github.com/attic-labs/noms@v0.0.0-20210827224422-e5fa29d95e8b/samples/go/decent/data/godfather2.html (about) 1 <html> 2 <body> 3 <div> 4 <pre> 5 6 <title>The Godfather: Part two</title> 7 <script> 8 <b><!-- 9 </b>if (window!= top) 10 top.location.href=location.href 11 <b>// --> 12 </b></script> 13 14 <pre> 15 16 17 18 19 20 21 22 23 24 25 26 27 <b> THE GODFATHER 28 </b> 29 Part Two 30 31 Screenplay by 32 33 Mario Puzo 34 35 and 36 37 Francis Ford Coppola 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 <b>SECOND DRAFT 59 </b> 60 September 24, 1973 61 62 63 64 65 66 <b>FADE IN: 67 </b> 68 The Paramount Pictures logo is presented over a simple black 69 background, as a single trumpet plays the familiar theme of 70 a waltz. White lettering fades in: 71 72 Mario Puzo's THE GODFATHER 73 74 There is a pause, as the trumpet concludes, and there is the 75 additional title: - Part Two - 76 77 <b>INT. DON CORLEONE'S OLD OFFICE - CLOSE VIEW ON MICHAEL 78 </b><b>CORLEONE - DAY 79 </b> 80 standing impassively, like a young Prince, recently crowned 81 King. 82 83 CLOSE VIEW ON Michael's hand. ROCCO LAMPONE kisses his hand. 84 Then it is taken away. We can SEE only the empty desk and 85 chair of Michael's father, Vito Corleone. We HEAR, over 86 this, very faintly a funeral dirge played in the distance, 87 as THE VIEW MOVES SLOWLY CLOSER to the empty desk and chair. 88 89 <b> DISSOLVE TO: 90 </b> 91 <b>EXT. A SICILIAN LANDSCAPE - FULL VIEW - DAY 92 </b> 93 We can barely make out the funeral procession passing over 94 the burnt-brown of a dry river bed. The figures move 95 slowly, seemingly from out of hundreds of years of the past. 96 97 The MUSICIANS walking unsteadily on the rocky bed, their 98 instruments harsh and blaring. 99 100 They are followed by six young peasant men, carrying the 101 crude wooden coffin on their shoulders. Then the widow, a 102 strong large woman, dressed in black, and not accepting the 103 arms of those walking with her. 104 105 Behind her, not more than twenty relatives, few children and 106 paisani continue alone behind the coffin. 107 108 Suddenly, we HEAR the shots of the lupara, and the musicians 109 stop their playing. The entire procession scatters in odd 110 directions along the rocky river bed. 111 112 The young men struggle with the burden of the heavy coffin, 113 throwing it out of balance and nearly crashing to the ground. 114 We hear a woman SCREAMING: 115 116 <b> WOMAN 117 </b> (Sicilian) 118 They've killed young Paolo! They've 119 killed the boy Paolo! 120 121 <b>EXT. SICILIAN LANDSCAPE - MED. VIEW - DAY 122 </b> 123 across the slain body of a fourteen year old boy, lying on 124 the parched ground. In the distance we see four or five of 125 the mourning women, the wind blowing their black dresses and 126 veils, running up to the body of the boy. They begin to 127 wail, and cry out in anguished Sicilian, as the widow, the 128 mother of the murdered boy, holds her child in her arms, his 129 fresh blood wetting her strong hands. 130 131 <b>EXT. BARONIAL ESTATE - TIGHT MOVING VIEW - DAY 132 </b> 133 A boy, eight or nine, with wide, frightened eyes, being 134 pulled quickly by the hand. This is VITO ANDOLINI, who is 135 to become The Godfather. 136 137 The VIEW ALTERS revealing that he is being pulled along by 138 his Mother, the Widow, across a field leading to the 139 ornamental gates of a Baronial Estate of some forgotten Noble. 140 141 At various positions near the gates are men with shotguns, 142 or lupara. The gates are opened; and the Widow and her boy 143 are shown before DON FRANCESCO, a man in his sixties. He 144 wears his trousers with suspenders, and an open white shirt 145 sloppily tucked in over his enormous belly. He wears a hat 146 to protect him from the white-hot sun, and proudly displays 147 a gold watch and chain over his vest. 148 149 He sits in a chair, near a group of his men in the garden, 150 listening to the Widow, who stands before him with her only 151 son. 152 153 <b> WIDOW 154 </b> (Sicilian) 155 Don Francesco. You murdered my 156 husband, because he would not bend. 157 And his oldest son Paolo, because 158 he swore revenge. But Vitone is 159 only nine, and dumb-witted. He 160 never speaks. 161 162 <b> DON FRANCESCO 163 </b> (Sicilian) 164 I'm not afraid of his words. 165 166 <b> WIDOW 167 </b> (Sicilian) 168 He is weak. 169 170 <b> DON FRANCESCO 171 </b> (Sicilian) 172 He will grow strong. 173 174 <b> WIDOW 175 </b> (Sicilian) 176 The child cannot harm you. 177 178 <b> DON FRANCESCO 179 </b> (Sicilian) 180 He will be a man, and then he will 181 come for revenge. 182 183 As she pleads, the Widow moves closer to the Don, until she 184 has practically thrown herself to her knees before him. 185 186 <b> WIDOW 187 </b> (Sicilian) 188 I beg you, Don Francesco, spare my 189 only son. He is all I have. In 190 the name of the Holy Spirit, I 191 swear he will never be a danger to 192 you... 193 194 Suddenly, she reaches under her skirt, where she has hidden 195 a kitchen knife. 196 197 <b> WIDOW 198 </b> (continuing) 199 But I will kill you myself! 200 (she lunges at the 201 Mafia chieftain) 202 Vitone, go! 203 204 The boy runs as fast as he can out through the gates. Then 205 there is a lupara blast. He turns, and sees his Mother 206 flung a distance of five feet from the short range of the 207 terrible blast of the shotgun. Then he sees the men turn 208 their attention to him. One fires at him; but the boy is 209 quick, and disappears into a grove of olive trees. 210 211 <b>EXT. STREETS OF CORLEONE - NIGHT 212 </b> 213 Two men roam the deserted streets of Corleone, carrying 214 lupare. Every so often, they stop, and one shouts in a 215 loud, almost singsong voice, like a fish peddler. Their 216 names are MOSCA and STROLLO. 217 218 <b> MOSCA 219 </b> (Sicilian) 220 Our Friend promises misery to 221 anyone who harbors the boy Vito 222 Andolini. 223 (he turns and shouts 224 in the other direction) 225 Our Friend promises misery to 226 anyone who harbors the boy Vito 227 Andolini. 228 229 <b>INT. A HOUSE - NIGHT 230 </b> 231 A family quietly eats their dinner. The father is the local 232 policeman, as indicated by his uniform jacket and gun, 233 hanging nearby. 234 235 <b> STROLLO 236 </b> (Sicilian, O.S.) 237 Our Friend will be hard with any 238 family who gives help to Vito 239 Andolini. 240 241 One of the children looks up, about to speak. But the 242 father sternly indicates that nothing must be said. They go 243 on with their dinner. 244 245 <b>EXT. THE STREETS OF CORLEONE - FULL VIEW - NIGHT 246 </b> 247 The men continue walking up and throughout the streets, far 248 in the distance. 249 250 <b> MOSCA 251 </b> (Sicilian O.S.) 252 ...misery to any family who harbors 253 the boy, Vito... 254 255 <b>INT. A BARN - NIGHT 256 </b> 257 Four little girls watch with wide eyes as their mother and 258 father bind Vito tightly in swaddled cloth, and then lift 259 him up to the side of a mule; counter-balancing a heavy load 260 of firewood. The father looks at the boy's almost stoically 261 calm little face. 262 263 <b> FATHER 264 </b> (Sicilian) 265 Vito...We pray for you. 266 267 He pulls the fabric over the boy's face. 268 269 <b> MOSCA 270 </b> (Sicilian O.S.) 271 ...Andolini... 272 273 <b> STROLLO 274 </b> (Sicilian O.S.) 275 Our Friend promises misery to any 276 family... 