github.com/attic-labs/noms@v0.0.0-20210827224422-e5fa29d95e8b/samples/go/decent/data/godfather.html (about) 1 <html> 2 <body> 3 <div> 4 <pre> 5 6 <b> THE GODFATHER 7 </b><b> _____________ 8 </b> 9 Screenplay 10 11 by 12 13 <b> MARIO PUZO 14 </b> 15 and 16 17 <b> FRANCIS FORD COPPOLA 18 </b> 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 <b>THIRD DRAFT PARAMOUNT PICTURES 38 </b> 1 Gulf and Western Plaza 39 March 29, 1971 New York, New York 10019 40 41 42 43 44 45 <b> INT DAY: DON'S OFFICE (SUMMER 1945) 46 </b> 47 The PARAMOUNT Logo is presented austerely over a black 48 background. There is a moment's hesitation, and then the 49 simple words in white lettering: 50 51 <b> THE GODFATHER 52 </b> 53 While this remains, we hear: "I believe in America." 54 Suddenly we are watching in CLOSE VIEW, AMERIGO BONASERA, a 55 man of sixty, dressed in a black suit, on the verge of great 56 emotion. 57 58 <b> BONASERA 59 </b> America has made my fortune. 60 61 As he speaks, THE VIEW imperceptibly begins to loosen. 62 63 <b> BONASERA 64 </b> I raised my daughter in the American 65 fashion; I gave her freedom, but 66 taught her never to dishonor her 67 family. She found a boy friend, 68 not an Italian. She went to the 69 movies with him, stayed out late. 70 Two months ago he took her for a 71 drive, with another boy friend. 72 They made her drink whiskey and 73 then they tried to take advantage 74 of her. She resisted; she kept her 75 honor. So they beat her like an 76 animal. When I went to the hospital 77 her nose was broken, her jaw was 78 shattered and held together by 79 wire, and she could not even weep 80 because of the pain. 81 82 He can barely speak; he is weeping now. 83 84 <b> BONASERA 85 </b> I went to the Police like a good 86 American. These two boys were 87 arrested and brought to trial. The 88 judge sentenced them to three years 89 in prison, and suspended the 90 sentence. Suspended sentence! 91 They went free that very day. I 92 stood in the courtroom like a fool, 93 and those bastards, they smiled at 94 me. Then I said to my wife, for 95 Justice, we must go to The Godfather. 96 97 By now, THE VIEW is full, and we see Don Corleone's office 98 in his home. 99 100 The blinds are closed, and so the room is dark, and with 101 patterned shadows. We are watching BONASERA over the 102 shoulder of DON CORLEONE. TOM HAGEN sits near a small 103 table, examining some paperwork, and SONNY CORLEONE stands 104 impatiently by the window nearest his father, sipping from a 105 glass of wine. We can HEAR music, and the laughter and 106 voices of many people outside. 107 108 <b> DON CORLEONE 109 </b> Bonasera, we know each other for 110 years, but this is the first time 111 you come to me for help. I don't 112 remember the last time you invited 113 me to your house for coffee...even 114 though our wives are friends. 115 116 <b> BONASERA 117 </b> What do you want of me? I'll give 118 you anything you want, but do what 119 I ask! 120 121 <b> DON CORLEONE 122 </b> And what is that Bonasera? 123 124 BONASERA whispers into the DON's ear. 125 126 <b> DON CORLEONE 127 </b> No. You ask for too much. 128 129 <b> BONASERA 130 </b> I ask for Justice. 131 132 <b> DON CORLEONE 133 </b> The Court gave you justice. 134 135 <b> BONASERA 136 </b> An eye for an eye! 137 138 <b> DON CORLEONE 139 </b> But your daughter is still alive. 140 141 <b> BONASERA 142 </b> Then make them suffer as she 143 suffers. How much shall I pay you. 144 145 Both HAGEN and SONNY react. 146 147 <b> DON CORLEONE 148 </b> You never think to protect yourself 149 with real friends. You think it's 150 enough to be an American. All 151 right, the Police protects you, 152 there are Courts of Law, so you 153 don't need a friend like me. 154 But now you come to me and say Don 155 Corleone, you must give me justice. 156 And you don't ask in respect or 157 friendship. And you don't think to 158 call me Godfather; instead you come 159 to my house on the day my daughter 160 is to be married and you ask me to 161 do murder...for money. 162 163 <b> BONASERA 164 </b> America has been good to me... 165 166 <b> DON CORLEONE 167 </b> Then take the justice from the 168 judge, the bitter with the sweet, 169 Bonasera. But if you come to me 170 with your friendship, your loyalty, 171 then your enemies become my enemies, 172 and then, believe me, they would 173 fear you... 174 175 Slowly, Bonasera bows his head and murmurs. 176 177 <b> BONASERA 178 </b> Be my friend. 179 180 <b> DON CORLEONE 181 </b> Good. From me you'll get Justice. 182 183 <b> BONASERA 184 </b> Godfather. 185 186 <b> DON CORLEONE 187 </b> Some day, and that day may never 188 come, I would like to call upon you 189 to do me a service in return. 190 191 <b> EXT DAY: MALL (SUMMER 1945) 192 </b> 193 A HIGH ANGLE of the CORLEONE MALL in bright daylight. There 194 are at least five hundred guests filling the main courtyard 195 and gardens. There is music and laughing and dancing and 196 countless tables covered with food and wine. 197 198 DON CORLEONE stands at the Gate, flanked on either side by a 199 son: FREDO and SONNY, all dressed in the formal attire of 200 the wedding party. He warmly shakes the hands, squeezes the 201 hands of the friends and guests, pinches the cheeks of the 202 children, and makes them all welcome. They in turn carry 203 with them gallons of homemade wine, cartons of freshly baked 204 bread and pastries, and enormous trays of Italian delicacies. 205 206 The entire family poses for a family portrait: DON CORLEONE, 207 MAMA, SONNY, his wife, SANDRA, and their children, TOM HAGEN 208 and his wife, THERESA, and their BABY; CONSTANZIA, the 209 bride, and her bridegroom, CARLO RIZZI. As they move into 210 the pose, THE DON seems preoccupied. 211 212 <b> DON CORLEONE 213 </b> Where's Michael? 214 215 <b> SONNY 216 </b> He'll be here Pop, it's still early. 217 218 <b> DON CORLEONE 219 </b> Then the picture will wait for him. 220 221 Everyone in the group feels the uneasiness as the DON moves 222 back to the house. SONNY gives a delicious smile in the 223 direction of the Maid-of-Honor, LUCY MANCINI. She returns 224 it. Then he moves to his wife. 225 226 <b> SONNY 227 </b> Sandra, watch the kids. They're 228 running wild. 229 230 <b> SANDRA 231 </b> You watch yourself. 232 233 HAGEN kisses his WIFE, and follows THE DON, passing the wine 234 barrels, where a group of FOUR MEN nervously wait. TOM 235 crooks a finger at NAZORINE, who doublechecks that he is 236 next, straightens, and follows HAGEN. 237 238 <b> EXT DAY: MALL ENTRANCE (SUMMER 1945) 239 </b> 240 Outside the main gate of the Mall, SEVERAL MEN in suits, 241 working together with a MAN in a dark sedan, walk in and out 242 of the rows of parked cars, writing license plate numbers 243 down in their notebooks. We HEAR the music and laughter 244 coming from the party in the distance. 245 246 A MAN stops at a limousine and copies down the number. 247 248 BARZINI, dignified in a black homburg, is always under the 249 watchful eyes of TWO BODYGUARDS as he makes his way to 250 embrace DON CORLEONE in the courtyard. 251 252 The MEN walk down another row of parked cars. Put another 253 number in the notebook. A shiney new Cadillac with wooden 254 bumpers. 255 256 PETER CLEMENZA, dancing the Tarantella joyously, bumping 257 bellies with the ladies. 258 259 <b> CLEMENZA 260 </b> Paulie...wine...WINE. 261 262 He mops his sweating forehead with a big handkerchief. 263 PAULIE hustles, gets a glass of icy black wine, and brings 264 it to him. 265 266 <b> PAULIE 267 </b> You look terrif on the floor! 268 269 <b> CLEMENZA 270 </b> What are you, a dance judge? Go do 271 your job; take a walk around the 272 neighborhood... see everything is 273 okay. 274 275 PAULIE nods and leaves; CLEMENZA takes a breath, and leaps 276 back into the dance. 277 278 The MEN walk down another row of parked cars. Put another 279 number in the notebook. 280 281 TESSIO, a tall, gentle-looking man, dances with a NINE-YEAR- 282 OLD GIRL, her little black party shoes planted on his 283 enormous brown shoes. 284 285 The MEN move on to other parked cars, when SONNY storms out 286 of the gate, his face flushed with anger, followed by 287 CLEMENZA and PAULIE. 288 289 <b> SONNY 290 </b> Buddy, this is a private party. 291 292 The MAN doesn't answer, but points to the DRIVER of the 293 sedan. SONNY menacingly thrusts his reddened face at him. 294 The DRIVER merely flips open his wallet to a greed card, 295 without saying a word. SONNY steps back, spits on the 296 ground, turns, and walks away, followed by CLEMENZA, PAULIE, 297 and another TWO MEN. He doesn't say a thing for most of the 298 walk back into the courtyard, and then, muttered to PAULIE. 299 300 <b> SONNY 301 </b> Goddamn FBI...don't respect nothing. 302 303 <b> INT DAY: DON'S OFFICE (SUMMER 1945) 304 </b> 305 DON CORLEONE sits quietly behind his massive desk in the 306 dark study. 307 308 <b> NAZORINE 309 </b> ...a fine boy from Sicily, captured 310 by the American Army, and sent to 311 New Jersey as a prisoner of war... 312 313 <b> DON CORLEONE 314 </b> Nazorine, my friend, tell me what I 315 can do. 316 317 <b> NAZORINE 318 </b> Now that the war is over, Enzo, 319 this boy is being repatriated to 320 Italy. And you see, Godfather... 321 (he wrings his hands, 322 unable to express himself) 323 He...my daughter...they... 324 325 <b> DON CORLEONE 326 </b> You want him to stay in this country. 327 328 <b> NAZORINE 329 </b> Godfather, you understand everything. 330 331 <b> DON CORLEONE 332 </b> Tom, what we need is an Act of 333 Congress to allow Enzo to become a 334 citizen. 335 336 <b> NAZORINE 337 </b> (impressed) 338 An Act of Congress! 339 340 <b> HAGEN 341 </b> (nodding) 342 It will cost. 343 344 The DON shrugs; such are the way with those things; NAZORINE 345 nods. 346 347 <b> NAZORINE 348 </b> Is that all? Godfather, thank 349 you... 350 (backing out, enthusiastically) 351 Oh, wait till you see the cake I 352 made for your beautiful daughter! 353 354 NAZORINE backs out, all smiles, and nods to the GODFATHER. 355 DON CORLEONE rises and moves to the Venetian blinds. 356 357 <b> HAGEN 358 </b> Who do I give this job to? 359 360 The DON moves to the windows, peeking out through the blinds. 361 362 <b> DON CORLEONE 363 </b> Not to one of our paisans...give it 364 to a Jew Congressman in another 365 district. Who else is on the list 366 for today? 367 368 The DON is peeking out to the MEN around the barrel, waiting 369 to see him. 370 371 <b> HAGEN 372 </b> Francesco Nippi. His nephew has 373 been refused parole. A bad case. 374 375 <b> EXT DAY: MALL (SUMMER 1945) 376 </b> 377 <b> WHAT HE SEES: 378 </b> 379 NIPPI waits nervously by the barrel. 380 381 <b> HAGEN (O.S.) 382 </b> His father worked with you in the 383 freight yards when you were young. 384 385 LUCA BRASI sitting alone, grotesque and quiet. 386 387 <b> HAGEN (O.S.) 388 </b> He's not on the list, but Luca 389 Brasi wants to see you. 390 391 <b> INT DAY: DON'S OFFICE (SUMMER 1945) 392 </b> 393 The DON turns to HAGEN. 394 395 <b> DON CORLEONE 396 </b> Is it necessary? 397 398 <b> HAGEN 399 </b> You understand him better than 400 anyone. 401 402 The DON nods to this. Turns back to the blinds and peeks out. 403 404 <b> EXT DAY: MALL (SUMMER 1945) 405 </b> 406 <b> WHAT HE SEES: 407 </b> 408 MICHAEL CORLEONE, dressed in the uniform of a Marine Captain, 409 leads KAY ADAMS through the wedding crowd, occasionally 410 stopped and greeted by FRIENDS of the family. 411 412 <b> INT DAY: DON'S OFFICE (SUMMER 1945) 413 </b> 414 The DON, inside the office, peering through the blinds, 415 following them. 416 417 <b> EXT DAY: MALL (SUMMER 1945) 418 </b> 419 MICHAEL moves through the crowd, embraces MAMA and introduces 420 her to his GIRL. 421 422 <b> EXT DAY: OFFICE WINDOW (SUMMER 1945) 423 </b> 424 The DON's eyes peering through the blinds. 425 426 <b> EXT DAY: MALL TABLES (SUMMER 1945) 427 </b> 428 KAY and MICHAEL settle by a table on the edge of the wedding, 429 burdened down with plates of food and glasses and wine. She 430 is exhilarated by the enormity of the affair, the music and 431 the vitality. 432 433 <b> KAY 434 </b> I've never seen anything like it. 435 436 <b> MICHAEL 437 </b> I told you I had a lot of relatives. 438 439 KAY looking about, a young and lively thing in a gift shop. 440 We see what she sees: 441 442 Her interest is caught by THREE MEN standing by the wine 443 barrels. 444 445 <b> KAY 446 </b> (amused) 447 Michael, what are those men doing? 448 449 <b> MICHAEL 450 </b> They're waiting to see my father. 451 452 <b> KAY 453 </b> They're talking to themselves. 454 455 <b> MICHAEL 456 </b> They're going to talk to my father, 457 which means they're going to ask 458 him for something, which means they 459 better get it right. 460 461 <b> KAY 462 </b> Why do they bother him on a day 463 like this? 464 465 <b> MICHAEL 466 </b> Because they know that no Sicilian 467 will refuse a request on his 468 daughter's wedding day. 469 470 <b> EXT DAY: WEDDING PARTY (SUMMER 1945) 471 </b> 472 CONNIE CORLEONE, the Bride, is pressing the bodice of her 473 overly-fluffy white gown against the groom, CARLO RIZZI. He 474 is bronzed, with curly blondish hair and lovely dimples. 475 She absolutely adores him and can barely take her eyes from 476 him long enough to thank the various GUESTS for the white 477 envelopes they are putting into the large white purse she 478 holds. In fact, if we watch carefully, we can see that one 479 of her hands is slid under his jacket, and into his shirt, 480 where she is provocatively rubbing the hair on his chest. 481 CARLO, on the other hand, has his blue eyes trained on the 482 bulging envelopes, and is trying to guess how much cash the 483 things hold. 484 485 Discreetly, he moves her hand off of his skin. 486 487 <b> CARLO 488 </b> (whispered) 489 Cut it out, Connie. 490 491 The purse, looped by a ribbon of silk around CONNIE's arm, 492 is fat with money. 493 494 <b> PAULIE (O.S.) 495 </b> What do you think? Twenty grand? 496 497 A little distance away, a young man, PAULIE GATTO, catches a 498 prosciutto sandwich thrown by a friend, without once taking 499 eyes from the purse. 500 501 <b> PAULIE 502 </b> Who knows? Maybe more. Twenty, 503 thirty grand in small bills cash in 504 that silk purse. Holy Toledo, if 505 this was somebody else's wedding! 506 507 SONNY is sitting at the Wedding Dias, talking to LUCY 508 MANCINI, the Maid of Honor. Every once in a while he 509 glances across the courtyard, where his WIFE is talking with 510 some WOMEN. 511 512 He bends over and whispers something into LUCY's ear. 513 514 SANDRA and the WOMEN are in the middle of a big, ribald laugh. 515 516 <b> WOMAN 517 </b> Is it true what they say about your 518 husband, Sandra? 519 520 SANDRA's hands separate with expanding width further and 521 further apart until she bursts into a peal of laughter. 522 Through her separated hands she sees the Wedding Dais. 523 SONNY and LUCY are gone. 524 525 <b> INT DAY: DON'S HALL & STAIRS (SUMMER 1945) 526 </b> 527 The empty hallway. The bathroom door opens and LUCY 528 surreptitiously steps out. 529 530 She looks up where SONNY is standing on the second landing, 531 motioning for her to come up. 532 533 She lifts her petticoats off the ground and hurries upstairs. 534 535 <b> EXT DAY: MALL TABLES (SUMMER 1945) 536 </b> 537 KAY and MICHAEL. 538 539 <b> KAY 540 </b> (in a spooky low tone) 541 Michael, that scarey guy...Is he a 542 relative? 543 544 She has picked out LUCA BRASI. 545 546 <b> MICHAEL 547 </b> No. His name is Luca Brasi. You 548 wouldn't like him. 549 550 <b> KAY 551 </b> (Excited) 552 Who is he? 553 554 <b> MICHAEL 555 </b> (Sizing her up) 556 You really want to know? 557 558 <b> KAY 559 </b> Yes. Tell me. 560 561 <b> MICHAEL 562 </b> You like spaghetti? 563 564 <b> KAY 565 </b> You know I love spaghetti. 566 567 <b> MICHAEL 568 </b> Then eat your spaghetti and I'll 569 tell you a Luca Brasi story. 570 571 She starts to eat her spaghetti. 572 573 She begins eating, looking at him eagerly. 574 575 <b> MICHAEL 576 </b> Once upon a time, about fifteen 577 years ago some people wanted to 578 take over my father's olive oil 579 business. They had Al Capone send 580 some men in from Chicago to kill my 581 father, and they almost did. 582 583 <b> KAY 584 </b> Al Capone! 585 586 <b> MICHAEL 587 </b> My Father sent Luca Brasi after 588 them. He tied the two Capone men 589 hand and foot, and stuffed small 590 bath towels into their mouths. 591 Then he took an ax, and chopped one 592 man's feet off... 593 594 <b> KAY 595 </b> Michael... 596 597 <b> MICHAEL 598 </b> Then the legs at the knees... 599 600 <b> KAY 601 </b> Michael you're trying to scare me... 602 603 <b> MICHAEL 604 </b> Then the thighs where they joined 605 the torso. 606 607 <b> KAY 608 </b> Michael, I don't want to hear 609 anymore... 610 611 <b> MICHAEL 612 </b> Then Luca turned to the other man... 613 614 <b> KAY 615 </b> Michael, I love you. 616 617 <b> MICHAEL 618 </b> ...who out of sheer terror had 619 swallowed the bath towel in his 620 mouth and suffocated. 621 622 The smile on his face seems to indicate that he is telling a 623 tall story. 624 625 <b> KAY 626 </b> I never know when you're telling me 627 the truth. 628 629 <b> MICHAEL 630 </b> I told you you wouldn't like him. 631 632 <b> KAY 633 </b> He's coming over here! 634 635 LUCA comes toward them to meet TOM HAGEN halfway, just near 636 their table. 637 638 <b> MICHAEL 639 </b> Tom...Tom, I'd like you to meet Kay 640 Adams. 641 642 <b> KAY 643 </b> (having survived LUCA) 644 How do you do. 645 646 <b> MICHAEL 647 </b> My brother, Tom Hagen. 648 649 <b> HAGEN 650 </b> Hello Kay. Your father's inside, 651 doing some business. 652 (privately) 653 He's been asking for you. 654 655 <b> MICHAEL 656 </b> Thanks Tom. 657 658 HAGEN smiles and moves back to the house, LUCA ominously 659 following. 660 661 <b> KAY 662 </b> If he's your brother, why does he 663 have a different name? 664 665 <b> MICHAEL 666 </b> My brother Sonny found him living 667 in the streets when he was a kid, 668 so my father took him in. He's a 669 good lawyer. 670 671 <b> INT DAY: DON'S OFFICE (SUMMER 1945) 672 </b> 673 DON CORLEONE at the window. He has seen the intimacy of the 674 <b> YOUNG COUPLE. 675 </b> 676 <b> LUCA (O.S.) 677 </b> Don Corleone... 678 679 THE DON turns to the stiffly formal LUCA, and he moves 680 forward to kiss his hand. He takes the envelope from his 681 jacket, holds it out, but does not release it until he makes 682 a formal speech. 683 684 <b> LUCA 685 </b> (with difficulty) 686 Don Corleone...I am honored, and 687 grateful...that you invited me to 688 your home...on the wedding day of 689 your...daughter. 690 May their first child...be a 691 masculine child. I pledge my never 692 ending loyalty. 693 (he offers the envelope) 694 For your daughter's bridal purse. 695 696 <b> DON CORLEONE 697 </b> Thank you, Luca, my most valued 698 friend. 699 700 THE DON takes it, and then LUCA's hand, which he squeezes so 701 tightly we might imagine it to be painful. 702 703 <b> LUCA 704 </b> Let me leave you, Don Corleone. I 705 know you are busy. 706 707 He turns, almost an about-face, and leaves the study with 708 the same formality he entered with. DON CORLEONE breathes 709 more easily, and gives the thick envelope to HAGEN. 710 711 <b> DON CORLEONE 712 </b> I'm sure it's the most generous 713 gift today. 714 715 <b> HAGEN 716 </b> The Senator called--apologized for 717 not coming personally, but said 718 you'd understand. Also, some of 719 the Judges...they've all sent gifts. 720 And another call from Virgil 721 Sollozzo. 722 723 DON CORLEONE is not pleased. 724 725 <b> HAGEN 726 </b> The action is narcotics. Sollozzo 727 has contacts in Turkey for the 728 poppy, in Sicily for the plants to 729 process down to morphine or up to 730 heroin. Also he has access to this 731 country. He's coming to us for 732 financial help, and some sort of 733 immunity from the law. For that we 734 get a piece of the action, I 735 couldn't find out how much. 736 Sollozzo is vouched for by the 737 Tattaglia family, and they may have 738 a piece of the action. They call 739 Sollozzo the Turk. 740 He's spent a lot of time in Turkey 741 and is suppose to have a Turkish 742 wife and kids. He's suppose to be 743 very quick with the knife, or was, 744 when he was younger. Only in 745 matters of business and with some 746 reasonable complaint. Also he has 747 an American wife and three children 748 and he is a good family man. 749 750 THE DON nods. 751 752 <b> HAGEN 753 </b> He's his own boss, and very 754 competent. 755 756 <b> DON CORLEONE 757 </b> And with prison record. 758 759 <b> HAGEN 760 </b> Two terms; one in Italy, one in the 761 United States. He's known to the 762 Government as a top narcotics man. 763 That could be a plus for us; he 764 could never get immunity to testify. 765 766 <b> DON CORLEONE 767 </b> When did he call? 768 769 <b> HAGEN 770 </b> This morning. 771 772 <b> DON CORLEONE 773 </b> On a day like this. Consiglero, do 774 you also have in your notes the the 775 Turk made his living from 776 Prostitution before the war, like 777 the Tattaglias do now. Write that 778 down before you forget it. The 779 Turk will wait. 780 781 We now begin to hear a song coming over the loud-speakers 782 from outside. In Italian, with unmistakable style. 783 784 <b> DON CORLEONE 785 </b> What that? It sounds like Johnny. 786 787 He moves to the window, pulls the blinds up, flooding the 788 room with light. 789 790 <b> DON CORLEONE 791 </b> It is Johnny. He came all the way 792 from California to be at the wedding. 793 794 <b> HAGEN 795 </b> Should I bring him in. 796 797 <b> DON CORLEONE 798 </b> No. Let the people enjoy him. You 799 see? He is a good godson. 800 801 <b> HAGEN 802 </b> It's been two years. He's probably 803 in trouble again. 804 805 <b> EXT DAY: MALL (SUMMER 1945) 806 </b> 807 JOHNNY FONTANE on the bandstand, singing to the delight and 808 excitement of the wedding GUESTS. 809 810 <b> KAY 811 </b> I didn't know your family knew 812 Johnny Fontane. 813 814 <b> MICHAEL 815 </b> Sure. 816 817 <b> KAY 818 </b> I used to come down to New York 819 whenever he sang at the Capitol and 820 scream my head off. 821 822 <b> MICHAEL 823 </b> He's my father's godson; he owes 824 him his whole career. 825 826 JOHNNY finishes the song and the CROWD screams with delight. 827 They call out for another when DON CORLEONE appears. 828 829 <b> DON CORLEONE 830 </b> My Godson has come three thousand 831 miles to do us honor and no one 832 thinks to wet his throat. 833 834 At once a dozen wine glasses are offered to JOHNNY, who 835 takes a sip from each as he moves to embrace his GODFATHER. 836 837 <b> JOHNNY 838 </b> I kept trying to call you after my 839 divorce and Tom always said you 840 were busy. When I got the Wedding 841 invitation I knew you weren't sore 842 at me anymore, Godfather. 843 844 <b> DON CORLEONE 845 </b> Can I do something for you still? 846 You're not too rich, or too famous 847 that I can't help you? 848 849 <b> JOHNNY 850 </b> I'm not rich anymore, Godfather, 851 and...my career, I'm almost washed 852 up... 853 854 He's very disturbed. The GODFATHER indicates that he come 855 with him to the office so no one will notice. He turns to 856 <b> HAGEN. 857 </b> 858 <b> DON CORLEONE 859 </b> Tell Santino to come in with us. 860 He should hear some things. 861 862 They go, leaving HAGEN scanning the party looking for SONNY. 863 864 <b> INT DAY: DON'S OFFICE (SUMMER 1945) 865 </b> 866 HAGEN glances up the staircase. 867 868 <b> HAGEN 869 </b> Sonny? 870 871 Then he goes up. 872 873 <b> INT DAY: DON'S UPSTAIRS ROOM (SUMMER 1945) 874 </b> 875 SONNY and LUCY are in a room upstairs; he has lifted her 876 gown's skirts almost over her head, and has her standing 877 against the door. Her face peeks out from the layers of 878 petticoats around it like a flower in ecstasy. 879 880 <b> LUCY 881 </b> Sonnyeeeeeeee. 882 883 Her head bouncing against the door with the rhythm of his 884 body. But there is a knocking as well. They stop, freeze 885 in that position. 886 887 <b> HAGEN (O.S.) 888 </b> Sonny? Sonny, you in there? 889 890 <b> INT DAY: DON'S UPSTAIRS HALLWAY (SUMMER 1945) 891 </b> 892 Outside, HAGEN by the door. 893 894 <b> HAGEN 895 </b> The old man wants you; Johnny's 896 here...he's got a problem. 897 898 <b> SONNY (O.S.) 899 </b> Okay. One minute. 900 901 HAGEN hesitates. We HEAR LUCY's head bouncing against the 902 door again. TOM leaves. 903 904 <b> INT DAY: DON'S OFFICE (SUMMER 1945) 905 </b> 906 <b> DON CORLEONE 907 </b> ACT LIKE A MAN! By Christ in 908 Heaven, is it possible you turned 909 out no better than a Hollywood 910 finocchio. 911 912 Both HAGEN and JOHNNY cannot refrain from laughing. The DON 913 smiles. SONNY enters as noiselessly as possible, still 914 adjusting his clothes. 915 916 <b> DON CORLEONE 917 </b> All right, Hollywood...Now tell me 918 about this Hollywood Pezzonovanta 919 who won't let you work. 920 921 <b> JOHNNY 922 </b> He owns the studio. Just a month 923 ago he bought the movie rights to 924 this book, a best seller. And the 925 main character is a guy just like 926 me. I wouldn't even have to act, 927 just be myself. 928 929 The DON is silent, stern. 930 931 <b> DON CORLEONE 932 </b> You take care of your family? 933 934 <b> JOHNNY 935 </b> Sure. 936 937 He glances at SONNY, who makes himself as inconspicuous as 938 he can. 939 940 <b> DON CORLEONE 941 </b> You look terrible. I want you to 942 eat well, to rest. And spend time 943 with your family. And then, at the 944 end of the month, this big shot 945 will give you the part you want. 946 947 <b> JOHNNY 948 </b> It's too late. All the contracts 949 have been signed, they're almost 950 ready to shoot. 951 952 <b> DON CORLEONE 953 </b> I'll make him an offer he can't 954 refuse. 955 956 He takes JOHNNY to the door, pinching his cheek hard enough 957 to hurt. 958 959 <b> DON CORLEONE 960 </b> Now go back to the party and leave 961 it to me. 962 963 He closes the door, smiling to himself. Turns to HAGEN. 964 965 <b> DON CORLEONE 966 </b> When does my daughter leave with 967 her bridegroom? 968 969 <b> HAGEN 970 </b> They'll cut the cake in a few 971 minutes...leave right after that. 972 Your new son-in-law, do we give him 973 something important? 974 975 <b> DON CORLEONE 976 </b> No, give him a living. But never 977 let him know the family's business. 978 What else, Tom? 979 980 <b> HAGEN 981 </b> I've called the hospital; they've 982 notified Consiglere Genco's family 983 to come and wait. He won't last 984 out the night. 985 986 This saddens the DON. He sighs. 987 988 <b> DON CORLEONE 989 </b> Genco will wait for me. Santino, 990 tell your brothers they will come 991 with me to the hospital to see 992 Genco. Tell Fredo to drive the big 993 car, and ask Johnny to come with us. 994 995 <b> SONNY 996 </b> And Michael? 997 998 <b> DON CORLEONE 999 </b> All my sons. 1000 (to HAGEN) 1001 Tom, I want you to go to California 1002 tonight. Make the arrangements. 1003 But don't leave until I come back 1004 from the hospital and speak to you. 1005 Understood? 1006 1007 <b> HAGEN 1008 </b> Understood. 1009 1010 <b> EXT DAY: MALL (SUMMER 1945) 1011 </b> 1012 Now all the wedding GUESTS excitedly clap their hands over 1013 the entrance of the cake: NAZORINE is beaming as he wheels 1014 in a serving table containing the biggest, gaudiest, most 1015 extravagant wedding cake ever baked, an incredible monument 1016 of his gratitude. The CROWD is favorably impressed: they 1017 begin to clink their knives or forks against their glasses, 1018 in the traditional request for the Bride to cut the cake and 1019 kiss the Groom. Louder and louder, five hundred forks 1020 hitting five hundred glasses. 1021 1022 <b> EXT DAY: MALL (SUMMER 1945) 1023 </b> 1024 Silence. 1025 1026 HIGH ANGLE ON THE MALL, late day. The GUESTS are gone. A 1027 single black car is in the courtyard. FREDDIE is behind the 1028 driver's seat: the DON enters the car, looks at MICHAEL, who 1029 sits between SONNY and JOHNNY in the rear seat. 1030 1031 <b> DON CORLEONE 1032 </b> Will your girl friend get back to 1033 the city all right? 1034 1035 <b> MICHAEL 1036 </b> Tom said he'd take care of it. 1037 1038 The DON pulls the door shut; and the car pulls out, through 1039 the gate of the great Corleone Mall. 1040 1041 <b> INT DAY: HOSPITAL CORRIDOR (SUMMER 1945) 1042 </b> 1043 A long white hospital corridor, at the end of which we can 1044 see a grouping of FIVE WOMEN, some old and some young, but 1045 all plump and dressed in black. 