he panics when he<br /> cannot feel the gun. We see behind the tank his hand is<br /> just a few inches from the gun...he gropes<br /> searchingly...finally coming to rest on the gun.<br /><br /> CLOSE ON MICHAEL; the feel of it reassures him. Then he<br /> breaks it loose from the tape holding it; he takes a deep<br /> breath and shoves it under his waistband. For some<br /> unexplainable reason he hesitates once again, deliberately<br /> washes his hands and dries them. Then he goes out.<br /><br /> INT NITE: LUNA AZURA (WINTER 1945)<br /><br /> He hesitates by the bathroom door; and looks at his table.<br /> McCLUSKEY is eating a plate of spaghetti and veal. SOLLOZZO<br /> turns around upon hearing the door, and looks directly at<br /> MICHAEL. MICHAEL looks back. Then he smiles and continues<br /> back to the table. He sits down.<br /><br /> MICHAEL<br /> Now I can talk. I feel much better.<br /><br /> The MAN by the far wall had been stiff with attention; now<br /> he too relaxes. SOLLOZZO leans toward MICHAEL who sits down<br /> comfortably and his hands move under the table and unbutton<br /> his jacket. SOLLOZZO begins to speak in Sicilian once again<br /> but MICHAEL's heart is pounding so hard he can barely hear<br /> him.<br /><br /> The WAITER comes to ask about the order, SOLLOZZO turns to<br /> speak, and without warning, MICHAEL shoves the table away<br /> from him with his left hand, and with his right hand puts<br /> the gun right against SOLLOZZO's head, just touching his<br /> temple. He pulls the trigger, and we see part of SOLLOZZO's<br /> head blown away, and a spray of fine mist of blood cover the<br /> entire area.<br /><br /> The WAITER looks in amazement; suddenly his white jacket is<br /> sprayed and stained with blood.<br /><br /> SOLLOZZO seems in a perpetual fall to the floor; through he<br /> seems to hang in space suspended.<br /><br /> MICHAEL pivots, and looks:<br /><br /> There is McCLUSKEY, frozen, the fork with a piece of veal<br /> suspended in air before his gaping mouth.<br /><br /> MICHAEL fires; catching McCLUSKEY in his thick bulging<br /> throat. He makes a horrible, gagging, choking sound. Then<br /> coolly, and deliberately, MICHAEL fires again, fires right<br /> through McCLUSKEY's white-topped skull.<br /><br /> The air is filled with pink mist.<br /> MICHAEL swings toward the MAN standing by the bathroom wall.<br /> He does not make a move, seemingly paralyzed.<br /> Now he carefully shows his hands to be empty.<br /> The WAITER steps backward through the mist of blood, an<br /> expression of horror on his face.<br /> MICHAEL looks at his two victims:<br /> SOLLOZZO still in his chair, side of his body propped up by<br /> the table.<br /> McCLUSKEY finally falls from the chair to the table.<br /> MICHAEL is wildly at a peak. He starts to move out. His<br /> hand: is frozen by his side, STILL GRIPPING THE GUN.<br /> He moves, not letting the gun go.<br /><br /> MICHAEL's face; frozen in its expression.<br /><br /> His hand: still holding the gun.<br /><br /> His face: finally he closes his eyes.<br /><br /> His hand relaxes, the gun falls to the floor with a dull thud.<br /><br /> He walks quickly out of the restaurant, looks back.<br /><br /> He sees a frozen tableau of the murder; as though it had<br /> been recreated in wax.<br /><br /> Then he leaves.<br /><br /> ---------------------------------------FADE OUT---------<br /><br /> FADE IN:<br /><br /> INT DAY: MATTRESS (WINTER 1945)<br /><br /> A MAN is his shirtsleeves plays a sentimental tune on an old<br /> upright piano, while his cigarette burns on the edge.<br /> ANOTHER stands nearby, listening quietly.<br /><br /> A little distance away, TEN MEN sit around a crude table,<br /> quietly eating. They talk in low, relaxed voices, and there<br /> is an occasional laugh.<br /><br /> ROCCO LAMPONE stands by a window, which has been covered<br /> with a heavy-mesh wire grating, gazing out.<br /><br /> A large bowl of pasta is passed, and the MEN eat heartily.<br /><br /> The sentimental tune is continued over the following:<br /><br /> INT DAY: BODIES IN CAR (WINTER 1945)<br /><br /> A MAN and a WOMAN, blood coming out of their noses, lie<br /> still together in a bullet-riddled automobile.<br /><br /> INT DAY: BODY IN BARBER SHOP (WINTER 1945)<br /><br /> A MAN is covered by a sheet on the floor of a barber shop.<br /><br /> INT DAY: MATTRESS<br /><br /> Ten mattresses are spread out around the otherwise empty<br /> living room of an apartment. THREE or FOUR MEN including<br /> CLEMENZA, are taking naps.<br /><br /> An arsenal of hand guns are spread out on a card table.<br /><br /> The MEN at the table continue their dinner; passing and<br /> pouring the wine.<br /><br /> Trash is thrown in 2 or 3 garbage cans kept in the apartment.<br /><br /> INT DAY: BODY IN OFFICE (WINTER 1945)<br /><br /> A MAN, his clothes soaked in blood, lies on the floor of an<br /> office building, dead, under an enormous portrait of Harry S.<br /> Truman.<br /><br /> EXT DAY: BODY ON STOOP (WINTER 1945)<br /><br /> ANOTHER MAN, his trousers soaked in blood, lies spanning<br /> three steps of a front stoop.<br /><br /> INT NITE: MATTRESS (WINTER 1945)<br /><br /> TESSIO, sits in a simple straight-backed chair, doing a<br /> crossword puzzle.<br /><br /> A thin, boyish BUTTON MAN, writes a letter.<br /><br /> Six or seven empty mattresses, with tossed unmade blankets.<br /> Coffee cans beside them serve as ash trays.<br /><br /> A MAN by the table pulls the cork on another bottle of<br /> Ruffino, and wine is poured as the MEN eat.<br /><br /> EXT DAY: BODY IN ALLEY (WINTER 1945)<br /><br /> A CORPSE is half out of an overturned garbage can in a quiet<br /> alley.<br /><br /> INT DAY: BODY AT TABLE (WINTER 1945)<br /><br /> A MAN in a formal jacket and tie is slumped over a table, in<br /> a pool of blood on the tablecloth.<br /><br /> INT DAY: MATTRESS (WINTER 1945)<br /><br /> A neatly stacked pile of newspapers in the corner of an<br /> apartment. We catch a glimpse of one headline: "Five Family<br /> War..."<br /><br /> The table. The MEN are sitting around cracking nuts. ONE<br /> has fallen asleep on his arms at the table.<br /><br /> SEVERAL MEN are taking naps on the Mattresses.<br /><br /> The PIANO PLAYER finishes the tune with finesse. Picks up<br /> and takes a drag from his cigarette. The OTHER MAN nods<br /> appreciatively.<br /><br /> MAN<br /> Nice Augie...nice.<br /><br /> EXT DAY: MANCINI BLDG. (SPRING '46)<br /><br /> Several cars are parked in front of a pleasant New York<br /> apartment building. We recognize a couple of SONNY's<br /> bodyguards loafing by the cars, pitching playing cards<br /> against the curb.<br /><br /> Inside the building, two others wait quietly by the rows of<br /> brass mailboxes: they have been there quite awhile.<br /><br /> Up one flight of stairs, a single man sits on the step,<br /> smoking a cigarette.<br /><br /> One of the men by the mailboxes checks his pocketwatch,<br /> which is attached to a key chain. We HEAR the sound of a<br /> door opening; they look up.<br /><br /> The man sitting on the stop stands; and looks.<br /><br /> SONNY backs out of an apartment, the arms of LUCY MANCINI<br /> wrapped around him. She doesn't want to let go of him; she<br /> draws him back into the apartment for a moment, and then he<br /> comes out alone, adjusting his clothes.<br /><br /> He jauntily skips down the steps, trailed by the bodyguard<br /> on the first floor, and moves outside toward his car. The<br /> men quickly take up their positions. As he gets in his car:<br /><br /> DRIVER<br /> Pick up your sister?<br /><br /> SONNY<br /> Yeah.<br /><br /> The car drives off; accompanied and escorted by the<br /> bodyguards in their cars.<br /><br /> INT DAY: CONNIE'S HALL (SPRING '46)<br /><br /> He knocks on the door. No answer. Then again.<br /><br /> CONNIE'S VOICE<br /> Who is it?<br /><br /> SONNY<br /> It's me, Sonny.<br /><br /> We hear the bolt slide back, and see the door open. SONNY<br /> enters, but CONNIE has quickly moved into the hallway, her<br /> back to him.<br /><br /> SONNY<br /> (tenderly)<br /> Connie, what is it?<br /><br /> He turns her around in his arms.<br /><br /> Her face is swollen and bruised; and we can tell from her<br /> rough, red eyes that she has been crying for a long time.<br /> As soon as he realizes what's happened, his face goes red<br /> with rage. She sees it coming, and clings to him, preventing<br /> him from running out of the apartment.<br /><br /> CONNIE<br /> (desperately)<br /> It was my fault! I started a fight<br /> with him and I tried to hit him so<br /> he hit me. He didn't even try to<br /> hit me hard Sonny, I walked into it.<br /><br /> Sonny listens, and calms himself. He touches her shoulder,<br /> the thin silk robe.<br /><br /> SONNY<br /> I'm goin' to have the doctor come<br /> over and take a look at you.<br /><br /> He starts to leave.<br /><br /> CONNIE<br /> Oh Sonny, please don't do anything.<br /> Please don't.<br /><br /> He stops, and then laughs good naturedly.<br /><br /> SONNY<br /> Hey. Con. What'm I goin' to do?<br /> Make your kid a orphan before he's<br /> born.<br /><br /> She laughs with him. He kisses her reassuringly, and leaves.<br /><br /> EXT DAY: CONNIE'S STREET<br /><br /> CARLO settles down on the front steps of the 112th St.<br /> "Book" with SALLY RAGS and COACH, who have been drinking<br /> beer out of glasses and a pitcher of beer from around the<br /> corner. The ball game is blaring from the radio; and the<br /> kids on the street are still playing stickball.<br /><br /> CARLO has barely settled down, when the kids in the street<br /> suddenly scatter, and a car comes screeching up the block<br /> and to a halt in front of the candy store. The tires<br /> scream, and before it seems as though it has even stopped, a<br /> MAN comes hurtling out of the driver's seat, moving so fast<br /> the everyone is paralyzed. It is a moment before we<br /> recognize that it is SONNY.<br /><br /> His face is contorted with anger; in a split second he is on<br /> the stoop and has CARLO by the throat.<br /><br /> He pulls CARLO away from the others, trying to get him down<br /> into the street. But CARLO reaches out for the iron railing,<br /> and hangs on, his hand in a lock, cringing away, trying to<br /> hide his head and face in the hollow of the his shoulders.<br /> His shirt is ripped away in SONNY's hand.<br /><br /> SALLY RAGS and COACH, merely sit, watching, stunned.<br /><br /> SONNY is pounding the cowered CARLO with all his strength,<br /> in a continuous monologue of indistinguishable cursing. His<br /> blows are powerful; and begin to draw blood.<br /><br /> The kids who have been playing stickball, move up, watching<br /> in fascination.<br /><br /> CARLO's hands are clenched tight around the railing.<br /><br /> SONNY beats him mercilessly.<br /><br /> Now SONNY's bodyguards' car pulls up, and they too become<br /> spectators.<br /><br /> SONNY's tight fists are going down like hammers, into<br /> CARLO's face and body.<br /><br /> CARLO's nose is bleeding profusely; but still he does<br /> nothing, other than hang onto the railing.<br /><br /> SONNY grabs hold of CARLO's massive body, and tries to drag<br /> him off of the hold on the railing, his teeth clenched in<br /> the effort. Then he tries loosening CARLO's locked hands;<br /> even biting them. CARLO screams but he does not let go.<br /><br /> It's clear that CARLO is much stronger than he is, and will<br /> not be moved. SONNY knees him in the mouth, and beats him<br /> more; but he is exhausted. Totally out of breath, he<br /> stammers haltingly to the bleeding CARLO.<br /><br /> SONNY<br /> You...bastard...You...hurt my<br /> sister... again...and I'll<br /> kill...you.<br /><br /> He wipes the sweat from his face, and then turns suddenly.<br /> and hurries back to the car, in a moment his car is gone,<br /> leaving even his bodyguards in confusion. We notice ONE MAN<br /> with a sports jacket in the group of spectators especially<br /> interested.<br /><br /> CARLO finally relaxes the clenched, locked hands. He slumps<br /> onto the stoop.<br /><br /> ---------------------------------------FADE OUT---------<br /><br /> FADE IN:<br /><br /> EXT DAY: MALL (SPRING 1946)<br /><br /> HIGH ANGLE on the Corleone Mall. It is a gray, rainy day.<br /> Young BUTTON MEN in raincoats stand in quiet groups of<br /> various points around the main house and compound. Things<br /> have changed; one house has been extensively enlarged; a new<br /> and secure gate house has been built. Security measures<br /> that had been make-shift and temporarily have now been made<br /> a permanent part of the Mall, evolving it into a Medieval<br /> Fortress. We notice a huge crater in the courtyard; the<br /> result of a recent bomb attempt. The house nearest the<br /> crater is damaged by fire.<br /><br /> A taxi arrives; KAY ADAMS steps out, huddled in a bright<br /> yellow raincoat; she lets the cab go, and hurries to the<br /> shelter of the gate house.<br /><br /> They are not expecting her, and ask her to wait while they<br /> call the main house.<br /><br /> KAY looks at the imposing, depressing Mall, while rain still<br /> runs down onto her face.<br /><br /> She notices the bomb crater, and the fire damage; and the<br /> sullen faces of the BUTTON MEN.<br /><br /> TOM HAGEN exits the Main House, and hurries toward her.<br /><br /> HAGEN<br /> Kay, we weren't expecting you. You<br /> should call...<br /><br /> KAY<br /> I've tried calling and writing. I<br /> want to reach Michael.<br /><br /> HAGEN<br /> Nobody knows where he is. We know<br /> he's all right, but that's all.<br /><br /> KAY looks in the direction of the crater, filling with<br /> rainwater.<br /><br /> KAY<br /> What was that?<br /><br /> HAGEN<br /> An accident. No one was hurt.<br /><br /> KAY<br /> Listen Tom, I let my cab go; can I<br /> come in to call another one?<br /><br /> TOM is clearly reluctant to involve her any more than he has<br /> to.