277 278 <b>EXT. THE CHURCH PLAZA - NIGHT 279 </b> 280 The men continue on their night-walk, up to the plaza of the 281 church. 282 283 <b> STROLLO 284 </b> (Sicilian) 285 ...who harbors the boy Vitone 286 Andolini. 287 288 The figure of a single man on a mule passes them. 289 290 <b> MOSCA 291 </b> (Sicilian) 292 Let no one give help to the boy 293 Vito Andolini... 294 295 The man on the mule makes his way out of the village and 296 disappears into the distance. 297 298 We begin to hear, very quietly, the Waltz repeated once again. 299 300 <b>EXT. STEAMSHIP - CLOSE VIEW ON VITO - DAY 301 </b> 302 huddled in blankets, on the deck of the ship in Steerage. 303 He does not say a word. The Waltz grows louder as the VIEW 304 ALTERS, revealing the hundreds of immigrant families huddled 305 together with all their earthly possessions on their way to 306 America. 307 308 Then, suddenly, the Waltz stops. 309 310 <b>THE NEW YORK HARBOR - DAY 311 </b> 312 SILENCE. We glide past the Statue of Liberty. 313 314 VIEW on the IMMIGRANTS standing on shipboard silently; 315 looking. Vito is standing with them, his eyes wide. 316 317 CAMERA MOVES IN on the statue, then MOVING PAST, on to the 318 beautiful buildings of Ellis Island. 319 320 <b>EXT. ELLIS ISLAND - DAY 321 </b> 322 A tugboat pulls a barge brimming with immigrants into the 323 Ellis Island harbor. Uniformed officials of the Immigration 324 Service load them up toward the main building. 325 326 <b>INT. ELLIS PROCESSING HALL - DAY 327 </b> 328 The hundreds of immigrant families sit on rows of benches in 329 the great hall. Various painted lines lead to the steps and 330 processing rooms above. 331 332 There is the babble of many interviews going on 333 simultaneously, uncertainly, in different languages. 334 335 Vito is bundled in an old coat, with a large tag pinned on 336 it: "Vitone Andolini -- Corleone, Sicilia." 337 338 He stands, moves up in the line, when several other immigrant 339 boys, older than he, rush up an push him back in the line. 340 Weak from the trip, he falls to the floor. The boys laugh, 341 derisive in a language he cannot understand. He struggles 342 to his feet, lifting his makeshift bags; staring at them in 343 an icy hatred. 344 345 <b>INT. PROCESSING ROOM - DAY 346 </b> 347 Three or four interviews are crowded into the small room; 348 they are conducted in English. From the expression on 349 Vito's face, and from the fragmented of the English, we 350 realize that he doesn't understand a word of it. 351 352 <b> OFFICIAL 353 </b> (English) 354 What is your name? 355 356 The man waits, impatiently. 357 358 <b> OFFICIAL 359 </b> Your name? 360 361 Vito doesn't answer. The Official pulls the tag pinned onto 362 his coat and copies to down on his form, using a typewriter. 363 364 <b> OFFICIAL 365 </b> (speaking as he types) 366 Vito...Corleone. Step up, over 367 there. 368 369 He hands the form to another official. 370 371 CLOSE VIEW on the form. The name has been entered as Vito 372 Corleone. 373 374 <b>INT. MEDICAL EXAM - DAY 375 </b> 376 Vito is stripped to the waist, as other immigrants wait. 377 378 The DOCTOR is just finishing his examination. He shakes his 379 head, and then writes on the medical form. 380 381 <b> DOCTOR 382 </b> Can you understand me? 383 384 Vito stares blankly. 385 386 <b> DOCTOR 387 </b> You understand? Smallpox. Smallpox. 388 389 He doesn't understand. The doctor turns to the Immigration 390 Official. 391 392 <b> DOCTOR 393 </b> Quarantine...six months. 394 395 <b>UNDERGROUND PASSAGEWAY - MOVING VIEW - DAY 396 </b> 397 Officials move a group of immigrant men, including Vito, to 398 the quarantine section of the Island. 399 400 <b>INT. QUARANTINE HALLWAY - DAY 401 </b> 402 The official stops at each doorway, and reads off a name. 403 404 <b> OFFICIAL 405 </b> Salvatore Ormenta. 406 407 The man moves into the room, and the group proceeds. 408 409 <b> OFFICIAL 410 </b> Vito Corleone. 411 412 No one responds. The guard moves to the boy, reads his new 413 name tag. And then, not unkindly: 414 415 <b> GUARD 416 </b> That's you. 417 418 He opens the door, and Vito enters the room. 419 420 <b>EXT. THE STATUE OF LIBERTY - DAY 421 </b> 422 The VIEW slowly begins to pull back, revealing this to be 423 the view from inside the quarantine cell, where Vito stands 424 on his bench, looking out to the statue through the barred 425 window. 426 427 Then he turns, and sits in the corner. He is silent for a 428 long time. 429 430 Then, in a sweet, pure voice, he sings to himself in Sicilian. 431 432 <b> DISSOLVE TO: 433 </b> 434 <b>INT. CATHOLIC CHURCH - MOVING CLOSE SHOT - DAY 435 </b> 436 A nine year old boy, dressed immaculately in white, with a 437 large white silk bow tied to his shoulder, moving slowly 438 down the aisle of the church with a group of other children 439 dressed in white. He has dark black hair, and his face is 440 unmistakably similar to young Vito's. He moves slowly, his 441 hands clasped around a golden missal. We HEAR only the pure 442 voice of Vito in Sicilian, his sad song reaching out from 443 the past, as ANTHONY CORLEONE, his Grandson, moves on the 444 way to his First Holy Communion more than fifty years later. 445 446 <b>FULL VIEW 447 </b> 448 The little children move in procession down to the Altar, 449 where the PRIEST raises the Host, and performs the Communion 450 Mass in Latin. 451 452 <b> PRIEST 453 </b> Ecce Agnus Dei, ecce qui tollit 454 peccata mundi. 455 456 <b>MOVING VIEW ON THE PRIEST 457 </b> 458 and Altar boys, as he moves along the row of kneeling 459 children, blessing them, and administering their first 460 Communion. 461 462 <b>CLOSE MOVING VIEW 463 </b> 464 as the innocent faces receive the Host; finally, the Priest 465 comes to Anthony. 466 467 <b> PRIEST 468 </b> Corpus Christi. 469 470 <b> ANTHONY 471 </b> Amen. 472 473 <b>EXT. LAKE TAHOE ESTATE - DAY 474 </b> 475 The lawns of this great estate on the shore of Lake Tahoe 476 are covered with guests of a wonderful party to honor the 477 First Holy Communion of Anthony Corleone, the son of Mr. and 478 Mrs. Michael Corleone. A full dance orchestra plays music 479 of the times on a pavilion bandstand built especially for 480 the occasion. Speedboats roar through the water, pulling 481 youthful waterskiers; and the pool and private harbor are 482 filled with laughing, swimming guests. It is Fall of 1958. 483 484 <b>MED. VIEW 485 </b> 486 Anthony, in his Communion suit sits alone at the table, 487 looking like a lonely young Prince. 488 489 <b> KAY (O.S.) 490 </b> Smile, Anthony. Smile. 491 492 He does, and a flash goes off. 493 494 <b> PHOTOGRAPHER (O.S.) 495 </b> Now, one with the whole family. 496 497 <b> KAY (O.S.) 498 </b> Mr. Corleone can't right now... 499 500 KAY CORLEONE enters from the side, leading her four year old 501 daughter, MARY, and MAMA CORLEONE to pose with Anthony. 502 503 <b> KAY (O.S.) 504 </b> ...but we'll get one with the ladies. 505 506 <b> PHOTOGRAPHER 507 </b> All together now, c'mon, Anthony... 508 CHEESE and 509 (flash) 510 511 <b> KAY 512 </b> Thank you. 513 514 She smiles as she leaves the photographer, and then lets out 515 a weary sigh to Mama, as she touches the slightly protruding 516 belly. 517 518 <b> KAY 519 </b> Do you think it'll show in the 520 picture? 521 522 <b> MAMA 523 </b> Two months never shows. Two months 524 look like you had a big lunch. 525 526 <b> VOICE (O.S.) 527 </b> Oh, Mrs. Corleone. 