1046 1047 DON CORLEONE and his SONS move toward the end. But then the 1048 DON slows, putting his hand on MICHAEL's shoulder. MICHAEL 1049 stops and turns toward his FATHER. The two looks at one 1050 another for some time. SILENCE. DON CORLEONE then lifts 1051 his hand, and slowly touches a particular medal on MICHAEL's 1052 uniform. 1053 1054 <b> DON CORLEONE 1055 </b> What was this for? 1056 1057 <b> MICHAEL 1058 </b> For bravery. 1059 1060 <b> DON CORLEONE 1061 </b> And this? 1062 1063 <b> MICHAEL 1064 </b> For killing a man. 1065 1066 <b> DON CORLEONE 1067 </b> What miracles you do for strangers. 1068 1069 <b> MICHAEL 1070 </b> I fought for my country. It was my 1071 choice. 1072 1073 <b> DON CORLEONE 1074 </b> And now, what do you choose to do? 1075 1076 <b> MICHAEL 1077 </b> I'm going to finish school. 1078 1079 <b> DON CORLEONE 1080 </b> Good. When you are finished, come 1081 and talk to me. I have hopes for 1082 you. 1083 1084 Again they regard each other without a word. MICHAEL turns, 1085 and continues on. DON CORLEONE watches a moment, and then 1086 follows. 1087 1088 <b> INT DAY: HOSPITAL ROOM (SUMMER 1945) 1089 </b> 1090 DON CORLEONE enters the hospital room, moving closest to OUR 1091 VIEW. He is followed by his SONS, JOHNNY and the WOMEN. 1092 1093 <b> DON CORLEONE 1094 </b> (whispered) 1095 Genco, I've brought my sons to pay 1096 their respects. And look, even 1097 Johnny Fontane, all the way from 1098 Hollywood. 1099 1100 GENCO is a tiny, wasted skeleton of a man. DON CORLEONE 1101 takes his bony hand, as the others arrange themselves around 1102 his bed, each clasping the other hand in turn. 1103 1104 <b> GENCO 1105 </b> Godfather, Godfather, it's your 1106 daughter's wedding day, you cannot 1107 refuse me. Cure me, you have the 1108 power. 1109 1110 <b> DON CORLEONE 1111 </b> I have no such power...but Genco, 1112 don't fear death. 1113 1114 <b> GENCO 1115 </b> (with a sly wink) 1116 It's been arranged, then? 1117 1118 <b> DON CORLEONE 1119 </b> You blaspheme. Resign yourself. 1120 1121 <b> GENCO 1122 </b> You need your old Consigliere. Who 1123 will replace me? 1124 (suddenly) 1125 Stay with me Godfather. Help me 1126 meet death. If he sees you, he 1127 will be frightened and leave me in 1128 peace. You can say a word, pull a 1129 few strings, eh? We'll outwit that 1130 bastard as we outwitted all those 1131 others. 1132 (clutching his hand) 1133 Godfather, don't betray me. 1134 1135 The DON motions all the others to leave the room. They do. 1136 He returns his attention to GENCO, holding his hand and 1137 whispering things we cannot hear, as they wait for death. 1138 1139 <b> INT NIGHT: AIRPLANE (SUMMER 1945) 1140 </b> 1141 <b> FADE IN: 1142 </b> 1143 The interior of a non-stop Constellation. HAGEN is one of 1144 the very few passengers on this late flight. He looks like 1145 any young lawyer on a business trip. He is tired from the 1146 difficult preparation and duties that he has just executed 1147 during the wedding. On the seat next to him is an enormous, 1148 bulging briefcase. He closes his eyes. 1149 1150 <b> INT NIGHT: HONEYMOON HOTEL (SUMMER 1945) 1151 </b> 1152 The honeymoon hotel: CARLO and CONNIE. CARLO is in his 1153 undershorts, sitting up on the bed, anxiously taking the 1154 envelopes out of the silk bridal purse and counting the 1155 contents. CONNIE prepares herself in the large marble 1156 bathroom. She rubs her hands over his bronze shoulders, and 1157 tries to get his interest. 1158 1159 <b> INT NIGHT: DON'S OFFICE (SUMMER 1945) 1160 </b> 1161 DON CORLEONE in his office. LUCA BRASI sitting near to him. 1162 1163 <b> DON CORLEONE 1164 </b> Luca, I am worried about this man 1165 Sollozzo. Find out what you can, 1166 through the Tattaglias. Let them 1167 believe you could be tempted away 1168 from the Corleone Family, if the 1169 right offer was made. Learn what 1170 he has under his fingernails... 1171 1172 <b> INT NIGHT: MANCINI APT. HALL (SUMMER 1945) 1173 </b> 1174 The hallway of an apartment building. SONNY enters, climbs 1175 two steps at a time. He knocks, and then whispers. 1176 1177 <b> SONNY 1178 </b> It's me, Sonny. 1179 1180 The door opens, and two lovely arms are around him, pulling 1181 him into the apartment. 1182 1183 <b> INT NIGHT: LUCA'S ROOM (WINTER 1945) 1184 </b> 1185 LUCA BRASI's tiny room. He is partly dressed. He kneels 1186 and reaches under his bed and pulls out a small, locked 1187 trunk. He opens it, and takes out a heavy, bullet-proof 1188 vest. He puts it on, over his wool undershirt, and then 1189 puts on his shirt and jacket. He takes his gun, quickly 1190 disassembles, checks, and reassembles it. And leaves. 1191 1192 <b> INT NIGHT: DON'S OFFICE (SUMMER 1945) 1193 </b> 1194 A CLOSE VIEW of DON CORLEONE thinking quietly. 1195 1196 <b> INT NIGHT: MOVING TRAIN (SUMMER 1945) 1197 </b> 1198 MICHAEL and KAY on a train, speeding on their way to New 1199 Hampshire. 1200 1201 <b> INT NIGHT: SUBWAY (WINTER 1945) 1202 </b> 1203 LUCA, in his bulky jacket, sitting quietly on an empty 1204 subway train. 1205 1206 <b> INT NIGHT: AIRPLANE (SUMMER 1945) 1207 </b> 1208 HAGEN on the Constellation. He reaches into his briefcase, 1209 and takes out several pictures and papers. 1210 1211 One photograph is of a smiling man, JACK WOLTZ, linked arm 1212 in arm with fifteen movie stars on either side, including a 1213 lovely young child star to his immediate right. 1214 1215 HAGEN considers other papers. 1216 1217 <b> INT NIGHT: DON'S OFFICE (SUMMER 1945) 1218 </b> 1219 DON CORLEONE looks, and then moves HAGEN into an embrace. 1220 He straightens his arms and looks at TOM deeply. 1221 1222 <b> DON CORLEONE 1223 </b> Remember my new Consigliere, a 1224 lawyer with his briefcase can steal 1225 more than a hundred men with guns. 1226 1227 <b> EXT DAY: WOLTZ ESTATE GATE (SUMMER 1945) 1228 </b> 1229 JACK WOLTZ ESTATE. HAGEN stands before the impressive gate, 1230 armed only with his briefcase. A GATEMAN opens the gate, 1231 and TOM enters. 1232 1233 <b> EXT DAY: WOLTZ GARDENS (SUMMER 1945) 1234 </b> 1235 HAGEN and WOLTZ comfortably stroll along beautiful formal 1236 gardens, martinis in hand. 1237 1238 <b> WOLTZ 1239 </b> You should have told me your boss 1240 was Corleone, Tom, I had to check 1241 you out. I thought you were just 1242 some third rate hustler Johnny was 1243 running in to bluff me. 1244 (a piece of statuary) 1245 Florence, thirteenth century. 1246 Decorated the garden of a king. 1247 1248 They cross the garden and head toward the stables. 1249 1250 <b> WOLTZ 1251 </b> I'm going to show you something 1252 beautiful. 1253 1254 They pass the stables, and come to rest by a stall with a 1255 huge bronze plaque attached to the outside wall: "KHARTOUM." 1256 TWO SECURITY GUARDS are positioned in chairs nearby; they 1257 rise as WOLTZ approaches. 1258 1259 <b> WOLTZ 1260 </b> You like horses? I like horses, I 1261 love 'em. Beautiful, expensive 1262 Racehorses. 1263 1264 The animal inside is truly beautiful. WOLTZ whispers to him 1265 with true love in his voice. 1266 1267 <b> WOLTZ 1268 </b> Khartoum...Kartoum...You are 1269 looking at six hundred thousand 1270 dollars on four hoofs. I bet even 1271 Russian Czars never paid that kind 1272 of dough for a single horse. But 1273 I'm not going to race him I'm going 1274 to put him out to Stud. 1275 1276 <b> INT NIGHT: WOLTZ DINING ROOM (SUMMER 1945) 1277 </b> 1278 HAGEN and WOLTZ sit at an enormous dining room table, 1279 attended by SEVERAL SERVANTS. Great paintings hang on the 1280 walls. The meal is elaborate and sumptuous. 1281 1282 <b> HAGEN 1283 </b> Mr. Corleone is Johnny's Godfather. 1284 That is very close, a very sacred 1285 religious relationship. 1286 1287 <b> WOLTZ 1288 </b> Okay, but just tell him this is one 1289 favor I can't give. But he should 1290 try me again on anything else. 1291 1292 <b> HAGEN 1293 </b> He never asks a second favor when 1294 he has been refused the first. 1295 Understood? 1296 1297 <b> WOLTZ 1298 </b> You smooth son of a bitch, let me 1299 lay it on the line for you, and 1300 your boss. Johnny Fontane never 1301 gets that movie. I don't care how 1302 many Dago, Guinea, wop Greaseball 1303 Goombahs come out of the woodwork! 1304 1305 <b> HAGEN 1306 </b> I'm German-Irish. 1307 1308 <b> WOLTZ 1309 </b> Okay my Kraut-Mick friend, Johnny 1310 will never get that part because I 1311 hate that pinko punk and I'm going 1312 to run him out of the Movies. And 1313 I'll tell you why. He ruined one 1314 of Woltz Brothers' most valuable 1315 proteges. For five years I had 1316 this girl under training; singing 1317 lessons! Acting lessons! Dancing 1318 lessons! We spent hundreds of 1319 thousands of dollars--I was going 1320 to make her a star. I'll be even 1321 more frank, just to show you that 1322 I'm not a hard-hearted man, that it 1323 wasn't all dollars and cents. That 1324 girl was beautiful and young and 1325 innocent and she was the greatest 1326 piece of ass I've ever ad and I've 1327 had them all over the world. Then 1328 Johnny comes along with that olive 1329 oil voice and guinea charm and she 1330 runs off. She threw it all away to 1331 make me look ridiculous. A MAN IN 1332 <b> MY POSITION CANNOT AFFORD TO BE 1333 </b><b> MADE TO LOOK RIDICULOUS! 1334 </b> 1335 <b> EXT DAY: GENCO OLIVE OIL CO. (SUMMER 1945) 1336 </b> 1337 An unimposing little building in New York City on Mott 1338 Street with a large old sign: "GENCO OLIVE OIL IMPORTS, 1339 INC." next to an open-faced fruit market. 1340 1341 A dark Buick pulls up, and a single small man, whom we 1342 cannot see well because of the distance, gets out and enters 1343 the building. This is VIRGIL SOLLOZZO. 1344 1345 <b> INT DAY: OLIVE OIL OFFICES (SUMMER 1945) 1346 </b> 1347 Looking toward the staircase we can hear SOLLOZZO's footsteps 1348 before he actually rises into view. He is a small man, very 1349 dark, with curly black hair. But wiry, and tight and hard, 1350 and obviously very dangerous. He is greeted at the head of 1351 the stairs by SONNY, who takes his hand and shakes it, 1352 introducing himself. For a moment, there is a complex of 1353 handshaking quite formal, and whispered respectful 1354 introductions. Finally, SOLLOZZO is taken into the DON's 1355 glass paneled office; the two principals are introduced. 1356 They are very respectful of one another. Folding chairs are 1357 brought in by FREDDIE, and soon they are all sitting around 1358 in a circle; the DON, SOLLOZZO, SONNY, HAGEN, FREDDIE, 1359 CLEMENZA and TESSIO. The DON is the slightest bit foolish 1360 with all his compatriots, whereas SOLLOZZO has brought no 1361 one. Throughout all that transpires, however, it is clear 1362 that this scene is between two men: SOLLOZZO and DON CORLEONE. 1363 1364 <b> SOLLOZZO 1365 </b> My business is heroin, I have poppy 1366 fields, laboratories in Narseilles 1367 and Sicily, ready to go into 1368 production. My importing methods 1369 are as safe as these things can be, 1370 about five per cent loss. The risk 1371 is nothing, the profits enormous. 1372 1373 <b> DON CORLEONE 1374 </b> Why do you come to me? Why do I 1375 deserve your generosity? 1376 1377 <b> SOLLOZZO 1378 </b> I need two million dollars in 1379 cash...more important, I need a 1380 friend who has people in high 1381 places; a friend who can guarantee 1382 that if one of my employees be 1383 arrested, they would get only light 1384 sentences. Be my friend. 1385 1386 <b> DON CORLEONE 1387 </b> What percentages for my family? 1388 1389 <b> SOLLOZZO 1390 </b> Thirty per cent. In the first year 1391 your share would be four million 1392 dollars; then it would go up. 1393 1394 <b> DON CORLEONE 1395 </b> And what is the percentage of the 1396 Tattaglia family? 1397 1398 SOLLOZZO nods toward HAGEN. 1399 1400 <b> SOLLOZZO 1401 </b> My compliments. I'll take care of 1402 them from my share. 1403 1404 <b> DON CORLEONE 1405 </b> So. I receive 30 per cent just for 1406 finance and legal protection. No 1407 worries about operations, is that 1408 what you tell me? 1409 1410 <b> SOLLOZZO 1411 </b> If you think two million dollars in 1412 cash is just finance, I congratulate 1413 you Don Corleone. 1414 1415 There is a long silence; in which each person present feels 1416 the tension. The DON is about to give his answer. 1417 1418 <b> DON CORLEONE 1419 </b> I said I would see you because I've 1420 heard you're a serious man, to be 1421 treated with respect... 1422 (pause) 1423 But I'll say no to you. 1424 1425 We feel this around the room. 1426 1427 <b> DON CORLEONE 1428 </b> I'll give you my reasons. I have 1429 many, many friends in Politics. 1430 But they wouldn't be so friendly if 1431 my business was narcotics instead 1432 of gambling. They think gambling 1433 is something like liquor, a harmless 1434 vice...and they think narcotics is 1435 dirty business. 1436 1437 SOLLOZZO takes a breath. 1438 1439 <b> DON CORLEONE 1440 </b> No...how a man makes his living is 1441 none of my business. But this 1442 proposition of yours is too risky. 1443 All the people in my family lived 1444 well the last ten years, I won't 1445 risk that out of greed. 1446 1447 <b> SOLLOZZO 1448 </b> Are you worried about security for 1449 your million? 1450 1451 <b> DON CORLEONE 1452 </b> No. 1453 1454 <b> SOLLOZZO 1455 </b> The Tattaglias will guarantee your 1456 investment also. 1457 1458 This startles SONNY; he blurts out. 1459 1460 <b> SONNY 1461 </b> The Tattaglia family guarantees our 1462 investment? 1463 1464 SOLLOZZO hears him first, and then very slowly turns to face 1465 him. Everyone is the room knows that SONNY has stepped out 1466 of line. 1467 1468 <b> DON CORLEONE 1469 </b> Young people are greedy, and they 1470 have no manners. They speak when 1471 they should listen. But I have a 1472 sentimental weakness for my 1473 children, and I've spoiled them, as 1474 you see. But Signor Sollozzo, my 1475 no is final. 1476 1477 SOLLOZZO nods, understands that this is the dismissal. He 1478 glances one last time at SONNY. He rises; all the others do 1479 as well. He bows to the DON, shakes his hand, and formally 1480 takes his leave. When the footsteps can no longer be heard: 1481 1482 The DON turns to SONNY. 1483 1484 <b> DON CORLEONE 1485 </b> Santino, never let anyone outside 1486 the family know what you are 1487 thinking. I think your brain is 1488 going soft from all that comedy you 1489 play with that young girl. 1490 1491 TWO OFFICE WORKERS are carrying an enormous floral display 1492 with the word "THANK YOU" spelled out in flowers. 1493 1494 <b> DON CORLEONE 1495 </b> What is this nonsense? 1496 1497 <b> HAGEN 1498 </b> It's from Johnny. It was announced 1499 this morning. He's going to play 1500 the lead in the new Woltz Brothers 1501 film. 1502 1503 <b> INT DAY: WOLTZ'S BEDROOM (SUMMER 1945) 1504 </b> 1505 It is large, dominated by a huge bed, in which a man, 1506 presumably WOLTZ, is sleeping. Soft light bathes the room 1507 from the large windows. We move closer to him until we see 1508 his face, and recognize JACK WOLTZ. He turns uncomfortably; 1509 mutters, feels something strange in his bedsheets. Something 1510 wet. 1511 1512 He wakens, feels the sheets with displeasure; they are wet. 1513 He looks at his hand; the wetness is blood. He is 1514 frightened, pulls aside the covers, and sees fresh blood on 1515 his sheets and pajamas. He grunts, pulls the puddle of 1516 blood in his bed. He feels his own body frantically, 1517 moving, down, following the blood, until he is face to face 1518 with the great severed head of Khartoum lying at the foot of 1519 his bed. Just blood from the hacked neck. White reedy 1520 tendons show. He struggles up to his elbows in the puddle 1521 of blood to see more clearly. Froth covers the muzzle, and 1522 the enormous eyes of the animal are yellowed and covered 1523 with blood. 1524 1525 WOLTZ tries to scream; but cannot. No sound comes out. 1526 Then, finally and suddenly an ear-splitting scream of pure 1527 terror escapes from WOLTZ, who is rocking on his hands and 1528 knees in an uncontrolled fit, blood all over him. 1529 1530 <b> INT DAY: OLIVE OIL OFFICES (SUMMER 1945) 1531 </b> 1532 CLOSE VIEW on the GODFATHER. Nodding. 1533 1534 <b> DON CORLEONE 1535 </b> Send Johnny my congratulations. 1536 1537 <b> ----------------------------------------FADE OUT-------- 1538 </b> 1539 <b> (SCENES 12 & 12 OMITTED) 1540 </b> 1541 <b> FADE IN: 1542 </b> 1543 <b> EXT DAY: FIFTH AVENUE (WINTER 1945) 1544 </b> 1545 Fifth Avenue in the snow. Christmas week. People are 1546 bundled up with rosy faces, rushing to buy presents. 1547 1548 KAY and MICHAEL exit a Fifth Avenue department store, 1549 carrying a stack of gaily wrapped gifts, arm in arm. 1550 1551 <b> KAY 1552 </b> We have something for your mother, 1553 for Sonny, we have the tie for 1554 Fredo and Tom Hagen gets the 1555 Reynolds pen... 1556 1557 <b> MICHAEL 1558 </b> And what do you want for Christmas? 1559 1560 <b> KAY 1561 </b> Just you. 1562 1563 They kiss. 1564 1565 <b> INT DAY: HOTEL ROOM (WINTER 1945) 1566 </b> 1567 CLOSE ON a wooden radio, playing quiet Music. THE VIEW PANS 1568 AROUND the dark hotel room, curtained against the daylight. 1569 1570 <b> MICHAEL (O.S.) 1571 </b> We'll have a quiet, civil ceremony 1572 at the City Hall, no big fuss, no 1573 family, just a couple of friends as 1574 witnesses. 1575 1576 The two are in each other's arms in a mess of bedsheets on 1577 the two single beds that they have pushed together. 1578 1579 <b> KAY 1580 </b> What will your father say? 1581 1582 <b> MICHAEL 1583 </b> As long as I tell him beforehand he 1584 won't object. He'll be hurt, but 1585 he won't object. 1586 1587 <b> KAY 1588 </b> What time do they expect us? 1589 1590 <b> MICHAEL 1591 </b> For dinner. Unless I call and tell 1592 them we're still in New Hampshire. 1593 1594 <b> KAY 1595 </b> Michael. 1596 1597 <b> MICHAEL 1598 </b> Then we can have dinner, see a 1599 show, and spend one more night. 1600 1601 He moves to the telephone. 1602 1603 <b> MICHAEL (CONT'D.) 1604 </b> Operator. Get me 1605 (fill in number) 1606 1607 1608 <b> KAY 1609 </b> Michael, what are you doing? 1610 1611 <b> MICHAEL 1612 </b> Shhh, you be the long distance 1613 operator. Here. 1614 1615 <b> KAY 1616 </b> Hello...this is Long Distance. I 1617 have a call from New Hampshire. Mr. 1618 Michael Corleone. One moment please. 1619 1620 She hands the phone to MICHAEL who continues the deception. 1621 1622 <b> MICHAEL 1623 </b> Hello, Tom? Michael. Yeah... 1624 listen, we haven't left yet. I'm 1625 driving down to the city with Kay 1626 tomorrow morning. There's something 1627 important I want to tell the old 1628 man before Christmas. Will he be 1629 home tomorrow night? 1630 1631 <b> INT DAY: OLIVE OIL OFFICE (WINTER 1945) 1632 </b> 1633 HAGEN in the Olive Oil Company office. In the background, 1634 through the glass partitions, we can see the DON, at work in 1635 his office. TOM is tired, and steeped in paperwork. 1636 1637 <b> HAGEN (O.S.) 1638 </b> Sure. Anything I can do for you. 1639 1640 <b> MICHAEL (O.S.) 1641 </b> No. I guess I'll see you Christmas. 1642 Everyone's going to be out at Long 1643 Beach, right? 1644 1645 <b> HAGEN 1646 </b> Right. 1647 1648 He smiles. MICHAEL has hung up. He looks at the piles of 1649 work, and can't face it. He rises, puts on his coat and 1650 hat, and continues out. 1651 1652 He peeks into the DON's office. 1653 1654 <b> HAGEN 1655 </b> Michael called; he's not leaving 1656 New Hampshire until tomorrow 1657 morning. I've got to go, I promised 1658 Theresa I'd pick up some toys for 1659 the kids. 1660 1661 The DON smiles and nods. 1662 1663 TOM smiles, and leaves; OUR VIEW remaining with DON CORLEONE. 1664 FREDDIE is sitting on a bench in the corner, reading the 1665 afternoon paper. He puts aside the papers the office 1666 manager has prepared for him, and then moves to FREDDIE, 1667 raps his knuckles on his head to take his nose out of the 1668 paper. 1669 1670 <b> DON CORLEONE 1671 </b> Tell Paulie to get the car from the 1672 lot; I'll be ready to go home in a 1673 few minutes. 1674 1675 <b> FREDO 1676 </b> I'll have to get it myself; Paulie 1677 called in sick this morning. 1678 1679 <b> DON CORLEONE 1680 </b> That's the third time this month. 1681 I think maybe you'd better get a 1682 healthier bodyguard for me. Tell 1683 Tom. 1684 1685 <b> FREDO 1686 </b> (going) 1687 Paulie's a good kid. If he's sick, 1688 he's sick. I don't mind getting 1689 the car. 1690 1691 FREDDIE leaves. He slowly puts on his jacket. Looks out 1692 his window. 1693 1694 <b> EXT DUSK: OLIVE OIL CO. (WINTER 1945) 1695 </b> 1696 FREDDIE crosses the street. 1697 1698 <b> INT DUSK: OLIVE OIL OFFICE (WINTER 1945) 1699 </b> 1700 <b> OFFICE MANAGER 1701 </b> Buon Watale, Don Corleone. 1702 1703 The MANAGER helps him on with his overcoat. Once again, the 1704 DON glances out his window. 1705 1706 The black car pulls up; FREDDIE driving. 1707 1708 <b> DON CORLEONE 1709 </b> Merry Christmas. 1710 (handing the MANAGER 1711 an envelope) 1712 1713 1714 And he starts down the stairs. 1715 1716 <b> EXT DUSK: OLIVE OIL CO. (WINTER 1945) 1717 </b> 1718 The light outside is very cold, and beginning to fail. When 1719 FREDDIE sees his FATHER coming, he moves back into the 1720 driver's seat. The DON moves to the car, and is about to 1721 get in when he hesitates, and turns back to the long, open 1722 fruit stand near the corner. 1723 1724 The PROPRIETOR springs to serve him. The DON walks among 1725 the trays and baskets, and merely points to a particular 1726 piece of fruit. As he selects, the MAN gingerly picks the 1727 pieces of fruit up and puts them into a paper bag. The DON 1728 pays with a five dollar bill, waits for his change, and then 1729 turns back to the car. 1730 1731 <b> EXT DUSK: POLKS TOY STORE (WINTER 1945) 1732 </b> 1733 TOM HAGEN exits carrying a stack of presents, all gift 1734 wrapped. He continues past the windows. As he walks, 1735 someone walks right in his way. He looks up. It is SOLLOZZO. 1736 1737 He takes TOM by the arm and walks along with him. 1738 1739 <b> SOLLOZZO 1740 </b> (quietly) 1741 Don't be frightened. I just want 1742 to talk to you. 1743 1744 A car parked at the curb suddenly flings its rear door open. 1745 1746 <b> SOLLOZZO 1747 </b> (urgently) 1748 Get in; I want to talk to you. 1749 1750 HAGEN pulls his arm free. He is frightened. 1751 1752 <b> HAGEN 1753 </b> I haven't got time. 1754 1755 TWO MEN suddenly appear on either side of him. 1756 1757 <b> SOLLOZZO 1758 </b> Get in the car. If I wanted to 1759 kill you you'd be dead already. 1760 Trust me. 1761 1762 HAGEN, sick to his stomach, moves with his ESCORTS, leaving 1763 our VIEW on the Mechanical windows gaily bobbing the story 1764 of Hansel and Gretel. We HEAR the car doors shut, and the 1765 car drive off. 1766 1767 <b> EXT NIGHT: RADIO CITY - PHONE BOOTH (WINTER 1945) 1768 </b> 1769 RADIO CITY MUSIC HALL during the Christmas show. KAY and 1770 MICHAEL exit; tears are still streaming down her cheeks, and 1771 she sniffles, and dries her tears with Kleenex. KAY 1772 nostalgically hums "The Bells of Saint Mary's," as they walk 1773 arm in arm. 1774 1775 <b> KAY 1776 </b> Would you like me better if I were 1777 a nun? 1778 1779 <b> MICHAEL 1780 </b> No. 1781 1782 <b> KAY 1783 </b> Would you like me better if I were 1784 Ingrid Bergman? 1785 1786 They have passed a little enclosed newsstand. KAY sees 1787 something that terrifies her. She doesn't know what to do. 1788 MICHAEL still walks, thinking about her question. 1789 1790 <b> KAY 1791 </b> (a little voice) 1792 Michael? 1793 1794 <b> MICHAEL 1795 </b> I'm thinking about it. 1796 1797 <b> KAY 1798 </b> Michael... 1799 1800 <b> MICHAEL 1801 </b> No, I would not like you better if 1802 you were Ingrid Bergman. 1803 1804 She cannot answer him. Rather she pulls him by the arm, 1805 back to the newsstand, and points. His face goes grave. 1806 1807 The headlines read: "VITO CORLEONE SHOT, CHIEFTAN GUNNED 1808 <b> DOWN." 1809 </b> 1810 MICHAEL is petrified; quickly he takes each edition, drops a 1811 dollar in the tray, and hungrily reads through them. KAY 1812 knows to remain silent. 1813 1814 <b> MICHAEL 1815 </b> (desperately) 1816 They don't say if he's dead or alive. 1817 1818 <b> EXT DUSK: OLIVE OIL CO. (WINTER 1945) 1819 </b> 1820 DON CORLEONE by the fruit stand; he is about to move to the 1821 car, when TWO MEN step from the corner. Suddenly, the DON 1822 drops the bag of fruit and darts with startling quickness 1823 toward the parked car. 1824 1825 <b> DON CORLEONE 1826 </b> Fredo, Fredo! 1827 1828 The paper bag has hit the ground, and the fruit begins 1829 rolling along the sidewalk, as we HEAR gunshots. 1830 1831 Five bullets catch the DON in the back; he arches in pain, 1832 and continues toward the car. 1833 1834 The PROPRIETOR of the fruit stand rushes for cover, knocking 1835 over an entire case of fruit. 1836 1837 The TWO GUNMEN move in quickly, anxious to finish him off. 1838 1839 Their feet careful to avoid the rolling fruit. There are 1840 more GUNSHOTS. 1841 1842 FREDDIE is hysterical; he tries to get out of the car; 1843 having difficulty opening the door. He rushes out, a gun 1844 trembling in his hand; his mouth open. He actually drops 1845 the gun. 1846 1847 The gun falls amid the rolling fruit. 1848 1849 The GUNMEN are panicked. They fire once more at the downed 1850 DON CORLEONE. His leg and arm twitch where they are hit; 1851 and pools of blood are beginning to form. 1852 1853 The GUNMEN are obviously in a state of panic and confusion; 1854 they disappear around the corner as quickly as they came. 1855 1856 The PEOPLE about the avenue have all but disappeared: 1857 rather, we catch glimpses of them, poking their heads safely 1858 from around corners, inside doorways and arches, and from 1859 windows. But the street itself is now empty. 1860 1861 FREDDIE is in shock; he looks at his FATHER; now great 1862 puddles of blood have formed, and the DON is lifeless and 1863 face down in them. 1864 1865 FREDDIE falls back on to the curb and sits there, saying 1866 something we cannot understand. He begins to weep profusely. 1867 1868 <b> INT NIGHT: SUBWAY (WINTER 1945) 1869 </b> 1870 LUCA BRASI riding alone on a subway car, late at night. He 1871 gets off. 1872 1873 He emerges at a subway terminal, proceeds out. 1874 1875 <b> EXT NITE: NIGHT CLUB STREET (WINTER 1945) 1876 </b> 1877 LUCA walks down the late night street. He approaches an 1878 elegant New York Nightclub, whose gaudy neon sign is still 1879 winking this late at night. He waits and watches. Then the 1880 sign goes out; and he proceeds into the club. 1881 1882 <b> INT NITE: NIGHTCLUB (WINTER 1945) 1883 </b> 1884 The main floor of the Nightclub is very large, with endless 1885 glistening wooden floors. Now, at this late time, the 1886 chairs have been stacked on the tables and a NEGRO JANITOR 1887 is waxing them. A single HAT-CHECK GIRL is counting her 1888 receipts. LUCA moves past the empty bandstand, and sits at 1889 the bar. ANOTHER MAN, dark and very well-built, moves 1890 behind the bar. 1891 1892 <b> MAN 1893 </b> Luca...I'm Bruno Tattaglia. 1894 1895 <b> LUCA 1896 </b> I know. 1897 1898 LUCA looks up; and out of the shadows emerges SOLLOZZO. 1899 1900 <b> SOLLOZZO 1901 </b> Do you know who I am? 1902 1903 LUCA Nods. 1904 1905 <b> SOLLOZZO 1906 </b> You've been talking to the 1907 Tattaglias. They thought we could 1908 do business. 1909 1910 LUCA listens. 1911 1912 <b> SOLLOZZO 1913 </b> I need somebody strong to protect 1914 my operation, physically. I've 1915 heard you're not happy with your 1916 family, you might make a switch. 1917 1918 <b> LUCA 1919 </b> If the money is good enough. 1920 1921 <b> SOLLOZZO 1922 </b> On the first shipment, I can 1923 guarantee you fifty thousand dollars. 1924 1925 LUCA looks at him; he had no idea the offer would be so good. 1926 1927 SOLLOZZO extends his hand, but LUCA pretends not to see it, 1928 rather, he busies himself putting a cigarette in his mouth. 1929 BRUNO TATTAGLIA, behind the bar, makes a cigarette lighter 1930 magically appear, and holds it to LUCA's cigarette. Then, 1931 he does an odd thing; he drops the lighter on the bar, and 1932 puts his hand lightly on LUCA's, almost patting it. 1933 1934 <b> INT NITE: SONNY'S LIVING ROOM (WINTER 1945) 1935 </b> 1936 The telephone in SONNY's house is ringing. He approaches 1937 it, obviously fresh from a nap. 1938 1939 <b> SONNY 1940 </b> Yeah. 1941 1942 <b> VOICE (O.S.) 1943 </b> Do you recognize my voice? 1944 1945 <b> SONNY 1946 </b> I think so. Detective squad? 1947 1948 <b> VOICE (O.S.) 1949 </b> Right. Don't say my name, just 1950 listen. Somebody shot your father 1951 outside his place fifteen minutes 1952 ago. 1953 1954 <b> SONNY 1955 </b> Is he alive? 1956 1957 <b> VOICE (O.S.) 1958 </b> I think so, but I can't get close 1959 enough. There's a lot of blood. 