<br /><br /> HAGEN<br /> Sure...I'm sorry.<br /><br /> They hurry through the rain and into the Main House.<br /><br /> INT DAY: DON'S LIVING ROOM (SPRING 1946)<br /><br /> In the living room, KAY shakes the water from her coat and<br /> takes her rainhat off.<br /><br /> KAY<br /> Will you give this to him.<br /><br /> HAGEN<br /> If I accept that letter and you<br /> told a Court of Law I accepted it,<br /> they would interpret it as my<br /> having knowledge of his whereabouts.<br /> Just wait Kay, he'll contact you.<br /><br /> We hear footsteps descending the staircase; MAMA CORLEONE<br /> enters the room; the OLD WOMAN squints at KAY, evaluating her.<br /><br /> MAMA<br /> You're Mikey's little girl.<br /><br /> KAY nods yes; there are still tears in her eyes.<br /><br /> MAMA<br /> You eat anything?<br /><br /> KAY shakes her head.<br /><br /> MAMA<br /> (to HAGEN)<br /> Disgrazia, you don't even give the<br /> poor girl a cup of coffee?<br /><br /> HAGEN shrugs helplessly; on an impulse, KAY quickly moves<br /> toward MAMA, the letter extended.<br /><br /> KAY<br /> Will you give this letter to Michael.<br /><br /> HAGEN<br /> Mama, no.<br /><br /> MAMA<br /> You tell me what to do? Even he<br /> don't tell me what to do.<br /><br /> She takes the letter from KAY, who is grateful and relieved.<br /><br /> KAY<br /> Why did they blame Michael?<br /><br /> MAMA<br /> You listen to me, you go home to<br /> your family, and you find a good<br /> young man and get married. Forget<br /> about Mikey; he's no good for you,<br /> anymore.<br /><br /> She looks directly into KAY's eyes; and KAY understands what<br /> that means.<br /><br /> EXT DAY: DON'S HOSPITAL (SPRING 1946)<br /><br /> A hospital in New York City. POLICE and teams of PRIVATE<br /> DETECTIVES are stationed guarding the area. An ambulance<br /> with a team of DETECTIVES and BUTTON-MEN GUARDS exit the<br /> hospital with rifles in hand; followed by SEVERAL HOSPITAL<br /> ASSISTANTS wheeling a hospital stretcher, presumably carrying<br /> the DON.<br /><br /> TESSIO and CLEMENZA emerge, with OTHER BUTTON MEN bringing<br /> up the rear. HAGEN walks with the stretcher, and for a<br /> moment they disappear behind the ambulance. Then suddenly,<br /> siren blasting, it speeds off, accompanied by dark low-slung<br /> cars.<br /><br /> EXT DAY: MALL (SPRING 1946)<br /><br /> The Corleone Mall.<br /><br /> Equally impressive security stands ready at the Corleone<br /> Mall. EXTRA BUTTON MEN, as well as SOME POLICE, and PRIVATE<br /> DETECTIVES.<br /><br /> It all seems to be under the supervision of ROCCO LAMPONE.<br /> All is silent. The WOMEN and CHILDREN, dressed in Sunday<br /> clothes, wait.<br /><br /> EXT DAY: AMBULANCE (SPRING 1946)<br /><br /> One ambulance, speeding along the Grand Central Parkway,<br /> preceded and followed by a dark car, each one carrying a<br /> team of BUTTON MEN.<br /><br /> Sitting next to the DRIVER of the ambulance is a GUARD with<br /> a rifle on his lap.<br /><br /> INT DAY: DON'S HALL (SPRING 1946)<br /><br /> Inside the Main CORLEONE House:<br /><br /> Hospital ORDERLIES carry the DON on his stretcher carefully<br /> under the watchful eyes of CLEMENZA, TESSIO, LAMPONE and<br /> various GUARDS and BUTTON MEN.<br /><br /> All the CORLEONE family is here today: MAMA, FREDO, SANDRA,<br /> THERESA, CONNIE, CARLO; the various CORLEONE CHILDREN.<br /><br /> INT DAY: DON'S BEDROOM (SPRING 1946)<br /><br /> The DON is made comfortable in his room, which has all but<br /> been converted into a hospital room, with complete and<br /> extensive equipment. The various CHILDREN get a turn to<br /> kiss the OLD MAN, as he is made comfortable... and then<br /> SONNY indicates that all the CHILDREN, WOMEN, and CARLO<br /> should leave.<br /><br /> They do, the door is closed.<br /><br /> INT DAY: DON'S DINING ROOM (SPRING 1946)<br /><br /> The mood is quite happy downstairs, as the WOMEN prepare the<br /> Sunday dinner, and set the table.<br /><br /> CARLO sits alone among them, a frown on his face.<br /><br /> CONNIE<br /> What's the matter, Carlo?<br /><br /> CARLO<br /> Shut up.<br /><br /> INT DAY: DON'S BEDROOM (SPRING 1946)<br /><br /> All the MEN of the family stand around the hospital bed with<br /> grim faces, SONNY and HAGEN closest to the OLD MAN. The DON<br /> does not speak, yet he asks questions with his looks and<br /> glances, as clearly as if they were verbalized. HAGEN is<br /> the spokesman for the family.<br /><br /> HAGEN<br /> ...since McCluskey's killing, the<br /> police have cracked down on most of<br /> our operations...on the other<br /> families too. There's been a lot<br /> of bad blood.<br /><br /> The OLD MAN glances at SONNY.<br /><br /> SONNY<br /> Pop, they hit us and we hit them<br /> back.<br /><br /> HAGEN<br /> We put out a lot of material<br /> through our contacts in the<br /> Newspapers...about McCluskey's<br /> being tied up with Sollozzo in the<br /> Drug Rackets...things are starting<br /> to loosen up.<br /><br /> The OLD MAN nods.<br /><br /> SONNY<br /> Freddie's gonna go to Las<br /> Vegas...under the protection of Don<br /> Francesco of L.A. I want him to<br /> rest...<br /><br /> FREDO<br /> I'm goin' to learn the casino<br /> business.<br /><br /> The DON nods approvingly. Then he searches around the room<br /> for a face he does not see. HAGEN knows who he's looking for.<br /><br /> HAGEN<br /> Michael...<br /> (he takes a breath)<br /> It was Michael who killed Sollozzo.<br /><br /> The DON closes his eyes, and then reopens them in anger and<br /> rage.<br /><br /> HAGEN<br /> He's safe now...we're already<br /> working on ways to bring him back.<br /><br /> The DON is very angry, he motions with a weak hand that they<br /> leave him alone.<br /><br /> INT. DAY: DON'S STAIRS AND HALL (SPRING 1946)<br /><br /> HAGEN is very upset as he comes down the Stairs; SONNY is<br /> expansive and optimistic.<br /><br /> SONNY<br /> We'll let the old man take it easy<br /> for a couple of weeks. I want to<br /> get things going good before he<br /> gets better. What's the matter<br /> with you?<br /><br /> HAGEN<br /> You start operating, the five<br /> families will start their raids<br /> again. We're at a stalemate Sonny,<br /> your war is costing us a lot of<br /> money.<br /><br /> SONNY<br /> No more stalemate Tom, we got the<br /> soldiers, we'll match them gun for<br /> gun if that's how they want it.<br /> They know me for what I am, Tom--<br /> and they're scared of me.<br /><br /> HAGEN<br /> Yes. That's true, you're getting a<br /> hell of a reputation.<br /><br /> SONNY<br /> Well it's war! We might not be in<br /> this shape if we had a real war-<br /> time Consiglere, a Sicilian. Pop<br /> had Genco, who do I have?<br /> (TOM starts to leave)<br /> Hey Tom, hey...hey. It's Sunday,<br /> we're gonna have dinner. Don't be<br /> sore.<br /><br /> INT DAY: DON'S DINING ROOM (SPRING 1946)<br /><br /> The FAMILY, WIVES, CHILDREN and all sit around the table<br /> over Sunday dinner. SONNY is at the head of the table.<br /><br /> EXT DAY: MALL (SPRING 1946)<br /><br /> SOME of the CORLEONE GRANDCHILDREN play in the enclosed<br /> Mall, in the proximity of the BUTTON MEN stationed liberally<br /> by the gate.<br /><br /> ONE CHILD misses a ball, it rolls by the gate house. A<br /> young BUTTON MAN scoops it up and throws it back, smiling.<br /><br /> -----------------------------------------FADE OUT-------<br /><br /> INT DAY: CONNIE'S APT. (SPRING 1946)<br /><br /> CONNIE and CARLO's apartment. She's in a slip, on the phone.<br /> We HEAR the shower going in the bathroom.<br /><br /> CONNIE<br /> Who is this?<br /><br /> GIRL (O.S.)<br /> (giggle)<br /> I'm a friend of Carlo's. I just<br /> wanted to tell him I can't see him<br /> tonight; I have to go out of town.<br /><br /> CONNIE's face turns red.<br /><br /> CONNIE<br /> You lousy tramp bitch.<br /> (click)<br /><br /><br /> She slams the phone down; just as CARLO is coming out of the<br /> bathroom drying his golden body.<br /><br /> CARLO<br /> What was that?<br /><br /> CONNIE<br /> Your girl friend. She says she<br /> can't make it tonight. You lousy<br /> bastard you have the nerve to give<br /> your whores my telephone number.<br /> I'll kill you, you bastard!<br /><br /> She hauls off and punches him knowingly; he laughs, so then<br /> she flings herself at him, kicking and scratching; her heavy<br /> belly heaving under the thin slip.<br /><br /> CARLO<br /> (defending himself)<br /> You're crazy. She was kidding<br /> around; I don't know, some nut.<br /><br /> He pushes her aside, and moves into the bedroom to continue<br /> dressing.<br /><br /> CONNIE<br /> You're staying home. You're not<br /> going out.<br /><br /> CARLO<br /> OK, OK. You gonna make me something<br /> to eat at least?<br /><br /> That calms her down; she stands there a moment, breathing<br /> heavily; and then she nods, and goes into the kitchen, and<br /> starts her wifely duties.<br /><br /> CARLO is dressed; puts on some cologne; CONNIE appears in<br /> the doorway.<br /><br /> CONNIE<br /> The food is on the table.<br /><br /> CARLO<br /> I'm not hungry yet.<br /><br /> CONNIE<br /> Eat it, it's on the table.<br /><br /> CARLO<br /> Ba Fa Goulle.<br /><br /> CONNIE<br /> BA FA GOULE YOU!<br /><br /> She turns deliberately, goes out into the kitchen. A moment<br /> later we begin to hear the sound of dishes breaking. CARLO<br /> slowly walks out, where we can see CONNIE systematically<br /> smashing all the dishes against the sink, sending the greasy<br /> veal and peppers all over the apartment floor.<br /><br /> CARLO<br /> You filthy guinea spoiled brat.<br /> Clean it up or I'll kick your head<br /> in.<br /><br /> CONNIE<br /> Like hell I will.<br /><br /> She stands there, solid, ready to punch him again. Slowly,<br /> he slides his belt out of his trousers, and doubles it in<br /> his hand.<br /><br /> CARLO<br /> Clean it up!<br /><br /> He swings the belt against her heavy hips. She moves back<br /> into the kitchen, and gets a kitchen knife, and holds it<br /> ready.<br /><br /> CARLO<br /> Even the female Corleones are<br /> murderers.<br /><br /> He puts the strap down on a table, and moves after her. She<br /> makes a sudden thrust at his groin, which he avoids. He<br /> pulls the knife away, cutting his hand in the process. She<br /> gets away momentarily, but he pursues her around the table,<br /> gets her; and starts to slap her in the face.<br /><br /> She breaks away from him, and rushes into the bedroom.<br /><br /> CONNIE<br /> The baby! The baby!<br /><br /> INT DAY: CONNIE'S BEDROOM (SPRING 1946)<br /><br /> She runs into the bedroom; he follows. She moves into a<br /> corner, and then like a desperate animal, tries to hide<br /> under the bed.<br /><br /> He reaches under, and pulls her out by the hair.<br /><br /> He slaps her in the face until she begins to weep; then he<br /> throws her on the bed, contemptuously. He grabs part of her<br /> thigh, pinching it very hard.<br /><br /> CARLO<br /> You're fat as a pig.<br /><br /> Then he pushes her away, and walks out of the room, leaving<br /> her in tears. She is crying; she pulls herself to the<br /> bedroom phone, and in a whisper:<br /><br /> CONNIE<br /> Mama...mama, it's Connie. Mama, I<br /> can't talk any louder. No, I don't<br /> want to talk to Sonny.<br /><br /> We can tell that the phone has been passed to SONNY.<br /><br /> INT DAY: DON'S KITCHEN (SPRING 1946)<br /><br /> In the kitchen at the Mall, MAMA cannot understand the<br /> whispering and she has given the phone to SONNY.<br /><br /> SONNY<br /> Yeah Connie.<br /><br /> CONNIE (O.S.)<br /> Sonny, just send a car to bring me<br /> home. I'll tell you then, it's<br /> nothing Sonny, don't you come.<br /> Send TOM, please Sonny, it's<br /> nothing; I just want to come home.<br /><br /> SONNY's face is turning red.<br /><br /> SONNY<br /> (in a controlled voice)<br /> You wait there. You just wait there.<br /><br /> He hangs up the phone; and just stands there for a moment.<br /><br /> SONNY<br /> (quietly)<br /> That sonofabitch; that sonofabitch...<br /><br /> HAGEN enters the room; he knows what is happening, knows he<br /> cannot interfere.<br /><br /> EXT DAY: MALL<br /><br /> SONNY leaves the house. HAGEN moves to the outside mall<br /> just as SONNY's car is driving off. He moves to a group of<br /> BUTTON MEN.<br /><br /> HAGEN<br /> Go after him.<br /><br /> EXT DAY: CAUSEWAY (SPRING 1946)<br /><br /> SONNY's car on the Jones Beach Causeway, speeds quickly by.<br /> After a pause, another car, with the CORLEONE BODYGUARDS, is<br /> trailing.<br /><br /> SONNY is driving; he is very angry.<br /><br /> EXT NITE: TOLL BOOTHS (SPRING 1946)<br /><br /> SONNY in his car; driving back. Still breathing hard and<br /> still furious. Then he thinks it's funny; he enjoyed it.<br /> He starts laughing, louder and louder, as he pulls up to a<br /> toll booth, stops, and extends his hand with a coin to the<br /> COLLECTOR.<br /><br /> ---------------------------------------FADE OUT---------<br /><br /> FADE IN:<br /><br /> INT NITE: AMERIGO BONASERA'S APARTMENT<br /><br /> The serious-faced UNDERTAKER is on the telephone.<br /><br /> HAGEN (O.S.)<br /> This is Tom Hagen. I'm calling for<br /> Don Corleone, at his request.<br /><br /> BONASERA looks at his WIFE, with deep anxiety in his eyes.<br /> BONASERA's lips are suddenly dry.<br /><br /> BONASERA<br /> Yes, I understand. I'm listening.<br /><br /> HAGEN (O.S.)<br /> You owe the Don a service. In one<br /> hour, not before, perhaps later, he<br /> will be at your funeral parlor to<br /> ask for your help. Be there to<br /> greet him. If you have any<br /> objections speak now, and I'll<br /> inform him.<br /><br /> Silence. BONASERA stutters, then speaks in fright.<br /><br /> BONASERA<br /> Anything...Anything the Godfather<br /> wishes.<br /><br /> HAGEN (O.S.)<br /> Good. He never doubted you.<br /><br /> BONASERA<br /> The Don himself is coming to me<br /> tonight?