528 529 A slender, aristocratic WOMAN in her late forties is waving 530 to KAY. 531 532 <b> MRS. BARRETT 533 </b> Hello, Mrs. Corleone. I'm Fran 534 Barrett, our place is just down the 535 lake. This is my husband, Marshall. 536 537 <b> KAY 538 </b> I'm so happy you could come. 539 540 <b> MR. BARRETT 541 </b> The place is transformed. We've 542 been watching workmen come and go 543 all summer. 544 545 <b> MRS. BARRETT 546 </b> Where is Mr. Corleone? 547 548 <b> KAY 549 </b> A business meeting ran late...but 550 he promised he wouldn't be long. 551 552 Kay puts her arm around little Anthony's shoulder. 553 554 <b> KAY 555 </b> This is our son Anthony Vito 556 Corleone. Today he made his First 557 Holy Communion. 558 559 <b>EXT. TAHOE GATE AND KENNELS - DAY 560 </b> 561 A confusion of cars; arriving and parking. The squad of 562 parking attendants are supplemented by a whole team of the 563 local Police, working as high-class parking valets. 564 565 A very beautiful, statuesque woman, though slightly drunk, 566 DEANNA DUNN, slams the door of a powder blue Mercedes and 567 hurries barefoot through the great stone gate. 568 569 <b> DEANNA 570 </b> I will not shut my mouth, and keep 571 your Goddamn hands off of me! 572 573 She is followed by a harried, FREDDIE CORLEONE, dressed with 574 flash in the Hollywood style, and carrying her shoes in his 575 hands. 576 577 <b> FREDO 578 </b> Honey! Wait a minute; let's go for 579 a drive. 580 581 <b> DEANNA 582 </b> I just had a drive; besides, I want 583 to see my brother-in-law Michael. 584 585 <b> FREDO 586 </b> (trying to get her to 587 put her shoes on) 588 Yeah, but I don't want him to see 589 you. 590 591 Deanna pauses reflectively a moment, allowing Fredo to get 592 her shoes on. 593 594 <b> DEANNA 595 </b> What beats me, is how you guys 596 could be brothers. You musta been 597 your Mother's rotten egg. 598 599 She kicks off the shoes, giggling, and runs toward a waiter. 600 601 <b> DEANNA 602 </b> (lifting a glass of champagne) 603 Young man, young man...thank you, 604 young man. 605 606 <b> WAITER 607 </b> (impressed) 608 Excuse me, but aren't you... 609 610 <b> DEANNA 611 </b> Yes, you saw me in the movies, Good 612 Humor man, and yes, I had more off 613 than my shoes! 614 615 <b> FREDO 616 </b> Goddamn bitch. 617 618 <b> DEANNA 619 </b> Relax, Freddie honey. Come dance 620 with me. 621 622 She extends her hand to him. 623 624 <b> FREDO 625 </b> Listen, Michael's got a lot of nice 626 people here. Friends of Kay's. 627 He'll never forgive me if you ruin 628 his party. 629 630 <b> DEANNA 631 </b> I hate to see you cringe in front 632 of him. How come you're so scared 633 of your own kid brother? 634 635 <b> FREDO 636 </b> He's the head of the family. 637 638 Disgusted, she turns around, and heads toward the music. 639 640 <b> DEANNA 641 </b> Don't follow me! 642 643 <b>EXT. TAHOE LAWN AND TABLES - MED. SHOT - DAY 644 </b> 645 Rushing through the tables, waving an arm jangling with gold 646 jewelry, and carrying several gift-wrapped packages, is a 647 hardened and aging CONNIE CORLEONE. She is followed by a 648 blond, and wrinkled-handsome escort named MERLE. 649 650 <b> CONNIE 651 </b> Mama...Mama! Here I am! 652 653 She throws her arms around her Mother, who returns the 654 affection somewhat reproachfully. 655 656 <b> MAMA 657 </b> Constanzia. We expected you last 658 week; we sent the car to pick you 659 up at the airport last week. 660 661 <b> CONNIE 662 </b> I know, it was chaos; but anyway, 663 here I am one week late. 664 (lifting a shiny 665 green package out of 666 Merle's arms) 667 This is for my Mama. You remember 668 Merle? 669 670 <b> MAMA 671 </b> (not giving him a 672 chance to greet her) 673 Yes, thank you. 674 675 <b> CONNIE 676 </b> How are the kids? 677 678 <b> MAMA 679 </b> Well, thank you, they asked for you 680 all week. 681 682 <b> CONNIE 683 </b> I got surprises for everybody! 684 685 <b> MAMA 686 </b> (glancing at the wrapping) 687 Bought at the airport. 688 689 <b> CONNIE 690 </b> (gazing about) 691 This is swell. Where's Michael? 692 I've got things to get straight 693 with him and I can't wait on line. 694 695 <b> MAMA 696 </b> You go see your children first, and 697 then you wait to see your brother 698 like everybody else. 699 700 <b>EXT. THE BOATHOUSE - DAY 701 </b> 702 A porch-like foyer of the boathouse, where a group of five 703 or six men wait, some nervously. Some sit, and some pace. 704 705 <b>MED. CLOSE VIEW 706 </b> 707 on one of these men, FRANKIE PENTANGELI, approaching his 708 sixties, with gray hair (the little of it left). He's a bit 709 scruffy, this morning's shave of his white beard is not 710 perfect, and he seems tired. He is accompanied by an 711 associate-bodyguard, WILLY CICCI; thin and dark, and also 712 dressed up for the occasion. Frankie tries to get the 713 attention of one of the waiters; a college-groomed young man 714 in white sports jacket and black bow-tie. 715 716 <b> PENTANGELI 717 </b> Hey, kid! You got any red wine? 718 719 <b> WAITER 720 </b> (offering the tray) 721 Only champagne and cocktails. 722 723 <b> PENTANGELI 724 </b> Forget it... 725 726 Finally, he sees someone he recognizes, Fredo, and shouts 727 out in a husky voice: 728 729 <b> PENTANGELI 730 </b> Fredo! Sonuvabitch. You look great. 731 732 Fredo squints in his direction; finally recognizes him. 733 734 <b> FREDO 735 </b> Who's that? Pentangeli? Frankie 736 "Five-Angels"...thought you were 737 never coming West. 738 739 <b> PENTANGELI 740 </b> (affectionately) 741 Gotta check up on my boys. Hey, 742 what's with the food? Some kid in 743 a white jacket brings me a ritz 744 cracker with some chopped liver. 745 'Canapes,' he says. I say, 'Can a 746 peas, my ass, that's a ritz cracker 747 with chopped liver.' Go get me a 748 salami sandwich and a glass of wine 749 or I'll send you and your white 750 jacket to the dry cleaners! 751 752 They get a good laugh at this fresh breath of New York. 753 754 <b> FREDO 755 </b> Gee, Frankie, it's good to see you. 756 Reminds me of old times. 757 758 <b> PENTANGELI 759 </b> You remember Willy Cicci, don't 760 you, Freddie? We was all together 761 with the old man Clemenza in 762 Brooklyn... before...uh... 763 764 <b> FREDO 765 </b> We were all upset about that. 766 767 <b> PENTANGELI 768 </b> That's what I'm here to talk to 769 your brother about. What's with 770 him, I got to get a letter of 771 introduction to have a 'sitdown'? 772 773 <b> FREDO 774 </b> (throwing his arm 775 around him) 776 C'mon, I see what I can do. 777 778 <b>EXT. TAHOE PAVILION - MED. VIEW - DAY 779 </b> 780 The orchestra wears white summer sportcoats and black tuxedo 781 slacks as they play a tango behind monogrammed music stands. 782 A professional dance team, probably imported from Vegas, 783 dance the tango for the excited guests. 784 785 <b>INT. TAHOE BOATHOUSE - DAY 786 </b> 787 A large and very beautiful room overlooking the lake. It is 788 dominated by an enormous bar, behind which stands ALBERT 789 NERI, discreetly in the background. 790 791 MICHAEL CORLEONE sits on a large sofa, his back to us. 792 Standing to one side is a tired and somewhat uneasy TOM 793 HAGEN. Standing before Michael is SANDRA CORLEONE, Sonny's 794 widow; her daughter, one of the twins, FRANCESCA CORLEONE, 795 and a handsome young man of twenty, GARDNER SHAW. 796 797 <b> SANDRA 798 </b> Michael, this is Gardner Shaw. 799 Francesca and he have been seeing 800 each other for six months now. 801 Gardner, this is Francie's Uncle 802 Michael. 