1960 I'll try to find out more. 1961 1962 <b> SONNY 1963 </b> Find out anything you can...you got 1964 a Grand coming. 1965 (click) 1966 1967 1968 SONNY cradles the phone. An incredible rage builds up in 1969 him, his face actually turning red. He would like to rip 1970 the phone to pieces in his bare hands. Then he controls it. 1971 Quickly, he dials another number. 1972 1973 <b> SONNY 1974 </b> Theresa, let me talk to Tom. Not 1975 yet? Have him call me as soon as 1976 he gets home. 1977 1978 He hangs up. 1979 1980 <b> SANDRA (O.S.) 1981 </b> Sonny? Sonny, who is it? 1982 (she enters the room) 1983 What is it? 1984 1985 <b> SONNY 1986 </b> (calmly) 1987 They shot the old man. 1988 1989 <b> SANDRA 1990 </b> Oh God... 1991 1992 <b> SONNY 1993 </b> Honey...don't worry. Nothing else 1994 is going to happen. 1995 1996 There is a POUNDING on the door. A BABY starts crying. 1997 1998 <b> SANDRA 1999 </b> (really frightened) 2000 <b> SONNY? 2001 </b> 2002 SONNY reaches into a cabinet drawer, takes out a gun, and 2003 moves quickly. He opens the front door quickly. It is 2004 CLEMENZA. He enters, SONNY closes the door. SANDRA goes to 2005 look after the baby. 2006 2007 <b> CLEMENZA 2008 </b> (excited) 2009 You heard about your father? 2010 2011 <b> SONNY 2012 </b> Yeah. 2013 2014 <b> CLEMENZA 2015 </b> The word is out in the streets that 2016 he's dead. 2017 2018 <b> SONNY 2019 </b> Where the hell was Paulie, why 2020 wasn't he with the Don? 2021 2022 <b> CLEMENZA 2023 </b> Paulie's been a little sick all 2024 winter...he was home. 2025 2026 <b> SONNY 2027 </b> How many times did he stay home the 2028 last couple of months? 2029 2030 <b> CLEMENZA 2031 </b> Maybe three, four times. I always 2032 asked Freddie if he wanted another 2033 bodyguard, but he said no. Things 2034 have been so smooth the last ten 2035 years... 2036 2037 <b> SONNY 2038 </b> Go get Paulie, I don't care how 2039 sick he is. Pick him up yourself, 2040 and bring him to my father's house. 2041 2042 <b> CLEMENZA 2043 </b> That's all? Don't you want me to 2044 send some people over here? 2045 2046 <b> SONNY 2047 </b> No, just you and Paulie. 2048 2049 CLEMENZA leaves; SONNY moves to SANDRA, who sits on the 2050 couch weeping quietly, comforting her BABY. 2051 2052 <b> SONNY 2053 </b> A couple of our people will come to 2054 stay here. Do whatever they say; 2055 I'm going over to the main house. 2056 If you want me, use Pop's special 2057 phone. 2058 2059 The telephone rings again. SONNY answers it. 2060 2061 <b> SONNY 2062 </b> Hello. 2063 2064 <b> SOLLOZZO (O.S.) 2065 </b> Santino Corleone? 2066 2067 SANDRA moves behind him, anxious to know who it is. SONNY 2068 indicates that she be quiet. 2069 2070 <b> SONNY 2071 </b> Yeah. 2072 2073 <b> SOLLOZZO (O.S.) 2074 </b> We have Tom Hagen. In about three 2075 hours he'll be released with our 2076 proposition. Don't do anything 2077 until you've heard what he has to 2078 say. You can only cause a lot of 2079 trouble. What's done is done. 2080 (a pause) 2081 Don't lose that famous temper of 2082 yours. 2083 2084 <b> SONNY 2085 </b> (quietly) 2086 I'll wait. 2087 2088 <b> EXT NITE: MALL (WINTER 1945) 2089 </b> 2090 FULL VIEW OF THE CORLEONE MALL. It is night, but the 2091 courtyard is bathed with white light from floodlights on the 2092 tops of all the houses. It is very cold. We see the figure 2093 of SONNY cross the Mall, and let himself into the main house. 2094 2095 <b> INT NITE: DON'S KITCHEN (WINTER 1945) 2096 </b> 2097 SONNY walks into the empty, darkened house. Then he calls 2098 out. 2099 2100 <b> SONNY 2101 </b> Ma? Ma, where are you. 2102 2103 The kitchen door swings open. He moves quickly and takes 2104 her by the arm. He is deliberately calm. 2105 2106 <b> SONNY 2107 </b> Ma, I just got a call. Pop's 2108 hurt...I don't know how bad. 2109 2110 <b> MAMA 2111 </b> (quietly) 2112 Santino? Have they killed him? 2113 2114 <b> SONNY 2115 </b> (almost in tears) 2116 We don't know yet, Ma. 2117 2118 <b> MAMA 2119 </b> I'll get dressed. In case we can 2120 see him... 2121 2122 She moves out of the kitchen, and continues upstairs. SONNY 2123 turns the gas from the pan of peppers she was frying. He 2124 takes some bread without thinking, and dips it in the oil, 2125 and sloppily eats some of the peppers, as he moves into his 2126 father's office. 2127 2128 <b> INT NITE: DON'S OFFICE (WINTER 1945) 2129 </b> 2130 He switches the lights on in the DON's office. The massive 2131 desk dominates the room. SONNY moves quickly to the 2132 telephone, pulling a small chair to the side of the desk, 2133 and dials a number. 2134 2135 <b> SONNY 2136 </b> Tessio...This is Santino Corleone. 2137 I want fifty reliable men out here. 2138 2139 <b> TESSIO (O.S.) 2140 </b> I heard, Sonny...but what about 2141 Clemenza's regime? 2142 2143 <b> SONNY 2144 </b> I don't want to use Clemenza's 2145 people right now. Understood? 2146 2147 He hangs up. He moves quickly to a wall safe; operates the 2148 dial, and removes a small notebook. He takes it back to the 2149 desk, and runs over the list of numbers with his forefinger. 2150 We follow the names, until the finger stops at one: LUCA 2151 BRASI. SONNY dials the number. There is no answer. 2152 2153 <b> SONNY 2154 </b> Luca. 2155 2156 <b> INT NITE: BUILDING (WINTER 1945) 2157 </b> 2158 The interior of an abandoned building. SEVERAL MEN in suits 2159 and ties sit around in the booths. 2160 2161 HAGEN sits in one: SOLLOZZO sits across from him. 2162 2163 <b> SOLLOZZO 2164 </b> I know you're not in the muscle end 2165 of the family--so I don't want you 2166 to be afraid. I want you to help 2167 the Corleones and I want you to 2168 help me. 2169 2170 HAGEN's hands are trembling as he tries to put a cigarette 2171 in his mouth. ONE of the BUTTON MEN brings a bottle of rye 2172 to the table, and pours a little into a delicate, flowered 2173 china cup. HAGEN sips gratefully. 2174 2175 <b> SOLLOZZO 2176 </b> Your boss is dead... 2177 2178 HAGEN is overwhelmed: actual tears spring to his eyes. 2179 SOLLOZZO pauses respectfully. 2180 2181 <b> SOLLOZZO 2182 </b> (pushing the bottle) 2183 Have some more. We got him outside 2184 his office, just before I picked 2185 you up. You have to make the peace 2186 between me and Santino. 2187 2188 HAGEN still is focused on the grief of losing the old man. 2189 2190 <b> SOLLOZZO 2191 </b> Sonny was hot for my deal, right? 2192 You know it's the smart thing to 2193 do, too. I want you to talk Sonny 2194 into it. 2195 2196 <b> HAGEN 2197 </b> (pulling himself together) 2198 Sonny will come after you with 2199 everything he's got. 2200 2201 SOLLOZZO rises, impatiently. 2202 2203 <b> SOLLOZZO 2204 </b> That's going to be his first 2205 reaction. You have to talk some 2206 sense into him. The Tattaglia 2207 family stands behind me with all 2208 their people. The other New York 2209 Families will go along with anything 2210 that prevents a full scale war. 2211 2212 He leans close to HAGEN. 2213 2214 <b> SOLLOZZO 2215 </b> The Don was slipping; in the old 2216 days I could never have gotten to 2217 him. Now he's dead, nothing can 2218 bring him back. Talk to Sonny, 2219 talk to the Caporegimes, Clemenza 2220 and Tessio...it's good business. 2221 2222 <b> HAGEN 2223 </b> Even Sonny won't be able to call 2224 off Luca Brasi. 2225 2226 <b> SOLLOZZO 2227 </b> I'll worry about Luca. You take 2228 care of Sonny and the other two kids. 2229 2230 <b> HAGEN 2231 </b> I'll try...It's what the Don would 2232 want us to do. 2233 2234 <b> SOLLOZZO 2235 </b> (lifting his hands in 2236 an expression of harmlessness) 2237 Good...then you can go... 2238 (he escorts him to 2239 the door) 2240 I don't like violence. I'm a 2241 businessman, and blood is a big 2242 expense. 2243 2244 He opens the door; they step out together. 2245 2246 <b> EXT NITE: BUILDING 2247 </b> 2248 HAGEN, SOLLOZZO exit. 2249 2250 But a car pulls up, and ONE of SOLLOZZO'S MEN rushes out. 2251 He indicates with some urgency that he wants to talk to 2252 SOLLOZZO in private. 2253 2254 Then SOLLOZZO moves with a grave expression. He opens the 2255 door, indicating that HAGEN should be led back in. 2256 2257 <b> SOLLOZZO 2258 </b> The old man is still alive. Five 2259 bullets in his Sicilian hide and 2260 he's still alive. 2261 (he gives a fatalistic 2262 shrug) 2263 Bad luck for me, bad luck for you. 2264 2265 <b> EXT NITE: MALL (WINTER 1945) 2266 </b> 2267 MICHAEL driving during the night. There is a little fog in 2268 the air, and moisture has formed on the windshield, making 2269 it difficult to see well. The wipers move across the view, 2270 as the gate of the Corleone Mall appears before us, still 2271 decorated for Christmas. The courtyard is bathed with white 2272 floodlight, giving this place a cold and isolated look. The 2273 narrow entrance mouth of the Mall is sealed off with a link 2274 chain. There are strange cars parked along the curving 2275 cement walk. SEVERAL MEN are congregated about the gate and 2276 chain; ONE of them approaches MICHAEL's car. 2277 2278 <b> MAN 2279 </b> Who're you? 2280 2281 ANOTHER peeks his ugly face almost right up to MICHAEL, and 2282 then turns. 2283 2284 <b> MAN 2 2285 </b> It's the Don's kid; take the car, 2286 I'll bring him inside. 2287 2288 The FIRST MAN opens the car door, and MICHAEL steps out. 2289 2290 <b> INT NITE: HALL (WINTER 1945) 2291 </b> 2292 The Hallway of the main house is filled with MEN MICHAEL 2293 doesn't recognize. They pay little attention to him. Most 2294 of them are waiting; sitting uncomfortably; no one is talking. 2295 2296 <b> INT NITE: DON'S LIVING ROOM (WINTER 1945) 2297 </b> 2298 MICHAEL moves into the living room; there is a Christmas 2299 tree, and countless greeting cards taped to the walls. 2300 2301 THERESA HAGEN is sitting stiffly on the sofa, smoking a 2302 cigarette; on the coffee table in front of her is a water 2303 glass half filled with whiskey. On the other side of the 2304 sofa sits CLEMENZA; his face is impassive, but he is 2305 sweating, and the cigar in his hand glistens slickly black 2306 with his saliva. PAULIE GATTO sits tensely and alone on the 2307 other side of the room. CLEMENZA sees MICHAEL, looks up at 2308 him. 2309 2310 <b> CLEMENZA 2311 </b> Your mother's at the hospital with 2312 the old man: He's gonna pull through. 2313 2314 MICHAEL nods his relief. 2315 2316 <b> MICHAEL 2317 </b> Thanks. 2318 2319 He moves to THERESA. 2320 2321 <b> MICHAEL 2322 </b> (gently) 2323 You heard from Tom yet? 2324 2325 Without looking up, she clings to him for a moment, and 2326 trembles. Occasionally, STRANGE MEN will cross through the 2327 room; everyone speaks in a whisper. 2328 2329 <b> MICHAEL 2330 </b> (taking her hand) 2331 C'mon. 2332 2333 He leads her into his father's office without knocking. 2334 2335 <b> INT NITE: DON'S OFFICE (WINTER 1945) 2336 </b> 2337 SONNY and TESSIO are huddled around a yellow pad. They look 2338 up, startled. 2339 2340 <b> SONNY 2341 </b> Don't worry, Theresa; they just 2342 want to give Tom the proposition, 2343 then they're going to turn him loose. 2344 2345 He reassuringly hugs THERESA, and then to MICHAEL's surprise, 2346 he kisses him on the cheek. 2347 2348 <b> SONNY 2349 </b> I was worried when we couldn't get 2350 in touch with you in that hick town. 2351 2352 <b> MICHAEL 2353 </b> How's Mom? 2354 2355 <b> SONNY 2356 </b> Good. She's been through it before. 2357 Me too. You were too young to know 2358 about it. You better wait outside; 2359 there're some things you shouldn't 2360 hear. 2361 2362 <b> MICHAEL 2363 </b> I can help you out... 2364 2365 <b> SONNY 2366 </b> Oh no you can't, the old man'd be 2367 sore as hell if I let you get mixed 2368 up in this. 2369 2370 <b> MICHAEL 2371 </b> Jesus Christ, he's my father, Sonny. 2372 2373 <b> SONNY 2374 </b> Theresa. 2375 2376 She understands, and leaves them alone. 2377 2378 <b> SONNY 2379 </b> All right, Mikey...who do we have 2380 to hit, Clemenza or Paulie? 2381 2382 <b> MICHAEL 2383 </b> What? 2384 2385 <b> SONNY 2386 </b> One of them fingered the old man. 2387 2388 MICHAEL didn't realize that the men waiting outside were on 2389 trial for their lives. 2390 2391 <b> MICHAEL 2392 </b> Clemenza? No, I don't believe it. 2393 2394 <b> SONNY 2395 </b> You're right, kid, Clemenza is okay. 2396 It was Paulie. 2397 2398 <b> MICHAEL 2399 </b> How can you be sure? 2400 2401 <b> SONNY 2402 </b> On the three days Paulie was sick 2403 this month, he got calls from a 2404 payphone across from the old man's 2405 building. We got people in the 2406 phone company. 2407 (he shrugs) 2408 Thank God it was Paulie...we'll 2409 need Clemenza bad. 2410 2411 MICHAEL is just realizing the gravity and extent of the 2412 situation. 2413 2414 <b> MICHAEL 2415 </b> Is it going to be all-out war, like 2416 last time? 2417 2418 <b> SONNY 2419 </b> Until the old man tells me different. 2420 2421 <b> MICHAEL 2422 </b> Then wait, Sonny. Talk to Pop. 2423 2424 <b> SONNY 2425 </b> Sollozzo is a dead man, I don't 2426 care what it costs. I don't care 2427 if we have to fight all the five 2428 families in New York. The Tattaglia 2429 family's going to eat dirt. I 2430 don't care if we all go down 2431 together. 2432 2433 <b> MICHAEL 2434 </b> (softly) 2435 That's not how Pop would have 2436 played it. 2437 2438 <b> SONNY 2439 </b> I know I'm not the man he was. But 2440 I'll tell you this and he'll tell 2441 you too. When it comes to real 2442 action, I can operate as good as 2443 anybody short range. 2444 2445 <b> MICHAEL 2446 </b> (calmly) 2447 All right, Sonny. All right. 2448 2449 <b> SONNY 2450 </b> Christ, if I could only contact Luca. 2451 2452 <b> MICHAEL 2453 </b> Is it like they say? Is he that 2454 good? 2455 2456 Outside, we HEAR THERESA cry out, almost a scream of relief. 2457 Then open the door and rush out. 2458 2459 Everyone is standing: in the doorway, TOM HAGEN is wrapped 2460 in a tight embrace with his WIFE. 2461 2462 <b> HAGEN 2463 </b> If I plead before the Supreme 2464 Court, I'll never do better than I 2465 did tonight with that Turk. 2466 2467 <b> EXT NITE: MALL, FEATURING DON'S HOUSE (WINTER 1945) 2468 </b> 2469 The windows of the main house are dark except for the DON's 2470 study. It stands out against the cold, dark night. 2471 2472 <b> INT NITE: DON'S LIVING ROOM (WINTER 1945) 2473 </b> 2474 The living room is empty, save for PAULIE GATTO sitting on 2475 the edge of the sofa. The clock reads: 4:00 a.m. 2476 2477 <b> INT NITE: DON'S OFFICE (WINTER 1945) 2478 </b> 2479 SONNY, MICHAEL, HAGEN, CLEMENZA and TESSIO; all exhausted, 2480 in shirtsleeves, about to fall asleep. It is four in the 2481 morning; there is evidence of many cups of coffee and many 2482 snacks. They can barely talk anymore. 2483 2484 <b> HAGEN 2485 </b> Is the hospital covered? 2486 2487 <b> SONNY 2488 </b> The cops have it locked in and I 2489 got my people there visiting Pop 2490 all the time. What about the hit 2491 list. 2492 2493 HAGEN widens his sleepy eyes, and looks at the yellow pad. 2494 2495 <b> HAGEN 2496 </b> Too much, too far, too personal. 2497 The Don would consider this all 2498 purely a business dispute: Get rid 2499 of Sollozzo, and everything falls 2500 in line. YOU don't have to go 2501 after the Tattaglias. 2502 2503 CLEMENZA nods. 2504 2505 <b> HAGEN 2506 </b> What about Luca? Sollozzo didn't 2507 seem worried about Luca. That 2508 worries me. 2509 2510 <b> SONNY 2511 </b> If Luca sold out we're in real 2512 trouble. 2513 2514 <b> HAGEN 2515 </b> Has anyone been able to get in 2516 touch with him? 2517 2518 <b> SONNY 2519 </b> No, and I've been calling all night. 2520 Maybe he's shacked up. 2521 2522 <b> HAGEN 2523 </b> Luca never sleeps over with a broad. 2524 He always goes home when he's 2525 through. Mike, keep ringing Luca's 2526 number. 2527 2528 MICHAEL, very tired, picks up the phone, and dials the 2529 number once again. He can hear the phone ringing on the 2530 other end but no one answers. Then hangs up. 2531 2532 <b> HAGEN 2533 </b> Keep trying every fifteen minutes. 2534 (exhausted) 2535 2536 2537 <b> SONNY 2538 </b> Tom, you're the Consigliere, what 2539 do we do if the old man dies? 2540 2541 <b> HAGEN 2542 </b> Without your father's political 2543 contacts and personal influence, 2544 the Corleone family loses half its 2545 strength. Without your father, the 2546 other New York families might wind 2547 up supporting Sollozzo, and the 2548 Tattaglias just to make sure there 2549 isn't a long destructive war. The 2550 old days are over, this is 1946; 2551 nobody wants bloodshed anymore. If 2552 your father dies...make the deal, 2553 Sonny. 2554 2555 <b> SONNY 2556 </b> (angry) 2557 That's easy to say; it's not your 2558 father. 2559 2560 <b> HAGEN 2561 </b> (quietly) 2562 I was as good a son to him as you 2563 or Mike. 2564 2565 <b> SONNY 2566 </b> Oh Christ Tom, I didn't mean it 2567 that way. 2568 2569 <b> HAGEN 2570 </b> We're all tired... 2571 2572 <b> SONNY 2573 </b> OK, we sit tight until the old man 2574 can give us the lead. But Tom, I 2575 want you to stay inside the Mall. 2576 You too, Mike, no chances. Tessio, 2577 you hold your people in reserve, 2578 but have them nosing around the 2579 city. The hospital is yours; I 2580 want it tight, fool-proof, 24 hours 2581 a day. 2582 2583 There is a timid knock on the door. 2584 2585 <b> SONNY 2586 </b> What is it? 2587 2588 PAULIE GATTO looks in. 2589 2590 <b> CLEMENZA 2591 </b> I tol' you to stay put, Paulie... 2592 2593 <b> PAULIE 2594 </b> The guy at the gate's outside...says 2595 there's a package... 2596 2597 <b> SONNY 2598 </b> Tessio, see what it is. 2599 2600 TESSIO gets up, leaves. 2601 2602 <b> PAULIE 2603 </b> You want me to hang around? 2604 2605 <b> SONNY 2606 </b> Yeah. Hang around. 2607 2608 <b> PAULIE 2609 </b> Outside? 2610 2611 <b> CLEMENZA 2612 </b> Outside. 2613 2614 <b> PAULIE 2615 </b> Sure. 2616 2617 He closes the door. 2618 2619 <b> SONNY 2620 </b> Clemenza. You take care of Paulie. 2621 I don't ever want to see him again. 2622 Understood? 2623 2624 <b> CLEMENZA 2625 </b> Understood. 2626 2627 <b> SONNY 2628 </b> Okay, now you can move your men 2629 into the Mall, replace Tessio's 2630 people. Mike, tomorrow you take a 2631 couple of Clemenza's people and go 2632 to Luca's apartment and wait for 2633 him to show. That crazy bastard 2634 might be going after Sollozzo right 2635 now if he's heard the news. 2636 2637 <b> HAGEN 2638 </b> Maybe Mike shouldn't get mixed up 2639 in this so directly. You know the 2640 old man doesn't want that. 2641 2642 <b> SONNY 2643 </b> OK forget it, just stay on the phone. 2644 2645 MICHAEL is embarrassed to be so protected. He dials Luca 2646 Brasi's number once again. The ring repeats, but no one 2647 answers. 2648 2649 TESSIO comes back, carrying Luca Brasi's bullet-proof vest 2650 in his hand. He unwraps it; there is a large fish wrapped 2651 inside. 2652 2653 <b> CLEMENZA 2654 </b> A Sicilian message: Luca Brasi 2655 sleeps with the fishes. 2656 2657 <b> INT. NITE: NIGHTCLUB (WINTER 1945) 2658 </b> 2659 LUCA sits at the Bar of the Tattaglia Nightclub, as we 2660 remember him. BRUNO TATTAGLIA had just patted his hand. 2661 LUCA looks up at him. 2662 2663 Then SOLLOZZO pats the other hand, almost affectionately. 2664 LUCA is just about to twist his hands away, when they both 2665 clamp down as hard as they can. Suddenly, a garrote is 2666 thrown around his neck, and pulled violently tight. His 2667 face begins to turn to purple blotches, and then totally 2668 purple, right before our eyes; his tongue hangs out, in a 2669 far more extreme way than a normal tongue could. His eyes 2670 bulge. 2671 2672 ONE of the MEN looks down at him in disgust as LUCA's 2673 strength leaves him. 2674 2675 <b> BRUNO 2676 </b> (making an ugly face) 2677 Oh Christ...all over the floor. 2678 2679 SOLLOZZO lets LUCA's hand go with a victorious smile on his 2680 face. 2681 2682 LUCA falls to the floor. 2683 2684 <b> SOLLOZZO 2685 </b> The Godfather is next. 2686 2687 <b> ----------------------------------------FADE OUT-------- 2688 </b> 2689 <b> FADE IN: 2690 </b> 2691 <b> EXT DAY: CLEMENZA'S HOUSE (WINTER 1945) 2692 </b> 2693 Morning in a simple Brooklyn suburb. There are rows of 2694 pleasant houses; driveway after driveway, down the block. A 2695 dark, somber young man of thirty-one or two walks with a 2696 noticeable limp down the sidewalk, and rings the bell. This 2697 is ROCCO LAMPONE. The woman of the house, MRS. CLEMENZA, 2698 talks to him through the screen door, and then points to the 2699 side of the house. ROCCO moves to the garage, which is 2700 specially heated, and in which CLEMENZA is busy at work 2701 washing a shiny brand new Lincoln. LAMPONE admires the car. 2702 2703 <b> LAMPONE 2704 </b> Nice. 2705 2706 <b> CLEMENZA 2707 </b> Crazy Detroit delivered it with a 2708 wooden bumper. They're going to 2709 send me the chrome bumpers in a 2710 couple months. I waited two years 2711 for this car to come with wooden 2712 bumpers! 2713 2714 He scrubs and polishes with great affection. 2715 2716 <b> CLEMENZA 2717 </b> Today you make your bones on Paulie. 2718 You understand everything? 2719 2720 <b> LAMPONE 2721 </b> Sure. 2722 2723 As he scrubs around the glove compartment, he opens it, 2724 unwraps a gun and gives it to LAMPONE. 2725 2726 <b> CLEMENZA 2727 </b> .22 soft-nosed load. Accurate up 2728 to five feet. 2729 2730 LAMPONE expertly puts the gun away. GATTO's car pulls into 2731 the driveway, and he sounds the horn. 2732 2733 The two men walk to the car. GATTO is driving, a bit 2734 nervous, like he doesn't know what is up. LAMPONE gets in 2735 the rear seat; CLEMENZA in the front, making a grunt of 2736 recognition. He looks at his wristwatch, as though wanting 2737 to chide PAULIE for being late. PAULIE flinches a little 2738 when he sees LAMPONE will ride behind him; he half turns: 2739 2740 <b> PAULIE 2741 </b> Rocco, sit on the other side. A 2742 big guy like you blocks my rearview 2743 mirror. 2744 2745 CLEMENZA turns sourly to PAULIE. 2746 2747 <b> CLEMENZA 2748 </b> Goddamn Sonny. He's running scared. 2749 He's already thinking of going to 2750 the mattresses. We have to find a 2751 place on the West Side. Paulie, 2752 you know a good location? 2753 2754 PAULIE relaxes a bit; he thinks he's off any possible hook 2755 he was on. Also there's the money he can make by selling 2756 Sollozzo any secret location. 2757 2758 <b> PAULIE 2759 </b> I'll think about it. 2760 2761 <b> CLEMENZA 2762 </b> (grunting) 2763 Drive while you thinking; I wanna 2764 get to the City this month! 2765 2766 The car pulls out. 2767 2768 <b> EXT DAY: PAULIE'S CAR - ON ROAD (WINTER 1945) 2769 </b> 2770 Inside PAULIE drives; and CLEMENZA sits in a grump. OUR 2771 VIEW does not show LAMPONE in the rear seat. 2772 2773 <b> EXT DAY: PAULIE'S CAR AT TUNNEL (WINTER 1945) 2774 </b> 2775 The Car crosses to the Midtown Tunnel in the late Winter 2776 light. 2777 2778 <b> INT DAY: PAULIE'S CAR IN TUNNEL (WINTER 1945) 2779 </b> 2780 Inside the tunnel; GATTO doesn't like not seeing LAMPONE. 2781 He tries to adjust his rearview mirror to catch a glimpse of 2782 him. 2783 2784 <b> CLEMENZA 2785 </b> Pay attention! 2786 2787 <b> EXT DAY: PAULIE'S CAR AT MATTRESS (WINTER 1945) 2788 </b> 2789 The car is parked in the City. PAULIE comes down from an 2790 available apartment and gets back into the car. 2791 2792 <b> PAULIE 2793 </b> Good for ten men... 2794 2795 <b> CLEMENZA 2796 </b> OK, go to Arthur Avenue; I'm 2797 suppose to call when I found 2798 somethin'. 2799 2800 The car pulls off. 2801 2802 <b> EXT DAY: RESTAURANT (WINTER 1945) 2803 </b> 2804 New part of the city; the car pulls up in a parking lot. 2805 CLEMENZA get outs, glances at LAMPONE, then to PAULIE. 2806 2807 <b> CLEMENZA 2808 </b> You wait; I'll call. 2809 2810 He walks, tucking his shirt into his pants, around the 2811 corner and enters the Luna Restaurant. 2812 2813 <b> INT DAY: RESTAURANT (WINTER 1945) 2814 </b> 2815 CLEMENZA enters the little restaurant, sits down at a table. 2816 The WAITERS know him; immediately put a bottle of wine, some 2817 bread--and then a plate of veal on his table. He eats. 2818 2819 <b> EXT DAY: RESTAURANT (WINTER 1945) 2820 </b> 2821 CLEMENZA exits the restaurant, belches, adjusts his pants; 2822 he is well fed. 2823 2824 We move with him around the corner, not knowing what to 2825 expect has happened to Paulie. 2826 2827 There is the car; PAULIE is still sitting behind the wheel, 2828 LAMPONE in the rear seat. CLEMENZA steps in. 2829 2830 <b> CLEMENZA 2831 </b> He talked my ear off. Want us to 2832 go back to Long Beach; have another 2833 job for us. Rocco, you live in the 2834 City, can we drop you off? 2835 2836 <b> LAMPONE (O.S.) 2837 </b> Ah, I left my car at your place. 2838 2839 <b> CLEMENZA 2840 </b> OK, then you gotta come back. 2841 2842 The car pulls out. By now, PAULIE is completely relaxed and 2843 secure. 2844 2845 <b> PAULIE 2846 </b> You think we'll go for that last 2847 place? 2848 2849 <b> CLEMENZA 2850 </b> Maybe, or you gotta know now. 2851 2852 <b> PAULIE 2853 </b> Holy cow, I don't gotta know nothing. 2854 2855 <b> EXT DAY: PAULIE'S CAR ON CAUSEWAY (WINTER 1945) 2856 </b> 2857 The car moves along the ready beach area of the causeway. 2858 Inside, CLEMENZA turns to PAULIE. 2859 2860 <b> CLEMENZA 2861 </b> Paulie, pull over. I gotta take a 2862 leak. 2863 2864 The car pulls off the Causeway, into the reeds. CLEMENZA 2865 steps out of the car, OUR VIEW MOVING with him. 2866 2867 He turns his back three quarters from us (we can no longer 2868 see the car), unzips, and we hear the sound of urine hitting 2869 the ground. We wait on this for a moment; and then there 2870 are two GUNSHOTS. CLEMENZA finishes his leak, zips up and 2871 turns, moving back to the car. 2872 2873 PAULIE is dead, bleeding from the mouth; the windows behind 2874 him are shattered. 2875 2876 <b> CLEMENZA 2877 </b> Leave the gun. 2878 2879 LAMPONE gets out, the two men walk through the reeds a few 2880 feet where there is another car. They get in, and drive off. 2881 2882 <b> ---------------------------------------FADE OUT--------- 2883 </b> 2884 <b> EXT DAY: MALL (WINTER 1945) 2885 </b> 2886 HIGH ANGLE OF THE MALL. It is late afternoon. Many strange 2887 cars are parked on the nearby streets. We can see the group 2888 of BUTTON MEN, stationed here and there, obviously sentries 2889 with concealed weapons. 2890 2891 MICHAEL walks along in the rear yard. 2892 2893 He is bundled in a warm marine coat. He looks at the 2894 strange men, regarding them with an uncertain awe. They 2895 look back at him, at first suspiciously and then with the 2896 respect of his position. He is like an exile Prince. He 2897 wanders past them, and hesitates and looks at the yard. 2898 2899 A rusted set of garden swings; and other home playground 2900 equipment. The basketball ring now half coming off. This 2901 is where he was a child. Then a shout. 2902 2903 <b> CLEMENZA (O.S.) 2904 </b> Mike. Hey Mikey; telephone. 2905 2906 CLEMENZA had shouted from the kitchen window. MICHAEL 2907 hurries into the house. 2908 2909 <b> INT DAY: DON'S KITCHEN (WINTER 1945) 2910 </b> 2911 CLEMENZA is in the kitchen, cooking over an enormous pot. 2912 He points to the kitchen wall phone which is hanging off the 2913 hook. 2914 2915 <b> CLEMENZA 2916 </b> Some dame. 2917 2918 MICHAEL picks it up. 2919 2920 <b> MICHAEL 2921 </b> Hello. Kay? 2922 2923 <b> KAY (O.S.) 2924 </b> How is your father? 2925 2926 <b> MICHAEL 2927 </b> He'll be OK. 2928 2929 <b> KAY (O.S.) 2930 </b> (pause) 2931 I love you. 2932 2933 He glances at the THUGS in the kitchen. Tries to shield the 2934 phone. 2935 2936 <b> KAY (O.S.) 2937 </b><b> I LOVE YOU. 2938 </b> 2939 <b> MICHAEL 2940 </b> Yeah Kay, I'm here. 2941 2942 <b> KAY (O.S.) 2943 </b> Can you say it? 2944 2945 <b> MICHAEL 2946 </b> Huh? 2947 2948 <b> KAY (O.S.) 2949 </b> Tell me you love me. 2950 2951 MICHAEL glances at the HOODS at the kitchen table. He curls 2952 up in a corner, and in a quarter voice: 2953 2954 <b> MICHAEL 2955 </b> I can't... 2956 2957 <b> KAY (O.S.) 2958 </b> Please say it. 2959 2960 <b> MICHAEL 2961 </b> Look. I'll see you tonight, OK? 2962 2963 <b> KAY (O.S.) 2964 </b><b> OK. 2965 </b> (click) 2966 2967 2968 CLEMENZA is getting ready to build a tomato sauce for all 2969 the button men stationed around the house. 2970 2971 <b> CLEMENZA 2972 </b> How come you don't tell that nice 2973 girl you love her...here, learn 2974 something... you may have to feed 2975 fifty guys some day. You start 2976 with olive oil...fry some garlic, 2977 see. And then fry some sausage...or meat 2978 balls if you like...then you throw 2979 in the tomatoes, the tomato 2980 paste...some basil; and a little 2981 red wine...that's my trick. 