<br /><br /> HAGEN (O.S.)<br /> Yes.<br /> (click)<br /><br /><br /> BONASERA is sweating; slowly he lowers the phone; his WIFE<br /> sees his pale expression, and follows him into the room.<br /><br /> Silently, he begins the ritual of dressing. His WIFE knows<br /> something serious is happening, and never takes her eyes<br /> from him. He lights a cigarette.<br /><br /> BONASERA<br /> For the last year, they have been<br /> killing one another. So now, what?<br /> Your Godfather comes to me...Why?<br /> (whispering, slyly)<br /> They've killed someone so important<br /> that they wish to make his body<br /> disappear.<br /><br /> MRS. BONASERA<br /> (frightened)<br /> Amerigo!<br /><br /> BONASERA<br /> They could make me an accomplice to<br /> their murder. They could send me<br /> to jail!<br /><br /> He slips into his trousers. Then he moves to his WIFE to<br /> tie his tie, as she has done for years.<br /><br /> BONASERA<br /> And if the other families find<br /> out...they will make me their enemy.<br /> They could come here to our house.<br /> I curse the day I ever went to the<br /> Godfather.<br /><br /> EXT NITE: FUNERAL PARLOR (SPRING 1946)<br /><br /> With his ring of keys, he opens the funeral parlor, enters.<br /><br /> INT NITE: FUNERAL PARLOR (SPRING 1946)<br /><br /> BONASERA walks through the darkened funeral parlor, without<br /> turning on the lights; then into the rear, preparation room,<br /> past the tables, and equipment. He operates the chain that<br /> lifts a large overhead garage type door. And looks out into<br /> the alley.<br /><br /> He sits on a bench, and waits.<br /><br /> EXT NITE: FUNERAL PARLOR ALLEY (SPRING 1946)<br /><br /> The tires of a car roll very quietly along the small alley;<br /> we notice a dark car approach the rear of BONASERA's funeral<br /> parlor.<br /><br /> CLEMENZA gets out, and moves to the open, rear door.<br /> BONASERA greets him, too petrified to speak. He notices TWO<br /> OTHER MEN get out of the car, and carry a stretcher with a<br /> CORPSE swaddled in a gray blanket, with yellowed feet<br /> protruding.<br /><br /> BONASERA closes his eyes in fear, but indicates which way<br /> the MEN should carry their sinister burden.<br /><br /> INT NITE: FUNERAL PARLOR EMBALMING ROOM (SPRING 1946)<br /><br /> They carry the CORPSE to one of the tables in the embalming<br /> room.<br /><br /> Then BONASERA turns to see ANOTHER MAN step out of the<br /> darkness somewhat uncertainly. It is DON CORLEONE.<br /><br /> He walks up to BONASERA, very close, without speaking. His<br /> cold eyes looking directly at the frightened UNDERTAKER.<br /> Then, after a long gaze:<br /><br /> DON CORLEONE<br /> Well my friend, are you ready to do<br /> me this service?<br /><br /> BONASERA nods. The DON moves to the CORPSE on the embalming<br /> table; he makes a gesture, and the OTHER MEN leave them alone.<br /><br /> BONASERA<br /> What do you wish me to do?<br /><br /> DON CORLEONE<br /> (staring at the table)<br /> I want you to use all your powers,<br /> all your skill, as you love me. I<br /> do not want his mother to see him<br /> as he is.<br /><br /> He draws down the gray blanket.<br /><br /> BONASERA lets out a gasp of horror at what he sees:<br /><br /> The bullet-smashed face of SONNY CORLEONE.<br /><br /> EXT NITE: TOLL BOOTHS (SPRING 1946)<br /><br /> SONNY extends his hand with a coin at the toll booth.<br /><br /> A car suddenly swerves in front of him, trapping him in the<br /> booth, and in incredible rally of machine gun fire greets<br /> him, coming through and smashing the windows of the toll<br /> booths on both side of him, and from the front window of the<br /> car blocking him.<br /><br /> The windows of his car are shot out.<br /><br /> Bullet holes puncture the doors of his car.<br /><br /> His hand, with the coin in it, falls inside the car.<br /><br /> His arms, shoulders are riddled by the fire, and still it<br /> continues, as though the ASSASSINS cannot take a chance that<br /> he will survive it.<br /><br /> Suddenly, he lets out an enormous ROAR, like a bull, and<br /> actually, opens the door, and steps out of the car, UNDER<br /> fire.<br /><br /> His face is hit; and finally he falls to the ground.<br /><br /> A FULL SHOT...as the ASSASSINS scramble for their cars and<br /> make off in the distance.<br /><br /> SONNY's BODYGUARDS stop a safe distance away, realizing they<br /> are too late.<br /><br /> INT NITE: DON'S LIVING ROOM (SPRING 1946)<br /><br /> View on HAGEN's ashen face in the living room. He is silent<br /> a moment, and then:<br /><br /> HAGEN<br /> (quietly)<br /> OK. Go to Clemenza's house and<br /> tell him to come here right away.<br /> He'll tell you what to do.<br /><br /> The MEN leave him alone. He is quiet, standing in the<br /> middle of the living room a moment. He looks in the<br /> direction of the kitchen, where he can see fragments of MAMA<br /> moving around.<br /><br /> INT NITE: UPSTAIRS (SPRING 1946)<br /><br /> TOM proceeds up stairs, and quietly in the direction of the<br /> DON's room. He opens the DON's door. Looks in.<br /><br /> INT NITE: DON'S BEDROOM (SPRING 1946)<br /><br /> The DON in his hospital bed. Asleep under sedation. HAGEN<br /> hesitates. He cannot go in; he cannot tell the OLD MAN. He<br /> closes the door.<br /><br /> INT NITE: DON'S OFFICE (SPRING 1946)<br /><br /> HAGEN alone in the office. He is drinking. He looks up at<br /> the sound of cars; the CAPOREGIMES are arriving. Then he<br /> hears footsteps.<br /><br /> The door opens; and in a robe, with slippers, DON CORLEONE<br /> slowly enters the room. He walks directly to his stuffed<br /> armchair, sits down. His face is stern, as he looks into<br /> HAGEN's eyes.<br /><br /> DON CORLEONE<br /> Give me a drop of anisette.<br /><br /> HAGEN rises, and pours a glass for the OLD MAN.<br /><br /> DON CORLEONE<br /> My wife was weeping before she fell<br /> asleep, outside my window I saw my<br /> caporegimes to the house, and it is<br /> midnight. So, Consigliere of mine,<br /> I think you should tell your Don<br /> what everyone knows.<br /><br /> HAGEN<br /> (quietly)<br /> I didn't tell Mama anything. I was<br /> about to come up and wake you and<br /> tell you. Just now.<br /><br /> DON CORLEONE<br /> But you needed a drink first.<br /><br /> HAGEN<br /> Yes.<br /><br /> DON CORLEONE<br /> Now you've had your drink.<br /><br /> Pause.<br /><br /> HAGEN<br /> They shot Sonny on the Causeway.<br /> (pause)<br /> He's dead.<br /><br /> DON CORLEONE blinks. One feels that just for a second he<br /> loses all physical strength; he clasps his hands in front of<br /> him on the top of the desk and looks into HAGEN's eyes.<br /><br /> DON CORLEONE<br /> I want no inquiries made. No acts<br /> of vengeance.<br /> (pause)<br /> Consigliere, arrange a meeting with<br /> the heads of the five<br /> families...this war stops now.<br /><br /> He rises and unsteadily leaves the room, turns...<br /><br /> DON CORLEONE<br /> Call Bonasera...he will do me a<br /> service.<br /><br /> And leaves. HAGEN moves to the phone; dials...<br /><br /> HAGEN<br /> This is Tom Hagen; I'm calling for<br /> Don Corleone, at his request.<br /><br /> BONASERA (O.S.)<br /> Yes, I understand I'm listening.<br /><br /> HAGEN<br /> You owe the Don a service. He has<br /> no doubt that you will repay it.<br /><br /> EXT DAY: BANK BUILDING (SPRING 1946)<br /><br /> Day in Manhattan. An impressive Bank Building in the<br /> financial center of New York. Many limousines are parked,<br /> uniforms and plain-clothed CHAUFFEURS waiting quietly.<br /><br /> INT DAY: BOARD ROOM (SPRING 1946)<br /><br /> The Board Room of a bank, daylight shines in the windows.<br /><br /> CARLO TRAMONTI, an impressive, handsome middle-aged man,<br /> sits quietly, smoking a Di Napoli cigar, OUR VIEW moves to a<br /> MAN sitting to his left, and a little to the rear, and<br /> settles on JOSEPH ZALUCHI, a moon-faced amiable-looking man;<br /> as the view continues, around the table, we HEAR:<br /><br /> DON CORLEONE (O.S.)<br /> I want to thank you all for coming.<br /> I consider it a service done to me<br /> personally and I am in the debt of<br /> each and every one of you.<br /> Especially those of you who have<br /> traveled from such distances as<br /> California, St. Louis, Kansas City;<br /> and New Orleans...<br /><br /> The VIEW PASSES to FRANK FALCONE and ANTHONY MOLINARI, both<br /> younger than any of the others; then on to DOMENICK PANZA,<br /> short and squat sitting in a wheelchair; then around the<br /> table to DON VINCENENZO FORLENZA, who is whispering to his<br /> JEWISH ASSISTANT; the VIEW PASSES on to ANTHONY STRACCI, an<br /> older man, sipping from a drink and smoking a cigar; OTTILIO<br /> CUNEO, in his middle sixties with a jolly round face; then<br /> DON PHILLIP TATTAGLIA, a delicate older man with dyed hair<br /> and a pencil mustache; and finally, EMILIO BARZINI, in his<br /> early sixties, a man to 'respect'; whom we had seen at<br /> CONNIE's Wedding.<br /><br /> DON CORLEONE<br /> Ah well, let's get down to business.<br /> We are all honorable men here, we<br /> don't have to give assurances as if<br /> we were lawyers.<br /> (he sits, gazes out<br /> at them, and sighs)<br /> How did things ever go so far?<br /> Well, no matter. A lot of<br /> foolishness has come to pass. It<br /> was so unfortunate, so unnecessary.<br /><br /> The VIEW examines the room once again, as the DON speaks. A<br /> large, clicking board is changing numbers at various times,<br /> and two tapes, showing the fluctuations of the Market during<br /> the day's trading, and projected above.<br /><br /> DON CORLEONE pauses; and TOM HAGEN hands him a cold drink.<br /><br /> DON CORLEONE<br /> Tattaglia has lost a son; I have<br /> lost a son. We are quits. Let<br /> there be a peace...<br /> (he gestures<br /> expressively,<br /> submissively, with<br /> his hands)<br /> That is all I want...<br /><br /> BARZINI<br /> Don Corleone is too modest. He had<br /> the judges and politicians in his<br /> pocket and he refused to share them.<br /> His refusal is not the act of a<br /> friend. He takes the bread out of<br /> the mouths of our families. Times<br /> have changed, it's not like the old<br /> days where everyone can go his own<br /> way. If Don Corleone had all the<br /> judges and politicians in New York,<br /> then he must share them or let<br /> others use them. Certainly he can<br /> present a bill for such services,<br /> we're not Communists, after all.<br /> But he has to let us draw water<br /> from the well. It's that simple.<br /><br /> DON CORLEONE<br /> My friends, I didn't refuse out of<br /> malice. You all know me. When<br /> have I ever refused an accommodation?<br /> But why, this time? Because I<br /> think this drug business will<br /> destroy us in the years to come.<br /> It's not like whiskey or gambling<br /> or even women which most people<br /> want and is forbidden them by the<br /> pezzonovante of the Church and the<br /> Government. But drugs? No. Even<br /> policemen, who help us in gambling<br /> and other things would refuse to<br /> help us in drugs. But...I am<br /> willing to do whatever all of you<br /> think is necessary.<br /><br /> DON ZALUCHI<br /> I don't believe in drugs. For<br /> years I paid my people extra so<br /> they wouldn't do that kind of<br /> business...$200 a week. But it<br /> didn't matter. Somebody comes to<br /> them and says, "I have powders, if<br /> you put up three, four thousand<br /> dollar investment, we can make<br /> fifty thousand distributing." Who<br /> can resist such a profit?<br /> There's no way to control it, as a<br /> business...to keep it respectable.<br /> (rapping the table)<br /> I don't want it near schools! I<br /> don't want it sold to children.<br /> That is an infamita.<br /> (thinking)<br /> In my city I would try to keep the<br /> traffic in the dark people, the<br /> colored. They are the best<br /> customers, the least troublesome,<br /> and they are animals anyway. They<br /> have no respect for their wives or<br /> their families or themselves. Let<br /> them lose their souls with drugs.<br /> But something has to be done, we<br /> can't have everybody running around<br /> doing just what they please, like a<br /> bunch of anarchists.<br /><br /> BARZINI<br /> Then, are we agreed; the traffic in<br /> drugs will be permitted, but<br /> controlled; and Don Corleone agrees<br /> to give it protection in the East.<br /><br /> DON CORLEONE nods.<br /><br /> BARZINI<br /> That's the whole matter then, we<br /> have the peace, and let me pay my<br /> respects to Don Corleone, whom we<br /> have all known over the years as a<br /> man of his word.<br /> (noticing TATTAGLIA<br /> is uneasy)<br /> Don Philip?<br /><br /> TATTAGLIA<br /> I agree to everything here, I'm<br /> willing to forget my own misfortune.<br /> But I must hear strict assurance<br /> from Corleone. When time goes by<br /> and his position becomes stronger,<br /> will he attempt any individual<br /> vengeance?<br /><br /> They all look at the DON; especially HAGEN, who feels that<br /> DON CORLEONE has given a great deal, and must have something<br /> else in mind. Slowly the DON rises.<br /><br /> DON CORLEONE<br /> I forego my vengeance for my dead<br /> son, for the common good. But I<br /> have selfish reasons. My youngest<br /> son had to flee, accused of<br /> Sollozzo's murder, and I must now<br /> make arrangements so that he can<br /> come home with safety, cleared of<br /> all those false charges. That is<br /> my affair, and I will make those<br /> arrangements.<br /> (with strength)<br /> But I am a superstitious man...and<br /> so if some unlucky accident should<br /> befall my youngest son, if some<br /> police officer should accidentally<br /> shoot him, or if he should hang<br /> himself in his cell, or if my son<br /> is struck by a bolt of lightning,<br /> then I will blame some of the<br /> people here. That, I could never<br /> forgive, but...aside from that, let<br /> me swear by the souls of my<br /> Grandchildren that I will never be<br /> the one to break the peace we have<br /> made.