803 804 <b> GARDNER 805 </b> (a little nervous) 806 I've heard a lot about you, Mr. 807 Corleone. 808 809 <b> MICHAEL (O.S.) 810 </b> Sit down. Francie. 811 812 The couple sit themselves on the sofa opposite Michael. 813 814 <b> SANDRA 815 </b> They would like to set an engagement 816 date, and... 817 818 <b> MICHAEL 819 </b> Let them speak for themselves. 820 821 VIEW ON MICHAEL, calm, thoughtful. One can tell that he has 822 special affection for his niece. 823 824 <b> FRANCESCA 825 </b> We love each other, Uncle Michael. 826 And, we want to be married. I came 827 to ask for your blessing. 828 829 There is a loud KNOCKING on the door; then Fredo's voice. 830 831 <b> FREDO (O.S.) 832 </b> Hey, Mike...guess who's here? 833 834 Neri goes to answer it, cracks the door open. 835 836 <b> NERI 837 </b> Not now, Freddie... 838 839 <b> FREDO 840 </b> Tell Mike Frankie 'Five-Angels' is 841 here. 842 843 <b> NERI 844 </b> Not now... 845 846 Neri closes the door, and Michael looks at the nervous young 847 man. 848 849 <b> MICHAEL 850 </b> Francesca is my oldest brother's 851 daughter. He died many years ago, 852 and ever since I've felt much more 853 of a father than an uncle. I love 854 her very much. I'm pleased and 855 impressed that you had the thought 856 to come to me before going on with 857 your plans. It shows me that 858 you're a considerate man, and will 859 be good to her. What are you 860 studying in college? 861 862 <b> GARDNER 863 </b> My major is Fine Arts, sir. 864 865 <b> MICHAEL 866 </b> How will Fine Arts support your new 867 wife? 868 869 <b> GARDNER 870 </b> It's embarrassing to say, sir, but 871 I'm a major stockholder in the 872 family corporation. 873 874 <b> MICHAEL 875 </b> (smiling) 876 Never be embarrassed by your wealth. 877 This recent contempt for money is 878 still another trick of the rich to 879 keep the poor without it. 880 (warmly) 881 Of course I give you my blessing. 882 Let's set the wedding soon...it 883 will be my pleasure to give the 884 bride away. 885 886 They all smile, and rise. 887 888 <b> MICHAEL 889 </b> (continuing) 890 ...and take a few courses in 891 Business Administration just to be 892 on the safe side! 893 894 They laugh; Michael moves toward them. Francesca throws her 895 arms around him, and kisses her favorite uncle. The flushed 896 young man shakes his hand heartily. 897 898 <b> FRANCESCA 899 </b> Thank you, Uncle Michael. 900 901 They all take their leave; Michael turns to Hagen. 902 903 <b> MICHAEL 904 </b> Make her dowry impressive. He 905 comes from a family who still 906 thinks an Italian bride goes 907 barefoot. 908 909 <b>EXT. TAHOE SWIMMING POOLS AND HARBOR - DAY 910 </b> 911 Francesca and Gardner are greeted by her twin sister and 912 their young friends, who squeal and embrace at the good news. 913 Someone throws someone in the pool, and life is good. 914 915 <b>MED. CLOSE 916 </b> 917 Francesca kisses her Aunt Kay. 918 919 <b> FRANCESCA 920 </b> Uncle Michael is the greatest man 921 ever! 922 923 VIEW on Kay - happy for her niece. 924 925 <b>INT. TAHOE BOATHOUSE - DAY 926 </b> 927 Michael sits in the darkened boathouse. Tom Hagen paces. 928 Michael is looking at photographs. Neri stands over him. 929 930 <b>CLOSE ON MICHAEL 931 </b> 932 studying the pictures. 933 934 <b> NERI (O.S.) 935 </b> His name is Fred Vincent. He owns 936 a small pizza parlor in Buffalo... 937 938 <b>CLOSE ON THE PICTURES 939 </b> 940 Snapshots of a middle-aged man, handsome, Italian. There is 941 something familiar about him. 942 943 <b> NERI (O.S.) 944 </b> (continuing) 945 ...American wife and two small kids. 946 We traced him and found that he's 947 in the country illegally, from 948 Sicily... 949 950 Michael looks at another picture. The same man. Only 951 younger, and dressed in Sicilian shepherd's clothing. We 952 remember him as FABRIZZIO...Michael's traitorous bodyguard 953 in Sicily. 954 955 <b> NERI (O.S.) 956 </b> ...came over around 1956. Sponsored 957 by the Barzini Family. 958 959 Michael puts the pictures down. 960 961 <b> MICHAEL 962 </b> It's him. Fabrizzio. 963 (almost to himself) 964 Revenge is a dish that tastes best 965 when it's cold. 966 967 <b> NERI 968 </b> How do you want me to handle it? 969 970 Michael glances at Hagen, who has been waiting in the room. 971 972 <b> MICHAEL 973 </b> Later. Tom? 974 975 Hagen brings him a folder; then, as Michael glances through 976 it: 977 978 <b> HAGEN 979 </b> I've cleared it through the 980 Senator's chief aide, a man named 981 Turnbull. Turnbull's a heavy 982 gambler, and into us for over a 983 hundred grand, so I figure his 984 information is reliable. 985 986 Neri moves to the bar, to prepare Michael a drink. 987 988 <b> HAGEN 989 </b> The Senator can be set up; but he 990 thinks of himself as a clean 991 politician. So it's got to be on 992 terms he can live with: campaign 993 contribution, donation to a 994 charitable cause that he controls, 995 things like that. If he gets even 996 the inkling that you think you're 997 buying him, he'll freeze up. 998 Nevada's a funny state, they like 999 things both ways here... All right. 1000 Turnbull says the Senator will be 1001 here at two-thirty, and he's been 1002 primed. He knows you'll want to 1003 meet with him alone, and he knows 1004 it's about the Tropicana's license. 1005 At any rate, he expects to be 1006 introduced around to some of the 1007 influential people here today, and 1008 generally treated as an ordinary 1009 guest. Just go light on him, 1010 Mikey, sometimes the biggest crooks 1011 don't like to think of themselves 1012 as crooks... 1013 1014 Michael glances at Hagen, as though that last remark was 1015 unnecessary. 1016 1017 <b> HAGEN 1018 </b> I'm sorry; of course, you know that. 1019 1020 <b> MICHAEL 1021 </b> Two-thirty. That gives me time to 1022 see my boy. 1023 1024 <b> HAGEN 1025 </b> Connie's outside. 1026 1027 Michael doesn't want to see her. 1028 1029 <b> HAGEN 1030 </b> I promised; she said it was urgent. 1031 1032 Michael nods. 1033 1034 <b> MICHAEL 1035 </b> All right. Apologize to Pentangeli. 1036 1037 Neri opens the door; Hagen exits, and Connie steps in 1038 impatiently, followed by Merle. 1039 1040 <b> MICHAEL 1041 </b> I said I would see my sister, alone. 1042 1043 <b> MERLE 1044 </b> I think this concerns me too. 1045 (taking a cigarette 1046 from the dispenser) 1047 You don't, do you? 1048 1049 Connie steps forward, kisses Michael on the cheek. 1050 1051 <b> CONNIE 1052 </b> How are you, honey? You've met 1053 Merle, haven't you. He was with me 1054 in Vegas. 1055 1056 <b> MICHAEL 1057 </b> I saw him with you. 1058 1059 <b> CONNIE 1060 </b> We're going to Europe next week. I 1061 want to get passage booked on the 1062 Queen. 1063 1064 <b> MICHAEL 1065 </b> Why do you come to me? Why don't 1066 you go to a travel agent? 1067 1068 <b> MERLE 1069 </b> We're going to get married first. 1070 1071 Michael is silent. Then he rises, and moves to the window 1072 overlooking the lake. 1073 1074 <b> MICHAEL 1075 </b> The ink on your divorce isn't dry. 1076 Your children see you on weekends; 1077 your oldest boy, Michael Francis... 1078 was in some trouble with the Reno 1079 police over some petty theft that 1080 you don't even know about. 1081 1082 <b> CONNIE 1083 </b> Michael... 