2982 2983 SONNY peeks into the kitchen; sees CLEMENZA. 2984 2985 <b> SONNY 2986 </b> You take care of Paulie? 2987 2988 <b> CLEMENZA 2989 </b> You won't see Paulie anymore. He's 2990 sick for good this winter. 2991 2992 MICHAEL starts to leave. 2993 2994 <b> SONNY 2995 </b> Where are you going? 2996 2997 <b> MICHAEL 2998 </b> To the city. 2999 3000 <b> SONNY 3001 </b> (to Clemenza; dipping 3002 bread into the sauce) 3003 Send some bodyguards. 3004 3005 <b> MICHAEL 3006 </b> I don't need them, Sonny. I'm just 3007 going to see Pop in the hospital. 3008 Also, I got other things. 3009 3010 <b> CLEMENZA 3011 </b> Sollozzo knows Mike's a civilian. 3012 3013 <b> SONNY 3014 </b> OK, but be careful. 3015 3016 <b> EXT NITE: CAR 3017 </b> 3018 MICHAEL sits in the rear seat, calmly, as he is being driven 3019 into the city. THREE BUTTONMEN are crowded into the front 3020 seat. 3021 3022 <b> INT NITE: HOTEL LOBBY 3023 </b> 3024 MICHAEL crosses the lobby, past lines of servicemen trying 3025 to book rooms. 3026 3027 <b> INT NITE: HOTEL 3028 </b> 3029 MICHAEL and KAY eating a quiet dinner at the hotel. He is 3030 preoccupied, she's concerned. 3031 3032 <b> MICHAEL 3033 </b> Visiting hour ends at eight thirty. 3034 I'll just sit with him; I want to 3035 show respect. 3036 3037 <b> KAY 3038 </b> Can I go to the hospital with you? 3039 3040 <b> MICHAEL 3041 </b> I don't think so. You don't want 3042 to end up on page 3 of the Daily 3043 News. 3044 3045 <b> KAY 3046 </b> My parents don't read the Daily 3047 News. All right, if you think I 3048 shouldn't. I can't believe the 3049 things the papers are printing. 3050 I'm sure most of it's not true. 3051 3052 <b> MICHAEL 3053 </b> I don't think so either. 3054 (silence) 3055 I better go. 3056 3057 <b> KAY 3058 </b> When will I see you again? 3059 3060 <b> MICHAEL 3061 </b> I want you to go back to New 3062 Hampshire...think things over. 3063 3064 He leans over her; kisses her. 3065 3066 <b> KAY 3067 </b> When will I see you again? 3068 3069 <b> MICHAEL 3070 </b> Goodbye. 3071 3072 Quietly, he moves out the door. 3073 3074 KAY lies on the bed a while, and then, to herself: 3075 3076 <b> KAY 3077 </b> Goodbye. 3078 3079 <b> EXT NITE: DON'S HOSPITAL (WINTER 1945) 3080 </b> 3081 A taxi pulls up in front of a hospital, marked clearly with 3082 a neon sign "HOSPITAL--EMERGENCY." MICHAEL steps out, pays 3083 the fare...and then stops dead in his tracks. 3084 3085 MICHAEL looks. 3086 3087 He sees the hospital in the night; but it is deserted. He 3088 is the only one on the street. There are gay, twinkling 3089 Christmas decorations all over the building. He walks, 3090 slowly at first, and then ever so quickly, up the steps. He 3091 hesitates, looks around. This area is empty. He checks the 3092 address on a scrap of paper. It is correct. He tries the 3093 door, it is empty. 3094 3095 He walks in. 3096 3097 <b> INT NITE: HOSPITAL LOBBY (WINTER 1945) 3098 </b> 3099 MICHAEL stands in the center of an absolutely empty hospital 3100 lobby. He looks to the right; there is a long, empty 3101 corridor. To the left: the same. 3102 3103 HIGH FULL ANGLE, as MICHAEL walks through the desolated 3104 building lit by eerie green neon lighting. All we hear are 3105 his sole footsteps. 3106 3107 He walks up to a desk marked "INFORMATION". No one is there. 3108 He moves quickly to a door marked "OFFICE"; swings into it; 3109 no one is there. He looks onto the desk: There is half a 3110 sandwich, and a half-filled bottle of coke. 3111 3112 <b> MICHAEL 3113 </b> Hello? Hello? 3114 3115 Now he knows something is happening, he moves quickly, 3116 alertly. MICHAEL walking down the hospital corridors; all 3117 alone. The floors have just been mopped. They are still wet. 3118 3119 <b> INT NITE: HOSPITAL STAIRS 3120 </b> 3121 Now he turns onto a staircase; ever quickening; up several 3122 flights. 3123 3124 <b> INT NITE: 4TH FLOOR CORRIDOR 3125 </b> 3126 He steps out onto the fourth floor. He looks. There are 3127 merely empty corridors. He takes out his scrap of paper; 3128 checks it. "Room 4A." Now he hurries, trying to follow the 3129 code of hospital rooms; following the right arrows, quicker 3130 and quicker they flash by him. Now he stops, looks up "4A-- 3131 Corleone". 3132 3133 There is a special card table set up there with some 3134 magazines...and some smoking cigarettes still in the 3135 ashtray--but no detectives, no police, no bodyguards. 3136 3137 <b> INT NITE: DON'S ROOM 4A 3138 </b> 3139 Slowly he pushes the door open, almost afraid at what he 3140 will find. He looks. Lit by the moonlight through the 3141 window, he can see a FIGURE in the hospital bed alone in the 3142 room, and under a transparent oxygen tent. All that can be 3143 heard is the steady though strained breathing. Slowly 3144 MICHAEL walks up to it, and is relieved to see his FATHER, 3145 securely asleep. Tubes hang from a steel gallows beside the 3146 bed, and run to his nose and mouth. 3147 3148 <b> VOICE (O.S.) 3149 </b> What are you doing here? 3150 3151 This startles MICHAEL; who almost jumps around. It is a 3152 NURSE lit from the light behind her in the hallway. 3153 3154 <b> NURSE 3155 </b> You're not supposed to be here now. 3156 3157 MICHAEL calms himself, and moves to her. 3158 3159 <b> MICHAEL 3160 </b> I'm Michael Corleone--this is my 3161 father. What happened to the 3162 detectives who were guarding him? 3163 3164 <b> NURSE 3165 </b> Oh your father just had too many 3166 visitors. It interfered with the 3167 hospital service. The police came 3168 and made them all leave just ten 3169 minutes ago. 3170 (comfortingly) 3171 But don't worry. I look in on him. 3172 3173 <b> MICHAEL 3174 </b> You just stand here one minute... 3175 3176 Quickly he moves to the telephone, dials a number. 3177 3178 <b> MICHAEL 3179 </b> Sonny...Sonny--Jesus Christ, I'm 3180 down at the hospital. I came down 3181 late. There's no one here. None 3182 of Tessio's people--no detectives, 3183 no one. The old man is completely 3184 unprotected. 3185 3186 <b> SONNY (O.S.) 3187 </b> All right, get him in a different 3188 room; lock the door from the inside. 3189 I'll have some men there inside of 3190 fifteen minutes. Sit tight, and 3191 don't panic. 3192 3193 <b> MICHAEL 3194 </b> (furiously, but kept inside) 3195 I won't panic. 3196 3197 He hangs up; returns to the NURSE... 3198 3199 <b> NURSE 3200 </b> You cannot stay here...I'm sorry. 3201 3202 <b> MICHAEL 3203 </b> (coldly) 3204 You and I are going to move my 3205 father right now...to another room 3206 on another floor...Can you 3207 disconnect those tubes so we can 3208 wheel the bed out? 3209 3210 <b> NURSE 3211 </b> Absolutely not! We have to get 3212 permission from the Doctor. 3213 3214 <b> MICHAEL 3215 </b> You've read about my father in the 3216 papers. You've seen that no one's 3217 here to guard him. Now I've just 3218 gotten word that men are coming to 3219 this hospital to kill him. Believe 3220 me and help me. 3221 3222 <b> NURSE 3223 </b> (frightened) 3224 We don't have to disconnect them, 3225 we can wheel the stand with the bed. 3226 3227 She does so...and they perform the very difficult task of 3228 moving the bed and the apparatus, out of the room. 3229 3230 <b> INT NITE: 4TH FLOOR HOSPITAL (WINTER 1945) 3231 </b> 3232 They roll the bed, the stand, and all the tubes silently 3233 down the corridor. We hear FOOTSTEPS coming up the stairs. 3234 MICHAEL hears them, stops. 3235 3236 <b> MICHAEL 3237 </b> Hurry, into there. 3238 3239 They push it into the first available room. MICHAEL peeks 3240 out from the door. The footsteps are louder; then they 3241 emerge. It is ENZO, NAZORINE's helper, carrying a bouquet 3242 of flowers. 3243 3244 <b> MICHAEL 3245 </b> (stepping out) 3246 Who is it? 3247 3248 <b> ENZO 3249 </b> Michael...do you remember me, Enzo, 3250 the baker's helper to Nazorine, now 3251 his son-in-law. 3252 3253 <b> MICHAEL 3254 </b> Enzo, get out of here. There's 3255 going to be trouble. 3256 3257 A look of fear sweeps through ENZO's face. 3258 3259 <b> ENZO 3260 </b> If there...will be trouble...I stay 3261 with you, to help. I owe it to the 3262 Godfather. 3263 3264 MICHAEL thinks, realizes he needs all the help he can get. 3265 3266 <b> MICHAEL 3267 </b> Go outside; stand in front...I'll 3268 be out in a minute. 3269 3270 <b> INT NITE: DON'S SECOND HOSPITAL ROOM (WINTER 1945) 3271 </b> 3272 They part. MICHAEL moves into the hospital room where they 3273 put his FATHER. 3274 3275 <b> NURSE 3276 </b> (frightened) 3277 He's awake. 3278 3279 MICHAEL looks at the OLD MAN, his eyes are open, though he 3280 cannot speak. MICHAEL touches his face tenderly. 3281 3282 <b> MICHAEL 3283 </b> Pop...Pop, it's me Michael. Shhhh, 3284 don't try to speak. There are men 3285 who are coming to try to kill you. 3286 But I'm with you...I'm with you 3287 now... 3288 3289 The OLD MAN tries to speak...but cannot. MICHAEL tenderly 3290 puts his finger to his FATHER's lips. 3291 3292 <b> EXT NITE: DON'S HOSPITAL STREET (WINTER 1945) 3293 </b> 3294 Outside the hospital is empty save for a nervous ENZO, 3295 pacing back and forth brandishly the flowers as his only 3296 weapon. MICHAEL exits the hospital and moves to him. They 3297 both stand under a lamppost in the cold December night. 3298 They are both frightened; MICHAEL gives ENZO a cigarette, 3299 lights it. ENZO's hands are trembling, MICHAEL's are not. 3300 3301 <b> MICHAEL 3302 </b> Get rid of those and look like 3303 you've got a gun in your pocket. 3304 3305 The windows of the hospital twinkle with Christmas 3306 decorations. 3307 3308 <b> MICHAEL 3309 </b> Listen... 3310 3311 We HEAR the sound of a single automobile coming. MICHAEL 3312 and ENZO look with fear in their eyes. Then MICHAEL takes 3313 the bouquet of flowers and stuffs them under his jacket. 3314 They stand, hands in their pockets. 3315 3316 A long low black car turns the corner and cruises by them. 3317 MICHAEL's and ENZO's faces are tough, impassive. The car 3318 seems as though it will stop; and then quickly accelerates. 3319 MICHAEL and ENZO are relieved. MICHAEL looks down; the 3320 BAKER's hands are shaking. He looks at his own, and they 3321 are not. 3322 3323 Another moment goes by and we can hear the distant sound of 3324 police sirens. They are clearly coming toward the hospital, 3325 getting louder and louder. MICHAEL heaves a sigh of relief. 3326 3327 In a second, a patrol car makes a screaming turn in front of 3328 the hospital; then two more squad cars follow with uniformed 3329 POLICE and DETECTIVES. He smiles his relief and starts 3330 toward them. TWO huge, burly POLICEMEN suddenly grab his 3331 arms while ANOTHER frisks him. A massive POLICE CAPTAIN, 3332 spattered with gold braid and scrambled eggs on his hat, 3333 with beefy red face and white hair seems furious. This is 3334 McCLUSKEY. 3335 3336 <b> MCCLUSKEY 3337 </b> I thought I got all you guinea 3338 hoods locked up. Who the hell are 3339 you and what are you doing here? 3340 3341 ANOTHER COP standing nearby: 3342 3343 <b> COP 3344 </b> He's clean, Captain. 3345 3346 MICHAEL studies McCLUSKEY closely. 3347 3348 <b> MICHAEL 3349 </b> (quietly) 3350 What happened to the detectives who 3351 were supposed to be guarding my 3352 father? 3353 3354 <b> MCCLUSKEY 3355 </b> (furious) 3356 You punk-hood. Who the hell are 3357 you to tell me my business. I 3358 pulled them off. I don't care how 3359 many Dago gangsters kill each other. 3360 I wouldn't lift a finger to keep 3361 your old man from getting knocked 3362 off. Now get the hell out of here; 3363 get off this street you punk, and 3364 stay away from this hospital. 3365 3366 MICHAEL stands quiet. 3367 3368 <b> MICHAEL 3369 </b> I'll stay until you put guards 3370 around my father's room. 3371 3372 <b> MCCLUSKEY 3373 </b> Phil, lock this punk up. 3374 3375 <b> A DETECTIVE 3376 </b> The Kid's clean, Captain...He's a 3377 war hero, and he's never been mixed 3378 up in the rackets... 3379 3380 <b> MCCLUSKEY 3381 </b> (furious) 3382 Goddam it, I said lock him up. Put 3383 the cuffs on him. 3384 3385 <b> MICHAEL 3386 </b> (deliberately, right 3387 to McCLUSKEY's face, 3388 as he's being handcuffed) 3389 How much is the Turk paying you to 3390 set my father up, Captain? 3391 3392 Without any warning, McCLUSKEY leans back and hits MICHAEL 3393 squarely on the jaw with all his weight and strength. 3394 MICHAEL groans, and lifts his hand to his jaw. He looks at 3395 McCLUSKEY; we are his VIEW and everything goes spinning, and 3396 he falls to the ground, just as we see HAGEN and CLEMENZA'S 3397 MEN arrive. 3398 3399 <b> ---------------------------------------FADE OUT--------- 3400 </b> 3401 <b> EXT DAY: MALL (WINTER 1945) 3402 </b> 3403 HIGH ANGLE VIEW of THE CORLEONE MALL. The gateway now has a 3404 long black car blocking it. There are more BUTTON MEN 3405 stationed more formally; and some of them visibly carrying 3406 rifles; those of the houses close to the courtyard have MEN 3407 standing by open windows. It is clear that the war is 3408 escalating. A car pulls up and out get CLEMENZA, LAMPONE, 3409 MICHAEL and HAGEN. MICHAEL's jaw is wired and bandaged. He 3410 stops and looks up at the open window. We can see MEN 3411 holding rifles. 3412 3413 <b> MICHAEL 3414 </b> Christ, Sonny really means business. 3415 3416 They continue walking. TESSIO joins them. The various 3417 BODYGUARDS make no acknowledgment. 3418 3419 <b> CLEMENZA 3420 </b> How come all the new men? 3421 3422 <b> TESSIO 3423 </b> We'll need them now. After the 3424 hospital incident, Sonny got mad. 3425 We hit Bruno Tattaglia four o'clock 3426 this morning. 3427 3428 <b> INT DAY: DON'S HALLWAY 3429 </b> 3430 They enter the house past the scores of new and strange faces. 3431 3432 <b> INT DAY: DON'S OFFICE (WINTER 1945) 3433 </b> 3434 SONNY is in the DON's office; he is excited and exuberant. 3435 3436 <b> SONNY 3437 </b> I've got a hundred button men on 3438 the streets twenty-four hours a day. 3439 If Sollozzo shows one hair on his 3440 ass he's dead. 3441 3442 He sees MICHAEL, and holds his bandaged face in his hand, 3443 kiddingly. 3444 3445 <b> SONNY 3446 </b> Mikey, you look beautiful! 3447 3448 <b> MICHAEL 3449 </b> Cut it out. 3450 3451 <b> SONNY 3452 </b> The Turk wants to talk! The nerve 3453 of that son of a bitch! After he 3454 craps out last night he wants a meet. 3455 3456 <b> HAGEN 3457 </b> Was there a definite proposal? 3458 3459 <b> SONNY 3460 </b> Sure, he wants us to send Mike to 3461 meet him to hear his proposition. 3462 The promise is the deal will be so 3463 good we can't refuse. 3464 3465 <b> HAGEN 3466 </b> What about that Tattaglias? What 3467 will they do about Bruno? 3468 3469 <b> SONNY 3470 </b> Part of the deal: Bruno cancels out 3471 what they did to my father. 3472 3473 <b> HAGEN 3474 </b> We should hear what they have to say. 3475 3476 <b> SONNY 3477 </b> No, no Consiglere. Not this time. 3478 No more meetings, no more 3479 discussions, no more Sollozzo 3480 tricks. Give them one message: I 3481 WANT SOLLOZZO. If not, it's all 3482 out war. We go to the mattresses 3483 and we put all the button men out 3484 on the street. 3485 3486 <b> HAGEN 3487 </b> The other families won't sit still 3488 for all out war. 3489 3490 <b> SONNY 3491 </b> Then THEY hand me Sollozzo. 3492 3493 <b> HAGEN 3494 </b> Come ON Sonny, your father wouldn't 3495 want to hear this. This is not a 3496 personal thing, this is Business. 3497 3498 <b> SONNY 3499 </b> And when they shot me father... 3500 3501 <b> HAGEN 3502 </b> Yes, even the shooting of your 3503 father was business, not personal... 3504 3505 <b> SONNY 3506 </b> No no, no more advice on how to 3507 patch it up Tom. You just help me 3508 win. Understood? 3509 3510 HAGEN bows his head; he is deeply concerned. 3511 3512 <b> HAGEN 3513 </b> I found out about this Captain 3514 McCluskey who broke Mike's jaw. 3515 He's definitely on Sollozzo's 3516 payroll, and for big money. 3517 McCluskey's agreed to be the Turk's 3518 bodyguard. What you have to 3519 understand is that while Sollozzo 3520 is guarded like this, he's 3521 invulnerable. Nobody has ever 3522 gunned down a New York Police 3523 Captain. Never. It would be 3524 disastrous. All the five families 3525 would come after you Sonny; the 3526 Corleone family would be outcasts; 3527 even the old man's political 3528 protection would run for cover. So 3529 just...take that into consideration. 3530 3531 <b> SONNY 3532 </b> (still fuming) 3533 McCluskey can't stay with the Turk 3534 forever. We'll wait. 3535 3536 <b> MICHAEL 3537 </b> We can't wait. No matter what 3538 Sollozzo say about a deal, he's 3539 figuring out how to kill Pop. You 3540 have to get Sollozzo now. 3541 3542 <b> SONNY 3543 </b> The kid's right. 3544 3545 <b> HAGEN 3546 </b> What about McCluskey? 3547 3548 <b> MICHAEL 3549 </b> Let's say now that we have to kill 3550 McCluskey. We'll clear that up 3551 through our Newspaper contacts later. 3552 3553 <b> SONNY 3554 </b> Go on Mike. 3555 3556 <b> MICHAEL 3557 </b> They want me to go to the conference 3558 with Sollozzo. Set up the meeting 3559 for two days from now. Sonny, get 3560 our informers to find out where the 3561 meeting will be held. 3562 Insist it has to be a public place: 3563 a bar or restaurant at the height 3564 of the dinner hour. So I'll feel 3565 safe. They'll check me when I meet 3566 them so I won't be able to carry a 3567 weapon; but Clemenza, figure out a 3568 way to have one planted there for 3569 me. 3570 (pause) 3571 Then I'll kill them both. 3572 3573 Everyone in the room is astonished; they all look at MICHAEL. 3574 Silence. SONNY suddenly breaks out in laughter. He points 3575 a finger at MICHAEL, trying to speak. 3576 3577 <b> SONNY 3578 </b> You? You, the high-class college 3579 kid. You never wanted to get mixed 3580 up in the family business. Now you 3581 wanta gun down a police Captain and 3582 the Turk just because you got 3583 slapped in the face. You're taking 3584 it personal, it's just business and 3585 he's taking it personal. 3586 3587 Now CLEMENZA and TESSIO are also smiling; only HAGEN keeps 3588 his face serious. 3589 3590 <b> MICHAEL 3591 </b> (angrily, but cold) 3592 Sonny, it's all personal, and I 3593 learned it from him, the old man, 3594 the Godfather. He took my joining 3595 the Marines personal. I take 3596 Sollozzo trying to kill my father 3597 personal, and you know I'll kill 3598 them Sonny. 3599 3600 MICHAEL radiates danger...SONNY stops laughing. 3601 3602 <b> INT DAY: CLEMENZA'S CELLAR (WINTER 1945) 3603 </b> 3604 CLOSE on a revolver. 3605 3606 <b> CLEMENZA (O.S.) 3607 </b> It's as cold as they come, 3608 impossible to trace. 3609 (he turns it upside down) 3610 Don't worry about prints Mike, I 3611 put a special tape on the trigger 3612 and butt. Here. 3613 (he hands the gun to 3614 another pair of hands) 3615 Whatsamatter? Trigger too tight. 3616 (it fires: very LOUD) 3617 I left it noisy, so it'll scare any 3618 pain-in-the-neck innocent bystander 3619 away. 3620 3621 MICHAEL is alone with CLEMENZA in a cellar workshop. 3622 3623 <b> CLEMENZA 3624 </b> Just let your hand drop to your 3625 side, and let the gun slip out. 3626 Everybody will still think you got 3627 it. They'll be starin' at your 3628 face, see? Then walk out of the 3629 place real fast, but don't run. 3630 Don't look anybody directly in the 3631 eye, but don't look away from them 3632 neither. Hey, they'll be scared 3633 stiff o you, believe me. Nobody's 3634 gonna bother with you. Don't worry 3635 about nothing; you'd be surprised 3636 how good these things go. O.K., 3637 put your hat on, let's see how you 3638 look. Helps with identification. 3639 3640 They put the hat on; CLEMENZA adjusts it. 3641 3642 <b> CLEMENZA 3643 </b> Mostly it gives witnesses an excuse 3644 to change their identification when 3645 we make them see the light. Then 3646 you take a long vacation and we 3647 catch the hell. 3648 3649 <b> MICHAEL 3650 </b> How bad will it be? 3651 3652 <b> CLEMENZA 3653 </b> Probably all the other families 3654 will line up against us. But, it's 3655 alright. These things have to 3656 happen once every ten years or 3657 so...gets rid of the bad blood. 3658 You gotta stop 'em at the beginning. 3659 Like they shoulda stopped Hitler at 3660 Munich, they shoulda never let him 3661 get away with that, they were just 3662 asking for big trouble... 3663 3664 <b> INT DAY: DON'S HALL & LIVING ROOM (WINTER 1945) 3665 </b> 3666 MICHAEL steps into the foyer of the main house. A card 3667 table is set up with a man playing cards with three of the 3668 Corleone buttonmen. 3669 3670 He continues into the living room. It's a mess. SONNY 3671 asleep on the sofa. On the coffee table are the remains of 3672 a take-out Chinese food dinner, and a half-empty bottle of 3673 whisky. The radio is playing. 3674 3675 <b> MICHAEL 3676 </b> Why don't you stop living like a 3677 bum and get this place cleaned up. 3678 3679 <b> SONNY 3680 </b> What are you, inspecting the 3681 barracks? 3682 (SONNY sits up with 3683 his head in his hands) 3684 You ready? Did Clemenza tell you 3685 be sure to drop the gun right away? 3686 3687 <b> MICHAEL 3688 </b> A million times. 3689 3690 <b> SONNY 3691 </b> Sollozzo and McCluskey are going to 3692 pick you up in an hour and a half 3693 on Times Square, under the big 3694 Camels sign. 3695 3696 <b> HAGEN 3697 </b> We don't let Mike go until we have 3698 the hostage, Sonny. 3699 3700 <b> CLEMENZA 3701 </b> It's okay...the hostage is outside 3702 playing pinochle with three of my 3703 men. 3704 3705 The phone rings in the DON's office. 3706 3707 <b> SONNY 3708 </b> That could be a Tattaglia informer 3709 with the meeting place. 3710 3711 <b> INT DAY: DON'S OFFICE (WINTER 1945) 3712 </b> 3713 HAGEN has hurried into the Den to get the phone; the OTHERS 3714 move in. 3715 3716 HAGEN's on the phone; he writes something down. 3717 3718 <b> SONNY 3719 </b> One of Tattaglia's people? 3720 3721 <b> HAGEN 3722 </b> No. Our informer in McCluskey's 3723 precinct. Tonight at 8:00 he 3724 signed out for Louis' Restaurant in 3725 the Bronx. Anyone know it. 3726 3727 <b> TESSIO 3728 </b> Sure, I do. It's perfect for us. 3729 A small family place with big 3730 booths where people can talk in 3731 private. Good food. Everybody 3732 minds their business. Perfect. 3733 (he moves to the desk 3734 and makes a crude drawing) 3735 This is the entrance, Mike. When 3736 you finish just walk out and turn 3737 left, then turn the corner. 3738 Clemenza, you gotta work fast to 3739 plant the gun. They got an old- 3740 fashioned toilet with a space 3741 between the water container and the 3742 wall. We can tape the gun behind 3743 there. 3744 3745 <b> CLEMENZA 3746 </b> Mike, they're gonna frisk you in 3747 the car. You'll be clean so they 3748 won't worry 'bout nothing. In the 3749 restaurant, wait and talk a while, 3750 and then ask permission to go. See? 3751 Then when you come out, don't waste 3752 time; don't sit down...you come out 3753 blasting. And don't take chances. 3754 In the head, two shots apiece. And 3755 out as fast as your legs can move. 3756 3757 <b> SONNY 3758 </b> I want somebody very good, very 3759 safe to plant that gun. I don't 3760 want my brother coming out of that 3761 toilet with just his dick in his 3762 hand. 3763 3764 <b> CLEMENZA 3765 </b> The gun will be there. 3766 3767 <b> SONNY 3768 </b> (to MICHAEL, warmly) 3769 You're on, kid...I'll square it 3770 with Mom your not seeing her before 3771 you left. And I'll get a message 3772 to your girl friend when I think 3773 the time is right. 3774 3775 <b> CLEMENZA 3776 </b> We gotta move... 3777 3778 <b> MICHAEL 3779 </b> O.K. How long do you think before 3780 I can come back? 3781 3782 <b> SONNY 3783 </b> Probably a year... 3784 3785 <b> HAGEN 3786 </b> (starting to crack) 3787 Jesus, I don't know... 3788 3789 <b> SONNY 3790 </b> Can you do it Mike? 3791 3792 MICHAEL moves out. 3793 3794 <b> EXT NITE: CAMELS SIGN (WINTER 1945) 3795 </b> 3796 The enormous "CAMELS" sign, puffing smoke, below it stands 3797 MICHAEL, dressed in a warm overcoat, and wearing the hat 3798 CLEMENZA had given him. A long black car pulls around the 3799 corner and slows before him. The DRIVER, leaning over, open 3800 the front door. 3801 3802 <b> DRIVER 3803 </b> Get in, Mike. 3804 3805 He does, the car drives off. 3806 3807 <b> EXT NITE: SOLLOZZO'S CAR (WINTER 1945) 3808 </b> 3809 Inside the car, SOLLOZZO reaches his hand over the back seat 3810 and shakes MIKE's hand. 3811 3812 <b> SOLLOZZO 3813 </b> I'm glad you came, Mike. I hope we 3814 can straighten everything out. All 3815 this is terrible, it's not the way 3816 I wanted things to happen at all. 3817 It should never have happened. 3818 3819 <b> MICHAEL 3820 </b> I want to settle things tonight. I 3821 want my father left alone. 3822 3823 <b> SOLLOZZO 3824 </b> He won't be; I swear to you be my 3825 children he won't be. Just keep an 3826 open mind when we talk. I hope 3827 you're not a hothead like your 3828 brother, Sonny. It's impossible to 3829 talk business with him. 3830 3831 McCLUSKEY grunts. 3832 3833 <b> MCCLUSKEY 3834 </b> He's a good kid. He's all right. 3835 Turn around, up on your knees, 3836 facing me. 3837 3838 He gives MICHAEL a thorough frisk. 3839 3840 <b> MCCLUSKEY 3841 </b> I'm sorry about the other night 3842 Mike. I'm getting too old for my 3843 job, too grouchy. Can't stand the 3844 aggravation. You know how it is. 3845 He's clean. 3846 3847 <b> EXT NITE: SOLLOZZO'S CAR - WEST SIDE HIGHWAY (WINTER 1945) 3848 </b> 3849 MICHAEL looks at the DRIVER and then ahead to see where 3850 they're heading. 3851 3852 The car takes the George Washington Bridge. MICHAEL is 3853 concerned. 3854 3855 <b> MICHAEL 3856 </b> We're going to New Jersey? 3857 3858 <b> SOLLOZZO 3859 </b> (sly) 3860 Maybe. 3861 3862 MICHAEL closes his eyes. 3863 3864 <b> EXT NITE: SOLLOZZO'S CAR ON G.W. BRIDGE (WINTER 1945) 3865 </b> 3866 The car speeds along the George Washington Bridge on its way 3867 to New Jersey. Then suddenly it hits the divider, 3868 temporarily lifts into the air, and bounces over into the 3869 lanes going back to New York. It then hits it very fast, on 3870 the way back to the city. 3871 3872 <b> EXT NITE: SOLLOZZO'S CAR (WINTER 1945) 3873 </b> 3874 SOLLOZZO checks to see the cars that had been following, and 3875 then leans to the DRIVER. 3876 3877 <b> SOLLOZZO 3878 </b> Nice work; I'll remember it. 3879 3880 MICHAEL is relieved. 3881 3882 <b> EXT NITE: LUNA AZURA RESTAURANT (WINTER 1945) 3883 </b> 3884 The car pulls up in front of a little family restaurant in 3885 the Bronx: The "LUNA AZURA". There is no one on the street. 3886 MICHAEL looks to see if the DRIVER is going to get out with 3887 them. He gets out, and opens the door. SOLLOZZO, McCLUSKEY 3888 and MICHAEL get out; the DRIVER remains leaning against the 3889 car. They enter the restaurant. 3890 3891 <b> INT NITE: LUNA AZURA (WINTER 1945) 3892 </b> 3893 A very small family restaurant with a mosaic tile floor. 3894 SOLLOZZO, MICHAEL and McCLUSKEY sit around a rather small 3895 round table near the center of the room. There are empty 3896 booths along the side walls; with a handful of CUSTOMERS, 3897 and ONE or TWO WAITERS. It is very quiet. 3898 3899 <b> MCCLUSKEY 3900 </b> Is the Italian food good here? 3901 3902 <b> SOLLOZZO 3903 </b> Try the veal; it's the finest in 3904 New York. 3905 3906 The solitary WAITER brings a bottle of wine to the table. 3907 They watch him silently as he uncorks it and pours three 3908 glasses. Then, when he leaves, SOLLOZZO turns to McCLUSKEY: 3909 3910 <b> SOLLOZZO 3911 </b> I am going to talk Italian to Mike. 3912 3913 <b> MCCLUSKEY 3914 </b> Sure, you two go right ahead; I'll 3915 concentrate on my veal and my 3916 spaghetti. 3917 3918 SOLLOZZO now begins in rapid Sicilian. MICHAEL listening 3919 carefully and nodding every so often. Then MICHAEL answers 3920 in Sicilian, and SOLLOZZO goes on. The WAITER occasionally 3921 brings food; and they hesitate while he is there; then go on. 3922 Then MICHAEL, having difficulty expressing himself in 3923 Italian, accidentally lapses into English. 3924 3925 <b> MICHAEL 3926 </b> (using English for emphasis) 3927 Most important...I want a sure 3928 guarantee that no more attempts 3929 will be made on my father's life. 3930 3931 <b> SOLLOZZO 3932 </b> What guarantees can I give you? I 3933 am the hunted one. I've missed my 3934 chance. You think too highly of 3935 me, my friend...I am not so 3936 clever...all I want if a truce... 