<br /><br /> EXT NITE: DON'S LIMO (SPRING 1946)<br /><br /> The DON's black limousine. He sits quietly in the padded<br /> rear seat; TOM HAGEN next to him.<br /><br /> It is night. Lights flash by them every so often.<br /><br /> HAGEN<br /> When I meet with Tattaglia's<br /> people; should I insist that all<br /> his drug middle-men be clean?<br /><br /> DON CORLEONE<br /> Mention it, don't insist. Barzini<br /> is a man who will know that without<br /> being told.<br /><br /> HAGEN<br /> You mean Tattaglia.<br /><br /> DON CORLEONE<br /> (shaking his head)<br /> Barzini.<br /><br /> HAGEN<br /> (a revelation)<br /> He was the one behind Sollozzo?<br /><br /> DON CORLEONE<br /> Tattaglia is a pimp. He could<br /> never have outfought Santino. But<br /> I wasn't sure until this day. No,<br /> it was Barzini all along.<br /><br /> The black limousine speeds away from us in the night.<br /><br /> ------------------------------------------FADE OUT------<br /><br /> FADE IN:<br /><br /> EXT DAY: ESTABLISHING SICILY SHOT<br /><br /> A CLOSE VIEW OF MICHAEL, moving as he walks, sullen and<br /> downcast, the left side of his face healed, but left<br /> grotesque and misshapen.<br /><br /> GRADUALLY, THE VIEW LOOSENS, he wears a warm navy Pea<br /> jacket, and walks with his hands in his pockets.<br /><br /> THE VIEW LOOSENS FURTHER, revealing a Sicilian SHEPHERD on<br /> either side of him, each carrying a shotgun slung over his<br /> shoulder, CALO, a squat and husky young man with a simple<br /> honest quality, and FABRIZZIO, slender and handsome, likable,<br /> and with a pleasing build. Each of the SHEPHERDS carry<br /> knapsacks.<br /><br /> The THREE YOUNG MEN continue over the Sicilian landscape,<br /> overlooking an impressive view of land and sea.<br /><br /> EXT DAY: SICILY ROAD<br /><br /> The THREE move through a flock of wind-blown sheep, and make<br /> their way to a dusty rural road. We HEAR a rinky horn<br /> sound, as a pre-war Italian automobile makes its way to them.<br /> An OLD MAN peeks from the window, waving to MICHAEL. The<br /> car pulls in front of them and stops. MICHAEL nods<br /> respectfully.<br /><br /> MICHAEL<br /> Don Tommassino.<br /><br /> DON TOMMASSINO<br /> Michael, why must you do this. We<br /> have been lucky so far, all these<br /> months you've been here we've kept<br /> your name a secret. It is from<br /> love for your father that I've<br /> asked you never to more than an<br /> hour from the Villa.<br /><br /> MICHAEL<br /> Calo and Fabrizzio are with me;<br /> nothing will happen.<br /><br /> DON TOMMASSINO<br /> You must understand that your<br /> Father's enemies have friends in<br /> Palermo.<br /><br /> MICHAEL<br /> I know.<br /><br /> DON TOMMASSINO<br /> Where are you going?<br /><br /> MICHAEL<br /> Corleone.<br /><br /> DON TOMMASSINO<br /> There is nothing there. Not anymore.<br /><br /> MICHAEL<br /> I was told that my Grandfather was<br /> murdered on its main street; and<br /> his murderers came to kill my<br /> father there when he was twelve<br /> years old.<br /><br /> DON TOMMASSINO<br /> Long ago. Now there is nothing:<br /> the men killed each other in family<br /> vendettas...the others escaped to<br /> America.<br /><br /> MICHAEL<br /> Don Tommassino...I should see this<br /> place.<br /><br /> DON TOMMASSINO thinks a moment, then concedes.<br /><br /> DON TOMMASSINO<br /> That is your birthright...but<br /> Michael, use this car.<br /><br /> MICHAEL<br /> No...I would like to walk to<br /> Corleone.<br /><br /> The OLD MAN sighs, and then returns to his car.<br /><br /> DON TOMMASSINO<br /> Be careful Michael, don't let them<br /> know your name.<br /><br /> The old car sputters off; MICHAEL watches, and then continues<br /> on his journey.<br /><br /> EXT DAY: COUNTRYSIDE<br /><br /> The THREE pass through abundant areas of flowers and fruit<br /> trees, in bloom and bursting with life.<br /><br /> EXT DAY: VILLAGE<br /><br /> They continue in the empty streets of a little town; the<br /> post-war poverty is evident in the skinny dogs; and the<br /> empty streets. Occasionally, a military vehicle, the only<br /> gasoline-powered vehicles on the road, will pass. And there<br /> are many POLICE evident, most of them carrying machine guns.<br /><br /> The THREE pass under an enormous banner slung over the main<br /> road "VOTA COMMUNISTA".<br /><br /> EXT DAY: COUNTRY ROAD<br /><br /> They continue through dusty country roads, where occasionally<br /> a donkey pulling a cart, or a lone horseman will pass them.<br /><br /> EXT DAY: FIELD<br /><br /> Out in a field, in the distance, they come upon a procession<br /> of peasants and activists, perhaps two hundred strong,<br /> marching, and singing, and in the lead, are five or six men<br /> carrying billowing red banners.<br /><br /> EXT DAY: GROVE<br /><br /> They are in an orange grove; on the other side of the trees<br /> is a deep, tall field of wild flowers.<br /><br /> The Shepherds unsling their guns and knapsacks, and take out<br /> loaves of bread, some wine, sausage and cheese.<br /><br /> MICHAEL rests against a tree, and uses his handkerchief.<br /><br /> FABRIZZIO<br /> You tell us about America.<br /><br /> MICHAEL<br /> How do you know I come from America?<br /><br /> FABRIZZIO<br /> We hear. We were told you were a<br /> Pezzonovanta...big shot.<br /><br /> MICHAEL<br /> Only the son of a Pezzonovanta.<br /><br /> FABRIZZIO<br /> Hey America! Is she as rich as<br /> they say?<br /><br /> MICHAEL<br /> Yes.<br /><br /> FABRIZZIO<br /> Take me to America! You need a<br /> good lupara in America?<br /> (pats his shotgun)<br /> You take me, I'll be the best man<br /> you got. "Oh say, can you<br /> seeee...By da star early light..."<br /><br /> MICHAEL laughs.<br /><br /> EXT DAY: ANOTHER ROAD<br /><br /> The TRIO continues down a dirt road, as an American Military<br /> convoy speeds by; FABRIZZIO waves, and calls out to each of<br /> the U.S. drivers, as they move by.<br /><br /> FABRIZZIO<br /> America.<br /> Hey America!<br /> Take me with you!<br /> Hey, take me to America G.I.!<br /><br /> EXT DAY: CORLEONE HILL<br /><br /> They continue their long hike, high on a promentory; until<br /> they hesitate, and look down.<br /><br /> CALO<br /> Corleone.<br /><br /> They can see a grim Sicilian village, almost devoid of people.<br /><br /> EXT DAY: CORLEONE STREET<br /><br /> MICHAEL and his bodyguards move through the empty streets of<br /> the village. They walk behind him, and spread to either<br /> side about fifteen feet away from him.<br /><br /> They move down ancient steps, past an old stone fountain.<br /> MICHAEL hesitates, cups his hands and drinks some water.<br /> They go on.<br /><br /> They move up a very narrow old street. MICHAEL looks at the<br /> doorways that they pass.<br /><br /> MOVING VIEW: Each door has a plaque, with a ribbon or flower.<br /><br /> CALO sees MICHAEL looking.<br /><br /> CALO<br /> The names of the dead.<br /><br /> MICHAEL hesitates in the center of the main street. He looks.<br /><br /> The street is empty, barren. Occasionally, an old woman<br /> will pass.<br /><br /> MICHAEL turns his head.<br /><br /> The other side of the street: empty and deathly.<br /><br /> A HIGH VIEW of MICHAEL standing in the center of the old<br /> street, the shepherds a respectful distance away.<br /><br /> -------------------------------------FADE OUT-----------<br /><br /> EXT DAY: BARONIAL ESTATE<br /><br /> A green ribboned field of a baronial Estate. Further ahead<br /> is a villa so Roman it looks as though it had just been<br /> discovered in the ruins of Pompeii. There is a group of<br /> young village GIRLS accompanied by two stocky MATRONS,<br /> dressed in black. They have been gathering the pink sulla,<br /> purple wisteria, and mixing them with orange and lemon<br /> blossoms. They are singing, off in the distance as they work.<br /><br /> MICHAEL, CALO and FABRIZZIO are silent as they watch this<br /> Fantasy-like scene.<br /><br /> FABRIZZIO<br /> (calling out to them)<br /> Hey, beautiful girls!<br /><br /> MICHAEL<br /> (sternly)<br /> Shhhhh.<br /><br /> He settles down to watch.<br /><br /> The GIRLS are dressed in cheap gaily painted frocks that<br /> cling to their bodies. They are still in their teens, but<br /> developed and womanly.<br /><br /> They are moving along the fields, picking blossoms, not<br /> aware of the three men watching them from the orange grove.<br /> Three or four of the girls begin chasing one of them<br /> playfully, in the direction of the grove.<br /><br /> The GIRL being chased holds a bunch of purple grapes in her<br /> left hand and with the right, picks more grapes, and throws<br /> them back at her pursuers laughing.<br /><br /> They come closer and closer. Just short of the grove, she<br /> poses, startled, her large, oval shaped eyes catching the<br /> view of the THREE MEN. She stands there on her toes about<br /> to run.<br /><br /> MICHAEL sees her; now face to face. He looks.<br /><br /> Her face. Incredibly beautiful with olive skin, black hair<br /> and a rich mouth.<br /><br /> FABRIZZIO<br /> (murmuring)<br /> Jesus Christ, take my soul. I'm<br /> dying.<br /><br /> Quickly, she turns, and runs away.<br /><br /> MICHAEL stands up never taking his eyes from her. We hold<br /> on him for a long while; and eventually hear the SHEPHERDS<br /> laughing. Then he turns to them.<br /><br /> FABRIZZIO<br /> You got hit by the thunderbolt, eh?<br /><br /> CALO pats him on the shoulder.<br /><br /> CALO<br /> Easy man.<br /><br /> MICHAEL<br /> What are you talking about?<br /><br /> FABRIZZIO<br /> You can't hide it when you're hit<br /> by the thunderbolt.<br /><br /> EXT DAY: BARONIAL VILLAGE<br /><br /> The little village built attendant to the Baronial Estate,<br /> is decked with the flowers the girls had been picking.<br /><br /> MICHAEL, followed by the bodyguards, moves into the central<br /> square, and onto the balcony of a little cafe.<br /><br /> The proprietor of the cafe, VITELLI, is a short burly man;<br /> he greets them cheerfully, and sets a dish of chickpeas at<br /> their table.<br /><br /> FABRIZZIO<br /> You know all the girls in this<br /> town, eh? We saw some beauties<br /> coming down the road. One in<br /> particular got our friend hit with<br /> the Thunderbolt...<br /> (he indicates MICHAEL)<br /><br /> VITELLI gives a big knowing laugh, and looks at MICHAEL with<br /> new interest.<br /><br /> VITELLI<br /> You had better bring a few bottles<br /> home with you, my friend; you'll<br /> need help sleeping tonight.<br /> (he laughs)<br /><br /> FABRIZZIO<br /> This one could seduce the devil. A<br /> body! and eyes as big and black as<br /> olives.<br /><br /> VITELLI<br /> (laughing with<br /> them...pouring more wine)<br /> I know about what you mean!<br /><br /> FABRIZZIO<br /> This was a beauty. Right, Calo?<br /><br /> VITELLI<br /> (laughing)<br /> Beautiful all over, eh?<br /><br /> FABRIZZIO<br /> And hair. Black and curly, like a<br /> doll. And such a mouth.<br /><br /> VITELLI does not laugh quite so much.<br /><br /> VITELLI<br /> Yes, we have beautiful girls here...<br /> but virtuous.<br /><br /> VITELLI is no longer drinking with them.<br /><br /> MICHAEL<br /> She wore a red dress, and a red<br /> ribbon in her hair. She looks more<br /> Greek than Italian. Do you know a<br /> beauty like that?<br /><br /> As MICHAEL describes her, VITELLI laughed less and less,<br /> until he wears a scowl.<br /><br /> VITELLI<br /> No.<br /><br /> Then he curtly leaves him, and walks into the back room.<br /><br /> FABRIZZIO<br /> God in Heaven, I think I<br /> understand...<br /><br /> He goes into the back room after the innkeeper. Then he<br /> returns.<br /><br /> FABRIZZIO<br /> Let's get out of here; he's boiling<br /> up his blood to do us mischief.<br /> It's his daughter.<br /><br /> They start to leave; but MICHAEL doesn't move.<br /><br /> CALO<br /> Come quickly.<br /><br /> MICHAEL<br /> Innkeeper. More wine!<br /><br /> FABRIZZIO<br /> (whispered)<br /> The old bastard mentioned two sons<br /> he only has to whistle up.<br /><br /> MICHAEL turns to FABRIZZIO with his cold authority.<br /><br /> MICHAEL<br /> Tell him to come to me.<br /><br /> The two BODYGUARDS shoulder their luparas, and disappear in<br /> a moment they return with the red-faced angry VITELLI<br /> between them.<br /><br /> MICHAEL<br /> (quietly)<br /> I understand I've offended you by<br /> talking about your daughter. I<br /> offer you my apologies, I'm a<br /> stranger in this country, I don't<br /> know the customs very well. Let me<br /> say this, I meant no disrespect to<br /> you or her...<br /><br /> CALO and FABRIZZIO are impressed.<br /><br /> VITELLI<br /> (shrugs)<br /> Who are you and what do you want<br /> from my daughter?<br /><br /> MICHAEL<br /> I am an American hiding in Sicily<br /> from the police of my country. My<br /> name is Michael. You can inform<br /> the police and make your fortune<br /> but then your daughter would lose a<br /> father rather than gain a husband.<br /> In any case, I want to meet your<br /> daughter. With your permission and<br /> under the supervision of your<br /> family. With all decorum. With<br /> all respect. I am an honorable man.<br /><br /> CALO and FABRIZZIO are stupefied; VITELLI pauses, and then<br /> asks:<br /><br /> VITELLI<br /> Are you a friend of the friends?<br /><br /> MICHAEL<br /> When the proper time comes, I'll<br /> tell you everything that a wife's<br /> father should know.<br /><br /> FABRIZZIO<br /> It's the real Thunderbolt, then.<br /><br /> VITELLI<br /> (formally)<br /> Come Sunday morning: My name is<br /> Vitelli and my house is up there on<br /> the hill, above the village.<br /><br /> MICHAEL<br /> Your daughter's name?<br /><br /> VITELLI<br /> Appolonia.