1084 1085 <b> MICHAEL 1086 </b> You fly around the world with lazy 1087 young men who don't have any love 1088 for you, and use you like a whore. 1089 1090 <b> CONNIE 1091 </b> You're not my father! 1092 1093 <b> MICHAEL 1094 </b> Then why do you come to me? 1095 1096 <b> CONNIE 1097 </b> Because I need MONEY! 1098 1099 <b> MICHAEL 1100 </b> (softly) 1101 Connie, I want to be reasonable 1102 with you. You have a house here, 1103 with us. You can live here with 1104 your kids...and you won't be 1105 deprived of anything. I don't know 1106 much about Merle; I don't know what 1107 he does for a living; what he lives 1108 on. Why don't you tell him marriage 1109 is really out of the question; and 1110 that you can't see him any more. 1111 He'll understand. But if you 1112 disobey me, and marry this pimp...it 1113 would disappoint me. 1114 1115 <b> CONNIE 1116 </b> It was my father's money; and I'm 1117 entitled to what I need. Where is 1118 Tom Hagen? 1119 1120 She turns angrily, leaving Michael standing face to face 1121 with Merle. 1122 1123 <b> MICHAEL 1124 </b> Are you finished? 1125 1126 <b> MERLE 1127 </b> I think so. 1128 1129 <b> MICHAEL 1130 </b> Then out. 1131 1132 Merle puts out his cigarette and leaves, quickly. 1133 1134 <b>EXT. TAHOE PAVILION - FULL VIEW - DAY 1135 </b> 1136 The orchestra has struck up a "Paul Jones," where two 1137 concentric circles of young people march in opposite 1138 directions, until the music stops. Then they take whomever 1139 is opposite them as their new dance partner. 1140 1141 <b>VIEW ON THE HARBOR AREA 1142 </b> 1143 Francesca and her twin, Gardner and their elite young 1144 friends roar out of the private harbor, to get up on the 1145 water skis. We notice ROCCO LAMPONE, move along a path 1146 leading to a separate and more private boathouse. A small 1147 covered craft approaches, ties off, and a group of three men 1148 step on to the pathway, shake hands with Lampone - and 1149 follow him to the large boathouse where Michael conducts his 1150 business. 1151 1152 <b>CLOSE VIEW 1153 </b> 1154 Pentangeli has led Mama up to the dance floor, and is having 1155 some difficulty with the orchestra. 1156 1157 <b> PENTANGELI 1158 </b> I can't believe that out of thirty 1159 professional musicians, not one of 1160 you is Italian! 1161 (as the musicians laugh) 1162 C'mon, give us a tarantella. 1163 1164 He waves his hands, conducting, and singing. The piano 1165 starts a vamp, the drums uncertainly join in. A clarinet 1166 starts to play "Pop Goes the Weasel," and soon the rest of 1167 the orchestra is playing that. They look to Pentangeli for 1168 approval. Disgusted, he goes back to his table, eating a 1169 handful of canapes. 1170 1171 <b>INT. THE BOATHOUSE - DAY 1172 </b> 1173 Rocco ushers an older Italian, bundled up against the cold 1174 and wet of his boatride, to Michael. 1175 1176 The man shows respect to Michael, who quickly indicates that 1177 Neri should get him a drink. 1178 1179 <b> MICHAEL 1180 </b> Rocco, his friends must be hungry. 1181 See what you can do, but I'd like 1182 to keep them away from the guests. 1183 1184 The older man, JOHNNY 'BLUE BOY' OLA, gestures to his 1185 bodyguards, and they follow Lampone. 1186 1187 <b> MICHAEL 1188 </b> You know my lawyer, Tom Hagen. 1189 Johnny Ola. 1190 1191 <b> OLA 1192 </b> Sure, I remember Tom from the old 1193 days. 1194 1195 Tom shakes hands with Ola, remembering him, and his 1196 importance. 1197 1198 <b> MICHAEL 1199 </b> Tom isn't going to sit in with us, 1200 Johnny. He only handles specific 1201 areas of the family business. Tom? 1202 1203 <b> HAGEN 1204 </b> Sure, Mikey. 1205 1206 He gathers up some of his papers, as the three men remain 1207 silent, waiting for him to go before they talk. It's clear 1208 Tom doesn't want to be excluded. 1209 1210 <b> HAGEN 1211 </b> If you need anything, just... 1212 1213 <b> MICHAEL 1214 </b> Just tell Rocco I'm waiting. 1215 1216 Hagen nods and leaves. As soon as the door closes: 1217 1218 <b> OLA 1219 </b> I just left our friend in Miami. 1220 1221 <b> MICHAEL 1222 </b> How is his health? 1223 1224 <b> OLA 1225 </b> Not good. 1226 1227 <b> MICHAEL 1228 </b> Is there anything I can do; anything 1229 I can send? 1230 1231 <b> OLA 1232 </b> He appreciates your concern, 1233 Michael, and your respect. 1234 1235 There's a KNOCK on the door; a moment, and then Rocco 1236 quietly enters and takes his place without disturbing the 1237 conversation. 1238 1239 <b> OLA 1240 </b> The hotel's registered owners are 1241 one Jacob Lawrence, and Sidney 1242 Barclay, both Beverly Hills 1243 attorneys. In reality it's split 1244 between the Old Lakeville Road 1245 Group from Cleveland, and our 1246 friend in Miami. He takes care of 1247 others outside the country, you 1248 know who I mean. Meyer Klingman 1249 runs the store, and does all right, 1250 but I've been instructed to tell 1251 you, that if you move him out, our 1252 friend in Miami will go along with 1253 you. 1254 1255 <b> MICHAEL 1256 </b> He's very kind, tell him it's 1257 appreciated. I'm sure it will be 1258 profitable all the way around. 1259 1260 <b> OLA 1261 </b> He always makes money for his 1262 partners. One by one, our old 1263 friends are gone. Death, natural 1264 or not, prison, deported. Our 1265 friend in Miami is the only one 1266 left, because he always made money 1267 for his partners. 1268 1269 The door opens suddenly, and standing there in his white 1270 Communion suit, is Michael's boy Anthony. A moment later, 1271 Kay appears, and takes the boy's hand. 1272 1273 <b> KAY 1274 </b> Anthony, Daddy's busy. 1275 1276 <b> MICHAEL 1277 </b> (rising) 1278 This is my boy, and my wife. Mr. 1279 John Ola of Miami. 1280 1281 <b> KAY 1282 </b> I'm sorry, Michael. Senator 1283 Geary's here, and Mr. and Mrs. 1284 Barrett wanted to thank you before 1285 they left. Won't you join us, Mr. 1286 Ola? 1287 1288 <b> MICHAEL 1289 </b> Mr. Ola's just leaving, Kay. 1290 Please tell the Senator I won't be 1291 a minute. 1292 1293 Pause; she stands there a moment. 1294 1295 <b> MICHAEL 1296 </b> (continuing) 1297 Kay. 1298 1299 <b> KAY 1300 </b> Yes, Michael. 1301 1302 <b>EXT. THE BOATHOUSE - DAY 1303 </b> 1304 Kay closes the door. It seems as though Michael has violated 1305 some sort of promise to her by having this man here today. 1306 She looks up toward the first boathouse. 1307 1308 <b>WHAT SHE SEES: 1309 </b> 1310 The covered launch, and Ola's three bodyguards, eating while 1311 they wait. 1312 1313 <b>MED. VIEW 1314 </b> 1315 Anthony runs away from her, heading toward the house. 1316 1317 <b> KAY 1318 </b> Anthony! 1319 (she runs after him) 1320 Anthony, where are you going? 1321 1322 Moodily, the boy stops, turns, and walks back to his table 1323 of honor without answering her. 1324 1325 <b>EXT. TAHOE TABLES AND PAVILION - VIEW ON THE PAVILION - DAY 1326 </b> 1327 The orchestra has taken its break; now two couples in formal 1328 dress are performing the Quartet from Rigoletto. 1329 1330 <b>VIEW ON HAGEN 1331 </b> 1332 sitting by himself, a little down, having a drink. He's 1333 waiting for Michael to re-summon him. SANDRA, Sonny's 1334 widow, sits opposite him. 1335 1336 <b> HAGEN 1337 </b> Where's my wife? 1338 1339 <b> SANDRA 1340 </b> With Mama, putting the baby to 1341 sleep. Francesca's very happy. 