3937 3938 MICHAEL looks long and hard at SOLLOZZO, who is smiling 3939 holding his open hands up as if to say: "I have no tricks up 3940 my sleeve". Then he looks away and makes a distressed look 3941 on his face. 3942 3943 <b> SOLLOZZO 3944 </b> What is it? 3945 3946 <b> MICHAEL 3947 </b> Is it all right if I go to the 3948 bathroom? 3949 3950 SOLLOZZO is intuitively suspicious. He studies MICHAEL with 3951 his dark eyes. Then he thrusts his hand onto MICHAEL's 3952 thigh feeling in and around, searching for a weapon. 3953 3954 <b> MCCLUSKEY 3955 </b> I frisked him; I've frisked 3956 thousands of young punks; he's clean. 3957 3958 He looks at a MAN sitting at a table opposite them; 3959 indicating the bathroom with his eyes. The MAN nods, 3960 indicating no one is there. 3961 3962 <b> SOLLOZZO 3963 </b> Don't take too long. 3964 3965 MICHAEL gets up and calmly walks to the bathroom, and 3966 disappears inside. 3967 3968 <b> INT NITE: LUNA AZURA TOILET (WINTER 1945) 3969 </b> 3970 MICHAEL steps into the small bathroom; he is breathing very 3971 hard. He actually uses the urinal. Then he washes his 3972 hands with the bar of pink soap; and dries them thoroughly. 3973 Then he moves to the booth, up to the old-fashioned toilet. 3974 Slowly he reaches behind the water tank; he panics when he 3975 cannot feel the gun. We see behind the tank his hand is 3976 just a few inches from the gun...he gropes 3977 searchingly...finally coming to rest on the gun. 3978 3979 CLOSE ON MICHAEL; the feel of it reassures him. Then he 3980 breaks it loose from the tape holding it; he takes a deep 3981 breath and shoves it under his waistband. For some 3982 unexplainable reason he hesitates once again, deliberately 3983 washes his hands and dries them. Then he goes out. 3984 3985 <b> INT NITE: LUNA AZURA (WINTER 1945) 3986 </b> 3987 He hesitates by the bathroom door; and looks at his table. 3988 McCLUSKEY is eating a plate of spaghetti and veal. SOLLOZZO 3989 turns around upon hearing the door, and looks directly at 3990 MICHAEL. MICHAEL looks back. Then he smiles and continues 3991 back to the table. He sits down. 3992 3993 <b> MICHAEL 3994 </b> Now I can talk. I feel much better. 3995 3996 The MAN by the far wall had been stiff with attention; now 3997 he too relaxes. SOLLOZZO leans toward MICHAEL who sits down 3998 comfortably and his hands move under the table and unbutton 3999 his jacket. SOLLOZZO begins to speak in Sicilian once again 4000 but MICHAEL's heart is pounding so hard he can barely hear 4001 him. 4002 4003 The WAITER comes to ask about the order, SOLLOZZO turns to 4004 speak, and without warning, MICHAEL shoves the table away 4005 from him with his left hand, and with his right hand puts 4006 the gun right against SOLLOZZO's head, just touching his 4007 temple. He pulls the trigger, and we see part of SOLLOZZO's 4008 head blown away, and a spray of fine mist of blood cover the 4009 entire area. 4010 4011 The WAITER looks in amazement; suddenly his white jacket is 4012 sprayed and stained with blood. 4013 4014 SOLLOZZO seems in a perpetual fall to the floor; through he 4015 seems to hang in space suspended. 4016 4017 MICHAEL pivots, and looks: 4018 4019 There is McCLUSKEY, frozen, the fork with a piece of veal 4020 suspended in air before his gaping mouth. 4021 4022 MICHAEL fires; catching McCLUSKEY in his thick bulging 4023 throat. He makes a horrible, gagging, choking sound. Then 4024 coolly, and deliberately, MICHAEL fires again, fires right 4025 through McCLUSKEY's white-topped skull. 4026 4027 The air is filled with pink mist. 4028 MICHAEL swings toward the MAN standing by the bathroom wall. 4029 He does not make a move, seemingly paralyzed. 4030 Now he carefully shows his hands to be empty. 4031 The WAITER steps backward through the mist of blood, an 4032 expression of horror on his face. 4033 MICHAEL looks at his two victims: 4034 SOLLOZZO still in his chair, side of his body propped up by 4035 the table. 4036 McCLUSKEY finally falls from the chair to the table. 4037 MICHAEL is wildly at a peak. He starts to move out. His 4038 hand: is frozen by his side, STILL GRIPPING THE GUN. 4039 He moves, not letting the gun go. 4040 4041 MICHAEL's face; frozen in its expression. 4042 4043 His hand: still holding the gun. 4044 4045 His face: finally he closes his eyes. 4046 4047 His hand relaxes, the gun falls to the floor with a dull thud. 4048 4049 He walks quickly out of the restaurant, looks back. 4050 4051 He sees a frozen tableau of the murder; as though it had 4052 been recreated in wax. 4053 4054 Then he leaves. 4055 4056 <b> ---------------------------------------FADE OUT--------- 4057 </b> 4058 <b> FADE IN: 4059 </b> 4060 <b> INT DAY: MATTRESS (WINTER 1945) 4061 </b> 4062 A MAN is his shirtsleeves plays a sentimental tune on an old 4063 upright piano, while his cigarette burns on the edge. 4064 ANOTHER stands nearby, listening quietly. 4065 4066 A little distance away, TEN MEN sit around a crude table, 4067 quietly eating. They talk in low, relaxed voices, and there 4068 is an occasional laugh. 4069 4070 ROCCO LAMPONE stands by a window, which has been covered 4071 with a heavy-mesh wire grating, gazing out. 4072 4073 A large bowl of pasta is passed, and the MEN eat heartily. 4074 4075 The sentimental tune is continued over the following: 4076 4077 <b> INT DAY: BODIES IN CAR (WINTER 1945) 4078 </b> 4079 A MAN and a WOMAN, blood coming out of their noses, lie 4080 still together in a bullet-riddled automobile. 4081 4082 <b> INT DAY: BODY IN BARBER SHOP (WINTER 1945) 4083 </b> 4084 A MAN is covered by a sheet on the floor of a barber shop. 4085 4086 <b> INT DAY: MATTRESS 4087 </b> 4088 Ten mattresses are spread out around the otherwise empty 4089 living room of an apartment. THREE or FOUR MEN including 4090 CLEMENZA, are taking naps. 4091 4092 An arsenal of hand guns are spread out on a card table. 4093 4094 The MEN at the table continue their dinner; passing and 4095 pouring the wine. 4096 4097 Trash is thrown in 2 or 3 garbage cans kept in the apartment. 4098 4099 <b> INT DAY: BODY IN OFFICE (WINTER 1945) 4100 </b> 4101 A MAN, his clothes soaked in blood, lies on the floor of an 4102 office building, dead, under an enormous portrait of Harry S. 4103 Truman. 4104 4105 <b> EXT DAY: BODY ON STOOP (WINTER 1945) 4106 </b> 4107 ANOTHER MAN, his trousers soaked in blood, lies spanning 4108 three steps of a front stoop. 4109 4110 <b> INT NITE: MATTRESS (WINTER 1945) 4111 </b> 4112 TESSIO, sits in a simple straight-backed chair, doing a 4113 crossword puzzle. 4114 4115 A thin, boyish BUTTON MAN, writes a letter. 4116 4117 Six or seven empty mattresses, with tossed unmade blankets. 4118 Coffee cans beside them serve as ash trays. 4119 4120 A MAN by the table pulls the cork on another bottle of 4121 Ruffino, and wine is poured as the MEN eat. 4122 4123 <b> EXT DAY: BODY IN ALLEY (WINTER 1945) 4124 </b> 4125 A CORPSE is half out of an overturned garbage can in a quiet 4126 alley. 4127 4128 <b> INT DAY: BODY AT TABLE (WINTER 1945) 4129 </b> 4130 A MAN in a formal jacket and tie is slumped over a table, in 4131 a pool of blood on the tablecloth. 4132 4133 <b> INT DAY: MATTRESS (WINTER 1945) 4134 </b> 4135 A neatly stacked pile of newspapers in the corner of an 4136 apartment. We catch a glimpse of one headline: "Five Family 4137 War..." 4138 4139 The table. The MEN are sitting around cracking nuts. ONE 4140 has fallen asleep on his arms at the table. 4141 4142 SEVERAL MEN are taking naps on the Mattresses. 4143 4144 The PIANO PLAYER finishes the tune with finesse. Picks up 4145 and takes a drag from his cigarette. The OTHER MAN nods 4146 appreciatively. 4147 4148 <b> MAN 4149 </b> Nice Augie...nice. 4150 4151 <b> EXT DAY: MANCINI BLDG. (SPRING '46) 4152 </b> 4153 Several cars are parked in front of a pleasant New York 4154 apartment building. We recognize a couple of SONNY's 4155 bodyguards loafing by the cars, pitching playing cards 4156 against the curb. 4157 4158 Inside the building, two others wait quietly by the rows of 4159 brass mailboxes: they have been there quite awhile. 4160 4161 Up one flight of stairs, a single man sits on the step, 4162 smoking a cigarette. 4163 4164 One of the men by the mailboxes checks his pocketwatch, 4165 which is attached to a key chain. We HEAR the sound of a 4166 door opening; they look up. 4167 4168 The man sitting on the stop stands; and looks. 4169 4170 SONNY backs out of an apartment, the arms of LUCY MANCINI 4171 wrapped around him. She doesn't want to let go of him; she 4172 draws him back into the apartment for a moment, and then he 4173 comes out alone, adjusting his clothes. 4174 4175 He jauntily skips down the steps, trailed by the bodyguard 4176 on the first floor, and moves outside toward his car. The 4177 men quickly take up their positions. As he gets in his car: 4178 4179 <b> DRIVER 4180 </b> Pick up your sister? 4181 4182 <b> SONNY 4183 </b> Yeah. 4184 4185 The car drives off; accompanied and escorted by the 4186 bodyguards in their cars. 4187 4188 <b> INT DAY: CONNIE'S HALL (SPRING '46) 4189 </b> 4190 He knocks on the door. No answer. Then again. 4191 4192 <b> CONNIE'S VOICE 4193 </b> Who is it? 4194 4195 <b> SONNY 4196 </b> It's me, Sonny. 4197 4198 We hear the bolt slide back, and see the door open. SONNY 4199 enters, but CONNIE has quickly moved into the hallway, her 4200 back to him. 4201 4202 <b> SONNY 4203 </b> (tenderly) 4204 Connie, what is it? 4205 4206 He turns her around in his arms. 4207 4208 Her face is swollen and bruised; and we can tell from her 4209 rough, red eyes that she has been crying for a long time. 4210 As soon as he realizes what's happened, his face goes red 4211 with rage. She sees it coming, and clings to him, preventing 4212 him from running out of the apartment. 4213 4214 <b> CONNIE 4215 </b> (desperately) 4216 It was my fault! I started a fight 4217 with him and I tried to hit him so 4218 he hit me. He didn't even try to 4219 hit me hard Sonny, I walked into it. 4220 4221 Sonny listens, and calms himself. He touches her shoulder, 4222 the thin silk robe. 4223 4224 <b> SONNY 4225 </b> I'm goin' to have the doctor come 4226 over and take a look at you. 4227 4228 He starts to leave. 4229 4230 <b> CONNIE 4231 </b> Oh Sonny, please don't do anything. 4232 Please don't. 4233 4234 He stops, and then laughs good naturedly. 4235 4236 <b> SONNY 4237 </b> Hey. Con. What'm I goin' to do? 4238 Make your kid a orphan before he's 4239 born. 4240 4241 She laughs with him. He kisses her reassuringly, and leaves. 4242 4243 <b> EXT DAY: CONNIE'S STREET 4244 </b> 4245 CARLO settles down on the front steps of the 112th St. 4246 "Book" with SALLY RAGS and COACH, who have been drinking 4247 beer out of glasses and a pitcher of beer from around the 4248 corner. The ball game is blaring from the radio; and the 4249 kids on the street are still playing stickball. 4250 4251 CARLO has barely settled down, when the kids in the street 4252 suddenly scatter, and a car comes screeching up the block 4253 and to a halt in front of the candy store. The tires 4254 scream, and before it seems as though it has even stopped, a 4255 MAN comes hurtling out of the driver's seat, moving so fast 4256 the everyone is paralyzed. It is a moment before we 4257 recognize that it is SONNY. 4258 4259 His face is contorted with anger; in a split second he is on 4260 the stoop and has CARLO by the throat. 4261 4262 He pulls CARLO away from the others, trying to get him down 4263 into the street. But CARLO reaches out for the iron railing, 4264 and hangs on, his hand in a lock, cringing away, trying to 4265 hide his head and face in the hollow of the his shoulders. 4266 His shirt is ripped away in SONNY's hand. 4267 4268 SALLY RAGS and COACH, merely sit, watching, stunned. 4269 4270 SONNY is pounding the cowered CARLO with all his strength, 4271 in a continuous monologue of indistinguishable cursing. His 4272 blows are powerful; and begin to draw blood. 4273 4274 The kids who have been playing stickball, move up, watching 4275 in fascination. 4276 4277 CARLO's hands are clenched tight around the railing. 4278 4279 SONNY beats him mercilessly. 4280 4281 Now SONNY's bodyguards' car pulls up, and they too become 4282 spectators. 4283 4284 SONNY's tight fists are going down like hammers, into 4285 CARLO's face and body. 4286 4287 CARLO's nose is bleeding profusely; but still he does 4288 nothing, other than hang onto the railing. 4289 4290 SONNY grabs hold of CARLO's massive body, and tries to drag 4291 him off of the hold on the railing, his teeth clenched in 4292 the effort. Then he tries loosening CARLO's locked hands; 4293 even biting them. CARLO screams but he does not let go. 4294 4295 It's clear that CARLO is much stronger than he is, and will 4296 not be moved. SONNY knees him in the mouth, and beats him 4297 more; but he is exhausted. Totally out of breath, he 4298 stammers haltingly to the bleeding CARLO. 4299 4300 <b> SONNY 4301 </b> You...bastard...You...hurt my 4302 sister... again...and I'll 4303 kill...you. 4304 4305 He wipes the sweat from his face, and then turns suddenly. 4306 and hurries back to the car, in a moment his car is gone, 4307 leaving even his bodyguards in confusion. We notice ONE MAN 4308 with a sports jacket in the group of spectators especially 4309 interested. 4310 4311 CARLO finally relaxes the clenched, locked hands. He slumps 4312 onto the stoop. 4313 4314 <b> ---------------------------------------FADE OUT--------- 4315 </b> 4316 <b> FADE IN: 4317 </b> 4318 <b> EXT DAY: MALL (SPRING 1946) 4319 </b> 4320 HIGH ANGLE on the Corleone Mall. It is a gray, rainy day. 4321 Young BUTTON MEN in raincoats stand in quiet groups of 4322 various points around the main house and compound. Things 4323 have changed; one house has been extensively enlarged; a new 4324 and secure gate house has been built. Security measures 4325 that had been make-shift and temporarily have now been made 4326 a permanent part of the Mall, evolving it into a Medieval 4327 Fortress. We notice a huge crater in the courtyard; the 4328 result of a recent bomb attempt. The house nearest the 4329 crater is damaged by fire. 4330 4331 A taxi arrives; KAY ADAMS steps out, huddled in a bright 4332 yellow raincoat; she lets the cab go, and hurries to the 4333 shelter of the gate house. 4334 4335 They are not expecting her, and ask her to wait while they 4336 call the main house. 4337 4338 KAY looks at the imposing, depressing Mall, while rain still 4339 runs down onto her face. 4340 4341 She notices the bomb crater, and the fire damage; and the 4342 sullen faces of the BUTTON MEN. 4343 4344 TOM HAGEN exits the Main House, and hurries toward her. 4345 4346 <b> HAGEN 4347 </b> Kay, we weren't expecting you. You 4348 should call... 4349 4350 <b> KAY 4351 </b> I've tried calling and writing. I 4352 want to reach Michael. 4353 4354 <b> HAGEN 4355 </b> Nobody knows where he is. We know 4356 he's all right, but that's all. 4357 4358 KAY looks in the direction of the crater, filling with 4359 rainwater. 4360 4361 <b> KAY 4362 </b> What was that? 4363 4364 <b> HAGEN 4365 </b> An accident. No one was hurt. 4366 4367 <b> KAY 4368 </b> Listen Tom, I let my cab go; can I 4369 come in to call another one? 4370 4371 TOM is clearly reluctant to involve her any more than he has 4372 to. 4373 4374 <b> HAGEN 4375 </b> Sure...I'm sorry. 4376 4377 They hurry through the rain and into the Main House. 4378 4379 <b> INT DAY: DON'S LIVING ROOM (SPRING 1946) 4380 </b> 4381 In the living room, KAY shakes the water from her coat and 4382 takes her rainhat off. 4383 4384 <b> KAY 4385 </b> Will you give this to him. 4386 4387 <b> HAGEN 4388 </b> If I accept that letter and you 4389 told a Court of Law I accepted it, 4390 they would interpret it as my 4391 having knowledge of his whereabouts. 4392 Just wait Kay, he'll contact you. 4393 4394 We hear footsteps descending the staircase; MAMA CORLEONE 4395 enters the room; the OLD WOMAN squints at KAY, evaluating her. 4396 4397 <b> MAMA 4398 </b> You're Mikey's little girl. 4399 4400 KAY nods yes; there are still tears in her eyes. 4401 4402 <b> MAMA 4403 </b> You eat anything? 4404 4405 KAY shakes her head. 4406 4407 <b> MAMA 4408 </b> (to HAGEN) 4409 Disgrazia, you don't even give the 4410 poor girl a cup of coffee? 4411 4412 HAGEN shrugs helplessly; on an impulse, KAY quickly moves 4413 toward MAMA, the letter extended. 4414 4415 <b> KAY 4416 </b> Will you give this letter to Michael. 4417 4418 <b> HAGEN 4419 </b> Mama, no. 4420 4421 <b> MAMA 4422 </b> You tell me what to do? Even he 4423 don't tell me what to do. 4424 4425 She takes the letter from KAY, who is grateful and relieved. 4426 4427 <b> KAY 4428 </b> Why did they blame Michael? 4429 4430 <b> MAMA 4431 </b> You listen to me, you go home to 4432 your family, and you find a good 4433 young man and get married. Forget 4434 about Mikey; he's no good for you, 4435 anymore. 4436 4437 She looks directly into KAY's eyes; and KAY understands what 4438 that means. 4439 4440 <b> EXT DAY: DON'S HOSPITAL (SPRING 1946) 4441 </b> 4442 A hospital in New York City. POLICE and teams of PRIVATE 4443 DETECTIVES are stationed guarding the area. An ambulance 4444 with a team of DETECTIVES and BUTTON-MEN GUARDS exit the 4445 hospital with rifles in hand; followed by SEVERAL HOSPITAL 4446 ASSISTANTS wheeling a hospital stretcher, presumably carrying 4447 the DON. 4448 4449 TESSIO and CLEMENZA emerge, with OTHER BUTTON MEN bringing 4450 up the rear. HAGEN walks with the stretcher, and for a 4451 moment they disappear behind the ambulance. Then suddenly, 4452 siren blasting, it speeds off, accompanied by dark low-slung 4453 cars. 4454 4455 <b> EXT DAY: MALL (SPRING 1946) 4456 </b> 4457 The Corleone Mall. 4458 4459 Equally impressive security stands ready at the Corleone 4460 Mall. EXTRA BUTTON MEN, as well as SOME POLICE, and PRIVATE 4461 <b> DETECTIVES. 4462 </b> 4463 It all seems to be under the supervision of ROCCO LAMPONE. 4464 All is silent. The WOMEN and CHILDREN, dressed in Sunday 4465 clothes, wait. 4466 4467 <b> EXT DAY: AMBULANCE (SPRING 1946) 4468 </b> 4469 One ambulance, speeding along the Grand Central Parkway, 4470 preceded and followed by a dark car, each one carrying a 4471 team of BUTTON MEN. 4472 4473 Sitting next to the DRIVER of the ambulance is a GUARD with 4474 a rifle on his lap. 4475 4476 <b> INT DAY: DON'S HALL (SPRING 1946) 4477 </b> 4478 Inside the Main CORLEONE House: 4479 4480 Hospital ORDERLIES carry the DON on his stretcher carefully 4481 under the watchful eyes of CLEMENZA, TESSIO, LAMPONE and 4482 various GUARDS and BUTTON MEN. 4483 4484 All the CORLEONE family is here today: MAMA, FREDO, SANDRA, 4485 THERESA, CONNIE, CARLO; the various CORLEONE CHILDREN. 4486 4487 <b> INT DAY: DON'S BEDROOM (SPRING 1946) 4488 </b> 4489 The DON is made comfortable in his room, which has all but 4490 been converted into a hospital room, with complete and 4491 extensive equipment. The various CHILDREN get a turn to 4492 kiss the OLD MAN, as he is made comfortable... and then 4493 SONNY indicates that all the CHILDREN, WOMEN, and CARLO 4494 should leave. 4495 4496 They do, the door is closed. 4497 4498 <b> INT DAY: DON'S DINING ROOM (SPRING 1946) 4499 </b> 4500 The mood is quite happy downstairs, as the WOMEN prepare the 4501 Sunday dinner, and set the table. 4502 4503 CARLO sits alone among them, a frown on his face. 4504 4505 <b> CONNIE 4506 </b> What's the matter, Carlo? 4507 4508 <b> CARLO 4509 </b> Shut up. 4510 4511 <b> INT DAY: DON'S BEDROOM (SPRING 1946) 4512 </b> 4513 All the MEN of the family stand around the hospital bed with 4514 grim faces, SONNY and HAGEN closest to the OLD MAN. The DON 4515 does not speak, yet he asks questions with his looks and 4516 glances, as clearly as if they were verbalized. HAGEN is 4517 the spokesman for the family. 4518 4519 <b> HAGEN 4520 </b> ...since McCluskey's killing, the 4521 police have cracked down on most of 4522 our operations...on the other 4523 families too. There's been a lot 4524 of bad blood. 4525 4526 The OLD MAN glances at SONNY. 4527 4528 <b> SONNY 4529 </b> Pop, they hit us and we hit them 4530 back. 4531 4532 <b> HAGEN 4533 </b> We put out a lot of material 4534 through our contacts in the 4535 Newspapers...about McCluskey's 4536 being tied up with Sollozzo in the 4537 Drug Rackets...things are starting 4538 to loosen up. 4539 4540 The OLD MAN nods. 4541 4542 <b> SONNY 4543 </b> Freddie's gonna go to Las 4544 Vegas...under the protection of Don 4545 Francesco of L.A. I want him to 4546 rest... 4547 4548 <b> FREDO 4549 </b> I'm goin' to learn the casino 4550 business. 4551 4552 The DON nods approvingly. Then he searches around the room 4553 for a face he does not see. HAGEN knows who he's looking for. 4554 4555 <b> HAGEN 4556 </b> Michael... 4557 (he takes a breath) 4558 It was Michael who killed Sollozzo. 4559 4560 The DON closes his eyes, and then reopens them in anger and 4561 rage. 4562 4563 <b> HAGEN 4564 </b> He's safe now...we're already 4565 working on ways to bring him back. 4566 4567 The DON is very angry, he motions with a weak hand that they 4568 leave him alone. 4569 4570 <b> INT. DAY: DON'S STAIRS AND HALL (SPRING 1946) 4571 </b> 4572 HAGEN is very upset as he comes down the Stairs; SONNY is 4573 expansive and optimistic. 4574 4575 <b> SONNY 4576 </b> We'll let the old man take it easy 4577 for a couple of weeks. I want to 4578 get things going good before he 4579 gets better. What's the matter 4580 with you? 4581 4582 <b> HAGEN 4583 </b> You start operating, the five 4584 families will start their raids 4585 again. We're at a stalemate Sonny, 4586 your war is costing us a lot of 4587 money. 4588 4589 <b> SONNY 4590 </b> No more stalemate Tom, we got the 4591 soldiers, we'll match them gun for 4592 gun if that's how they want it. 4593 They know me for what I am, Tom-- 4594 and they're scared of me. 4595 4596 <b> HAGEN 4597 </b> Yes. That's true, you're getting a 4598 hell of a reputation. 4599 4600 <b> SONNY 4601 </b> Well it's war! We might not be in 4602 this shape if we had a real war- 4603 time Consiglere, a Sicilian. Pop 4604 had Genco, who do I have? 4605 (TOM starts to leave) 4606 Hey Tom, hey...hey. It's Sunday, 4607 we're gonna have dinner. Don't be 4608 sore. 4609 4610 <b> INT DAY: DON'S DINING ROOM (SPRING 1946) 4611 </b> 4612 The FAMILY, WIVES, CHILDREN and all sit around the table 4613 over Sunday dinner. SONNY is at the head of the table. 4614 4615 <b> EXT DAY: MALL (SPRING 1946) 4616 </b> 4617 SOME of the CORLEONE GRANDCHILDREN play in the enclosed 4618 Mall, in the proximity of the BUTTON MEN stationed liberally 4619 by the gate. 4620 4621 ONE CHILD misses a ball, it rolls by the gate house. A 4622 young BUTTON MAN scoops it up and throws it back, smiling. 4623 4624 <b> -----------------------------------------FADE OUT------- 4625 </b> 4626 <b> INT DAY: CONNIE'S APT. (SPRING 1946) 4627 </b> 4628 CONNIE and CARLO's apartment. She's in a slip, on the phone. 4629 We HEAR the shower going in the bathroom. 4630 4631 <b> CONNIE 4632 </b> Who is this? 4633 4634 <b> GIRL (O.S.) 4635 </b> (giggle) 4636 I'm a friend of Carlo's. I just 4637 wanted to tell him I can't see him 4638 tonight; I have to go out of town. 4639 4640 CONNIE's face turns red. 4641 4642 <b> CONNIE 4643 </b> You lousy tramp bitch. 4644 (click) 4645 4646 4647 She slams the phone down; just as CARLO is coming out of the 4648 bathroom drying his golden body. 4649 4650 <b> CARLO 4651 </b> What was that? 4652 4653 <b> CONNIE 4654 </b> Your girl friend. She says she 4655 can't make it tonight. You lousy 4656 bastard you have the nerve to give 4657 your whores my telephone number. 4658 I'll kill you, you bastard! 4659 4660 She hauls off and punches him knowingly; he laughs, so then 4661 she flings herself at him, kicking and scratching; her heavy 4662 belly heaving under the thin slip. 4663 4664 <b> CARLO 4665 </b> (defending himself) 4666 You're crazy. She was kidding 4667 around; I don't know, some nut. 4668 4669 He pushes her aside, and moves into the bedroom to continue 4670 dressing. 4671 4672 <b> CONNIE 4673 </b> You're staying home. You're not 4674 going out. 4675 4676 <b> CARLO 4677 </b> OK, OK. You gonna make me something 4678 to eat at least? 4679 4680 That calms her down; she stands there a moment, breathing 4681 heavily; and then she nods, and goes into the kitchen, and 4682 starts her wifely duties. 4683 4684 CARLO is dressed; puts on some cologne; CONNIE appears in 4685 the doorway. 4686 4687 <b> CONNIE 4688 </b> The food is on the table. 4689 4690 <b> CARLO 4691 </b> I'm not hungry yet. 4692 4693 <b> CONNIE 4694 </b> Eat it, it's on the table. 4695 4696 <b> CARLO 4697 </b> Ba Fa Goulle. 4698 4699 <b> CONNIE 4700 </b><b> BA FA GOULE YOU! 4701 </b> 4702 She turns deliberately, goes out into the kitchen. A moment 4703 later we begin to hear the sound of dishes breaking. CARLO 4704 slowly walks out, where we can see CONNIE systematically 4705 smashing all the dishes against the sink, sending the greasy 4706 veal and peppers all over the apartment floor. 4707 4708 <b> CARLO 4709 </b> You filthy guinea spoiled brat. 4710 Clean it up or I'll kick your head 4711 in. 4712 4713 <b> CONNIE 4714 </b> Like hell I will. 4715 4716 She stands there, solid, ready to punch him again. Slowly, 4717 he slides his belt out of his trousers, and doubles it in 4718 his hand. 4719 4720 <b> CARLO 4721 </b> Clean it up! 4722 4723 He swings the belt against her heavy hips. She moves back 4724 into the kitchen, and gets a kitchen knife, and holds it 4725 ready. 4726 4727 <b> CARLO 4728 </b> Even the female Corleones are 4729 murderers. 4730 4731 He puts the strap down on a table, and moves after her. She 4732 makes a sudden thrust at his groin, which he avoids. He 4733 pulls the knife away, cutting his hand in the process. She 4734 gets away momentarily, but he pursues her around the table, 4735 gets her; and starts to slap her in the face. 4736 4737 She breaks away from him, and rushes into the bedroom. 4738 4739 <b> CONNIE 4740 </b> The baby! The baby! 4741 4742 <b> INT DAY: CONNIE'S BEDROOM (SPRING 1946) 4743 </b> 4744 She runs into the bedroom; he follows. She moves into a 4745 corner, and then like a desperate animal, tries to hide 4746 under the bed. 4747 4748 He reaches under, and pulls her out by the hair. 4749 4750 He slaps her in the face until she begins to weep; then he 4751 throws her on the bed, contemptuously. He grabs part of her 4752 thigh, pinching it very hard. 4753 4754 <b> CARLO 4755 </b> You're fat as a pig. 4756 4757 Then he pushes her away, and walks out of the room, leaving 4758 her in tears. She is crying; she pulls herself to the 4759 bedroom phone, and in a whisper: 4760 4761 <b> CONNIE 4762 </b> Mama...mama, it's Connie. Mama, I 4763 can't talk any louder. No, I don't 4764 want to talk to Sonny. 4765 4766 We can tell that the phone has been passed to SONNY. 4767 4768 <b> INT DAY: DON'S KITCHEN (SPRING 1946) 4769 </b> 4770 In the kitchen at the Mall, MAMA cannot understand the 4771 whispering and she has given the phone to SONNY. 4772 4773 <b> SONNY 4774 </b> Yeah Connie. 4775 4776 <b> CONNIE (O.S.) 4777 </b> Sonny, just send a car to bring me 4778 home. I'll tell you then, it's 4779 nothing Sonny, don't you come. 4780 Send TOM, please Sonny, it's 4781 nothing; I just want to come home. 4782 4783 SONNY's face is turning red. 4784 4785 <b> SONNY 4786 </b> (in a controlled voice) 4787 You wait there. You just wait there. 4788 4789 He hangs up the phone; and just stands there for a moment. 4790 4791 <b> SONNY 4792 </b> (quietly) 4793 That sonofabitch; that sonofabitch... 4794 4795 HAGEN enters the room; he knows what is happening, knows he 4796 cannot interfere. 4797 4798 <b> EXT DAY: MALL 4799 </b> 4800 SONNY leaves the house. HAGEN moves to the outside mall 4801 just as SONNY's car is driving off. He moves to a group of 4802 <b> BUTTON MEN. 4803 </b> 4804 <b> HAGEN 4805 </b> Go after him. 4806 4807 <b> EXT DAY: CAUSEWAY (SPRING 1946) 4808 </b> 4809 SONNY's car on the Jones Beach Causeway, speeds quickly by. 4810 After a pause, another car, with the CORLEONE BODYGUARDS, is 4811 trailing. 4812 4813 SONNY is driving; he is very angry. 4814 4815 <b> EXT NITE: TOLL BOOTHS (SPRING 1946) 4816 </b> 4817 SONNY in his car; driving back. Still breathing hard and 4818 still furious. Then he thinks it's funny; he enjoyed it. 4819 He starts laughing, louder and louder, as he pulls up to a 4820 toll booth, stops, and extends his hand with a coin to the 4821 <b> COLLECTOR. 4822 </b> 4823 <b> ---------------------------------------FADE OUT--------- 4824 </b> 4825 <b> FADE IN: 4826 </b> 4827 <b> INT NITE: AMERIGO BONASERA'S APARTMENT 4828 </b> 4829 The serious-faced UNDERTAKER is on the telephone. 4830 4831 <b> HAGEN (O.S.) 4832 </b> This is Tom Hagen. I'm calling for 4833 Don Corleone, at his request. 