<br /><br /> -------------------------------------FADE OUT-----------<br /><br /> EXT DAY: TOMMASSINO COURTYARD<br /><br /> MUSIC comes up; as MICHAEL, dressed in new clothes from<br /> Palermo, and carrying a stack of wrapped gifts, gets into an<br /> Alfa Romeo. CALO and FABRIZZIO each dressed in their Sunday<br /> best, are in the rear seat, huddled together, with their<br /> luparas on their shoulders.<br /><br /> DON TOMMASSINO waves them off, as the little car drives off,<br /> rocky and bouncing on the dirt road.<br /><br /> The Sunday churchbells ring.<br /><br /> --------------------------------------DISSOLVE----------<br /><br /> EXT DAY: VITELLI HOUSE<br /><br /> MICHAEL is presented to each of the Vitelli relatives, by<br /> the yard of their little hilltop house; the BROTHERS; the<br /> MOTHER, who is given a gift; several UNCLES and AUNTS.<br /> Finally APPOLONIA enters, dressed beautifully in appropriate<br /> Sunday clothing. Now he presents the wrapped gift to<br /> APPOLONIA. She looks at her MOTHER, who with a nod gives<br /> her permission to open it. She unwraps it. Her eyes light<br /> at the sight of a heavy gold chain; to be worn as a necklace.<br /><br /> She looks at him.<br /><br /> APPOLONIA<br /> Grazia.<br /><br /> --------------------------------------DISSOLVE----------<br /><br /> EXT DAY: VITELLI CAFE<br /><br /> Now the little Alpha drives into the village near VITELLI's<br /> cafe.<br /><br /> MICHAEL is, as ever, accompanied with his two BODYGUARDS,<br /> though they are all dressed differently.<br /><br /> They go up to the cafe...and sit with VITELLI, who is<br /> talking and talking.<br /><br /> MICHAEL looks at APPOLONIA; who sits, respectfully quiet.<br /> She wears the gold necklace around her neck.<br /><br /> --------------------------------------DISSOLVE----------<br /><br /> EXT DAY: HILLTOP NEAR VITELLI HOME<br /><br /> MICHAEL and APPOLONIA are walking through a hilltop path,<br /> seemingly alone, although a respectful distance apart.<br /><br /> As the VIEW PANS with them, we notice that her MOTHER and a<br /> half dozen AUNTS are twenty paces behind them, and ten paces<br /> further behind are CALO and FABRIZZIO, their luparas on<br /> their shoulders.<br /><br /> Further up the hill, APPOLONIA stumbles on a loose stone,<br /> and falls briefly onto MICHAEL's arm. She modestly regains<br /> her balance, and they continue walking.<br /><br /> Behind them, her MOTHER giggles to herself.<br /><br /> --------------------------------------DISSOLVE----------<br /><br /> EXT DAY: VITELLI VILLAGE CHURCH<br /><br /> Church bells in an ancient belfry ring out. Music, old and<br /> dissonant, plays.<br /><br /> There is a bridal procession in the street of the village;<br /> the same in feeling and texture as it might have been five<br /> hundred years ago.<br /><br /> Donkeys and other animals have been decorated with abundant<br /> flowers; children carrying candles and wearing white<br /> confirmation gowns walk in the procession, followed by<br /> countless townspeople, members of the clergy, even the police.<br /><br /> We present the entire bridal procession and ceremony with<br /> all the ritual and pageantry, as it has always been, in<br /> Sicily.<br /><br /> APPOLONIA is radiant as the Bride; MICHAEL is handsome<br /> despite the grotesque jaw and occasional white handkerchief.<br /><br /> --------------------------------------DISSOLVE----------<br /><br /> EXT NITE: VITELLI VILLAGE SQUARE<br /><br /> CALO and FABRIZZIO dance wildly through the night of the<br /> great wedding celebration. It is held in the Village<br /> Square; under the watchful eyes of SHEPHERDS above on the<br /> tops of buildings, carrying luparas.<br /><br /> --------------------------------------DISSOLVE----------<br /><br /> INT NITE: MICHAEL'S ROOM IN VILLA<br /><br /> MICHAEL opens the shutters in his darkened room; moonlight<br /> fills the room.<br /><br /> He turns, and there, in her wedding slip, is APPOLONIA. A<br /> little frightened; but lovely.<br /><br /> He moves to her; and for a moment just stands before her,<br /> looking at her incredible face; her lovely hair and body.<br /><br /> Slowly and tenderly he kisses her. Her tiny hands come up<br /> to his face; touch his cheek and embrace him.<br /><br /> She lets her bridal slip fall to the floor.<br /><br /> --------------------------------------FADE OUT----------<br /><br /> INT DAY: MICHAEL'S ROOM AT VILLA<br /><br /> Morning. MICHAEL sits on the window ledge, gazing into the<br /> room.<br /><br /> APPOLONIA is asleep; she is naked, and only partially<br /> covered by the bedsheets.<br /><br /> He looks at her for a long time in the early morning light.<br /><br /> EXT DAY: TOMMASSINO COURTYARD<br /><br /> HIGH ANGLE ON DON TOMMASSINO'S VILLA<br /><br /> We HEAR girlish laughter; the little Alpha is driving<br /> erratically, knocking down an occasional wall, and almost<br /> hitting th inner court wall.<br /><br /> APPOLONIA is laughing, driving. MICHAEL pretends to be<br /> frightened, as he teaches her to drive.<br /><br /> Outside the walls, we notice SHEPHERDS with luparas, walking<br /> guard duty.<br /><br /> The car stops and a laughing MICHAEL gets out.<br /><br /> MICHAEL<br /> It's safer to teach you English.<br /><br /> APPOLONIA<br /> Monday, Tuesday, Wednesday,<br /> Thursday, Friday...See, I learned<br /> it. Now teach me to drive!<br /><br /> DON TOMMASSINO enters the Courtyard. He seems tired and<br /> concerned.<br /><br /> MICHAEL<br /> Ciao, Don Tommassino.<br /><br /> APPOLONIA kisses him.<br /><br /> MICHAEL<br /> Things went badly in Palermo?<br /><br /> DON TOMMASSINO<br /> The younger men have no respect.<br /> Things are changing; I don't know<br /> what will happen. Michael, because<br /> of the wedding, people now know<br /> your name.<br /><br /> MICHAEL<br /> Is that why there are more men on<br /> the walls?<br /><br /> DON TOMMASSINO<br /> Even so, I don't think it is safe<br /> here anymore. I've made plans to<br /> move you to a villa near Siracuse.<br /> You must go right away.<br /><br /> MICHAEL<br /> What is it?<br /><br /> DON TOMMASSINO<br /> Bad news from America. Your<br /> brother, Santino. He has been<br /> killed.<br /><br /> For a moment, the whole world of New York, Sollozzo, the<br /> Five Family War, all comes back to MICHAEL.<br /><br /> EXT DAY: VILLA COURTYARD<br /><br /> Morning. MICHAEL leans out of the bedroom window.<br /><br /> Below, FABRIZZIO is sitting in one of the garden chairs,<br /> combing his thick hair.<br /><br /> MICHAEL whistles and FABRIZZIO looks up to his window.<br /><br /> MICHAEL<br /> Get the car. I'll be leaving in<br /> ten minutes. Where's Calo?<br /><br /> FABRIZZIO<br /> Calo is having a cup of coffee in<br /> the kitchen. Is your wife coming<br /> with you?<br /><br /> MICHAEL<br /> No, she's going home to her family.<br /> She'll join me in a few weeks...<br /><br /> INT DAY: VILLA KITCHEN<br /><br /> MICHAEL, dressed, crosses from the hallway, and into the<br /> kitchen. CALO is just finishing a bite. He rises when he<br /> sees MICHAEL.<br /><br /> CALO<br /> Should I get your bag?<br /><br /> MICHAEL<br /> No, I'll get it. Where's Appolonia?<br /><br /> CALO<br /> (smiling)<br /> She is sitting in the driver's seat<br /> of the car, dying to step on the<br /> gas. She'll be a real American<br /> woman before she gets to America.<br /><br /> MICHAEL smiles.<br /><br /> MICHAEL<br /> Tell Fabrizzio and wait for me in<br /> the car.<br /><br /> He leaves the kitchen, after a quick sip of coffee.<br /><br /> He looks out from the opening in the doorway.<br /><br /> EXT DAY: VILLA COURTYARD<br /><br /> There is the car, with APPOLONIA sitting in the driver's<br /> seat, playing with the wheel like a child.<br /><br /> CALO moves to the car, and puts a lunch basket in the rear<br /> seat.<br /><br /> Then MICHAEL seems disturbed.<br /><br /> Over, on the other side of the courtyard, he sees FABRIZZIO<br /> disappear through the gate.<br /><br /> MICHAEL<br /> (muttering to himself)<br /> Where the hell is he going?<br /><br /> MICHAEL goes down the hallway, and outside.<br /><br /> MICHAEL steps out into the bright sunlight of the outer<br /> courtyard, causing him to shade his eyes.<br /><br /> APPOLONIA sees him, and waves, motioning that he should stay<br /> where he is.<br /><br /> APPOLONIA<br /> (calling out)<br /> I'll drive to you.<br /><br /> He smiles affectionately.<br /><br /> CALO stands beside the car, smiling, with his lupara dangling<br /> by his side. There is no sight of FABRIZZIO. Suddenly the<br /> smile fades from MICHAEL's face. He steps forward and holds<br /> out his hand.<br /><br /> MICHAEL<br /> No. No!<br /><br /> His shout is drowned in the roar of a tremendous EXPLOSION,<br /> as she switched on the ignition.<br /><br /> Part of the wall is caved in, the kitchen door is blown off;<br /> and there is nothing left of the Alpha, or of Appolonia.<br /><br /> MICHAEL is thrown against the wall, and knocked unconscious.<br /><br /> INT DAY: VILLA BEDROOM<br /><br /> MICHAEL is unconscious in a darkened room. We hear<br /> whispering around him, but can't make any of it out. A soft<br /> cloth is applied to his face; gradually his eyes open. DON<br /> TOMMASSINO is there, close to him. He looks at them and<br /> from their grave expressions, he knows his wife is dead.<br /><br /> MICHAEL<br /> Fabrizzio. Let your shepherds know<br /> that the one who gives me Fabrizzio<br /> will own the finest pastures in<br /> Sicily.<br /><br /> --------------------------------------FADE OUT----------<br /><br /> FADE IN:<br /><br /> EXT DAY: MALL (SPRING 1951)<br /><br /> Easter.<br /><br /> A HIGH VIEW ON THE CORLEONE MALL in the springtime. Hordes<br /> of little CHILDREN including many of the Corleone Children<br /> and Grandchilren, rush about carrying little Easter baskets,<br /> searching here and there for candy treasures and hidden<br /> Easter eggs.<br /><br /> The DON himself, much older, much smaller in size, wearing<br /> baggy pants and a plaid shirt and an old hat, moves around<br /> his garden, tending rows and rows of rich tomato plants.<br /><br /> Suddenly, he stops and looks.<br /><br /> MICHAEL stands there, still holding his suitcase.<br /><br /> Great emotion comes over the DON, who takes a few steps in<br /> MICHAEL's direction.<br /><br /> MICHAEL leaves his suitcase and walks to his favorite son<br /> and embraces him.<br /><br /> DON CORLEONE<br /> Be my son...<br /><br /> INT DAY: THE OLIVE OIL FACTORY<br /><br /> DON CORLEONE leads MICHAEL through the corridors of the<br /> building.<br /><br /> DON CORLEONE<br /> This old building has seen its day.<br /> No way to do business...too small,<br /> too old.<br /><br /> They enter the DON's glass-panelled office.<br /><br /> DON CORLEONE<br /> Have you thought about a wife? A<br /> family?<br /><br /> MICHAEL<br /> (pained)<br /> No.<br /><br /> DON CORLEONE<br /> I understand, Michael. But you<br /> must make a family, you know.<br /><br /> MICHAEL<br /> I want children, I want a family.<br /> But I don't know when.<br /><br /> DON CORLEONE<br /> Accept what's happened, Michael.<br /><br /> MICHAEL<br /> I could accept everything that's<br /> happened; I could accept it, but<br /> that I never had a choice. From<br /> the time I was born, you had laid<br /> this all out for me.<br /><br /> DON CORLEONE<br /> No, I wanted other things for you.<br /><br /> MICHAEL<br /> You wanted me to be your son.<br /><br /> DON CORLEONE<br /> Yes, but sons who would be<br /> professors, scientists,<br /> musicians...and grandchildren who<br /> could be, who knows, a Governor, a<br /> President even, nothing's impossible<br /> here in America.<br /><br /> MICHAEL<br /> Then why have I become a man like<br /> you?<br /><br /> DON CORLEONE<br /> You are like me, we refuse to be<br /> fools, to be puppets dancing on a<br /> string pulled by other men. I<br /> hoped the time for guns and killing<br /> and massacres was over. That was<br /> my misfortune. That was your<br /> misfortune. I was hunted on the<br /> streets of Corleone when I was<br /> twelve years old because of who my<br /> father was. I had no choice.<br /><br /> MICHAEL<br /> A man has to choose what he will be.<br /> I believe that.<br /><br /> DON CORLEONE<br /> What else do you believe in?<br /><br /> MICHAEL doesn't answer.<br /><br /> DON CORLEONE<br /> Believe in a family. Can you<br /> believe in your country? Those<br /> Pezzonovante of the State who<br /> decide what we shall do with our<br /> lives? Who declare wars they wish<br /> us to fight in to protect what they<br /> own. Do you put your fate in the<br /> hands of men whose only talent is<br /> that they tricked a bloc of people<br /> to vote for them? Michael, in five<br /> years the Corleone family can be<br /> completely legitimate. Very<br /> difficult things have to happen to<br /> make that possible. I can't do<br /> them anymore, but you can, if you<br /> choose to.<br /><br /> MICHAEL listens.<br /><br /> DON CORLEONE<br /> Believe in a family; believe in a<br /> Code of Honor, older and higher,<br /> believe in Roots that go back<br /> thousands of years into your Race.<br /> Make a family, Michael, and protect<br /> it. These are our affairs, sono cosa<br /> nostra, Governments only protect<br /> men who have their own individual<br /> power. Be one of those men...you<br /> have the choice.<br /><br /> --------------------------------------FADE OUT----------<br /><br /> EXT DAY: STOCK FOOTAGE LAS VEGAS (1955)<br /><br /> A MOVING VIEW, driving up the Las Vegas Strip of 1955.<br /><br /> FREDO (O.S.)<br /> There's a new one. Construction<br /> going on everywhere.<br /><br /> MORE VIEWS, showing new hotels and casinos being built; the<br /> bill marquees read: "MARTIN AND LEWIS", "PATTI PAGE", etc.<br /><br /> FREDO (O.S.)<br /> That's one of the family's new ones.<br /> Not bad, eh?<br /><br /> EXT DAY: FLAMINGO (1955)<br /><br /> The car pulls up at the Flamingo Hotel.