1342 Michael was kind to her. She 1343 idolizes him. 1344 (pause; she looks at 1345 a despondent Hagen) 1346 The children are all out in the 1347 speedboat. I'm going to my house. 1348 1349 Sandra gets up, still an attractive woman, and walks alone 1350 to the back path that leads to her home on the estate. 1351 1352 <b>VIEW ON THE PAVILION 1353 </b> 1354 The returned orchestra strikes a big, show-biz chord, 1355 intended to command the guests' attention. 1356 1357 The orchestra LEADER raises his hands for silence, and makes 1358 an announcement over the P.A. system. 1359 1360 <b> MAESTRO 1361 </b> Ladies and gentlemen, a most 1362 distinguished guest would like to 1363 say a few words: Senator and Mrs. 1364 Pat Geary of the state of Nevada! 1365 1366 A big hand, as the smiling SENATOR introduces his WIFE by 1367 holding her arm up to the crowd, and then proceeds alone to 1368 the bandstand. 1369 1370 <b>MED. VIEW 1371 </b> 1372 Michael stands with Kay and Mrs. Geary. The Senator's 1373 presence seems to be a statement of political and social 1374 status. 1375 1376 A little distance away, his beautiful son Anthony sits 1377 quietly, in an unmistakably morose mood. 1378 1379 <b>INT. TAHOE - SANDRA'S HOUSE - DAY 1380 </b> 1381 We HEAR the applause and whistles echoing in the distance. 1382 Sandra stands in her bedroom, looking at the door. We SEE a 1383 photograph of SONNY, and also one of their wedding. 1384 1385 A moment goes by, and then Tom Hagen enters, closing the 1386 door behind him. 1387 1388 We begin to HEAR Senator Geary's amplified voice resounding 1389 over the lake. Hagen moves to Sandra. She takes him in her 1390 arms, comforting, holding his head against her full breast. 1391 1392 <b> HAGEN 1393 </b> (quietly) 1394 He doesn't want my help any more. 1395 He doesn't need it. 1396 1397 <b> SANDRA 1398 </b> We don't know that's true, he never 1399 said that. 1400 1401 <b> HAGEN 1402 </b> I can feel it in the way he talks 1403 to me. 1404 1405 He moves to the dresser; pours himself a drink. 1406 1407 <b> HAGEN 1408 </b> Just now when Johnny Ola showed up, 1409 he asked me to leave them alone. 1410 Ola is Hyman Roth's Sicilian 1411 contact. I was on the inside of 1412 ten, twenty meetings with him. But 1413 today Mike asked me to leave, like 1414 an outsider. 1415 1416 <b> SANDRA 1417 </b> Talk to him. Tell him how you feel. 1418 1419 <b> HAGEN 1420 </b> It's as though he blames me for the 1421 ground the family lost when I was 1422 Consigliere to Sonny. 1423 1424 Sandra pulls Hagen to her, and kisses him passionately on 1425 the mouth. 1426 1427 <b> HAGEN 1428 </b> I love Michael, I want to help him, 1429 be close to him. I don't want to 1430 end up a third string lawyer making 1431 property settlements for the hotels. 1432 1433 Sandra knows he needs her. Slowly she begins to undress. 1434 1435 <b> SANDRA 1436 </b> We have a little time now. 1437 1438 <b>EXT. THE PAVILION - VIEW ON SENATOR GEARY - DAY 1439 </b> 1440 <b> SENATOR GEARY 1441 </b> ...my thanks, and the thanks of the 1442 young people of the State of 1443 Nevada, for this most impressive 1444 endowment... 1445 (he holds a check in 1446 his hand) 1447 ...made to the University in the 1448 name of Anthony Vito Corleone. 1449 Thank you, Mr. and Mrs. Michael 1450 Corleone. 1451 1452 Applause. Senator Geary returns the microphone to the 1453 Maestro who adds: 1454 1455 <b> MAESTRO 1456 </b> And now, the Nevada Boys' Choir 1457 have prepared a special thank you 1458 for Mr. Michael Corleone. 1459 1460 He turns to a small Choir Master, who leads the Boys' Choir 1461 in a choral arrangement of "MR. WONDERFUL." 1462 1463 <b>VIEW ON SENATOR GEARY 1464 </b> 1465 shaking hands with Michael, as Press Photographers snap 1466 pictures, showing the check; showing a special award of 1467 Gratitude from the State; Mrs. Corleone and Mrs. Geary; all 1468 together; Michael and his son; Senator Geary and Michael's 1469 son; and on and on. In the midst of this: 1470 1471 <b> SENATOR GEARY 1472 </b> Where can we meet alone? 1473 1474 Michael indicates the boathouse a distance away, where Neri 1475 seems to be waiting for them. Then Michael leans to Rocco: 1476 1477 <b> MICHAEL 1478 </b> Find Hagen. 1479 1480 Rocco sets off; as more pictures are taken, and the: 1481 1482 <b>BOYS' CHOIR 1483 </b> 1484 sings its lovely arrangement of "Mr. Wonderful." 1485 1486 <b>INT. TAHOE BOATHOUSE - MED. VIEW - DAY 1487 </b> 1488 Michael, the Senator, Neri and Rocco make a group in the 1489 dark, large room. 1490 1491 <b> MICHAEL 1492 </b> It was very kind of you to come to 1493 my home on this occasion, Senator. 1494 My wife has been very concerned 1495 with making a good impression on 1496 the people who are our neighbors, 1497 and your appearance here has made 1498 her very happy. If I can ever 1499 perform a service for you, you only 1500 have to ask. 1501 1502 The door opens, and Hagen sheepishly makes his way in. 1503 1504 <b> MICHAEL 1505 </b> My lawyer, Tom Hagen. He arranged 1506 this all through your man Turnbull. 1507 1508 <b> SENATOR GEARY 1509 </b> I thought we would meet alone. 1510 1511 <b> MICHAEL 1512 </b> I trust these men with my life. 1513 They are my right arms; I cannot 1514 insult them by sending them away. 1515 1516 <b> SENATOR GEARY 1517 </b> (taking out some medication) 1518 Some water. 1519 1520 He addresses that to Neri, who resentfully goes to fetch the 1521 Senator a glass of water. 1522 1523 <b> SENATOR GEARY 1524 </b> Alright, Corleone. I'm going to be 1525 very frank with you. Maybe more 1526 frank than any man in my position 1527 has ever spoken to you before. 1528 1529 Michael nods, indicating that he should do so. 1530 1531 <b> SENATOR GEARY 1532 </b> The Corleone family controls two 1533 major hotels in Vegas; one in Reno. 1534 The licenses were grandfathered in, 1535 so you had no difficulties with the 1536 Gaming Commission. But I have the 1537 idea from sources... 1538 (takes the water from 1539 Neri and swallows his pills) 1540 ...that you're planning to move in 1541 on the Tropicana. In another week 1542 or so you'll move Klingman out, 1543 which leaves you with only one 1544 technicality. The license, which 1545 is now in Klingman's name. 1546 1547 <b> MICHAEL 1548 </b> Turnbull is a good man. 1549 1550 <b> SENATOR GEARY 1551 </b> Let's forget the bullshit, I don't 1552 want to stay here any longer than I 1553 have to. You can have the license 1554 for two hundred and fifty thousand 1555 in cash, plus a monthly fee equal 1556 to five percent of the gross... 1557 1558 Michael is taken aback; he looks at Hagen. 1559 1560 <b> SENATOR GEARY 1561 </b> ...of all three Corleone hotels. 1562 1563 Hagen is frustrated; all his information was wrong. 1564 1565 <b> MICHAEL 1566 </b> Senator Geary, I speak to you as a 1567 businessman who has made a large 1568 investment in your state. I have 1569 made that state my home; plan to 1570 raise my children here. The 1571 license fee from the Gambling 1572 Commission costs one thousand 1573 dollars; why would I ever consider 1574 paying more? 1575 1576 <b> SENATOR GEARY 1577 </b> I'm going to squeeze you, Corleone, 1578 because I don't like you; I don't 1579 like the kind of man you are. I 1580 despise your masquerade, and the 1581 dishonest way you pose yourself and 1582 your fucking family. 1583 1584 <b>VIEW ON HAGEN 1585 </b> 1586 glances at Michael. 1587 1588 <b>VIEW ON MICHAEL 1589 </b> 1590 makes no outward reaction. 