4834 4835 BONASERA looks at his WIFE, with deep anxiety in his eyes. 4836 BONASERA's lips are suddenly dry. 4837 4838 <b> BONASERA 4839 </b> Yes, I understand. I'm listening. 4840 4841 <b> HAGEN (O.S.) 4842 </b> You owe the Don a service. In one 4843 hour, not before, perhaps later, he 4844 will be at your funeral parlor to 4845 ask for your help. Be there to 4846 greet him. If you have any 4847 objections speak now, and I'll 4848 inform him. 4849 4850 Silence. BONASERA stutters, then speaks in fright. 4851 4852 <b> BONASERA 4853 </b> Anything...Anything the Godfather 4854 wishes. 4855 4856 <b> HAGEN (O.S.) 4857 </b> Good. He never doubted you. 4858 4859 <b> BONASERA 4860 </b> The Don himself is coming to me 4861 tonight? 4862 4863 <b> HAGEN (O.S.) 4864 </b> Yes. 4865 (click) 4866 4867 4868 BONASERA is sweating; slowly he lowers the phone; his WIFE 4869 sees his pale expression, and follows him into the room. 4870 4871 Silently, he begins the ritual of dressing. His WIFE knows 4872 something serious is happening, and never takes her eyes 4873 from him. He lights a cigarette. 4874 4875 <b> BONASERA 4876 </b> For the last year, they have been 4877 killing one another. So now, what? 4878 Your Godfather comes to me...Why? 4879 (whispering, slyly) 4880 They've killed someone so important 4881 that they wish to make his body 4882 disappear. 4883 4884 <b> MRS. BONASERA 4885 </b> (frightened) 4886 Amerigo! 4887 4888 <b> BONASERA 4889 </b> They could make me an accomplice to 4890 their murder. They could send me 4891 to jail! 4892 4893 He slips into his trousers. Then he moves to his WIFE to 4894 tie his tie, as she has done for years. 4895 4896 <b> BONASERA 4897 </b> And if the other families find 4898 out...they will make me their enemy. 4899 They could come here to our house. 4900 I curse the day I ever went to the 4901 Godfather. 4902 4903 <b> EXT NITE: FUNERAL PARLOR (SPRING 1946) 4904 </b> 4905 With his ring of keys, he opens the funeral parlor, enters. 4906 4907 <b> INT NITE: FUNERAL PARLOR (SPRING 1946) 4908 </b> 4909 BONASERA walks through the darkened funeral parlor, without 4910 turning on the lights; then into the rear, preparation room, 4911 past the tables, and equipment. He operates the chain that 4912 lifts a large overhead garage type door. And looks out into 4913 the alley. 4914 4915 He sits on a bench, and waits. 4916 4917 <b> EXT NITE: FUNERAL PARLOR ALLEY (SPRING 1946) 4918 </b> 4919 The tires of a car roll very quietly along the small alley; 4920 we notice a dark car approach the rear of BONASERA's funeral 4921 parlor. 4922 4923 CLEMENZA gets out, and moves to the open, rear door. 4924 BONASERA greets him, too petrified to speak. He notices TWO 4925 OTHER MEN get out of the car, and carry a stretcher with a 4926 CORPSE swaddled in a gray blanket, with yellowed feet 4927 protruding. 4928 4929 BONASERA closes his eyes in fear, but indicates which way 4930 the MEN should carry their sinister burden. 4931 4932 <b> INT NITE: FUNERAL PARLOR EMBALMING ROOM (SPRING 1946) 4933 </b> 4934 They carry the CORPSE to one of the tables in the embalming 4935 room. 4936 4937 Then BONASERA turns to see ANOTHER MAN step out of the 4938 darkness somewhat uncertainly. It is DON CORLEONE. 4939 4940 He walks up to BONASERA, very close, without speaking. His 4941 cold eyes looking directly at the frightened UNDERTAKER. 4942 Then, after a long gaze: 4943 4944 <b> DON CORLEONE 4945 </b> Well my friend, are you ready to do 4946 me this service? 4947 4948 BONASERA nods. The DON moves to the CORPSE on the embalming 4949 table; he makes a gesture, and the OTHER MEN leave them alone. 4950 4951 <b> BONASERA 4952 </b> What do you wish me to do? 4953 4954 <b> DON CORLEONE 4955 </b> (staring at the table) 4956 I want you to use all your powers, 4957 all your skill, as you love me. I 4958 do not want his mother to see him 4959 as he is. 4960 4961 He draws down the gray blanket. 4962 4963 BONASERA lets out a gasp of horror at what he sees: 4964 4965 The bullet-smashed face of SONNY CORLEONE. 4966 4967 <b> EXT NITE: TOLL BOOTHS (SPRING 1946) 4968 </b> 4969 SONNY extends his hand with a coin at the toll booth. 4970 4971 A car suddenly swerves in front of him, trapping him in the 4972 booth, and in incredible rally of machine gun fire greets 4973 him, coming through and smashing the windows of the toll 4974 booths on both side of him, and from the front window of the 4975 car blocking him. 4976 4977 The windows of his car are shot out. 4978 4979 Bullet holes puncture the doors of his car. 4980 4981 His hand, with the coin in it, falls inside the car. 4982 4983 His arms, shoulders are riddled by the fire, and still it 4984 continues, as though the ASSASSINS cannot take a chance that 4985 he will survive it. 4986 4987 Suddenly, he lets out an enormous ROAR, like a bull, and 4988 actually, opens the door, and steps out of the car, UNDER 4989 fire. 4990 4991 His face is hit; and finally he falls to the ground. 4992 4993 A FULL SHOT...as the ASSASSINS scramble for their cars and 4994 make off in the distance. 4995 4996 SONNY's BODYGUARDS stop a safe distance away, realizing they 4997 are too late. 4998 4999 <b> INT NITE: DON'S LIVING ROOM (SPRING 1946) 5000 </b> 5001 View on HAGEN's ashen face in the living room. He is silent 5002 a moment, and then: 5003 5004 <b> HAGEN 5005 </b> (quietly) 5006 OK. Go to Clemenza's house and 5007 tell him to come here right away. 5008 He'll tell you what to do. 5009 5010 The MEN leave him alone. He is quiet, standing in the 5011 middle of the living room a moment. He looks in the 5012 direction of the kitchen, where he can see fragments of MAMA 5013 moving around. 5014 5015 <b> INT NITE: UPSTAIRS (SPRING 1946) 5016 </b> 5017 TOM proceeds up stairs, and quietly in the direction of the 5018 DON's room. He opens the DON's door. Looks in. 5019 5020 <b> INT NITE: DON'S BEDROOM (SPRING 1946) 5021 </b> 5022 The DON in his hospital bed. Asleep under sedation. HAGEN 5023 hesitates. He cannot go in; he cannot tell the OLD MAN. He 5024 closes the door. 5025 5026 <b> INT NITE: DON'S OFFICE (SPRING 1946) 5027 </b> 5028 HAGEN alone in the office. He is drinking. He looks up at 5029 the sound of cars; the CAPOREGIMES are arriving. Then he 5030 hears footsteps. 5031 5032 The door opens; and in a robe, with slippers, DON CORLEONE 5033 slowly enters the room. He walks directly to his stuffed 5034 armchair, sits down. His face is stern, as he looks into 5035 HAGEN's eyes. 5036 5037 <b> DON CORLEONE 5038 </b> Give me a drop of anisette. 5039 5040 HAGEN rises, and pours a glass for the OLD MAN. 5041 5042 <b> DON CORLEONE 5043 </b> My wife was weeping before she fell 5044 asleep, outside my window I saw my 5045 caporegimes to the house, and it is 5046 midnight. So, Consigliere of mine, 5047 I think you should tell your Don 5048 what everyone knows. 5049 5050 <b> HAGEN 5051 </b> (quietly) 5052 I didn't tell Mama anything. I was 5053 about to come up and wake you and 5054 tell you. Just now. 5055 5056 <b> DON CORLEONE 5057 </b> But you needed a drink first. 5058 5059 <b> HAGEN 5060 </b> Yes. 5061 5062 <b> DON CORLEONE 5063 </b> Now you've had your drink. 5064 5065 Pause. 5066 5067 <b> HAGEN 5068 </b> They shot Sonny on the Causeway. 5069 (pause) 5070 He's dead. 5071 5072 DON CORLEONE blinks. One feels that just for a second he 5073 loses all physical strength; he clasps his hands in front of 5074 him on the top of the desk and looks into HAGEN's eyes. 5075 5076 <b> DON CORLEONE 5077 </b> I want no inquiries made. No acts 5078 of vengeance. 5079 (pause) 5080 Consigliere, arrange a meeting with 5081 the heads of the five 5082 families...this war stops now. 5083 5084 He rises and unsteadily leaves the room, turns... 5085 5086 <b> DON CORLEONE 5087 </b> Call Bonasera...he will do me a 5088 service. 5089 5090 And leaves. HAGEN moves to the phone; dials... 5091 5092 <b> HAGEN 5093 </b> This is Tom Hagen; I'm calling for 5094 Don Corleone, at his request. 5095 5096 <b> BONASERA (O.S.) 5097 </b> Yes, I understand I'm listening. 5098 5099 <b> HAGEN 5100 </b> You owe the Don a service. He has 5101 no doubt that you will repay it. 5102 5103 <b> EXT DAY: BANK BUILDING (SPRING 1946) 5104 </b> 5105 Day in Manhattan. An impressive Bank Building in the 5106 financial center of New York. Many limousines are parked, 5107 uniforms and plain-clothed CHAUFFEURS waiting quietly. 5108 5109 <b> INT DAY: BOARD ROOM (SPRING 1946) 5110 </b> 5111 The Board Room of a bank, daylight shines in the windows. 5112 5113 CARLO TRAMONTI, an impressive, handsome middle-aged man, 5114 sits quietly, smoking a Di Napoli cigar, OUR VIEW moves to a 5115 MAN sitting to his left, and a little to the rear, and 5116 settles on JOSEPH ZALUCHI, a moon-faced amiable-looking man; 5117 as the view continues, around the table, we HEAR: 5118 5119 <b> DON CORLEONE (O.S.) 5120 </b> I want to thank you all for coming. 5121 I consider it a service done to me 5122 personally and I am in the debt of 5123 each and every one of you. 5124 Especially those of you who have 5125 traveled from such distances as 5126 California, St. Louis, Kansas City; 5127 and New Orleans... 5128 5129 The VIEW PASSES to FRANK FALCONE and ANTHONY MOLINARI, both 5130 younger than any of the others; then on to DOMENICK PANZA, 5131 short and squat sitting in a wheelchair; then around the 5132 table to DON VINCENENZO FORLENZA, who is whispering to his 5133 JEWISH ASSISTANT; the VIEW PASSES on to ANTHONY STRACCI, an 5134 older man, sipping from a drink and smoking a cigar; OTTILIO 5135 CUNEO, in his middle sixties with a jolly round face; then 5136 DON PHILLIP TATTAGLIA, a delicate older man with dyed hair 5137 and a pencil mustache; and finally, EMILIO BARZINI, in his 5138 early sixties, a man to 'respect'; whom we had seen at 5139 CONNIE's Wedding. 5140 5141 <b> DON CORLEONE 5142 </b> Ah well, let's get down to business. 5143 We are all honorable men here, we 5144 don't have to give assurances as if 5145 we were lawyers. 5146 (he sits, gazes out 5147 at them, and sighs) 5148 How did things ever go so far? 5149 Well, no matter. A lot of 5150 foolishness has come to pass. It 5151 was so unfortunate, so unnecessary. 5152 5153 The VIEW examines the room once again, as the DON speaks. A 5154 large, clicking board is changing numbers at various times, 5155 and two tapes, showing the fluctuations of the Market during 5156 the day's trading, and projected above. 5157 5158 DON CORLEONE pauses; and TOM HAGEN hands him a cold drink. 5159 5160 <b> DON CORLEONE 5161 </b> Tattaglia has lost a son; I have 5162 lost a son. We are quits. Let 5163 there be a peace... 5164 (he gestures 5165 expressively, 5166 submissively, with 5167 his hands) 5168 That is all I want... 5169 5170 <b> BARZINI 5171 </b> Don Corleone is too modest. He had 5172 the judges and politicians in his 5173 pocket and he refused to share them. 5174 His refusal is not the act of a 5175 friend. He takes the bread out of 5176 the mouths of our families. Times 5177 have changed, it's not like the old 5178 days where everyone can go his own 5179 way. If Don Corleone had all the 5180 judges and politicians in New York, 5181 then he must share them or let 5182 others use them. Certainly he can 5183 present a bill for such services, 5184 we're not Communists, after all. 5185 But he has to let us draw water 5186 from the well. It's that simple. 5187 5188 <b> DON CORLEONE 5189 </b> My friends, I didn't refuse out of 5190 malice. You all know me. When 5191 have I ever refused an accommodation? 5192 But why, this time? Because I 5193 think this drug business will 5194 destroy us in the years to come. 5195 It's not like whiskey or gambling 5196 or even women which most people 5197 want and is forbidden them by the 5198 pezzonovante of the Church and the 5199 Government. But drugs? No. Even 5200 policemen, who help us in gambling 5201 and other things would refuse to 5202 help us in drugs. But...I am 5203 willing to do whatever all of you 5204 think is necessary. 5205 5206 <b> DON ZALUCHI 5207 </b> I don't believe in drugs. For 5208 years I paid my people extra so 5209 they wouldn't do that kind of 5210 business...$200 a week. But it 5211 didn't matter. Somebody comes to 5212 them and says, "I have powders, if 5213 you put up three, four thousand 5214 dollar investment, we can make 5215 fifty thousand distributing." Who 5216 can resist such a profit? 5217 There's no way to control it, as a 5218 business...to keep it respectable. 5219 (rapping the table) 5220 I don't want it near schools! I 5221 don't want it sold to children. 5222 That is an infamita. 5223 (thinking) 5224 In my city I would try to keep the 5225 traffic in the dark people, the 5226 colored. They are the best 5227 customers, the least troublesome, 5228 and they are animals anyway. They 5229 have no respect for their wives or 5230 their families or themselves. Let 5231 them lose their souls with drugs. 5232 But something has to be done, we 5233 can't have everybody running around 5234 doing just what they please, like a 5235 bunch of anarchists. 5236 5237 <b> BARZINI 5238 </b> Then, are we agreed; the traffic in 5239 drugs will be permitted, but 5240 controlled; and Don Corleone agrees 5241 to give it protection in the East. 5242 5243 DON CORLEONE nods. 5244 5245 <b> BARZINI 5246 </b> That's the whole matter then, we 5247 have the peace, and let me pay my 5248 respects to Don Corleone, whom we 5249 have all known over the years as a 5250 man of his word. 5251 (noticing TATTAGLIA 5252 is uneasy) 5253 Don Philip? 5254 5255 <b> TATTAGLIA 5256 </b> I agree to everything here, I'm 5257 willing to forget my own misfortune. 5258 But I must hear strict assurance 5259 from Corleone. When time goes by 5260 and his position becomes stronger, 5261 will he attempt any individual 5262 vengeance? 5263 5264 They all look at the DON; especially HAGEN, who feels that 5265 DON CORLEONE has given a great deal, and must have something 5266 else in mind. Slowly the DON rises. 5267 5268 <b> DON CORLEONE 5269 </b> I forego my vengeance for my dead 5270 son, for the common good. But I 5271 have selfish reasons. My youngest 5272 son had to flee, accused of 5273 Sollozzo's murder, and I must now 5274 make arrangements so that he can 5275 come home with safety, cleared of 5276 all those false charges. That is 5277 my affair, and I will make those 5278 arrangements. 5279 (with strength) 5280 But I am a superstitious man...and 5281 so if some unlucky accident should 5282 befall my youngest son, if some 5283 police officer should accidentally 5284 shoot him, or if he should hang 5285 himself in his cell, or if my son 5286 is struck by a bolt of lightning, 5287 then I will blame some of the 5288 people here. That, I could never 5289 forgive, but...aside from that, let 5290 me swear by the souls of my 5291 Grandchildren that I will never be 5292 the one to break the peace we have 5293 made. 5294 5295 <b> EXT NITE: DON'S LIMO (SPRING 1946) 5296 </b> 5297 The DON's black limousine. He sits quietly in the padded 5298 rear seat; TOM HAGEN next to him. 5299 5300 It is night. Lights flash by them every so often. 5301 5302 <b> HAGEN 5303 </b> When I meet with Tattaglia's 5304 people; should I insist that all 5305 his drug middle-men be clean? 5306 5307 <b> DON CORLEONE 5308 </b> Mention it, don't insist. Barzini 5309 is a man who will know that without 5310 being told. 5311 5312 <b> HAGEN 5313 </b> You mean Tattaglia. 5314 5315 <b> DON CORLEONE 5316 </b> (shaking his head) 5317 Barzini. 5318 5319 <b> HAGEN 5320 </b> (a revelation) 5321 He was the one behind Sollozzo? 5322 5323 <b> DON CORLEONE 5324 </b> Tattaglia is a pimp. He could 5325 never have outfought Santino. But 5326 I wasn't sure until this day. No, 5327 it was Barzini all along. 5328 5329 The black limousine speeds away from us in the night. 5330 5331 <b> ------------------------------------------FADE OUT------ 5332 </b> 5333 <b> FADE IN: 5334 </b> 5335 <b> EXT DAY: ESTABLISHING SICILY SHOT 5336 </b> 5337 A CLOSE VIEW OF MICHAEL, moving as he walks, sullen and 5338 downcast, the left side of his face healed, but left 5339 grotesque and misshapen. 5340 5341 GRADUALLY, THE VIEW LOOSENS, he wears a warm navy Pea 5342 jacket, and walks with his hands in his pockets. 5343 5344 THE VIEW LOOSENS FURTHER, revealing a Sicilian SHEPHERD on 5345 either side of him, each carrying a shotgun slung over his 5346 shoulder, CALO, a squat and husky young man with a simple 5347 honest quality, and FABRIZZIO, slender and handsome, likable, 5348 and with a pleasing build. Each of the SHEPHERDS carry 5349 knapsacks. 5350 5351 The THREE YOUNG MEN continue over the Sicilian landscape, 5352 overlooking an impressive view of land and sea. 5353 5354 <b> EXT DAY: SICILY ROAD 5355 </b> 5356 The THREE move through a flock of wind-blown sheep, and make 5357 their way to a dusty rural road. We HEAR a rinky horn 5358 sound, as a pre-war Italian automobile makes its way to them. 5359 An OLD MAN peeks from the window, waving to MICHAEL. The 5360 car pulls in front of them and stops. MICHAEL nods 5361 respectfully. 5362 5363 <b> MICHAEL 5364 </b> Don Tommassino. 5365 5366 <b> DON TOMMASSINO 5367 </b> Michael, why must you do this. We 5368 have been lucky so far, all these 5369 months you've been here we've kept 5370 your name a secret. It is from 5371 love for your father that I've 5372 asked you never to more than an 5373 hour from the Villa. 5374 5375 <b> MICHAEL 5376 </b> Calo and Fabrizzio are with me; 5377 nothing will happen. 5378 5379 <b> DON TOMMASSINO 5380 </b> You must understand that your 5381 Father's enemies have friends in 5382 Palermo. 5383 5384 <b> MICHAEL 5385 </b> I know. 5386 5387 <b> DON TOMMASSINO 5388 </b> Where are you going? 5389 5390 <b> MICHAEL 5391 </b> Corleone. 5392 5393 <b> DON TOMMASSINO 5394 </b> There is nothing there. Not anymore. 5395 5396 <b> MICHAEL 5397 </b> I was told that my Grandfather was 5398 murdered on its main street; and 5399 his murderers came to kill my 5400 father there when he was twelve 5401 years old. 5402 5403 <b> DON TOMMASSINO 5404 </b> Long ago. Now there is nothing: 5405 the men killed each other in family 5406 vendettas...the others escaped to 5407 America. 5408 5409 <b> MICHAEL 5410 </b> Don Tommassino...I should see this 5411 place. 5412 5413 DON TOMMASSINO thinks a moment, then concedes. 5414 5415 <b> DON TOMMASSINO 5416 </b> That is your birthright...but 5417 Michael, use this car. 5418 5419 <b> MICHAEL 5420 </b> No...I would like to walk to 5421 Corleone. 5422 5423 The OLD MAN sighs, and then returns to his car. 5424 5425 <b> DON TOMMASSINO 5426 </b> Be careful Michael, don't let them 5427 know your name. 5428 5429 The old car sputters off; MICHAEL watches, and then continues 5430 on his journey. 5431 5432 <b> EXT DAY: COUNTRYSIDE 5433 </b> 5434 The THREE pass through abundant areas of flowers and fruit 5435 trees, in bloom and bursting with life. 5436 5437 <b> EXT DAY: VILLAGE 5438 </b> 5439 They continue in the empty streets of a little town; the 5440 post-war poverty is evident in the skinny dogs; and the 5441 empty streets. Occasionally, a military vehicle, the only 5442 gasoline-powered vehicles on the road, will pass. And there 5443 are many POLICE evident, most of them carrying machine guns. 5444 5445 The THREE pass under an enormous banner slung over the main 5446 road "VOTA COMMUNISTA". 5447 5448 <b> EXT DAY: COUNTRY ROAD 5449 </b> 5450 They continue through dusty country roads, where occasionally 5451 a donkey pulling a cart, or a lone horseman will pass them. 5452 5453 <b> EXT DAY: FIELD 5454 </b> 5455 Out in a field, in the distance, they come upon a procession 5456 of peasants and activists, perhaps two hundred strong, 5457 marching, and singing, and in the lead, are five or six men 5458 carrying billowing red banners. 5459 5460 <b> EXT DAY: GROVE 5461 </b> 5462 They are in an orange grove; on the other side of the trees 5463 is a deep, tall field of wild flowers. 5464 5465 The Shepherds unsling their guns and knapsacks, and take out 5466 loaves of bread, some wine, sausage and cheese. 5467 5468 MICHAEL rests against a tree, and uses his handkerchief. 5469 5470 <b> FABRIZZIO 5471 </b> You tell us about America. 5472 5473 <b> MICHAEL 5474 </b> How do you know I come from America? 5475 5476 <b> FABRIZZIO 5477 </b> We hear. We were told you were a 5478 Pezzonovanta...big shot. 5479 5480 <b> MICHAEL 5481 </b> Only the son of a Pezzonovanta. 5482 5483 <b> FABRIZZIO 5484 </b> Hey America! Is she as rich as 5485 they say? 5486 5487 <b> MICHAEL 5488 </b> Yes. 5489 5490 <b> FABRIZZIO 5491 </b> Take me to America! You need a 5492 good lupara in America? 5493 (pats his shotgun) 5494 You take me, I'll be the best man 5495 you got. "Oh say, can you 5496 seeee...By da star early light..." 5497 5498 MICHAEL laughs. 5499 5500 <b> EXT DAY: ANOTHER ROAD 5501 </b> 5502 The TRIO continues down a dirt road, as an American Military 5503 convoy speeds by; FABRIZZIO waves, and calls out to each of 5504 the U.S. drivers, as they move by. 5505 5506 <b> FABRIZZIO 5507 </b> America. 5508 Hey America! 5509 Take me with you! 5510 Hey, take me to America G.I.! 5511 5512 <b> EXT DAY: CORLEONE HILL 5513 </b> 5514 They continue their long hike, high on a promentory; until 5515 they hesitate, and look down. 5516 5517 <b> CALO 5518 </b> Corleone. 5519 5520 They can see a grim Sicilian village, almost devoid of people. 5521 5522 <b> EXT DAY: CORLEONE STREET 5523 </b> 5524 MICHAEL and his bodyguards move through the empty streets of 5525 the village. They walk behind him, and spread to either 5526 side about fifteen feet away from him. 5527 5528 They move down ancient steps, past an old stone fountain. 5529 MICHAEL hesitates, cups his hands and drinks some water. 5530 They go on. 5531 5532 They move up a very narrow old street. MICHAEL looks at the 5533 doorways that they pass. 5534 5535 MOVING VIEW: Each door has a plaque, with a ribbon or flower. 5536 5537 CALO sees MICHAEL looking. 5538 5539 <b> CALO 5540 </b> The names of the dead. 5541 5542 MICHAEL hesitates in the center of the main street. He looks. 5543 5544 The street is empty, barren. Occasionally, an old woman 5545 will pass. 5546 5547 MICHAEL turns his head. 5548 5549 The other side of the street: empty and deathly. 5550 5551 A HIGH VIEW of MICHAEL standing in the center of the old 5552 street, the shepherds a respectful distance away. 5553 5554 <b> -------------------------------------FADE OUT----------- 5555 </b> 5556 <b> EXT DAY: BARONIAL ESTATE 5557 </b> 5558 A green ribboned field of a baronial Estate. Further ahead 5559 is a villa so Roman it looks as though it had just been 5560 discovered in the ruins of Pompeii. There is a group of 5561 young village GIRLS accompanied by two stocky MATRONS, 5562 dressed in black. They have been gathering the pink sulla, 5563 purple wisteria, and mixing them with orange and lemon 5564 blossoms. They are singing, off in the distance as they work. 5565 5566 MICHAEL, CALO and FABRIZZIO are silent as they watch this 5567 Fantasy-like scene. 5568 5569 <b> FABRIZZIO 5570 </b> (calling out to them) 5571 Hey, beautiful girls! 5572 5573 <b> MICHAEL 5574 </b> (sternly) 5575 Shhhhh. 5576 5577 He settles down to watch. 5578 5579 The GIRLS are dressed in cheap gaily painted frocks that 5580 cling to their bodies. They are still in their teens, but 5581 developed and womanly. 5582 5583 They are moving along the fields, picking blossoms, not 5584 aware of the three men watching them from the orange grove. 5585 Three or four of the girls begin chasing one of them 5586 playfully, in the direction of the grove. 5587 5588 The GIRL being chased holds a bunch of purple grapes in her 5589 left hand and with the right, picks more grapes, and throws 5590 them back at her pursuers laughing. 5591 5592 They come closer and closer. Just short of the grove, she 5593 poses, startled, her large, oval shaped eyes catching the 5594 view of the THREE MEN. She stands there on her toes about 5595 to run. 5596 5597 MICHAEL sees her; now face to face. He looks. 5598 5599 Her face. Incredibly beautiful with olive skin, black hair 5600 and a rich mouth. 5601 5602 <b> FABRIZZIO 5603 </b> (murmuring) 5604 Jesus Christ, take my soul. I'm 5605 dying. 5606 5607 Quickly, she turns, and runs away. 5608 5609 MICHAEL stands up never taking his eyes from her. We hold 5610 on him for a long while; and eventually hear the SHEPHERDS 5611 laughing. Then he turns to them. 5612 5613 <b> FABRIZZIO 5614 </b> You got hit by the thunderbolt, eh? 5615 5616 CALO pats him on the shoulder. 5617 5618 <b> CALO 5619 </b> Easy man. 5620 5621 <b> MICHAEL 5622 </b> What are you talking about? 5623 5624 <b> FABRIZZIO 5625 </b> You can't hide it when you're hit 5626 by the thunderbolt. 5627 5628 <b> EXT DAY: BARONIAL VILLAGE 5629 </b> 5630 The little village built attendant to the Baronial Estate, 5631 is decked with the flowers the girls had been picking. 5632 5633 MICHAEL, followed by the bodyguards, moves into the central 5634 square, and onto the balcony of a little cafe. 5635 5636 The proprietor of the cafe, VITELLI, is a short burly man; 5637 he greets them cheerfully, and sets a dish of chickpeas at 5638 their table. 5639 5640 <b> FABRIZZIO 5641 </b> You know all the girls in this 5642 town, eh? We saw some beauties 5643 coming down the road. One in 5644 particular got our friend hit with 5645 the Thunderbolt... 5646 (he indicates MICHAEL) 5647 5648 VITELLI gives a big knowing laugh, and looks at MICHAEL with 5649 new interest. 5650 5651 <b> VITELLI 5652 </b> You had better bring a few bottles 5653 home with you, my friend; you'll 5654 need help sleeping tonight. 5655 (he laughs) 5656 5657 <b> FABRIZZIO 5658 </b> This one could seduce the devil. A 5659 body! and eyes as big and black as 5660 olives. 5661 5662 <b> VITELLI 5663 </b> (laughing with 5664 them...pouring more wine) 5665 I know about what you mean! 5666 5667 <b> FABRIZZIO 5668 </b> This was a beauty. Right, Calo? 5669 5670 <b> VITELLI 5671 </b> (laughing) 5672 Beautiful all over, eh? 5673 5674 <b> FABRIZZIO 5675 </b> And hair. Black and curly, like a 5676 doll. And such a mouth. 5677 5678 VITELLI does not laugh quite so much. 5679 5680 <b> VITELLI 5681 </b> Yes, we have beautiful girls here... 5682 but virtuous. 5683 5684 VITELLI is no longer drinking with them. 5685 5686 <b> MICHAEL 5687 </b> She wore a red dress, and a red 5688 ribbon in her hair. She looks more 5689 Greek than Italian. Do you know a 5690 beauty like that? 5691 5692 As MICHAEL describes her, VITELLI laughed less and less, 5693 until he wears a scowl. 5694 5695 <b> VITELLI 5696 </b> No. 5697 5698 Then he curtly leaves him, and walks into the back room. 5699 5700 <b> FABRIZZIO 5701 </b> God in Heaven, I think I 5702 understand... 5703 5704 He goes into the back room after the innkeeper. Then he 5705 returns. 5706 5707 <b> FABRIZZIO 5708 </b> Let's get out of here; he's boiling 5709 up his blood to do us mischief. 5710 It's his daughter. 5711 5712 They start to leave; but MICHAEL doesn't move. 5713 5714 <b> CALO 5715 </b> Come quickly. 5716 5717 <b> MICHAEL 5718 </b> Innkeeper. More wine! 5719 5720 <b> FABRIZZIO 5721 </b> (whispered) 5722 The old bastard mentioned two sons 5723 he only has to whistle up. 5724 5725 MICHAEL turns to FABRIZZIO with his cold authority. 5726 5727 <b> MICHAEL 5728 </b> Tell him to come to me. 5729 5730 The two BODYGUARDS shoulder their luparas, and disappear in 5731 a moment they return with the red-faced angry VITELLI 5732 between them. 5733 5734 <b> MICHAEL 5735 </b> (quietly) 5736 I understand I've offended you by 5737 talking about your daughter. I 5738 offer you my apologies, I'm a 5739 stranger in this country, I don't 5740 know the customs very well. Let me 5741 say this, I meant no disrespect to 5742 you or her... 5743 5744 CALO and FABRIZZIO are impressed. 5745 5746 <b> VITELLI 5747 </b> (shrugs) 5748 Who are you and what do you want 5749 from my daughter? 5750 5751 <b> MICHAEL 5752 </b> I am an American hiding in Sicily 5753 from the police of my country. My 5754 name is Michael. You can inform 5755 the police and make your fortune 5756 but then your daughter would lose a 5757 father rather than gain a husband. 5758 In any case, I want to meet your 5759 daughter. With your permission and 5760 under the supervision of your 5761 family. With all decorum. With 5762 all respect. I am an honorable man. 5763 5764 CALO and FABRIZZIO are stupefied; VITELLI pauses, and then 5765 asks: 5766 5767 <b> VITELLI 5768 </b> Are you a friend of the friends? 