<br /><br /> Inside the car: MICHAEL, FREDO, TOM HAGEN and a new man,<br /> NERI, quiet and sinister.<br /><br /> MICHAEL<br /> Why didn't Moe Green meet us at the<br /> airport?<br /><br /> FREDO<br /> He had business at the hotel, but<br /> he'll drop in for dinner.<br /><br /> From the expression on MICHAEL's face we know this is a<br /> discourtesy.<br /><br /> INT DAY: FLAMINGO HOTEL SUITE (1955)<br /><br /> A whole entourage precedes FREDO and his V.I.P. party of<br /> MICHAEL, HAGEN and NERI. Great fuss is made. They are<br /> being shown into the hotel's 'special' suite.<br /><br /> FREDO<br /> You look wonderful, kid; really<br /> wonderful. That doctor did some<br /> job on your face.<br /><br /> MICHAEL<br /> You look good, too.<br /><br /> They enter the suite.<br /><br /> FREDO<br /> Nice, eh?<br /><br /> FREDO is as excited as a kid, snapping orders at the<br /> bellboys, waiters and maids.<br /><br /> FREDO<br /> (hurrying into the bedroom)<br /> Kid, take a look-see.<br /><br /> MICHAEL gives a look to HAGEN, and continues into the bedroom.<br /><br /> There is an enormous circular bed on a huge platform,<br /> mirrors to each side. FREDO points upward.<br /><br /> A VIEW into a large CEILING mirror.<br /><br /> FREDO<br /> Ever seen anything like that before?<br /><br /> MICHAEL<br /> (dryly)<br /> No.<br /><br /> INT NITE: FLAMINGO SUITE BEDROOM (1955)<br /><br /> MICHAEL is alone in the bedroom. He is just finishing<br /> dressing; he puts on his jacket. From the window, with the<br /> lights blinking, we can tell it's late at night. MICHAEL<br /> passes into the other room.<br /><br /> He stops, looks. He is disturbed.<br /><br /> INT NITE: FLAMINGO SUITE (1955)<br /><br /> A magnificent, circular table has been set up in his suite;<br /> a lavish table setting for eight. Standing by the table are<br /> HAGEN, JOHNNY FONTANE, looking wonderful, a little heavier,<br /> beautifully dressed; FREDO, a dandy, and TWO LAS VEGAS GIRLS.<br /> NERI stands quietly by the door.<br /><br /> FREDO<br /> Mike! The party starting!<br /><br /> MICHAEL<br /> Come here a minute, Fredo.<br /><br /> FREDO goes to him, a big smile all over his face.<br /><br /> MICHAEL<br /> Who are those girls?<br /><br /> FREDO<br /> (jokingly)<br /> That's for you to find out.<br /><br /> MICHAEL<br /> Give them some money and send them<br /> home.<br /><br /> FREDO<br /> Mike!<br /><br /> MICHAEL<br /> Get rid of them...<br /><br /> INT NITE: FLAMINGO SUITE (1955)<br /><br /> They are seated around the lavish table in Michael's suite.<br /> MICHAEL is speaking to JOHNNY.<br /><br /> MICHAEL<br /> Johnny, the Corleone family is<br /> thinking of selling out all our<br /> interests in the Olive Oil business<br /> and settling here. Moe Greene will<br /> sell us his interest so it can be<br /> wholly owned by friends of the<br /> family.<br /><br /> FREDDIE seems anxious.<br /><br /> FREDO<br /> Mike, you sure about Moe selling.<br /> He never mentioned it to me and he<br /> loves the business.<br /><br /> MICHAEL<br /> I'll make him an offer he can't<br /> refuse.<br /><br /> MICHAEL turns to JOHNNY.<br /><br /> MICHAEL<br /> Johnny, the Don wants you to help<br /> us get started. We figure<br /> entertainment will be the big<br /> factor in drawing gamblers. We<br /> hope you'll sign a contract to<br /> appear five times a year for maybe<br /> a week long engagement.<br /> We hope your friends in the movies<br /> will do the same. We count on you<br /> to convince them.<br /><br /> JOHNNY<br /> Sure, I'll do anything for my<br /> Godfather. You know that, Mike.<br /><br /> There is knock on the door. NERI rises, looks at MICHAEL,<br /> who nods. NERI opens the door, and MOE GREENE enters,<br /> followed by TWO BODYGUARDS. He is a handsome hood, dressed<br /> in the Hollywood style. His BODYGUARDS are more West Coast<br /> style.<br /><br /> MOE<br /> Mike, good to see you. Got<br /> everything you want?<br /><br /> MICHAEL<br /> Thanks.<br /><br /> MOE<br /> The chef cooked for you special;<br /> the dancers will kick your tongue<br /> out and you credit is good!<br /> (to his BODYGUARDS)<br /> Draw chips for all these people so<br /> they can play on the house.<br /><br /> MICHAEL<br /> Is my credit good enough to buy you<br /> out?<br /><br /> MOE laughs.<br /><br /> MOE<br /> Buy me out?...<br /><br /> MICHAEL<br /> The hotel, the casino. The Corleone<br /> family wants to buy you out.<br /><br /> GREENE stops laughing; the room becomes tense. NERI eyes<br /> the BODYGUARDS.<br /><br /> MOE<br /> (furious)<br /> The Corleone family wants to buy me<br /> out. I buy you out. You don't buy<br /> me out.<br /><br /> MICHAEL<br /> Your casino loses money. Maybe we<br /> can do better.<br /><br /> MOE<br /> You think I scam?<br /><br /> MICHAEL<br /> (the worst insult)<br /> You're unlucky.<br /><br /> MOE<br /> You goddamn dagos. I do you a<br /> favor and take Freddie in when<br /> you're having a bad time, and then<br /> you try to push me out.<br /><br /> MICHAEL<br /> You took Freddie in because the<br /> Corleone family bankrolled your<br /> casino. You and the Corleone<br /> family are evened out. This is for<br /> business; name your price.<br /><br /> MOE<br /> The Corleone family don't have that<br /> kind of muscle anymore. The<br /> Godfather is sick. You're getting<br /> chased out of New York by Barzini<br /> and the other families, and you<br /> think you can find easier pickings<br /> here. I've talked to Barzini; I<br /> can make a deal with him and keep<br /> my hotel!<br /><br /> MICHAEL<br /> (quietly, deadly)<br /> Is that why you thought you could<br /> slap Freddie around in public?<br /><br /> FREDO<br /> (his face turns red)<br /> Ah Mike, that was nothing. Moe<br /> didn't mean anything. He flies off<br /> the handle sometimes; but me and<br /> him are good friends. Right, Moe?<br /><br /> MOE<br /> Yeah sure. Sometimes I gotta kick<br /> asses to make this place run right.<br /> Freddie and I had a little argument<br /> and I had to straighten him out.<br /><br /> MICHAEL<br /> You straightened my brother out?<br /><br /> MOE<br /> Hell, he was banging cocktail<br /> waitresses two at a time. Players<br /> couldn't get a drink.<br /><br /> MICHAEL rises from his chair, and says in a tone of dismissal:<br /><br /> MICHAEL<br /> I have to go back to New York<br /> tomorrow. Think of your price.<br /><br /> MOE<br /> You son of a bitch, you think you<br /> can brush me off like that? I made<br /> my bones when you were going out<br /> with cheerleaders.<br /><br /> FREDO<br /> (frightened)<br /> Tom, you're the Consigliere; you<br /> can talk to the Don and advise him.<br /><br /> MICHAEL<br /> The Don has semi-retired. I'm<br /> running the Family business now.<br /> So anything you have to say, say it<br /> to me.<br /><br /> Nobody answers. MICHAEL nods to NERI, who opens the door.<br /> MOE exits angrily.<br /><br /> MICHAEL<br /> Freddie, you're my older brother.<br /> I love you. But don't ever take<br /> sides with anybody against the<br /> Family again.<br /><br /> EXT DAY: N.Y. AIRPORT (1955)<br /><br /> KAY sits in the back of a limousine parked by the Newark<br /> AIRPORT. ROCCO LAMPONE is leaning against it.<br /><br /> She has a little three year old boy; MICHAEL's son, who<br /> plays with a cardboard bird on a string.<br /><br /> Two other cars are stationed discreetly, with men we have<br /> learned to tell are bodyguards.<br /><br /> MICHAEL, HAGEN and NERI exit the airport with TWO NEGRO<br /> PORTERS carrying luggage.<br /><br /> NERI sees something, and taps MICHAEL on the shoulder.<br /><br /> MICHAEL turns, and sees KAY.<br /><br /> LAMPONE opens the car door; KAY steps out with the BOY, and<br /> MICHAEL embraces her, and kisses his son. Automatically,<br /> the luggage is put in. NERI replaces LAMPONE as the driver;<br /> and LAMPONE joins the other men. HAGEN gets into one of the<br /> other cars.<br /><br /> And the limo drives off, preceded and followed by the other<br /> sedans.<br /><br /> INT DAY: LIMO (1955)<br /><br /> The little BOY looks out the window as they drive.<br /><br /> MICHAEL<br /> I have to see my father and his<br /> people when we get back to the Mall.<br /><br /> KAY<br /> Oh Michael.<br /><br /> MICHAEL<br /> We'll go to the show tomorrow<br /> night--we can change the tickets.<br /><br /> KAY<br /> Don't you want dinner first?<br /><br /> MICHAEL<br /> No, you eat...don't wait up for me.<br /><br /> KAY<br /> Wake me up when you come to bed?<br /><br /> The little BOY flies his cardboard bird out of the speeding<br /> limousine window.<br /><br /> EXT DAY: MALL (1955)<br /><br /> The limousine arrives at the Mall. We are inside.<br /><br /> KAY<br /> Your sister wants to ask you<br /> something.<br /><br /> MICHAEL<br /> Let HER ask.<br /><br /> NERI opens the door. KAY wants to talk just a little more.<br /><br /> KAY<br /> She's afraid to. Michael...<br /><br /> MICHAEL nods to NERI; who gives them their privacy a moment<br /> longer.<br /><br /> KAY<br /> Why are you so cold to her and<br /> Carlo? They live with us on the<br /> Mall now, but you never get close<br /> to them.<br /><br /> MICHAEL<br /> I'm busy.<br /><br /> KAY<br /> Connie and Carlo want you to be<br /> godfather to their little boy.<br /><br /> NERI opens the door; MICHAEL starts to get out; KAY too.<br /><br /> He smiles at her, tired, and a little sad.<br /><br /> KAY<br /> Will you?<br /><br /> MICHAEL<br /> Let me think about it, O.K.?<br /><br /> She smiles; MICHAEL goes with NERI to the Main House; KAY<br /> and the little BOY move to the house that was Sonny's.<br /><br /> INT DAY: DON'S OFFICE (1955)<br /><br /> VIEW ON DON CORLEONE, much older, much smaller in size. He<br /> wears baggy pants, and a warm plaid shirt. He sits in a<br /> chair, gazing out through the window, into the garden.<br /><br /> TESSIO (O.S.)<br /> Barzini's people chisel my territory<br /> and we do nothing about it. Pretty<br /> soon there won't be one place in<br /> Brooklyn I can hang my hat.<br /><br /> MICHAEL (O.S.)<br /> Just be patient.<br /><br /> TESSIO<br /> I'm not asking you for help, Mike.<br /> Just take off the handcuffs.<br /><br /> MICHAEL (O.S.)<br /> Be patient.<br /><br /> CLEMENZA (O.S.)<br /> We gotta fight sometime. Let us at<br /> least recruit our regimes to full<br /> strength.<br /><br /> MICHAEL (O.S.)<br /> No, I don't want to give Barzini an<br /> excuse to start fighting.<br /><br /> TESSIO (O.S.)<br /> Mike, you're wrong.<br /><br /> CLEMENZA (O.S.)<br /> Don Corleone...Don Corleone.<br /><br /> The OLD MAN looks up. CLEMENZA stand before him in the Den.<br /> Beside him is an anxious TESSIO. NERI stands by the door;<br /> HAGEN is seated; MICHAEL sits behind the big desk.<br /><br /> CLEMENZA<br /> You said there would come a day<br /> when Tessio and me could form our<br /> own Families. Only with your<br /> benediction, of course. I ask<br /> permission...<br /><br /> DON CORLEONE<br /> My son is head of the Family now.<br /> If you have his permission, you<br /> have my good will.<br /><br /> MICHAEL<br /> In six months you can break off<br /> from the Corleone Family and go on<br /> your own. Carlo, I'm counting on<br /> you to make the move to Nevada;<br /> you'll be my right-hand man out<br /> there. Tom Hagen is no longer the<br /> Consigliere.<br /><br /> Everyone is a bit surprised; look to see HAGEN's reaction.<br /> He remains inexpressive.<br /><br /> MICHAEL<br /> He's going to be our lawyer in<br /> Vegas. Nobody goes to him with any<br /> other business as of now, this<br /> minute. No reflection on Tom;<br /> that's the way I want it. Besides,<br /> if I ever need any advice, who's a<br /> better Consigliere than my father.<br /><br /> CLEMENZA<br /> Then in a six month time we're on<br /> our own; is that it?<br /><br /> MICHAEL<br /> Maybe less...<br /><br /> TESSIO<br /> Let us fill up our Regimes.<br /><br /> MICHAEL<br /> No. I want things very calm for<br /> another six months.<br /><br /> TESSIO<br /> Forgive me, Godfather, let our<br /> years of friendship be my excuse.<br /> How can you hope for success there<br /> without your strength here to back<br /> you up? The two go hand in hand.<br /> And with you gone from here the<br /> Barzini and the Tattaglias will be<br /> too strong for us.<br /><br /> CLEMENZA<br /> And I don't like Barzini. I say<br /> the Corleone Family has to move<br /> from strength, not weakness. We<br /> should build our Regimes and take<br /> back our lost territories in Staten<br /> Island, at least.<br /><br /> DON CORLEONE<br /> Do you have faith in my judgement?<br /><br /> CLEMENZA<br /> Yes, Godfather...<br /><br /> DON CORLEONE<br /> Then do what Michael says...<br /><br /> MICHAEL<br /> All I can say is that things are<br /> being resolved that are more<br /> effective than a thousand buttonmen<br /> on the streets. Understood?<br /><br /> There are uneasy looks all around.<br /><br /> CARLO<br /> Understood. I just wish I was<br /> doing more to help out.<br /><br /> MICHAEL<br /> I'll come to you when I need you.<br /><br /> He looks at CLEMENZA, TESSIO and HAGEN. They all nod,<br /> reluctantly.<br /><br /> MICHAEL<br /> All right, then it's resolved.<br /><br /> NERI knows the meeting is over, he opens the Den's door.<br /><br /> CLEMENZA and TESSIO pay their respects to the DON and leave,<br /> then CARLO. NERI watches CARLO as he walks down the<br /> corridor, casting a nervous look back at the sinister man.<br /><br /> Then NERI closes the door.<br /><br /> MICHAEL relaxes.<br /><br /> HAGEN<br /> Mike, why are you cutting me out of<br /> the action?<br /><br /> MICHAEL<br /> Tom, we're going to be legitimate<br /> all the way, and you're the legal<br /> man. What could be more important<br /> than that.<br /><br /> HAGEN<br /> I'm not talking about that. I'm<br /> talking about Rocco Lampone building<br /> a secret regime. Why does Neri<br /> report directly to you, rather than<br /> through me or a caporegime?