1591 1592 <b> MICHAEL 1593 </b> (quietly) 1594 We're all part of the same 1595 hypocrisy, Senator. But never 1596 think it applies to my family. 1597 1598 <b> SENATOR GEARY 1599 </b> All right, then let me say you'll 1600 pay me because it's in your 1601 interests to pay me. 1602 1603 <b>VIEW ON GEARY 1604 </b> 1605 rising. 1606 1607 <b> SENATOR GEARY 1608 </b> I'll expect your answer, with 1609 payment, by tomorrow morning. Only 1610 don't contact me...from now on, 1611 deal only through Turnbull. 1612 1613 He is almost out the door. 1614 1615 <b> MICHAEL 1616 </b> Senator... 1617 (cold and calm) 1618 ...you can have my answer now if 1619 you'd like. 1620 1621 Geary turns back. 1622 1623 <b> MICHAEL 1624 </b> My offer is this. Nothing...not 1625 even the thousand dollars for the 1626 Gaming Commission, which I'd 1627 appreciate if you would put up 1628 personally. 1629 1630 Geary returns Michael's hard look; then laughs and leaves. 1631 Slowly Michael turns to Hagen. 1632 1633 <b>VIEW ON HAGEN 1634 </b> 1635 embarrassed at being so off the mark. 1636 1637 <b> MICHAEL 1638 </b> It's all right, Tom, we'll talk 1639 later. Tell Frankie Pentangeli I'd 1640 like him to have dinner at my 1641 family table before we do business. 1642 1643 <b>EXT. THE PAVILION - NIGHT 1644 </b> 1645 Now the light has faltered, and the young waiters have put 1646 up the night lights. The tables are all properly set for 1647 dinner, with candles on each one. 1648 1649 The orchestra is playing quiet, unobtrusive dinner music, 1650 and many of the guests have begun to help themselves to the 1651 impressive buffet, under a party tent. 1652 1653 <b>MED. VIEW 1654 </b> 1655 Michael sits at a large table with Kay, his son Anthony, 1656 Mama, Hagen and TERESA, Connie and Merle' Fredo and Deanna, 1657 and Frankie Pentangeli. 1658 1659 <b> MAMA 1660 </b> Cent' Anne. 1661 1662 This, the table of honor, all raise their glasses and repeat 1663 the toast. 1664 1665 <b> DEANNA 1666 </b> What's 'cent' Anne?' 1667 1668 <b> FREDO 1669 </b> A hundred years...it's a toast. 1670 1671 <b> CONNIE 1672 </b> It means we should all live happily 1673 for one hundred years. The family. 1674 If my Father were alive, it'd be 1675 true. 1676 1677 <b> MAMA 1678 </b> Connie. 1679 1680 <b> CONNIE 1681 </b> Merle, have you met my sister-in- 1682 law Deanna? 1683 1684 <b> DEANNA 1685 </b> What a pleasure, Merle. 1686 (shaking hands) 1687 1688 1689 <b> MAMA 1690 </b> (Sicilian) 1691 Those two are perfect for each other. 1692 1693 <b> MERLE 1694 </b> What's that mean? 1695 1696 <b> CONNIE 1697 </b> Mama! 1698 1699 <b> PENTANGELI 1700 </b> (Sicilian) 1701 Michael, in all respect, I didn't 1702 come three thousand miles for dinner. 1703 1704 <b> MICHAEL 1705 </b> (Sicilian) 1706 I know. 1707 1708 <b> PENTANGELI 1709 </b> (Sicilian) 1710 When do we talk? 1711 1712 <b> MICHAEL 1713 </b> (Sicilian) 1714 After dinner. 1715 1716 By now, the conversation has become exclusively Sicilian, 1717 with Merle and Deanna, looking from side to side like in a 1718 tennis match. Finally, Kay, to be polite: 1719 1720 <b> KAY 1721 </b> Anthony, you were talking to Mr. 1722 Pentangeli? 1723 1724 <b> ANTHONY 1725 </b> His name is "Five-Angels." 1726 1727 <b> PENTANGELI 1728 </b> Yeah, the kid and me talked Sicilian. 1729 A one-way conversation! 1730 1731 <b>INT. TAHOE BOATHOUSE - NIGHT 1732 </b> 1733 Pentangeli is angry; but because it is Michael he is talking 1734 to, he keeps his voice low and represses his desire to shout. 1735 1736 <b> PENTANGELI 1737 </b> Sure, Pete Clemenza died of a heart 1738 attack, but the Rosato Brothers 1739 gave it to him. 1740 1741 <b> MICHAEL 1742 </b> We were all heartbroken at the 1743 news; but that wasn't cause to 1744 start a war. 1745 1746 <b> PENTANGELI 1747 </b> Okay, now it's my family in 1748 Brooklyn; and I wanna keep up 1749 Clemenza's loyalty to you. But how 1750 can I run my family with you 1751 challenging my every move? You're 1752 too far from the street, Mike, the 1753 only way to reason with the Rosato 1754 Brothers is to whack 'em and whack 1755 'em fast. 1756 1757 <b> MICHAEL 1758 </b> You were unfair with them. 1759 1760 <b> PENTANGELI 1761 </b> Says who? 1762 1763 <b> MICHAEL 1764 </b> Clemenza promised Rosato three 1765 territories in the Bronx after he 1766 died, and then you took over and 1767 welched. 1768 1769 <b> PENTANGELI 1770 </b> Clemenza promised them nothing, he 1771 hated the sonsuvbitches. 1772 1773 <b> MICHAEL 1774 </b> They feel cheated. 1775 1776 <b> PENTANGELI 1777 </b> Michael, you're sitting up here in 1778 the Sierra Mountains with champagne 1779 cocktails making judgment on the 1780 way I run my family. 1781 1782 <b> MICHAEL 1783 </b> (suddenly in Sicilian) 1784 Your family still carries the name 1785 Corleone, and you will run it like 1786 a Corleone! 1787 1788 <b> PENTANGELI 1789 </b> (Sicilian) 1790 And while I feed my family in New 1791 York, you put the knife in my back 1792 in Miami. 1793 1794 <b> MICHAEL 1795 </b> (firm) 1796 Frankie, you're a good old man, and 1797 you've been loyal to my Father for 1798 years...so I hope you can explain 1799 what you mean. 1800 1801 <b> PENTANGELI 1802 </b> The Rosatos are running crazy; 1803 taking hostages, spitting in my 1804 face, because they're backed by the 1805 Jew in Miami. 1806 1807 <b> MICHAEL 1808 </b> I know. That's why I want you to 1809 be fair with them. 1810 1811 <b> PENTANGELI 1812 </b> How can you be fair with animals? 1813 They recruit niggers and spicks; 1814 they do violence in their own 1815 Grandmother's neighborhoods. And 1816 everything is dope and whores; the 1817 gambling is left to last. Let me 1818 run my family without you on my 1819 back. I want them taken care of. 1820 1821 <b> MICHAEL 1822 </b> No. There are things that I have 1823 planned with Hyman Roth. I don't 1824 want them disturbed. 1825 1826 <b> PENTANGELI 1827 </b> You give your loyalty to a Jew over 1828 your own blood. 1829 1830 <b> MICHAEL 1831 </b> Frankie, you know my father 1832 respected Roth, did business with 1833 him. 1834 1835 <b> PENTANGELI 1836 </b> He did business...but he never 1837 trusted him. 1838 1839 Pentangeli takes his hat, and leaves. 1840 1841 <b> NERI 1842 </b> Should he go? 1843 1844 <b> MICHAEL 1845 </b> The old man had too much vino 1846 rosso, or he'd never talk openly 1847 that way. Let him go back to New 1848 York; I've already made my plans. 1849 (he checks his watch) 1850 It's late; I've spent so little 1851 time at the party. 1852 1853 <b>EXT. THE LAWNS AND TABLES - FULL VIEW - NIGHT 1854 </b> 1855 By now the sun has fallen and the lawns of the Corleone 1856 estate are lit by moonlight. Beautifully dressed couples 1857 dance as the orchestra plays a foxtrot of the late fifties. 1858 1859 <b>VIEW ON THE DANCE FLOOR 1860 </b> 1861 Deanna has been dancing with Fredo; she has gotten drunk and 1862 it teasing her husband by flirting with other men on the 1863 floor. 1864 1865 <b> DEANNA 1866 </b> I wanta dance...whatsa matter with 1867 that? 1868 1869 <b> FREDO 1870 </b> Dancing is alright; you're falling 1871 on the floor. 1872 1873 <b> DEANNA 1874 </b> Whatsamatter, you don't want me to 1875 dance with him 'cause he's a man! 1876 1877 <b> FREDO 1878 </b> Deanna, I'm going to belt you right 1879 in the mouth! 1880 1881 <b> DEANNA 1882 </b> These Eye-ties are really crazy 1883 when it comes to their wives. 