5769 5770 <b> MICHAEL 5771 </b> When the proper time comes, I'll 5772 tell you everything that a wife's 5773 father should know. 5774 5775 <b> FABRIZZIO 5776 </b> It's the real Thunderbolt, then. 5777 5778 <b> VITELLI 5779 </b> (formally) 5780 Come Sunday morning: My name is 5781 Vitelli and my house is up there on 5782 the hill, above the village. 5783 5784 <b> MICHAEL 5785 </b> Your daughter's name? 5786 5787 <b> VITELLI 5788 </b> Appolonia. 5789 5790 <b> -------------------------------------FADE OUT----------- 5791 </b> 5792 <b> EXT DAY: TOMMASSINO COURTYARD 5793 </b> 5794 MUSIC comes up; as MICHAEL, dressed in new clothes from 5795 Palermo, and carrying a stack of wrapped gifts, gets into an 5796 Alfa Romeo. CALO and FABRIZZIO each dressed in their Sunday 5797 best, are in the rear seat, huddled together, with their 5798 luparas on their shoulders. 5799 5800 DON TOMMASSINO waves them off, as the little car drives off, 5801 rocky and bouncing on the dirt road. 5802 5803 The Sunday churchbells ring. 5804 5805 <b> --------------------------------------DISSOLVE---------- 5806 </b> 5807 <b> EXT DAY: VITELLI HOUSE 5808 </b> 5809 MICHAEL is presented to each of the Vitelli relatives, by 5810 the yard of their little hilltop house; the BROTHERS; the 5811 MOTHER, who is given a gift; several UNCLES and AUNTS. 5812 Finally APPOLONIA enters, dressed beautifully in appropriate 5813 Sunday clothing. Now he presents the wrapped gift to 5814 APPOLONIA. She looks at her MOTHER, who with a nod gives 5815 her permission to open it. She unwraps it. Her eyes light 5816 at the sight of a heavy gold chain; to be worn as a necklace. 5817 5818 She looks at him. 5819 5820 <b> APPOLONIA 5821 </b> Grazia. 5822 5823 <b> --------------------------------------DISSOLVE---------- 5824 </b> 5825 <b> EXT DAY: VITELLI CAFE 5826 </b> 5827 Now the little Alpha drives into the village near VITELLI's 5828 cafe. 5829 5830 MICHAEL is, as ever, accompanied with his two BODYGUARDS, 5831 though they are all dressed differently. 5832 5833 They go up to the cafe...and sit with VITELLI, who is 5834 talking and talking. 5835 5836 MICHAEL looks at APPOLONIA; who sits, respectfully quiet. 5837 She wears the gold necklace around her neck. 5838 5839 <b> --------------------------------------DISSOLVE---------- 5840 </b> 5841 <b> EXT DAY: HILLTOP NEAR VITELLI HOME 5842 </b> 5843 MICHAEL and APPOLONIA are walking through a hilltop path, 5844 seemingly alone, although a respectful distance apart. 5845 5846 As the VIEW PANS with them, we notice that her MOTHER and a 5847 half dozen AUNTS are twenty paces behind them, and ten paces 5848 further behind are CALO and FABRIZZIO, their luparas on 5849 their shoulders. 5850 5851 Further up the hill, APPOLONIA stumbles on a loose stone, 5852 and falls briefly onto MICHAEL's arm. She modestly regains 5853 her balance, and they continue walking. 5854 5855 Behind them, her MOTHER giggles to herself. 5856 5857 <b> --------------------------------------DISSOLVE---------- 5858 </b> 5859 <b> EXT DAY: VITELLI VILLAGE CHURCH 5860 </b> 5861 Church bells in an ancient belfry ring out. Music, old and 5862 dissonant, plays. 5863 5864 There is a bridal procession in the street of the village; 5865 the same in feeling and texture as it might have been five 5866 hundred years ago. 5867 5868 Donkeys and other animals have been decorated with abundant 5869 flowers; children carrying candles and wearing white 5870 confirmation gowns walk in the procession, followed by 5871 countless townspeople, members of the clergy, even the police. 5872 5873 We present the entire bridal procession and ceremony with 5874 all the ritual and pageantry, as it has always been, in 5875 Sicily. 5876 5877 APPOLONIA is radiant as the Bride; MICHAEL is handsome 5878 despite the grotesque jaw and occasional white handkerchief. 5879 5880 <b> --------------------------------------DISSOLVE---------- 5881 </b> 5882 <b> EXT NITE: VITELLI VILLAGE SQUARE 5883 </b> 5884 CALO and FABRIZZIO dance wildly through the night of the 5885 great wedding celebration. It is held in the Village 5886 Square; under the watchful eyes of SHEPHERDS above on the 5887 tops of buildings, carrying luparas. 5888 5889 <b> --------------------------------------DISSOLVE---------- 5890 </b> 5891 <b> INT NITE: MICHAEL'S ROOM IN VILLA 5892 </b> 5893 MICHAEL opens the shutters in his darkened room; moonlight 5894 fills the room. 5895 5896 He turns, and there, in her wedding slip, is APPOLONIA. A 5897 little frightened; but lovely. 5898 5899 He moves to her; and for a moment just stands before her, 5900 looking at her incredible face; her lovely hair and body. 5901 5902 Slowly and tenderly he kisses her. Her tiny hands come up 5903 to his face; touch his cheek and embrace him. 5904 5905 She lets her bridal slip fall to the floor. 5906 5907 <b> --------------------------------------FADE OUT---------- 5908 </b> 5909 <b> INT DAY: MICHAEL'S ROOM AT VILLA 5910 </b> 5911 Morning. MICHAEL sits on the window ledge, gazing into the 5912 room. 5913 5914 APPOLONIA is asleep; she is naked, and only partially 5915 covered by the bedsheets. 5916 5917 He looks at her for a long time in the early morning light. 5918 5919 <b> EXT DAY: TOMMASSINO COURTYARD 5920 </b> 5921 <b> HIGH ANGLE ON DON TOMMASSINO'S VILLA 5922 </b> 5923 We HEAR girlish laughter; the little Alpha is driving 5924 erratically, knocking down an occasional wall, and almost 5925 hitting th inner court wall. 5926 5927 APPOLONIA is laughing, driving. MICHAEL pretends to be 5928 frightened, as he teaches her to drive. 5929 5930 Outside the walls, we notice SHEPHERDS with luparas, walking 5931 guard duty. 5932 5933 The car stops and a laughing MICHAEL gets out. 5934 5935 <b> MICHAEL 5936 </b> It's safer to teach you English. 5937 5938 <b> APPOLONIA 5939 </b> Monday, Tuesday, Wednesday, 5940 Thursday, Friday...See, I learned 5941 it. Now teach me to drive! 5942 5943 DON TOMMASSINO enters the Courtyard. He seems tired and 5944 concerned. 5945 5946 <b> MICHAEL 5947 </b> Ciao, Don Tommassino. 5948 5949 APPOLONIA kisses him. 5950 5951 <b> MICHAEL 5952 </b> Things went badly in Palermo? 5953 5954 <b> DON TOMMASSINO 5955 </b> The younger men have no respect. 5956 Things are changing; I don't know 5957 what will happen. Michael, because 5958 of the wedding, people now know 5959 your name. 5960 5961 <b> MICHAEL 5962 </b> Is that why there are more men on 5963 the walls? 5964 5965 <b> DON TOMMASSINO 5966 </b> Even so, I don't think it is safe 5967 here anymore. I've made plans to 5968 move you to a villa near Siracuse. 5969 You must go right away. 5970 5971 <b> MICHAEL 5972 </b> What is it? 5973 5974 <b> DON TOMMASSINO 5975 </b> Bad news from America. Your 5976 brother, Santino. He has been 5977 killed. 5978 5979 For a moment, the whole world of New York, Sollozzo, the 5980 Five Family War, all comes back to MICHAEL. 5981 5982 <b> EXT DAY: VILLA COURTYARD 5983 </b> 5984 Morning. MICHAEL leans out of the bedroom window. 5985 5986 Below, FABRIZZIO is sitting in one of the garden chairs, 5987 combing his thick hair. 5988 5989 MICHAEL whistles and FABRIZZIO looks up to his window. 5990 5991 <b> MICHAEL 5992 </b> Get the car. I'll be leaving in 5993 ten minutes. Where's Calo? 5994 5995 <b> FABRIZZIO 5996 </b> Calo is having a cup of coffee in 5997 the kitchen. Is your wife coming 5998 with you? 5999 6000 <b> MICHAEL 6001 </b> No, she's going home to her family. 6002 She'll join me in a few weeks... 6003 6004 <b> INT DAY: VILLA KITCHEN 6005 </b> 6006 MICHAEL, dressed, crosses from the hallway, and into the 6007 kitchen. CALO is just finishing a bite. He rises when he 6008 sees MICHAEL. 6009 6010 <b> CALO 6011 </b> Should I get your bag? 6012 6013 <b> MICHAEL 6014 </b> No, I'll get it. Where's Appolonia? 6015 6016 <b> CALO 6017 </b> (smiling) 6018 She is sitting in the driver's seat 6019 of the car, dying to step on the 6020 gas. She'll be a real American 6021 woman before she gets to America. 6022 6023 MICHAEL smiles. 6024 6025 <b> MICHAEL 6026 </b> Tell Fabrizzio and wait for me in 6027 the car. 6028 6029 He leaves the kitchen, after a quick sip of coffee. 6030 6031 He looks out from the opening in the doorway. 6032 6033 <b> EXT DAY: VILLA COURTYARD 6034 </b> 6035 There is the car, with APPOLONIA sitting in the driver's 6036 seat, playing with the wheel like a child. 6037 6038 CALO moves to the car, and puts a lunch basket in the rear 6039 seat. 6040 6041 Then MICHAEL seems disturbed. 6042 6043 Over, on the other side of the courtyard, he sees FABRIZZIO 6044 disappear through the gate. 6045 6046 <b> MICHAEL 6047 </b> (muttering to himself) 6048 Where the hell is he going? 6049 6050 MICHAEL goes down the hallway, and outside. 6051 6052 MICHAEL steps out into the bright sunlight of the outer 6053 courtyard, causing him to shade his eyes. 6054 6055 APPOLONIA sees him, and waves, motioning that he should stay 6056 where he is. 6057 6058 <b> APPOLONIA 6059 </b> (calling out) 6060 I'll drive to you. 6061 6062 He smiles affectionately. 6063 6064 CALO stands beside the car, smiling, with his lupara dangling 6065 by his side. There is no sight of FABRIZZIO. Suddenly the 6066 smile fades from MICHAEL's face. He steps forward and holds 6067 out his hand. 6068 6069 <b> MICHAEL 6070 </b> No. No! 6071 6072 His shout is drowned in the roar of a tremendous EXPLOSION, 6073 as she switched on the ignition. 6074 6075 Part of the wall is caved in, the kitchen door is blown off; 6076 and there is nothing left of the Alpha, or of Appolonia. 6077 6078 MICHAEL is thrown against the wall, and knocked unconscious. 6079 6080 <b> INT DAY: VILLA BEDROOM 6081 </b> 6082 MICHAEL is unconscious in a darkened room. We hear 6083 whispering around him, but can't make any of it out. A soft 6084 cloth is applied to his face; gradually his eyes open. DON 6085 TOMMASSINO is there, close to him. He looks at them and 6086 from their grave expressions, he knows his wife is dead. 6087 6088 <b> MICHAEL 6089 </b> Fabrizzio. Let your shepherds know 6090 that the one who gives me Fabrizzio 6091 will own the finest pastures in 6092 Sicily. 6093 6094 <b> --------------------------------------FADE OUT---------- 6095 </b> 6096 <b> FADE IN: 6097 </b> 6098 <b> EXT DAY: MALL (SPRING 1951) 6099 </b> 6100 Easter. 6101 6102 A HIGH VIEW ON THE CORLEONE MALL in the springtime. Hordes 6103 of little CHILDREN including many of the Corleone Children 6104 and Grandchilren, rush about carrying little Easter baskets, 6105 searching here and there for candy treasures and hidden 6106 Easter eggs. 6107 6108 The DON himself, much older, much smaller in size, wearing 6109 baggy pants and a plaid shirt and an old hat, moves around 6110 his garden, tending rows and rows of rich tomato plants. 6111 6112 Suddenly, he stops and looks. 6113 6114 MICHAEL stands there, still holding his suitcase. 6115 6116 Great emotion comes over the DON, who takes a few steps in 6117 MICHAEL's direction. 6118 6119 MICHAEL leaves his suitcase and walks to his favorite son 6120 and embraces him. 6121 6122 <b> DON CORLEONE 6123 </b> Be my son... 6124 6125 <b> INT DAY: THE OLIVE OIL FACTORY 6126 </b> 6127 DON CORLEONE leads MICHAEL through the corridors of the 6128 building. 6129 6130 <b> DON CORLEONE 6131 </b> This old building has seen its day. 6132 No way to do business...too small, 6133 too old. 6134 6135 They enter the DON's glass-panelled office. 6136 6137 <b> DON CORLEONE 6138 </b> Have you thought about a wife? A 6139 family? 6140 6141 <b> MICHAEL 6142 </b> (pained) 6143 No. 6144 6145 <b> DON CORLEONE 6146 </b> I understand, Michael. But you 6147 must make a family, you know. 6148 6149 <b> MICHAEL 6150 </b> I want children, I want a family. 6151 But I don't know when. 6152 6153 <b> DON CORLEONE 6154 </b> Accept what's happened, Michael. 6155 6156 <b> MICHAEL 6157 </b> I could accept everything that's 6158 happened; I could accept it, but 6159 that I never had a choice. From 6160 the time I was born, you had laid 6161 this all out for me. 6162 6163 <b> DON CORLEONE 6164 </b> No, I wanted other things for you. 6165 6166 <b> MICHAEL 6167 </b> You wanted me to be your son. 6168 6169 <b> DON CORLEONE 6170 </b> Yes, but sons who would be 6171 professors, scientists, 6172 musicians...and grandchildren who 6173 could be, who knows, a Governor, a 6174 President even, nothing's impossible 6175 here in America. 6176 6177 <b> MICHAEL 6178 </b> Then why have I become a man like 6179 you? 6180 6181 <b> DON CORLEONE 6182 </b> You are like me, we refuse to be 6183 fools, to be puppets dancing on a 6184 string pulled by other men. I 6185 hoped the time for guns and killing 6186 and massacres was over. That was 6187 my misfortune. That was your 6188 misfortune. I was hunted on the 6189 streets of Corleone when I was 6190 twelve years old because of who my 6191 father was. I had no choice. 6192 6193 <b> MICHAEL 6194 </b> A man has to choose what he will be. 6195 I believe that. 6196 6197 <b> DON CORLEONE 6198 </b> What else do you believe in? 6199 6200 MICHAEL doesn't answer. 6201 6202 <b> DON CORLEONE 6203 </b> Believe in a family. Can you 6204 believe in your country? Those 6205 Pezzonovante of the State who 6206 decide what we shall do with our 6207 lives? Who declare wars they wish 6208 us to fight in to protect what they 6209 own. Do you put your fate in the 6210 hands of men whose only talent is 6211 that they tricked a bloc of people 6212 to vote for them? Michael, in five 6213 years the Corleone family can be 6214 completely legitimate. Very 6215 difficult things have to happen to 6216 make that possible. I can't do 6217 them anymore, but you can, if you 6218 choose to. 6219 6220 MICHAEL listens. 6221 6222 <b> DON CORLEONE 6223 </b> Believe in a family; believe in a 6224 Code of Honor, older and higher, 6225 believe in Roots that go back 6226 thousands of years into your Race. 6227 Make a family, Michael, and protect 6228 it. These are our affairs, sono cosa 6229 nostra, Governments only protect 6230 men who have their own individual 6231 power. Be one of those men...you 6232 have the choice. 6233 6234 <b> --------------------------------------FADE OUT---------- 6235 </b> 6236 <b> EXT DAY: STOCK FOOTAGE LAS VEGAS (1955) 6237 </b> 6238 A MOVING VIEW, driving up the Las Vegas Strip of 1955. 6239 6240 <b> FREDO (O.S.) 6241 </b> There's a new one. Construction 6242 going on everywhere. 6243 6244 MORE VIEWS, showing new hotels and casinos being built; the 6245 bill marquees read: "MARTIN AND LEWIS", "PATTI PAGE", etc. 6246 6247 <b> FREDO (O.S.) 6248 </b> That's one of the family's new ones. 6249 Not bad, eh? 6250 6251 <b> EXT DAY: FLAMINGO (1955) 6252 </b> 6253 The car pulls up at the Flamingo Hotel. 6254 6255 Inside the car: MICHAEL, FREDO, TOM HAGEN and a new man, 6256 NERI, quiet and sinister. 6257 6258 <b> MICHAEL 6259 </b> Why didn't Moe Green meet us at the 6260 airport? 6261 6262 <b> FREDO 6263 </b> He had business at the hotel, but 6264 he'll drop in for dinner. 6265 6266 From the expression on MICHAEL's face we know this is a 6267 discourtesy. 6268 6269 <b> INT DAY: FLAMINGO HOTEL SUITE (1955) 6270 </b> 6271 A whole entourage precedes FREDO and his V.I.P. party of 6272 MICHAEL, HAGEN and NERI. Great fuss is made. They are 6273 being shown into the hotel's 'special' suite. 6274 6275 <b> FREDO 6276 </b> You look wonderful, kid; really 6277 wonderful. That doctor did some 6278 job on your face. 6279 6280 <b> MICHAEL 6281 </b> You look good, too. 6282 6283 They enter the suite. 6284 6285 <b> FREDO 6286 </b> Nice, eh? 6287 6288 FREDO is as excited as a kid, snapping orders at the 6289 bellboys, waiters and maids. 6290 6291 <b> FREDO 6292 </b> (hurrying into the bedroom) 6293 Kid, take a look-see. 6294 6295 MICHAEL gives a look to HAGEN, and continues into the bedroom. 6296 6297 There is an enormous circular bed on a huge platform, 6298 mirrors to each side. FREDO points upward. 6299 6300 A VIEW into a large CEILING mirror. 6301 6302 <b> FREDO 6303 </b> Ever seen anything like that before? 6304 6305 <b> MICHAEL 6306 </b> (dryly) 6307 No. 6308 6309 <b> INT NITE: FLAMINGO SUITE BEDROOM (1955) 6310 </b> 6311 MICHAEL is alone in the bedroom. He is just finishing 6312 dressing; he puts on his jacket. From the window, with the 6313 lights blinking, we can tell it's late at night. MICHAEL 6314 passes into the other room. 6315 6316 He stops, looks. He is disturbed. 6317 6318 <b> INT NITE: FLAMINGO SUITE (1955) 6319 </b> 6320 A magnificent, circular table has been set up in his suite; 6321 a lavish table setting for eight. Standing by the table are 6322 HAGEN, JOHNNY FONTANE, looking wonderful, a little heavier, 6323 beautifully dressed; FREDO, a dandy, and TWO LAS VEGAS GIRLS. 6324 NERI stands quietly by the door. 6325 6326 <b> FREDO 6327 </b> Mike! The party starting! 6328 6329 <b> MICHAEL 6330 </b> Come here a minute, Fredo. 6331 6332 FREDO goes to him, a big smile all over his face. 6333 6334 <b> MICHAEL 6335 </b> Who are those girls? 6336 6337 <b> FREDO 6338 </b> (jokingly) 6339 That's for you to find out. 6340 6341 <b> MICHAEL 6342 </b> Give them some money and send them 6343 home. 6344 6345 <b> FREDO 6346 </b> Mike! 6347 6348 <b> MICHAEL 6349 </b> Get rid of them... 6350 6351 <b> INT NITE: FLAMINGO SUITE (1955) 6352 </b> 6353 They are seated around the lavish table in Michael's suite. 6354 MICHAEL is speaking to JOHNNY. 6355 6356 <b> MICHAEL 6357 </b> Johnny, the Corleone family is 6358 thinking of selling out all our 6359 interests in the Olive Oil business 6360 and settling here. Moe Greene will 6361 sell us his interest so it can be 6362 wholly owned by friends of the 6363 family. 6364 6365 FREDDIE seems anxious. 6366 6367 <b> FREDO 6368 </b> Mike, you sure about Moe selling. 6369 He never mentioned it to me and he 6370 loves the business. 6371 6372 <b> MICHAEL 6373 </b> I'll make him an offer he can't 6374 refuse. 6375 6376 MICHAEL turns to JOHNNY. 6377 6378 <b> MICHAEL 6379 </b> Johnny, the Don wants you to help 6380 us get started. We figure 6381 entertainment will be the big 6382 factor in drawing gamblers. We 6383 hope you'll sign a contract to 6384 appear five times a year for maybe 6385 a week long engagement. 6386 We hope your friends in the movies 6387 will do the same. We count on you 6388 to convince them. 6389 6390 <b> JOHNNY 6391 </b> Sure, I'll do anything for my 6392 Godfather. You know that, Mike. 6393 6394 There is knock on the door. NERI rises, looks at MICHAEL, 6395 who nods. NERI opens the door, and MOE GREENE enters, 6396 followed by TWO BODYGUARDS. He is a handsome hood, dressed 6397 in the Hollywood style. His BODYGUARDS are more West Coast 6398 style. 6399 6400 <b> MOE 6401 </b> Mike, good to see you. Got 6402 everything you want? 6403 6404 <b> MICHAEL 6405 </b> Thanks. 6406 6407 <b> MOE 6408 </b> The chef cooked for you special; 6409 the dancers will kick your tongue 6410 out and you credit is good! 6411 (to his BODYGUARDS) 6412 Draw chips for all these people so 6413 they can play on the house. 6414 6415 <b> MICHAEL 6416 </b> Is my credit good enough to buy you 6417 out? 6418 6419 MOE laughs. 6420 6421 <b> MOE 6422 </b> Buy me out?... 6423 6424 <b> MICHAEL 6425 </b> The hotel, the casino. The Corleone 6426 family wants to buy you out. 6427 6428 GREENE stops laughing; the room becomes tense. NERI eyes 6429 the BODYGUARDS. 6430 6431 <b> MOE 6432 </b> (furious) 6433 The Corleone family wants to buy me 6434 out. I buy you out. You don't buy 6435 me out. 6436 6437 <b> MICHAEL 6438 </b> Your casino loses money. Maybe we 6439 can do better. 6440 6441 <b> MOE 6442 </b> You think I scam? 6443 6444 <b> MICHAEL 6445 </b> (the worst insult) 6446 You're unlucky. 6447 6448 <b> MOE 6449 </b> You goddamn dagos. I do you a 6450 favor and take Freddie in when 6451 you're having a bad time, and then 6452 you try to push me out. 6453 6454 <b> MICHAEL 6455 </b> You took Freddie in because the 6456 Corleone family bankrolled your 6457 casino. You and the Corleone 6458 family are evened out. This is for 6459 business; name your price. 6460 6461 <b> MOE 6462 </b> The Corleone family don't have that 6463 kind of muscle anymore. The 6464 Godfather is sick. You're getting 6465 chased out of New York by Barzini 6466 and the other families, and you 6467 think you can find easier pickings 6468 here. I've talked to Barzini; I 6469 can make a deal with him and keep 6470 my hotel! 6471 6472 <b> MICHAEL 6473 </b> (quietly, deadly) 6474 Is that why you thought you could 6475 slap Freddie around in public? 6476 6477 <b> FREDO 6478 </b> (his face turns red) 6479 Ah Mike, that was nothing. Moe 6480 didn't mean anything. He flies off 6481 the handle sometimes; but me and 6482 him are good friends. Right, Moe? 6483 6484 <b> MOE 6485 </b> Yeah sure. Sometimes I gotta kick 6486 asses to make this place run right. 6487 Freddie and I had a little argument 6488 and I had to straighten him out. 6489 6490 <b> MICHAEL 6491 </b> You straightened my brother out? 6492 6493 <b> MOE 6494 </b> Hell, he was banging cocktail 6495 waitresses two at a time. Players 6496 couldn't get a drink. 6497 6498 MICHAEL rises from his chair, and says in a tone of dismissal: 6499 6500 <b> MICHAEL 6501 </b> I have to go back to New York 6502 tomorrow. Think of your price. 6503 6504 <b> MOE 6505 </b> You son of a bitch, you think you 6506 can brush me off like that? I made 6507 my bones when you were going out 6508 with cheerleaders. 6509 6510 <b> FREDO 6511 </b> (frightened) 6512 Tom, you're the Consigliere; you 6513 can talk to the Don and advise him. 6514 6515 <b> MICHAEL 6516 </b> The Don has semi-retired. I'm 6517 running the Family business now. 6518 So anything you have to say, say it 6519 to me. 6520 6521 Nobody answers. MICHAEL nods to NERI, who opens the door. 6522 MOE exits angrily. 6523 6524 <b> MICHAEL 6525 </b> Freddie, you're my older brother. 6526 I love you. But don't ever take 6527 sides with anybody against the 6528 Family again. 6529 6530 <b> EXT DAY: N.Y. AIRPORT (1955) 6531 </b> 6532 KAY sits in the back of a limousine parked by the Newark 6533 AIRPORT. ROCCO LAMPONE is leaning against it. 6534 6535 She has a little three year old boy; MICHAEL's son, who 6536 plays with a cardboard bird on a string. 6537 6538 Two other cars are stationed discreetly, with men we have 6539 learned to tell are bodyguards. 6540 6541 MICHAEL, HAGEN and NERI exit the airport with TWO NEGRO 6542 PORTERS carrying luggage. 6543 6544 NERI sees something, and taps MICHAEL on the shoulder. 6545 6546 MICHAEL turns, and sees KAY. 6547 6548 LAMPONE opens the car door; KAY steps out with the BOY, and 6549 MICHAEL embraces her, and kisses his son. Automatically, 6550 the luggage is put in. NERI replaces LAMPONE as the driver; 6551 and LAMPONE joins the other men. HAGEN gets into one of the 6552 other cars. 6553 6554 And the limo drives off, preceded and followed by the other 6555 sedans. 6556 6557 <b> INT DAY: LIMO (1955) 6558 </b> 6559 The little BOY looks out the window as they drive. 6560 6561 <b> MICHAEL 6562 </b> I have to see my father and his 6563 people when we get back to the Mall. 6564 6565 <b> KAY 6566 </b> Oh Michael. 6567 6568 <b> MICHAEL 6569 </b> We'll go to the show tomorrow 6570 night--we can change the tickets. 6571 6572 <b> KAY 6573 </b> Don't you want dinner first? 6574 6575 <b> MICHAEL 6576 </b> No, you eat...don't wait up for me. 6577 6578 <b> KAY 6579 </b> Wake me up when you come to bed? 6580 6581 The little BOY flies his cardboard bird out of the speeding 6582 limousine window. 6583 6584 <b> EXT DAY: MALL (1955) 6585 </b> 6586 The limousine arrives at the Mall. We are inside. 6587 6588 <b> KAY 6589 </b> Your sister wants to ask you 6590 something. 6591 6592 <b> MICHAEL 6593 </b> Let HER ask. 6594 6595 NERI opens the door. KAY wants to talk just a little more. 6596 6597 <b> KAY 6598 </b> She's afraid to. Michael... 6599 6600 MICHAEL nods to NERI; who gives them their privacy a moment 6601 longer. 6602 6603 <b> KAY 6604 </b> Why are you so cold to her and 6605 Carlo? They live with us on the 6606 Mall now, but you never get close 6607 to them. 6608 6609 <b> MICHAEL 6610 </b> I'm busy. 6611 6612 <b> KAY 6613 </b> Connie and Carlo want you to be 6614 godfather to their little boy. 6615 6616 NERI opens the door; MICHAEL starts to get out; KAY too. 6617 6618 He smiles at her, tired, and a little sad. 6619 6620 <b> KAY 6621 </b> Will you? 6622 6623 <b> MICHAEL 6624 </b> Let me think about it, O.K.? 6625 6626 She smiles; MICHAEL goes with NERI to the Main House; KAY 6627 and the little BOY move to the house that was Sonny's. 6628 6629 <b> INT DAY: DON'S OFFICE (1955) 6630 </b> 6631 VIEW ON DON CORLEONE, much older, much smaller in size. He 6632 wears baggy pants, and a warm plaid shirt. He sits in a 6633 chair, gazing out through the window, into the garden. 6634 6635 <b> TESSIO (O.S.) 6636 </b> Barzini's people chisel my territory 6637 and we do nothing about it. Pretty 6638 soon there won't be one place in 6639 Brooklyn I can hang my hat. 6640 6641 <b> MICHAEL (O.S.) 6642 </b> Just be patient. 6643 6644 <b> TESSIO 6645 </b> I'm not asking you for help, Mike. 6646 Just take off the handcuffs. 6647 6648 <b> MICHAEL (O.S.) 6649 </b> Be patient. 6650 6651 <b> CLEMENZA (O.S.) 6652 </b> We gotta fight sometime. Let us at 6653 least recruit our regimes to full 6654 strength. 6655 6656 <b> MICHAEL (O.S.) 6657 </b> No, I don't want to give Barzini an 6658 excuse to start fighting. 6659 6660 <b> TESSIO (O.S.) 6661 </b> Mike, you're wrong. 6662 6663 <b> CLEMENZA (O.S.) 6664 </b> Don Corleone...Don Corleone. 6665 6666 The OLD MAN looks up. CLEMENZA stand before him in the Den. 6667 Beside him is an anxious TESSIO. NERI stands by the door; 6668 HAGEN is seated; MICHAEL sits behind the big desk. 6669 6670 <b> CLEMENZA 6671 </b> You said there would come a day 6672 when Tessio and me could form our 6673 own Families. Only with your 6674 benediction, of course. I ask 6675 permission... 6676 6677 <b> DON CORLEONE 6678 </b> My son is head of the Family now. 6679 If you have his permission, you 6680 have my good will. 6681 6682 <b> MICHAEL 6683 </b> In six months you can break off 6684 from the Corleone Family and go on 6685 your own. Carlo, I'm counting on 6686 you to make the move to Nevada; 6687 you'll be my right-hand man out 6688 there. Tom Hagen is no longer the 6689 Consigliere. 6690 6691 Everyone is a bit surprised; look to see HAGEN's reaction. 6692 He remains inexpressive. 6693 6694 <b> MICHAEL 6695 </b> He's going to be our lawyer in 6696 Vegas. Nobody goes to him with any 6697 other business as of now, this 6698 minute. No reflection on Tom; 6699 that's the way I want it. Besides, 6700 if I ever need any advice, who's a 6701 better Consigliere than my father. 6702 6703 <b> CLEMENZA 6704 </b> Then in a six month time we're on 6705 our own; is that it? 6706 6707 <b> MICHAEL 6708 </b> Maybe less... 6709 6710 <b> TESSIO 6711 </b> Let us fill up our Regimes. 6712 6713 <b> MICHAEL 6714 </b> No. I want things very calm for 6715 another six months. 6716 6717 <b> TESSIO 6718 </b> Forgive me, Godfather, let our 6719 years of friendship be my excuse. 6720 How can you hope for success there 6721 without your strength here to back 6722 you up? The two go hand in hand. 6723 And with you gone from here the 6724 Barzini and the Tattaglias will be 6725 too strong for us. 6726 6727 <b> CLEMENZA 6728 </b> And I don't like Barzini. I say 6729 the Corleone Family has to move 6730 from strength, not weakness. We 6731 should build our Regimes and take 6732 back our lost territories in Staten 6733 Island, at least. 6734 6735 <b> DON CORLEONE 6736 </b> Do you have faith in my judgement? 6737 6738 <b> CLEMENZA 6739 </b> Yes, Godfather... 6740 6741 <b> DON CORLEONE 6742 </b> Then do what Michael says... 6743 6744 <b> MICHAEL 6745 </b> All I can say is that things are 6746 being resolved that are more 6747 effective than a thousand buttonmen 6748 on the streets. Understood? 6749 6750 There are uneasy looks all around. 6751 6752 <b> CARLO 6753 </b> Understood. I just wish I was 6754 doing more to help out. 6755 6756 <b> MICHAEL 6757 </b> I'll come to you when I need you. 6758 6759 He looks at CLEMENZA, TESSIO and HAGEN. They all nod, 6760 reluctantly. 6761 6762 <b> MICHAEL 6763 </b> All right, then it's resolved. 6764 6765 NERI knows the meeting is over, he opens the Den's door. 6766 6767 CLEMENZA and TESSIO pay their respects to the DON and leave, 6768 then CARLO. NERI watches CARLO as he walks down the 6769 corridor, casting a nervous look back at the sinister man. 6770 6771 Then NERI closes the door. 6772 6773 MICHAEL relaxes. 6774 6775 <b> HAGEN 6776 </b> Mike, why are you cutting me out of 6777 the action? 6778 6779 <b> MICHAEL 6780 </b> Tom, we're going to be legitimate 6781 all the way, and you're the legal 6782 man. What could be more important 6783 than that. 6784 6785 <b> HAGEN 6786 </b> I'm not talking about that. I'm 6787 talking about Rocco Lampone building 6788 a secret regime. Why does Neri 6789 report directly to you, rather than 6790 through me or a caporegime? 