<br /><br /> DON CORLEONE<br /> I told you that it wouldn't escape<br /> his eye.<br /><br /> MICHAEL<br /> How did you find out?<br /><br /> HAGEN<br /> Bookkeepers know everything.<br /> Rocco's men are all a little too<br /> good for the jobs they're supposed<br /> to be doing. They get a little<br /> more money than the job's worth.<br /> (pause)<br /> Lampone's a good man; he's operating<br /> perfectly.<br /><br /> MICHAEL<br /> Not so perfectly if you noticed.<br /><br /> HAGEN<br /> Mike, why am I out?<br /><br /> MICHAEL<br /> You're not a wartime Consigliere.<br /> Things may get tough with the move<br /> we're trying.<br /><br /> HAGEN<br /> OK, but then I agree with Tessio.<br /> You're going about it all wrong;<br /> you're making the move out of<br /> weakness... Barzini's a wolf, and<br /> if he tears you apart, the other<br /> families won't come running to help<br /> the Corleones...<br /><br /> DON CORLEONE<br /> Tom, I never thought you were a bad<br /> Consigliere, I thought Santino a<br /> bad Don, rest in peace. He had a<br /> good heart but he wasn't the right<br /> man to head the family when I had<br /> my misfortune. Michael has all my<br /> confidence, as you do. For reasons<br /> which you can't know, you must have<br /> no part in what will happen.<br /><br /> HAGEN<br /> Maybe I can help.<br /><br /> MICHAEL<br /> (coldly)<br /> You're out, Tom.<br /><br /> TOM pauses, thinks...and then he nods in acquiescence. TOM<br /> leaves.<br /><br /> MICHAEL looks at NERI.<br /><br /> MICHAEL<br /> I'm going to talk to my father.<br /><br /> NERI nods, and then leaves. The DON opens the doors,<br /> breathes in the air, and steps outside.<br /><br /> EXT DAY: THE GARDEN (1955)<br /><br /> DON CORLEONE<br /> I see you have your Luca Brasi.<br /><br /> MICHAEL<br /> I'll need him.<br /><br /> DON CORLEONE<br /> There are men in this world who<br /> demand to be killed. They argue in<br /> gambling games; they jump out of<br /> their cars in a rage if someone so<br /> much as scratches their fender.<br /> These people wander through the<br /> streets calling out "Kill me, kill<br /> me." Luca Brasi was like that.<br /> And since he wasn't scared of<br /> death, and in fact, looked for<br /> it...I made him my weapon. Because<br /> I was the only person in the world<br /> that he truly hoped would not kill<br /> him. I think you have done the<br /> same with this man.<br /><br /> They walk through the DON's vegetable garden. Tomatoes,<br /> peppers, carefully tended, and covered with a silky netting.<br /> MICHAEL follows; the DON turns and looks at him. Then<br /> stoops over to right a tomato plant that had been pushed over.<br /><br /> DON CORLEONE<br /> Barzini will move against you first.<br /><br /> MICHAEL<br /> How?<br /><br /> DON CORLEONE<br /> He will get in touch with you<br /> through someone you absolutely<br /> trust. That person will arrange a<br /> meeting, guarantee your safety...<br /><br /> He rises, and looks at Michael...<br /><br /> DON CORLEONE<br /> ...and at that meeting you will be<br /> assassinated.<br /><br /> The DON walks on further.<br /><br /> DON CORLEONE<br /> Your wife and children...you're<br /> happy with them?<br /><br /> MICHAEL<br /> Yes.<br /><br /> DON CORLEONE<br /> Good.<br /><br /> MICHAEL wants to express something...hesitates, then:<br /><br /> MICHAEL<br /> I've always respected you...<br /><br /> A long silence. The DON smiles at MICHAEL.<br /><br /> DON CORLEONE<br /> And I...you.<br /><br /> EXT DAY: CHURCH (1955)<br /><br /> KAY and MAMA walking from the black car that has just left<br /> them off.<br /><br /> KAY<br /> How is your husband feeling?<br /><br /> MAMA<br /> He's not the same since they shot<br /> him. He lets Michael do all the<br /> work. He just plays the fool with<br /> his garden, his peppers, his<br /> tomatoes, as if he was some peasant<br /> still. But men are like that...<br /><br /> She stops toward the Church.<br /><br /> MAMA<br /> You come in, too.<br /><br /> KAY shakes her head.<br /><br /> MAMA<br /> The Priest ain't gonna bite you<br /> cause you're not Catholic.<br /> (whispered)<br /> He's in the back drinkin' his wine.<br /><br /> KAY laughs and follows MAMA up the steps of the Church.<br /> They enter.<br /><br /> INT DAY: CHURCH (1955)<br /><br /> Inside the Church, KAY watches as MAMA blesses herself from<br /> the holy water.<br /><br /> MAMA<br /> You can.<br /><br /> Tentatively, KAY dips her fingers into the water, and<br /> blesses herself. Then SHE follows MAMA down the aisle, in<br /> awe at the high ceiling, the art, the windows, and finally<br /> the Altar.<br /><br /> MAMA stops by the impressive tiers of candles. There is a<br /> large coin box for those who wish to pay for lighting<br /> candles. MAMA fumbles in her purse for change; KAY gives<br /> her some.<br /><br /> MAMA drops the coins in the box, one by one; then takes the<br /> taper, and in a pattern known only to her, and with great<br /> dignity, she closes her eyes, says a prayer, and then lights<br /> twenty candles.<br /><br /> She finishes, and bows her head.<br /><br /> EXT DAY: BONASERA'S FUNERAL HOME<br /><br /> Very few people in the streets. TOTAL SILENCE. But black<br /> flower cars as far as the eye can see, for blocks and blocks.<br /> An expression of respect, of honor and fear that is enormous.<br /> Certainly no more could be done for a President or a King.<br /><br /> Each car carries an elaborate floral decoration. We show<br /> these in detail; and the flowered messages: "A Benefactor to<br /> Mankind", "He Knew and Pitied"..."Our Don Our Leader"..."The<br /> Sacred Heart"...<br /><br /> EXT DAY: MALL (1955)<br /><br /> HIGH ANGLE ON THE CORLEONE MALL<br /><br /> Silence.<br /><br /> The flower cars, funeral limousines, and private cars fill<br /> all the areas attendant to the Corleone residence.<br /><br /> Hundreds of people fill the Mall, reminiscent in size of the<br /> wedding of Connie and Carlo; of course, now the mood is<br /> somber and respectful.<br /><br /> MICHAEL, MAMA, FREDO and HAGEN stand by the flowered platform<br /> which holds the ornate coffin. We cannot see the remains of<br /> Don Corleone.<br /><br /> BONASERA is nearby, ready to do service to the bereaved<br /> family. One by one the mourners come by, weeping, or merely<br /> with grave expressions; pay their respects and continue on.<br /><br /> The VIEW ALTERS,<br /><br /> and we see that the line is endless. JOHNNY FONTANE, tears<br /> openly falling, takes his turn.<br /><br /> Children are taken by the hand, and lifted for their last<br /> look at the great man.<br /><br /> CLEMENZA whispers into the ear of LAMPONE. LAMPONE<br /> immediately arranges for the members of the Five New York<br /> Families to pay their respects.<br /><br /> First CUNEO, then STRACHI and then ZALUCHI. Then PHILIP<br /> TATTAGLIA, who merely passes by the Coffin.<br /><br /> Then BARZINI in a black homburg, standing a long time.<br /><br /> MICHAEL watches the scene.<br /><br /> BARZINI crosses himself and passes on, immediately rejoined<br /> by his men.<br /><br /> As BARZINI leaves, it seems as though everyone is fawning on<br /> him; perhaps asking for favors: But at any rate, it is clear<br /> from the doors opened for him, the cigars lit for him, that<br /> he is the new Capo di Capi--the place formerly held by Don<br /> Corleone.<br /><br /> MICHAEL watches silently.<br /><br /> BARZINI is searching for somebody with his eyes. First<br /> CLEMENZA. Then TESSIO.<br /><br /> CONNIE rushes into MICHAEL's arms, tears in her eyes. He<br /> embraces and comforts her.<br /><br /> Everywhere MICHAEL goes, NERI is a few feet away--watching<br /> all who come close to him.<br /><br /> EXT DAY: MALL (LATER)<br /><br /> Later on the Mall; some people have left, although there are<br /> still hundreds of mourners.<br /><br /> A young GIRL approaches TESSIO. She's about 18.<br /><br /> GIRL<br /> Do you remember me?<br /><br /> TESSIO<br /> No...<br /><br /> GIRL<br /> We danced together at Connie's<br /> wedding.<br /><br /> TESSIO makes a gesture, which is to say 'How you've grown',<br /> and they move though the crowd, looking for Michael. He<br /> finds him.<br /><br /> TESSIO<br /> Mike, could I have a minute?<br /><br /> MIKE; nods; and they move to a private place. NERI is close<br /> by.<br /><br /> TESSIO<br /> Barzini wants to arrange a meeting.<br /> Says we can straighten any of our<br /> problems out.<br /><br /> MICHAEL<br /> He talked to you?<br /><br /> TESSIO<br /> (nods)<br /> I can arrange security.<br /><br /> MICHAEL looks at him.<br /><br /> EXT DAY: CEMETERY (1955)<br /><br /> The Cemetery. Late day.<br /><br /> The hundreds of cars, limousines and flower cars line the<br /> stone wall that surrounds this Italian-Catholic cemetary in<br /> Queens Village.<br /><br /> Hundreds of people stand in a cluster; others watch; take<br /> pictures, etc.<br /><br /> MICHAEL stands with his family, his MOTHER...and TOM HAGEN.<br /><br /> MICHAEL<br /> (softly)<br /> Christ, Tom; I needed more time<br /> with him. I really needed him.<br /><br /> HAGEN<br /> Did he give you his politicians?<br /><br /> MICHAEL<br /> Not all...I needed another four<br /> months and I would have had them<br /> all.<br /> (he looks at TOM)<br /> I guess you've figured it all out?<br /><br /> HAGEN<br /> How will they come at you?<br /><br /> MICHAEL<br /> I know now.<br /> (a passion wells up<br /> inside of MICHAEL)<br /> I'll make them call me Don.<br /><br /> HAGEN<br /> Have you agreed on a meeting?<br /><br /> MICHAEL<br /> (nods)<br /> A week from tonight. In Brooklyn<br /> on Tessio's ground, where I'll be<br /> safe.<br /><br /> HAGEN looks at him; understands.<br /><br /> MICHAEL<br /> But after the Baptism. I've<br /> decided to stand as godfather to<br /> Connie's baby.<br /><br /> They look up.<br /><br /> The coffin is lowered into an excavation, behind which<br /> stands an enormous stone monument; it is of a weeping angel,<br /> with the bold inscription: CORLEONE.<br /><br /> ---------------------------------------FADE OUT---------<br /><br /> FADE IN:<br /><br /> INT DAY: NERI'S APT. (1955)<br /><br /> ALBERT NERI moves around in his small Corona Apartment; he<br /> pulls a small trunk from under his bed. He opens it, and we<br /> see in it, nearly folded, a New York City Policeman's<br /> uniform. He takes it out piece by piece, almost reverently.<br /> Then the badge, and the identification card; with his<br /> picture on it. Slowly, in the solitude of his room, he<br /> begins to dress.<br /><br /> INT DAY: MICHAEL'S BEDROOM (1955)<br /><br /> MICHAEL and KAY are getting dressed for the christening in<br /> their room. MICHAEL looks very well; very calm; KAY is<br /> beginning to take on a matronly look.<br /><br /> INT DAY: MOTEL ROOM (1955)<br /><br /> In a Long Island motel.<br /><br /> ROCCO LAMPONE carefully disassembles a revolver; oils it,<br /> checks it, and puts it back together.<br /><br /> EXT DAY: CLEMENZA'S HOUSE (1955)<br /><br /> PETER CLEMENZA about to get in his Lincoln. He hesitates,<br /> takes a rag and cleans some dirt off of the fender, and then<br /> gets in, drives off.<br /><br /> EXT DAY: CHURCH (1955)<br /><br /> The Church.<br /><br /> Various relatives and friends are beginning to gather at the<br /> Church. They laugh and talk. A MONSIGNOR is officiating.<br /> Not all of the participants have arrived yet.<br /><br /> CONNIE is there, with a beaming CARLO. She holds the<br /> infant; showing him off to interested people.<br /><br /> EXT DAY: U.N. PLAZA (1955)<br /><br /> NERI walks down the sidewalk in the neighborhood of the UN<br /> Building. He is dressed as, and has the bearing of, a<br /> policeman. He carries a huge flashlight.<br /><br /> EXT DAY: MOTEL BALCONY (1955)<br /><br /> LAMPONE steps out onto the little balcony of a Sea-Resort<br /> Motel; We can see the bright, neon lit sign advertising<br /> "ROOMS FACING THE SEA--VACANY".<br /><br /> INT DAY: CHURCH<br /><br /> The Church.<br /><br /> CONNIE holds the baby; the MONSIGNOR is speaking; KAY and<br /> MICHAEL stand side by side around the urn.<br /><br /> PRIEST<br /> (to MICHAEL)<br /> Do you pledge to guide and protect<br /> this child if he is left fatherless?<br /> Do you promise to shield him<br /> against the wickedness of the world?<br /><br /> MICHAEL<br /> Yes, I promise.<br /><br /> EXT DAY: FIFTH AVE.<br /><br /> NERI continues up the 55th St. and Fifth Avenue area. He<br /> continues until he is in front of Rockefeller Center. On<br /> his side of the street, he spots a limousine waiting directly<br /> across from the main entrance of the building. Slowly he<br /> approaches the limo, and taps on its fender with his<br /> nightstick.<br /><br /> The DRIVER looks up in surprise.<br /><br /> NERI points to the "No Parking" sign.<br /><br /> The DRIVER turns his head away.<br /><br /> NERI<br /> OK, wise guy, you wanna summons, or<br /> you wanna move?<br /><br /> DRIVER<br /> (obviously a hood)<br /> You better check with your precinct.<br /><br /> NERI<br /> Move it!<br /><br /> The DRIVER takes a ten dollar bill, folds it deliberately,<br /> and hands it out the window, trying to put it under NERI's<br /> jacket.<br /><br /> NERI backs up, letting the bill fall onto the street. Then<br /> he crooks a finger at the DRIVER.<br /><br /> NERI<br /> Let me see you license and<br /> registration.<br /><br /> EXT DAY: MOTEL BALCONY<br /><br /> LAMPONE on the motel balcony spots a Cadillac pulling up.<br /> It parks. A young, pretty GIRL gets out. Quickly, he<br /> returns into the room.<br /><br /> INT DAY: HOTEL STAIRS (1955)<br /><br /> CLEMENZA is climbing the back stairs of a large hotel. He<br /> rounds the corner, puffs a little, and then continues upward.<br /><br /> INT DAY: CHURCH<br /><br /> The Church. Close on the PRIEST's fingers as he gently<br /> applies oil to the infant's ears and nostrils.<br /><br /> PRIEST<br /> Ephetha...be opened...So you may<br /> perceive the fragrance of God's<br /> sweetness.