6791 6792 <b> DON CORLEONE 6793 </b> I told you that it wouldn't escape 6794 his eye. 6795 6796 <b> MICHAEL 6797 </b> How did you find out? 6798 6799 <b> HAGEN 6800 </b> Bookkeepers know everything. 6801 Rocco's men are all a little too 6802 good for the jobs they're supposed 6803 to be doing. They get a little 6804 more money than the job's worth. 6805 (pause) 6806 Lampone's a good man; he's operating 6807 perfectly. 6808 6809 <b> MICHAEL 6810 </b> Not so perfectly if you noticed. 6811 6812 <b> HAGEN 6813 </b> Mike, why am I out? 6814 6815 <b> MICHAEL 6816 </b> You're not a wartime Consigliere. 6817 Things may get tough with the move 6818 we're trying. 6819 6820 <b> HAGEN 6821 </b> OK, but then I agree with Tessio. 6822 You're going about it all wrong; 6823 you're making the move out of 6824 weakness... Barzini's a wolf, and 6825 if he tears you apart, the other 6826 families won't come running to help 6827 the Corleones... 6828 6829 <b> DON CORLEONE 6830 </b> Tom, I never thought you were a bad 6831 Consigliere, I thought Santino a 6832 bad Don, rest in peace. He had a 6833 good heart but he wasn't the right 6834 man to head the family when I had 6835 my misfortune. Michael has all my 6836 confidence, as you do. For reasons 6837 which you can't know, you must have 6838 no part in what will happen. 6839 6840 <b> HAGEN 6841 </b> Maybe I can help. 6842 6843 <b> MICHAEL 6844 </b> (coldly) 6845 You're out, Tom. 6846 6847 TOM pauses, thinks...and then he nods in acquiescence. TOM 6848 leaves. 6849 6850 MICHAEL looks at NERI. 6851 6852 <b> MICHAEL 6853 </b> I'm going to talk to my father. 6854 6855 NERI nods, and then leaves. The DON opens the doors, 6856 breathes in the air, and steps outside. 6857 6858 <b> EXT DAY: THE GARDEN (1955) 6859 </b> 6860 <b> DON CORLEONE 6861 </b> I see you have your Luca Brasi. 6862 6863 <b> MICHAEL 6864 </b> I'll need him. 6865 6866 <b> DON CORLEONE 6867 </b> There are men in this world who 6868 demand to be killed. They argue in 6869 gambling games; they jump out of 6870 their cars in a rage if someone so 6871 much as scratches their fender. 6872 These people wander through the 6873 streets calling out "Kill me, kill 6874 me." Luca Brasi was like that. 6875 And since he wasn't scared of 6876 death, and in fact, looked for 6877 it...I made him my weapon. Because 6878 I was the only person in the world 6879 that he truly hoped would not kill 6880 him. I think you have done the 6881 same with this man. 6882 6883 They walk through the DON's vegetable garden. Tomatoes, 6884 peppers, carefully tended, and covered with a silky netting. 6885 MICHAEL follows; the DON turns and looks at him. Then 6886 stoops over to right a tomato plant that had been pushed over. 6887 6888 <b> DON CORLEONE 6889 </b> Barzini will move against you first. 6890 6891 <b> MICHAEL 6892 </b> How? 6893 6894 <b> DON CORLEONE 6895 </b> He will get in touch with you 6896 through someone you absolutely 6897 trust. That person will arrange a 6898 meeting, guarantee your safety... 6899 6900 He rises, and looks at Michael... 6901 6902 <b> DON CORLEONE 6903 </b> ...and at that meeting you will be 6904 assassinated. 6905 6906 The DON walks on further. 6907 6908 <b> DON CORLEONE 6909 </b> Your wife and children...you're 6910 happy with them? 6911 6912 <b> MICHAEL 6913 </b> Yes. 6914 6915 <b> DON CORLEONE 6916 </b> Good. 6917 6918 MICHAEL wants to express something...hesitates, then: 6919 6920 <b> MICHAEL 6921 </b> I've always respected you... 6922 6923 A long silence. The DON smiles at MICHAEL. 6924 6925 <b> DON CORLEONE 6926 </b> And I...you. 6927 6928 <b> EXT DAY: CHURCH (1955) 6929 </b> 6930 KAY and MAMA walking from the black car that has just left 6931 them off. 6932 6933 <b> KAY 6934 </b> How is your husband feeling? 6935 6936 <b> MAMA 6937 </b> He's not the same since they shot 6938 him. He lets Michael do all the 6939 work. He just plays the fool with 6940 his garden, his peppers, his 6941 tomatoes, as if he was some peasant 6942 still. But men are like that... 6943 6944 She stops toward the Church. 6945 6946 <b> MAMA 6947 </b> You come in, too. 6948 6949 KAY shakes her head. 6950 6951 <b> MAMA 6952 </b> The Priest ain't gonna bite you 6953 cause you're not Catholic. 6954 (whispered) 6955 He's in the back drinkin' his wine. 6956 6957 KAY laughs and follows MAMA up the steps of the Church. 6958 They enter. 6959 6960 <b> INT DAY: CHURCH (1955) 6961 </b> 6962 Inside the Church, KAY watches as MAMA blesses herself from 6963 the holy water. 6964 6965 <b> MAMA 6966 </b> You can. 6967 6968 Tentatively, KAY dips her fingers into the water, and 6969 blesses herself. Then SHE follows MAMA down the aisle, in 6970 awe at the high ceiling, the art, the windows, and finally 6971 the Altar. 6972 6973 MAMA stops by the impressive tiers of candles. There is a 6974 large coin box for those who wish to pay for lighting 6975 candles. MAMA fumbles in her purse for change; KAY gives 6976 her some. 6977 6978 MAMA drops the coins in the box, one by one; then takes the 6979 taper, and in a pattern known only to her, and with great 6980 dignity, she closes her eyes, says a prayer, and then lights 6981 twenty candles. 6982 6983 She finishes, and bows her head. 6984 6985 <b> EXT DAY: BONASERA'S FUNERAL HOME 6986 </b> 6987 Very few people in the streets. TOTAL SILENCE. But black 6988 flower cars as far as the eye can see, for blocks and blocks. 6989 An expression of respect, of honor and fear that is enormous. 6990 Certainly no more could be done for a President or a King. 6991 6992 Each car carries an elaborate floral decoration. We show 6993 these in detail; and the flowered messages: "A Benefactor to 6994 Mankind", "He Knew and Pitied"..."Our Don Our Leader"..."The 6995 Sacred Heart"... 6996 6997 <b> EXT DAY: MALL (1955) 6998 </b> 6999 <b> HIGH ANGLE ON THE CORLEONE MALL 7000 </b> 7001 Silence. 7002 7003 The flower cars, funeral limousines, and private cars fill 7004 all the areas attendant to the Corleone residence. 7005 7006 Hundreds of people fill the Mall, reminiscent in size of the 7007 wedding of Connie and Carlo; of course, now the mood is 7008 somber and respectful. 7009 7010 MICHAEL, MAMA, FREDO and HAGEN stand by the flowered platform 7011 which holds the ornate coffin. We cannot see the remains of 7012 Don Corleone. 7013 7014 BONASERA is nearby, ready to do service to the bereaved 7015 family. One by one the mourners come by, weeping, or merely 7016 with grave expressions; pay their respects and continue on. 7017 7018 The VIEW ALTERS, 7019 7020 and we see that the line is endless. JOHNNY FONTANE, tears 7021 openly falling, takes his turn. 7022 7023 Children are taken by the hand, and lifted for their last 7024 look at the great man. 7025 7026 CLEMENZA whispers into the ear of LAMPONE. LAMPONE 7027 immediately arranges for the members of the Five New York 7028 Families to pay their respects. 7029 7030 First CUNEO, then STRACHI and then ZALUCHI. Then PHILIP 7031 TATTAGLIA, who merely passes by the Coffin. 7032 7033 Then BARZINI in a black homburg, standing a long time. 7034 7035 MICHAEL watches the scene. 7036 7037 BARZINI crosses himself and passes on, immediately rejoined 7038 by his men. 7039 7040 As BARZINI leaves, it seems as though everyone is fawning on 7041 him; perhaps asking for favors: But at any rate, it is clear 7042 from the doors opened for him, the cigars lit for him, that 7043 he is the new Capo di Capi--the place formerly held by Don 7044 Corleone. 7045 7046 MICHAEL watches silently. 7047 7048 BARZINI is searching for somebody with his eyes. First 7049 CLEMENZA. Then TESSIO. 7050 7051 CONNIE rushes into MICHAEL's arms, tears in her eyes. He 7052 embraces and comforts her. 7053 7054 Everywhere MICHAEL goes, NERI is a few feet away--watching 7055 all who come close to him. 7056 7057 <b> EXT DAY: MALL (LATER) 7058 </b> 7059 Later on the Mall; some people have left, although there are 7060 still hundreds of mourners. 7061 7062 A young GIRL approaches TESSIO. She's about 18. 7063 7064 <b> GIRL 7065 </b> Do you remember me? 7066 7067 <b> TESSIO 7068 </b> No... 7069 7070 <b> GIRL 7071 </b> We danced together at Connie's 7072 wedding. 7073 7074 TESSIO makes a gesture, which is to say 'How you've grown', 7075 and they move though the crowd, looking for Michael. He 7076 finds him. 7077 7078 <b> TESSIO 7079 </b> Mike, could I have a minute? 7080 7081 MIKE; nods; and they move to a private place. NERI is close 7082 by. 7083 7084 <b> TESSIO 7085 </b> Barzini wants to arrange a meeting. 7086 Says we can straighten any of our 7087 problems out. 7088 7089 <b> MICHAEL 7090 </b> He talked to you? 7091 7092 <b> TESSIO 7093 </b> (nods) 7094 I can arrange security. 7095 7096 MICHAEL looks at him. 7097 7098 <b> EXT DAY: CEMETERY (1955) 7099 </b> 7100 The Cemetery. Late day. 7101 7102 The hundreds of cars, limousines and flower cars line the 7103 stone wall that surrounds this Italian-Catholic cemetary in 7104 Queens Village. 7105 7106 Hundreds of people stand in a cluster; others watch; take 7107 pictures, etc. 7108 7109 MICHAEL stands with his family, his MOTHER...and TOM HAGEN. 7110 7111 <b> MICHAEL 7112 </b> (softly) 7113 Christ, Tom; I needed more time 7114 with him. I really needed him. 7115 7116 <b> HAGEN 7117 </b> Did he give you his politicians? 7118 7119 <b> MICHAEL 7120 </b> Not all...I needed another four 7121 months and I would have had them 7122 all. 7123 (he looks at TOM) 7124 I guess you've figured it all out? 7125 7126 <b> HAGEN 7127 </b> How will they come at you? 7128 7129 <b> MICHAEL 7130 </b> I know now. 7131 (a passion wells up 7132 inside of MICHAEL) 7133 I'll make them call me Don. 7134 7135 <b> HAGEN 7136 </b> Have you agreed on a meeting? 7137 7138 <b> MICHAEL 7139 </b> (nods) 7140 A week from tonight. In Brooklyn 7141 on Tessio's ground, where I'll be 7142 safe. 7143 7144 HAGEN looks at him; understands. 7145 7146 <b> MICHAEL 7147 </b> But after the Baptism. I've 7148 decided to stand as godfather to 7149 Connie's baby. 7150 7151 They look up. 7152 7153 The coffin is lowered into an excavation, behind which 7154 stands an enormous stone monument; it is of a weeping angel, 7155 with the bold inscription: CORLEONE. 7156 7157 <b> ---------------------------------------FADE OUT--------- 7158 </b> 7159 <b> FADE IN: 7160 </b> 7161 <b> INT DAY: NERI'S APT. (1955) 7162 </b> 7163 ALBERT NERI moves around in his small Corona Apartment; he 7164 pulls a small trunk from under his bed. He opens it, and we 7165 see in it, nearly folded, a New York City Policeman's 7166 uniform. He takes it out piece by piece, almost reverently. 7167 Then the badge, and the identification card; with his 7168 picture on it. Slowly, in the solitude of his room, he 7169 begins to dress. 7170 7171 <b> INT DAY: MICHAEL'S BEDROOM (1955) 7172 </b> 7173 MICHAEL and KAY are getting dressed for the christening in 7174 their room. MICHAEL looks very well; very calm; KAY is 7175 beginning to take on a matronly look. 7176 7177 <b> INT DAY: MOTEL ROOM (1955) 7178 </b> 7179 In a Long Island motel. 7180 7181 ROCCO LAMPONE carefully disassembles a revolver; oils it, 7182 checks it, and puts it back together. 7183 7184 <b> EXT DAY: CLEMENZA'S HOUSE (1955) 7185 </b> 7186 PETER CLEMENZA about to get in his Lincoln. He hesitates, 7187 takes a rag and cleans some dirt off of the fender, and then 7188 gets in, drives off. 7189 7190 <b> EXT DAY: CHURCH (1955) 7191 </b> 7192 The Church. 7193 7194 Various relatives and friends are beginning to gather at the 7195 Church. They laugh and talk. A MONSIGNOR is officiating. 7196 Not all of the participants have arrived yet. 7197 7198 CONNIE is there, with a beaming CARLO. She holds the 7199 infant; showing him off to interested people. 7200 7201 <b> EXT DAY: U.N. PLAZA (1955) 7202 </b> 7203 NERI walks down the sidewalk in the neighborhood of the UN 7204 Building. He is dressed as, and has the bearing of, a 7205 policeman. He carries a huge flashlight. 7206 7207 <b> EXT DAY: MOTEL BALCONY (1955) 7208 </b> 7209 LAMPONE steps out onto the little balcony of a Sea-Resort 7210 Motel; We can see the bright, neon lit sign advertising 7211 <b> "ROOMS FACING THE SEA--VACANY". 7212 </b> 7213 <b> INT DAY: CHURCH 7214 </b> 7215 The Church. 7216 7217 CONNIE holds the baby; the MONSIGNOR is speaking; KAY and 7218 MICHAEL stand side by side around the urn. 7219 7220 <b> PRIEST 7221 </b> (to MICHAEL) 7222 Do you pledge to guide and protect 7223 this child if he is left fatherless? 7224 Do you promise to shield him 7225 against the wickedness of the world? 7226 7227 <b> MICHAEL 7228 </b> Yes, I promise. 7229 7230 <b> EXT DAY: FIFTH AVE. 7231 </b> 7232 NERI continues up the 55th St. and Fifth Avenue area. He 7233 continues until he is in front of Rockefeller Center. On 7234 his side of the street, he spots a limousine waiting directly 7235 across from the main entrance of the building. Slowly he 7236 approaches the limo, and taps on its fender with his 7237 nightstick. 7238 7239 The DRIVER looks up in surprise. 7240 7241 NERI points to the "No Parking" sign. 7242 7243 The DRIVER turns his head away. 7244 7245 <b> NERI 7246 </b> OK, wise guy, you wanna summons, or 7247 you wanna move? 7248 7249 <b> DRIVER 7250 </b> (obviously a hood) 7251 You better check with your precinct. 7252 7253 <b> NERI 7254 </b> Move it! 7255 7256 The DRIVER takes a ten dollar bill, folds it deliberately, 7257 and hands it out the window, trying to put it under NERI's 7258 jacket. 7259 7260 NERI backs up, letting the bill fall onto the street. Then 7261 he crooks a finger at the DRIVER. 7262 7263 <b> NERI 7264 </b> Let me see you license and 7265 registration. 7266 7267 <b> EXT DAY: MOTEL BALCONY 7268 </b> 7269 LAMPONE on the motel balcony spots a Cadillac pulling up. 7270 It parks. A young, pretty GIRL gets out. Quickly, he 7271 returns into the room. 7272 7273 <b> INT DAY: HOTEL STAIRS (1955) 7274 </b> 7275 CLEMENZA is climbing the back stairs of a large hotel. He 7276 rounds the corner, puffs a little, and then continues upward. 7277 7278 <b> INT DAY: CHURCH 7279 </b> 7280 The Church. Close on the PRIEST's fingers as he gently 7281 applies oil to the infant's ears and nostrils. 7282 7283 <b> PRIEST 7284 </b> Ephetha...be opened...So you may 7285 perceive the fragrance of God's 7286 sweetness. 7287 7288 <b> EXT DAY: ROCKEFELLER CENTER (1955) 7289 </b> 7290 The DRIVER of the limousine in front of Rockefeller Center 7291 is arguing with NERI. 7292 7293 Now the DRIVER looks up. 7294 7295 <b> WHAT HE SEES: 7296 </b> 7297 TWO MEN in topcoats exit the building, through the revolving 7298 glass doors. 7299 7300 NERI opens up fire, trapping BARZINI in the shattering glass 7301 doors. The doors still rotate, moving the dead body of 7302 BARZINI within them. 7303 7304 <b> INT DAY: CHURCH 7305 </b> 7306 In the Church--the VIEW on MICHAEL. The PRIEST hands him 7307 the infant. 7308 7309 <b> PRIEST 7310 </b> Do you renounce Satan. 7311 7312 <b> MICHAEL 7313 </b> I do renounce him. 7314 7315 <b> PRIEST 7316 </b> And all his works? 7317 7318 <b> MICHAEL 7319 </b> I do renounce them. 7320 7321 <b> INT DAY: MOTEL MURDER (1955) 7322 </b> 7323 LAMPONE, backed up by two other MEN in his regime, runs down 7324 the iron-rail steps, and kicks in the door on Room 7F. 7325 PHILIP TATTAGLIA, old and wizened and naked, leaps up; a 7326 semi-nude young GIRL leans up. 7327 7328 They are riddled with gunfire. 7329 7330 <b> INT DAY: HOTEL STAIRS (1955) 7331 </b> 7332 CLEMENZA, huffing and puffing, climbs the back stairs, with 7333 his package. 7334 7335 <b> INT DAY: CHURCH 7336 </b> 7337 The PRIEST pours water over the forehead of the infant 7338 MICHAEL holds. 7339 7340 <b> PRIEST 7341 </b> Do you wish to be baptized? 7342 7343 <b> MICHAEL 7344 </b> I do wish to be baptized. 7345 7346 <b> INT DAY: HOTEL ELEVATOR MURDER (1955) 7347 </b> 7348 CLEMENZA, out of breath, climbs the final few steps. 7349 7350 He walks through some glass doors, and moves to an ornate 7351 elevator waiting shaft. 7352 7353 The lights indicate the elevator has arrived. 7354 7355 The doors open, and we see a surprised CUNEO standing with 7356 the dapper MOE GREENE. 7357 7358 CLEMENZA fires into the small elevator with a shotgun. 7359 7360 The PRIEST hands a lighted candle to MICHAEL. 7361 7362 <b> PRIEST 7363 </b> I christen you Michael Francis Rizzi. 7364 7365 Flash bulbs go off. Everyone is smiles, and crowds around 7366 MICHAEL, KAY, CONNIE...and CARLO. 7367 7368 <b> --------------------------------------FADE OUT---------- 7369 </b> 7370 <b> EXT DAY: CHURCH (1955) 7371 </b> 7372 The christening party outside the Church. 7373 7374 Four or five limousines have been waiting; now pull up to 7375 receive MAMA, CONNIE and the baby; and the others. 7376 7377 Everyone is very happy; only MICHAEL seems aloof and grave. 7378 7379 As the fuss is going on, a car pulls up. LAMPONE gets out 7380 and works his way to MICHAEL. He whispers in his ear. This 7381 is the news MICHAEL has been waiting for. 7382 7383 CONNIE holds the baby up to MICHAEL. 7384 7385 <b> CONNIE 7386 </b> Kiss your Godfather. 7387 7388 The infant turns its head, and MICHAEL uses that as an 7389 excuse to back away. 7390 7391 <b> MICHAEL 7392 </b> Carlo...we've had a change in the 7393 plans. Mama, Connie, Kay and the 7394 kids will have to take the trip out 7395 to Vegas without us. 7396 7397 <b> CONNIE 7398 </b> Oh Mike, it's our first vacation 7399 together. 7400 7401 <b> CARLO 7402 </b> (anxious to please) 7403 Jesus, Connie...Sure, Mike... 7404 7405 <b> MICHAEL 7406 </b> Go back to your house and wait for 7407 me... 7408 7409 He kisses KAY. 7410 7411 <b> MICHAEL 7412 </b> (to KAY) 7413 I'll just be a couple of days... 7414 7415 People are guided to the correct limousines; they start to 7416 drive off. 7417 7418 <b> INT DAY: DON'S KITCHEN 7419 </b> 7420 TESSIO sits in the Kitchen of the Main House on the Mall. 7421 7422 HAGEN enters. 7423 7424 <b> HAGEN 7425 </b> You'd better make your call to 7426 Barzini; Michael's ready. 7427 7428 TESSIO nods; moves to the telephone and dials a number. 7429 7430 <b> TESSIO 7431 </b> We're on our way to Brooklyn. 7432 7433 He hangs up and smiles. 7434 7435 <b> TESSIO 7436 </b> I hope Mike can get us a good deal 7437 tonight. 7438 7439 <b> HAGEN 7440 </b> (gravely) 7441 I'm sure he will. 7442 7443 <b> EXT DAY: MALL (1955) 7444 </b> 7445 The TWO MEN walk out onto the Mall, toward a car. On their 7446 way they are stopped by TWO BODYGUARDS. 7447 7448 <b> BUTTON MAN 7449 </b> The boss says he'll come in a 7450 separate car. He says for you two 7451 to go on ahead. 7452 7453 <b> TESSIO 7454 </b> (frowning) 7455 Hell, he can't do that. It screws 7456 up all my arrangements. 7457 7458 THREE MORE BODYGUARDS appear around him. 7459 7460 <b> HAGEN 7461 </b> (gently) 7462 I can't go with you either, Tessio. 7463 7464 He flashes at the men surrounding him; for a moment he 7465 panics, and then he accepts it. 7466 7467 <b> TESSIO 7468 </b> (after the pause) 7469 Tell Mike it was business...I 7470 always liked him. 7471 7472 <b> HAGEN 7473 </b> He understands that. 7474 7475 TESSIO looks at the men, and then pauses. 7476 7477 <b> TESSIO 7478 </b> (softly) 7479 Tom, can you get me off the hook? 7480 For old times' sake? 7481 7482 <b> HAGEN 7483 </b> I can't. 7484 7485 HAGEN turns, and walks away from the group. Then about 7486 twenty paces away, he stops, and looks back. 7487 7488 TESSIO is led into a waiting car. 7489 7490 HAGEN looks away, and walks off. 7491 7492 <b> INT DAY: CARLO'S LIVING ROOM (1955) 7493 </b> 7494 CARLO RIZZI is alone in his house, smoking, waiting rather 7495 nervously. He moves to the window and looks out. 7496 7497 <b> WHAT HE SEES: 7498 </b> 7499 <b> EXT DAY: MALL (1955) 7500 </b> 7501 MICHAEL, still dressed in a dark suit; followed by NERI, 7502 LAMPONE and CLEMENZA, then HAGEN. 7503 7504 They move toward us. 7505 7506 Excitedly, CARLO moves to the front door; opens it. 7507 7508 He wears a broad smile. 7509 7510 <b> CARLO 7511 </b> Godfather! 7512 7513 <b> MICHAEL 7514 </b> You have to answer for Santino. 7515 7516 The smile on CARLO's face slowly fades, then, in a foolish 7517 attempt for safety, he slams the door in their faces and 7518 backs into the living room. 7519 7520 <b> INT DAY: CARLO'S LIVING ROOM (1955) 7521 </b> 7522 The door opens, and the grim party enters. 7523 7524 <b> MICHAEL 7525 </b> You fingered Sonny for the Barzini 7526 people. That little farce you 7527 played out with my sister. Did 7528 Barzini kid you that would fool a 7529 Corleone? 7530 7531 <b> CARLO 7532 </b> (dignity) 7533 I swear I'm innocent. I swear on 7534 the head of my children, I'm 7535 innocent. Mike, don't do this to 7536 me, please Mike, don't do this to me! 7537 7538 <b> MICHAEL 7539 </b> (quietly) 7540 Barzini is dead. So is Philip 7541 Tattaglia, so are Strachi, Cuneo 7542 and Moe Greene...I want to square 7543 all the family accounts tonight. 7544 So don't tell me you're innocent; 7545 admit what you did. 7546 7547 CARLO is silent; he wants to talk but is terrified. 7548 7549 <b> MICHAEL 7550 </b> (almost kindly) 7551 Don't be frightened. Do you think 7552 I'd make my sister a widow? Do you 7553 think I'd make your children 7554 fatherless? After all, I'm 7555 Godfather to your son. No, your 7556 punishment is that you're out of 7557 the family business. I'm putting 7558 you on a plane to Vegas--and I want 7559 you to stay there. I'll send 7560 Connie an allowance, that's all. 7561 But don't keep saying you're 7562 innocent; it insults my intelligence 7563 and makes me angry. Who approached 7564 you, Tattaglia or Barzini? 7565 7566 <b> CARLO 7567 </b> (sees his way out) 7568 Barzini. 7569 7570 <b> MICHAEL 7571 </b> (softly) 7572 Good, good. Leave now; there's a 7573 car waiting to take you to the 7574 airport. 7575 7576 CARLO moves to the door; opens it. There is a car waiting; 7577 with a group of MEN around it. 7578 7579 He looks back at MICHAEL, who reassures him. 7580 7581 <b> MICHAEL 7582 </b> I'll call your wife and tell her 7583 what flight you're on. 7584 7585 <b> EXT DAY: MALL 7586 </b> 7587 CARLO moves out to the Mall; the BUTTONMEN are putting his 7588 things in the trunk. 7589 7590 ONE opens the front door for him. 7591 7592 SOMEONE is sitting in the rear seat, though we cannot see who. 7593 7594 CARLO gets into the car; out of nervousness, he looks back 7595 to see the other man. 7596 7597 It is CLEMENZA, who nods cordially. 7598 7599 The motor starts, and as the car pulls away, CLEMENZA 7600 suddenly throws the garrote around CARLO's neck. He chokes 7601 and leaps up like a fish on a line, kicking his feet. 7602 7603 The garrote is pulled tighter; CARLO's face turns color. 7604 7605 His thrashing feet kick right through the front windshield. 7606 7607 Then the body goes slack. 7608 7609 CLEMENZA makes a foul face, and opens the window as the car 7610 drives off. 7611 7612 <b> EXT DAY: CARLO'S STEPS (1955) 7613 </b> 7614 MICHAEL and his party. They watch. 7615 7616 Then he turns and walks off, and they follow. 7617 7618 <b> ---------------------------------------FADE OUT--------- 7619 </b> 7620 <b> FADE IN: 7621 </b> 7622 <b> INT NITE: MICHAEL'S LIMO EN ROUTE (1955) 7623 </b> 7624 MICHAEL sits alone in the back of his car; NERI is driving. 7625 7626 They do not speak for a long time; it is night--car lights 7627 flash by. 7628 7629 NERI turns back. 7630 7631 <b> NERI 7632 </b> You know I would never question 7633 anything you say. 7634 7635 <b> MICHAEL 7636 </b> (smiles) 7637 Speak your mind. 7638 7639 <b> NERI 7640 </b> I'll do this for you; you know I 7641 should. 7642 7643 <b> MICHAEL 7644 </b> No. This I have to do. 7645 7646 <b> EXT NITE: PIZZA STREET (1955) 7647 </b> 7648 MICHAEL's car pulls up in a quiet neighborhood, near an 7649 Italian Pizzeria. NERI opens the door. 7650 7651 <b> MICHAEL 7652 </b> Sit in the car. 7653 7654 <b> INT NITE: PIZZA PLACE (1955) 7655 </b> 7656 He walks alone into the restaurant. A MAN is tossing pizza 7657 dough in the air. 7658 7659 <b> MICHAEL 7660 </b> Where's the boss? 7661 7662 <b> MAN 7663 </b> In the back. Hey Frank, someone 7664 wants you. 7665 7666 A MAN comes out of the shadows, with a strong Italian accent. 7667 7668 <b> MAN 7669 </b> What is it? 7670 7671 He stops, frozen in fear. It is FABRIZZIO. 7672 7673 VIEW ON MICHAEL. Gunfire from under his coat. FABRIZZIO is 7674 cut down. MICHAEL throws the gun down; turns and exits. 7675 7676 <b> EXT DAY: MALL (1955) 7677 </b> 7678 <b> HIGH ANGLE ON THE CORLEONE MALL 7679 </b> 7680 Several moving vans are parked in the Mall; one feels that 7681 these are the final days; the families are moving out; signs 7682 indicating that the property is for sale are evident. 7683 7684 A black limousine pulls up, and before it has even stopped, 7685 the rear door flies open, and CONNIE attempts to run out, 7686 restrained by MAMA. She manages to break free and runs 7687 across the Mall into Michael's house. 7688 7689 <b> INT DAY: DON'S LIVING ROOM (1955) 7690 </b> 7691 Inside the Corleone house. Big boxes have been packed; 7692 furniture prepared for shipping. 7693 7694 <b> CONNIE 7695 </b> Michael! 7696 7697 She hurries into the living room, where she comes upon 7698 MICHAEL and KAY. 7699 7700 <b> KAY 7701 </b> (comforting) 7702 Connie... 7703 7704 But CONNIE avoids her, and moves directly to MICHAEL. NERI 7705 is watchful. 7706 7707 <b> CONNIE 7708 </b> You lousy bastard; you killed my 7709 husband... 7710 7711 <b> KAY 7712 </b> Connie... 7713 7714 <b> CONNIE 7715 </b> You waited until our father died 7716 and nobody could stop you and you 7717 killed him, you killed him! You 7718 blamed him about Sonny, you always 7719 did, everybody did. But you never 7720 thought about me, never gave a damn 7721 about me. 7722 (crying) 7723 What am I going to do now, what am 7724 I going to do. 7725 7726 TWO of Michael's BODYGUARDS move closer, ready for orders 7727 from him. But he stands there, waiting for his sister to 7728 finish. 7729 7730 <b> KAY 7731 </b> Connie, how could you say such 7732 things? 7733 7734 <b> CONNIE 7735 </b> Why do you think he kept Carlo on 7736 the Mall? All the time he knew he 7737 was going to kill my husband. But 7738 he didn't dare while my father was 7739 alive. And then he stood Godfather 7740 to our child. That coldhearted 7741 bastard. 7742 (to KAY) 7743 And do you know how many men he had 7744 killed with Carlo? Just read the 7745 papers. That's your husband. 7746 7747 She tries to spit into MICHAEL's face; but in her hysteria 7748 she has no saliva. 7749 7750 <b> MICHAEL 7751 </b> Get her home and get a doctor. 7752 7753 The TWO BODYGUARDS immediately take her arms and move her, 7754 gently but firmly. 7755 7756 KAY is shocked; never taking her look of amazement from 7757 MICHAEL. He feels her look. 7758 7759 <b> MICHAEL 7760 </b> She's hysterical. 7761 7762 But KAY won't let him avoid her eyes. 7763 7764 <b> KAY 7765 </b> Michael, it's not true. Please 7766 tell me. 7767 7768 <b> MICHAEL 7769 </b> Don't ask me. 7770 7771 <b> KAY 7772 </b> Tell me! 7773 7774 <b> MICHAEL 7775 </b> All right, this one time I'll let 7776 you ask about my affairs, one last 7777 time. 7778 7779 <b> KAY 7780 </b> Is it true? 7781 7782 She looks directly into his eyes, he returns the look, so 7783 directly that we know he will tell the truth. 7784 7785 <b> MICHAEL 7786 </b> (after a very long pause) 7787 No. 7788 7789 KAY is relieved; she throws her arms around him, and hugs 7790 him. Then she kisses him. 7791 7792 <b> KAY 7793 </b> (through her tears) 7794 We both need a drink. 7795 7796 <b> INT DAY: DON'S KITCHEN (1955) 7797 </b> 7798 She moves back into the kitchen and begins to prepare the 7799 drinks. From her vantage point, as she smilingly makes the 7800 drinks, she sees CLEMENZA, NERI and ROCCO LAMPONE enter the 7801 house with their BODYGUARDS. 7802 7803 She watches with curiosity, as MICHAEL stands to receive 7804 them. He stands arrogantly at ease, weight resting on one 7805 foot slightly behind the other. One hand on his hip, like a 7806 Roman Emperor. The CAPOREGIMES stand before him. 7807 7808 CLEMENZA takes MICHAEL's hand, kissing it. 7809 7810 <b> CLEMENZA 7811 </b> Don Corleone... 7812 7813 The smile fades from KAY's face, as she looks at what her 7814 husband has become. 7815 7816 <b> INT DAY: CHURCH (1955) 7817 </b> 7818 KAY wears a shawl over her hand. She drops many coins in 7819 the coin box, and lifts a burning taper, and one by one, in 7820 a pattern known only to herself, lights thirty candles. 7821 7822 <b> THE END 7823 </b> 7824 7825 7826 7827 </pre> 7828 </div> 7829 </body> 7830 </html>