<br /><br /> EXT DAY: ROCKEFELLER CENTER (1955)<br /><br /> The DRIVER of the limousine in front of Rockefeller Center<br /> is arguing with NERI.<br /><br /> Now the DRIVER looks up.<br /><br /> WHAT HE SEES:<br /><br /> TWO MEN in topcoats exit the building, through the revolving<br /> glass doors.<br /><br /> NERI opens up fire, trapping BARZINI in the shattering glass<br /> doors. The doors still rotate, moving the dead body of<br /> BARZINI within them.<br /><br /> INT DAY: CHURCH<br /><br /> In the Church--the VIEW on MICHAEL. The PRIEST hands him<br /> the infant.<br /><br /> PRIEST<br /> Do you renounce Satan.<br /><br /> MICHAEL<br /> I do renounce him.<br /><br /> PRIEST<br /> And all his works?<br /><br /> MICHAEL<br /> I do renounce them.<br /><br /> INT DAY: MOTEL MURDER (1955)<br /><br /> LAMPONE, backed up by two other MEN in his regime, runs down<br /> the iron-rail steps, and kicks in the door on Room 7F.<br /> PHILIP TATTAGLIA, old and wizened and naked, leaps up; a<br /> semi-nude young GIRL leans up.<br /><br /> They are riddled with gunfire.<br /><br /> INT DAY: HOTEL STAIRS (1955)<br /><br /> CLEMENZA, huffing and puffing, climbs the back stairs, with<br /> his package.<br /><br /> INT DAY: CHURCH<br /><br /> The PRIEST pours water over the forehead of the infant<br /> MICHAEL holds.<br /><br /> PRIEST<br /> Do you wish to be baptized?<br /><br /> MICHAEL<br /> I do wish to be baptized.<br /><br /> INT DAY: HOTEL ELEVATOR MURDER (1955)<br /><br /> CLEMENZA, out of breath, climbs the final few steps.<br /><br /> He walks through some glass doors, and moves to an ornate<br /> elevator waiting shaft.<br /><br /> The lights indicate the elevator has arrived.<br /><br /> The doors open, and we see a surprised CUNEO standing with<br /> the dapper MOE GREENE.<br /><br /> CLEMENZA fires into the small elevator with a shotgun.<br /><br /> The PRIEST hands a lighted candle to MICHAEL.<br /><br /> PRIEST<br /> I christen you Michael Francis Rizzi.<br /><br /> Flash bulbs go off. Everyone is smiles, and crowds around<br /> MICHAEL, KAY, CONNIE...and CARLO.<br /><br /> --------------------------------------FADE OUT----------<br /><br /> EXT DAY: CHURCH (1955)<br /><br /> The christening party outside the Church.<br /><br /> Four or five limousines have been waiting; now pull up to<br /> receive MAMA, CONNIE and the baby; and the others.<br /><br /> Everyone is very happy; only MICHAEL seems aloof and grave.<br /><br /> As the fuss is going on, a car pulls up. LAMPONE gets out<br /> and works his way to MICHAEL. He whispers in his ear. This<br /> is the news MICHAEL has been waiting for.<br /><br /> CONNIE holds the baby up to MICHAEL.<br /><br /> CONNIE<br /> Kiss your Godfather.<br /><br /> The infant turns its head, and MICHAEL uses that as an<br /> excuse to back away.<br /><br /> MICHAEL<br /> Carlo...we've had a change in the<br /> plans. Mama, Connie, Kay and the<br /> kids will have to take the trip out<br /> to Vegas without us.<br /><br /> CONNIE<br /> Oh Mike, it's our first vacation<br /> together.<br /><br /> CARLO<br /> (anxious to please)<br /> Jesus, Connie...Sure, Mike...<br /><br /> MICHAEL<br /> Go back to your house and wait for<br /> me...<br /><br /> He kisses KAY.<br /><br /> MICHAEL<br /> (to KAY)<br /> I'll just be a couple of days...<br /><br /> People are guided to the correct limousines; they start to<br /> drive off.<br /><br /> INT DAY: DON'S KITCHEN<br /><br /> TESSIO sits in the Kitchen of the Main House on the Mall.<br /><br /> HAGEN enters.<br /><br /> HAGEN<br /> You'd better make your call to<br /> Barzini; Michael's ready.<br /><br /> TESSIO nods; moves to the telephone and dials a number.<br /><br /> TESSIO<br /> We're on our way to Brooklyn.<br /><br /> He hangs up and smiles.<br /><br /> TESSIO<br /> I hope Mike can get us a good deal<br /> tonight.<br /><br /> HAGEN<br /> (gravely)<br /> I'm sure he will.<br /><br /> EXT DAY: MALL (1955)<br /><br /> The TWO MEN walk out onto the Mall, toward a car. On their<br /> way they are stopped by TWO BODYGUARDS.<br /><br /> BUTTON MAN<br /> The boss says he'll come in a<br /> separate car. He says for you two<br /> to go on ahead.<br /><br /> TESSIO<br /> (frowning)<br /> Hell, he can't do that. It screws<br /> up all my arrangements.<br /><br /> THREE MORE BODYGUARDS appear around him.<br /><br /> HAGEN<br /> (gently)<br /> I can't go with you either, Tessio.<br /><br /> He flashes at the men surrounding him; for a moment he<br /> panics, and then he accepts it.<br /><br /> TESSIO<br /> (after the pause)<br /> Tell Mike it was business...I<br /> always liked him.<br /><br /> HAGEN<br /> He understands that.<br /><br /> TESSIO looks at the men, and then pauses.<br /><br /> TESSIO<br /> (softly)<br /> Tom, can you get me off the hook?<br /> For old times' sake?<br /><br /> HAGEN<br /> I can't.<br /><br /> HAGEN turns, and walks away from the group. Then about<br /> twenty paces away, he stops, and looks back.<br /><br /> TESSIO is led into a waiting car.<br /><br /> HAGEN looks away, and walks off.<br /><br /> INT DAY: CARLO'S LIVING ROOM (1955)<br /><br /> CARLO RIZZI is alone in his house, smoking, waiting rather<br /> nervously. He moves to the window and looks out.<br /><br /> WHAT HE SEES:<br /><br /> EXT DAY: MALL (1955)<br /><br /> MICHAEL, still dressed in a dark suit; followed by NERI,<br /> LAMPONE and CLEMENZA, then HAGEN.<br /><br /> They move toward us.<br /><br /> Excitedly, CARLO moves to the front door; opens it.<br /><br /> He wears a broad smile.<br /><br /> CARLO<br /> Godfather!<br /><br /> MICHAEL<br /> You have to answer for Santino.<br /><br /> The smile on CARLO's face slowly fades, then, in a foolish<br /> attempt for safety, he slams the door in their faces and<br /> backs into the living room.<br /><br /> INT DAY: CARLO'S LIVING ROOM (1955)<br /><br /> The door opens, and the grim party enters.<br /><br /> MICHAEL<br /> You fingered Sonny for the Barzini<br /> people. That little farce you<br /> played out with my sister. Did<br /> Barzini kid you that would fool a<br /> Corleone?<br /><br /> CARLO<br /> (dignity)<br /> I swear I'm innocent. I swear on<br /> the head of my children, I'm<br /> innocent. Mike, don't do this to<br /> me, please Mike, don't do this to me!<br /><br /> MICHAEL<br /> (quietly)<br /> Barzini is dead. So is Philip<br /> Tattaglia, so are Strachi, Cuneo<br /> and Moe Greene...I want to square<br /> all the family accounts tonight.<br /> So don't tell me you're innocent;<br /> admit what you did.<br /><br /> CARLO is silent; he wants to talk but is terrified.<br /><br /> MICHAEL<br /> (almost kindly)<br /> Don't be frightened. Do you think<br /> I'd make my sister a widow? Do you<br /> think I'd make your children<br /> fatherless? After all, I'm<br /> Godfather to your son. No, your<br /> punishment is that you're out of<br /> the family business. I'm putting<br /> you on a plane to Vegas--and I want<br /> you to stay there. I'll send<br /> Connie an allowance, that's all.<br /> But don't keep saying you're<br /> innocent; it insults my intelligence<br /> and makes me angry. Who approached<br /> you, Tattaglia or Barzini?<br /><br /> CARLO<br /> (sees his way out)<br /> Barzini.<br /><br /> MICHAEL<br /> (softly)<br /> Good, good. Leave now; there's a<br /> car waiting to take you to the<br /> airport.<br /><br /> CARLO moves to the door; opens it. There is a car waiting;<br /> with a group of MEN around it.<br /><br /> He looks back at MICHAEL, who reassures him.<br /><br /> MICHAEL<br /> I'll call your wife and tell her<br /> what flight you're on.<br /><br /> EXT DAY: MALL<br /><br /> CARLO moves out to the Mall; the BUTTONMEN are putting his<br /> things in the trunk.<br /><br /> ONE opens the front door for him.<br /><br /> SOMEONE is sitting in the rear seat, though we cannot see who.<br /><br /> CARLO gets into the car; out of nervousness, he looks back<br /> to see the other man.<br /><br /> It is CLEMENZA, who nods cordially.<br /><br /> The motor starts, and as the car pulls away, CLEMENZA<br /> suddenly throws the garrote around CARLO's neck. He chokes<br /> and leaps up like a fish on a line, kicking his feet.<br /><br /> The garrote is pulled tighter; CARLO's face turns color.<br /><br /> His thrashing feet kick right through the front windshield.<br /><br /> Then the body goes slack.<br /><br /> CLEMENZA makes a foul face, and opens the window as the car<br /> drives off.<br /><br /> EXT DAY: CARLO'S STEPS (1955)<br /><br /> MICHAEL and his party. They watch.<br /><br /> Then he turns and walks off, and they follow.<br /><br /> ---------------------------------------FADE OUT---------<br /><br /> FADE IN:<br /><br /> INT NITE: MICHAEL'S LIMO EN ROUTE (1955)<br /><br /> MICHAEL sits alone in the back of his car; NERI is driving.<br /><br /> They do not speak for a long time; it is night--car lights<br /> flash by.<br /><br /> NERI turns back.<br /><br /> NERI<br /> You know I would never question<br /> anything you say.<br /><br /> MICHAEL<br /> (smiles)<br /> Speak your mind.<br /><br /> NERI<br /> I'll do this for you; you know I<br /> should.<br /><br /> MICHAEL<br /> No. This I have to do.<br /><br /> EXT NITE: PIZZA STREET (1955)<br /><br /> MICHAEL's car pulls up in a quiet neighborhood, near an<br /> Italian Pizzeria. NERI opens the door.<br /><br /> MICHAEL<br /> Sit in the car.<br /><br /> INT NITE: PIZZA PLACE (1955)<br /><br /> He walks alone into the restaurant. A MAN is tossing pizza<br /> dough in the air.<br /><br /> MICHAEL<br /> Where's the boss?<br /><br /> MAN<br /> In the back. Hey Frank, someone<br /> wants you.<br /><br /> A MAN comes out of the shadows, with a strong Italian accent.<br /><br /> MAN<br /> What is it?<br /><br /> He stops, frozen in fear. It is FABRIZZIO.<br /><br /> VIEW ON MICHAEL. Gunfire from under his coat. FABRIZZIO is<br /> cut down. MICHAEL throws the gun down; turns and exits.<br /><br /> EXT DAY: MALL (1955)<br /><br /> HIGH ANGLE ON THE CORLEONE MALL<br /><br /> Several moving vans are parked in the Mall; one feels that<br /> these are the final days; the families are moving out; signs<br /> indicating that the property is for sale are evident.<br /><br /> A black limousine pulls up, and before it has even stopped,<br /> the rear door flies open, and CONNIE attempts to run out,<br /> restrained by MAMA. She manages to break free and runs<br /> across the Mall into Michael's house.<br /><br /> INT DAY: DON'S LIVING ROOM (1955)<br /><br /> Inside the Corleone house. Big boxes have been packed;<br /> furniture prepared for shipping.<br /><br /> CONNIE<br /> Michael!<br /><br /> She hurries into the living room, where she comes upon<br /> MICHAEL and KAY.<br /><br /> KAY<br /> (comforting)<br /> Connie...<br /><br /> But CONNIE avoids her, and moves directly to MICHAEL. NERI<br /> is watchful.<br /><br /> CONNIE<br /> You lousy bastard; you killed my<br /> husband...<br /><br /> KAY<br /> Connie...<br /><br /> CONNIE<br /> You waited until our father died<br /> and nobody could stop you and you<br /> killed him, you killed him! You<br /> blamed him about Sonny, you always<br /> did, everybody did. But you never<br /> thought about me, never gave a damn<br /> about me.<br /> (crying)<br /> What am I going to do now, what am<br /> I going to do.<br /><br /> TWO of Michael's BODYGUARDS move closer, ready for orders<br /> from him. But he stands there, waiting for his sister to<br /> finish.<br /><br /> KAY<br /> Connie, how could you say such<br /> things?<br /><br /> CONNIE<br /> Why do you think he kept Carlo on<br /> the Mall? All the time he knew he<br /> was going to kill my husband. But<br /> he didn't dare while my father was<br /> alive. And then he stood Godfather<br /> to our child. That coldhearted<br /> bastard.<br /> (to KAY)<br /> And do you know how many men he had<br /> killed with Carlo? Just read the<br /> papers. That's your husband.<br /><br /> She tries to spit into MICHAEL's face; but in her hysteria<br /> she has no saliva.<br /><br /> MICHAEL<br /> Get her home and get a doctor.<br /><br /> The TWO BODYGUARDS immediately take her arms and move her,<br /> gently but firmly.<br /><br /> KAY is shocked; never taking her look of amazement from<br /> MICHAEL. He feels her look.<br /><br /> MICHAEL<br /> She's hysterical.<br /><br /> But KAY won't let him avoid her eyes.<br /><br /> KAY<br /> Michael, it's not true. Please<br /> tell me.<br /><br /> MICHAEL<br /> Don't ask me.<br /><br /> KAY<br /> Tell me!<br /><br /> MICHAEL<br /> All right, this one time I'll let<br /> you ask about my affairs, one last<br /> time.<br /><br /> KAY<br /> Is it true?<br /><br /> She looks directly into his eyes, he returns the look, so<br /> directly that we know he will tell the truth.<br /><br /> MICHAEL<br /> (after a very long pause)<br /> No.<br /><br /> KAY is relieved; she throws her arms around him, and hugs<br /> him. Then she kisses him.<br /><br /> KAY<br /> (through her tears)<br /> We both need a drink.<br /><br /> INT DAY: DON'S KITCHEN (1955)<br /><br /> She moves back into the kitchen and begins to prepare the<br /> drinks. From her vantage point, as she smilingly makes the<br /> drinks, she sees CLEMENZA, NERI and ROCCO LAMPONE enter the<br /> house with their BODYGUARDS.<br /><br /> She watches with curiosity, as MICHAEL stands to receive<br /> them. He stands arrogantly at ease, weight resting on one<br /> foot slightly behind the other. One hand on his hip, like a<br /> Roman Emperor. The CAPOREGIMES stand before him.<br /><br /> CLEMENZA takes MICHAEL's hand, kissing it.<br /><br /> CLEMENZA<br /> Don Corleone...<br /><br /> The smile fades from KAY's face, as she looks at what her<br /> husband has become.<br /><br /> INT DAY: CHURCH (1955)<br /><br /> KAY wears a shawl over her hand. She drops many coins in<br /> the coin box, and lifts a burning taper, and one by one, in<br /> a pattern known only to herself, lights thirty candles.<br /><br /> THE ENDEelveEhttp://www.blogger.com/profile/04343357520043384445noreply@blogger.com0