1884 1885 By now guests are starting to notice the disturbance; 1886 Michael is with Kay, and some friends; Rocco catches his eye. 1887 1888 <b> DEANNA (O.S.) 1889 </b> Jesus, never marry a WOP, they 1890 treat their wives like shit. 1891 1892 VIEW on Kay, listening, embarrassed by her flashy sister-in- 1893 law. 1894 1895 <b>VIEW ON FREDO AND DEANNA 1896 </b> 1897 Rocco passes by Fredo and whispers: 1898 1899 <b> ROCCO 1900 </b> Freddie, Mike says take care of it, 1901 or I have to. 1902 1903 <b> DEANNA 1904 </b> He's a friend of your brother! 1905 1906 Without another word, Rocco grabs firm hold of her and 1907 whisks her out of the crowd. 1908 1909 <b> DEANNA 1910 </b> "Shuffle off to Buffa... 1911 Shuffle off to Buffa... 1912 Shuffle off to Buffalooooo..." 1913 1914 Freddie mops his forehead, and moves to Michael. 1915 1916 <b> FREDO 1917 </b> Hey Mike, what can I say? 1918 1919 <b> MICHAEL 1920 </b> Forget it, just go take care of her. 1921 1922 <b>EXT. THE HARBOR DECK - NIGHT 1923 </b> 1924 A large group of Tahoe teenagers join the Corleone youngsters 1925 sitting around a large fire out by the harbor. Gardner and 1926 Francie, sitting arm in arm. 1927 1928 <b>EXT. TABLE OF HONOR - MED. VIEW - NIGHT 1929 </b> 1930 Little Anthony, in his white suit, sitting alone. 1931 1932 <b>EXT. MAIN GATE - NIGHT 1933 </b> 1934 A taxi pulls up, and is signaled over to the gate by a 1935 policeman carrying a torch flashlight. 1936 1937 Connie and Merle enter; Merle tips the cop, and the cab 1938 drives off. 1939 1940 <b>EXT. DANCE FLOOR AND PAVILION - MOVING TWO SHOT - NIGHT 1941 </b> 1942 Kay and Michael dancing in the moonlight. 1943 1944 <b> MICHAEL 1945 </b> How's the baby? 1946 1947 <b> KAY 1948 </b> Sleeping inside me. 1949 1950 <b> MICHAEL 1951 </b> Does it feel like a boy? 1952 1953 <b> KAY 1954 </b> Yes, Michael, it does. 1955 1956 <b> MICHAEL 1957 </b> I'm sorry about some of the people 1958 I had to see today. It was bad 1959 timing... but it couldn't be helped. 1960 1961 <b> KAY 1962 </b> It made me think of what you told 1963 me once. In five years, the 1964 Corleone family will be completely 1965 legitimate. That was seven years 1966 ago. 1967 1968 He has no answer for her; except that he loves and values 1969 her, and holds her tight, as they dance amid their guests, 1970 all dressed elegantly for the social event of the season. 1971 1972 The VIEW LOOSENS to show the entire, night-lit party. 1973 1974 <b> DISSOLVE TO: 1975 </b> 1976 <b>EXT. LAS VEGAS CHAPEL - MED. CLOSE VIEW - NIGHT 1977 </b> 1978 A Cadillac limousine waits for some people inside the tacky, 1979 Las Vegas marriage mill. 1980 1981 <b>INT. THE CHAPEL - NIGHT 1982 </b> 1983 Some quiet, informally dressed couples wait in the rear of 1984 the chapel; some talking, others sitting nervously. 1985 1986 A single organ plays some standard wedding music. 1987 1988 The VIEW PANS up to the altar, where Connie and Merle, in 1989 the same clothing they wore to the Tahoe party, are being 1990 married by a Justice of the Peace. 1991 1992 The Justice goes through the bored, simple ceremony, and we 1993 begin to HEAR an echo of the waltz Connie danced with her 1994 father, when she was married all those years ago in Long 1995 Island. 1996 1997 <b>EXT. THE TROPICANA - LAS VEGAS - MED. VIEW - DAY 1998 </b> 1999 A dark car pulls up to the glitter of the neon facade. 2000 Albert Neri, alone, leaves it to the parking valets, and 2001 moves quickly through the automatic doors, into the main 2002 casino. We still hear the CORLEONE WALTZ. 2003 2004 <b>INT. THE TROPICANA - DAY 2005 </b> 2006 Albert Neri enters the room; glances around a moment, and 2007 then heads toward the crap table, where a short, middle-aged 2008 man, KLINGMAN, stands by the pit boss. Several security 2009 guards of the casino, are at their posts. 2010 2011 <b> NERI 2012 </b> Are you Klingman? 2013 2014 <b> KLINGMAN 2015 </b> Who's asking? 2016 2017 <b> NERI 2018 </b> Where can we talk? 2019 2020 <b> KLINGMAN 2021 </b> Right here. 2022 2023 <b> NERI 2024 </b> I represent the interests of the 2025 Corleone family. We make the 2026 invitation to you to tie up your 2027 affairs and be out of the hotel by 2028 Monday morning. 2029 2030 <b> KLINGMAN 2031 </b> Who do you think you're talking to? 2032 2033 <b> NERI 2034 </b> You said you were Klingman. 2035 2036 <b> KLINGMAN 2037 </b> You don't come in here, talk to an 2038 owner in Las Vegas like that. 2039 2040 <b> NERI 2041 </b> You missed my point; you are no 2042 longer an owner. 2043 2044 <b> KLINGMAN 2045 </b> Get out of my hotel. 2046 2047 Neri stands in front of him, smiling. 2048 2049 <b> KLINGMAN 2050 </b> Boys, get him out of here. 2051 2052 Quickly, Neri moves toward Klingman, and slaps him hard 2053 several times in the face, knocking off his glasses... Red- 2054 faced, Klingman gets down on his knees to pick them up once, 2055 again. Glasses on, he looks to his guards. 2056 2057 <b>WHAT HE SEES 2058 </b> 2059 They stand, motionless. 2060 2061 <b>VIEW ON KLINGMAN 2062 </b> 2063 Humiliated, Klingman moves across the casino floor, past a 2064 few interested gamblers, and his own people. Neri slowly 2065 follows. 2066 2067 <b>INT. SHOWROOM - MED. VIEW - DAY 2068 </b> 2069 A typical, Lido de Paris type of show is in rehearsal, as 2070 Klingman backs into the showroom. 2071 2072 <b>HIS VIEW 2073 </b> 2074 Neri keeps coming. 2075 2076 <b>VIEW ON KLINGMAN 2077 </b> 2078 realizes that no one will help him. He finally capitulates. 2079 2080 <b> KLINGMAN 2081 </b> All right! All right, I'll be out. 2082 2083 Neri keeps moving, then heads past the terrified man, sits 2084 down at a table, and looks up at the stage. 2085 2086 <b> NERI 2087 </b> (to the staring performers) 2088 Keep it going. 2089 2090 <b>EXT. A STREET IN BUFFALO, NEW YORK - NIGHT 2091 </b> 2092 The neon lights that spell out "FRED'S PIZZERIA" go out; 2093 after a moment a man in an overcoat steps out, and turns to 2094 lock the door of his restaurant. The Corleone Waltz 2095 continues over this. He turns. 2096 2097 <b>MED. CLOSE VIEW 2098 </b> 2099 FRED VINCENT, whom we remember as the Sicilian Fabrizzio. 2100 He moves toward his parked car. Gets in. 2101 2102 <b>MED. LONG VIEW 2103 </b> 2104 The starter turns, and the automobile blows in a great 2105 explosion. 2106 2107 <b> DISSOLVE TO: 2108 </b> 2109 <b>EXT. THE TAHOE ESTATE - NIGHT 2110 </b> 2111 The waltz continues over the VIEW of the empty, but still 2112 illuminated pavilion. There is the debris of the great 2113 party spread over the grounds, which a silent crew of 2114 workmen are at work cleaning up, 2115 2116 <b>MED. VIEW 2117 </b> 2118 Michael walks alone, followed by two of the family dogs, 2119 Irish Setters. 2120 2121 He walks to the water line, and looks out across the lake. 2122 He picks up a stick, and throws it for the dogs; who go 2123 scampering after it. 2124 2125 We notice that a respectful distance away, there are 2126 bodyguards watching every move he makes. 2127 2128 <b>CLOSE VIEW ON MICHAEL 2129 </b> 2130 looking across the lake. There is much on his mind. The 2131 SOUND of the waltz, begins to segue into the echoed music 2132 and laughter of an old Italian Music Hall from the past. 2133 2134 <b> DISSOLVE TO: 2135 </b> 2136 <b>INT. NEW YORK THEATRE - 1915 - NIGHT 2137 </b> 2138 VITO CORLEONE is a shy young man of 23, holding his hat in 2139 his hand, being led down the crowded aisle of this Italian 2140 Vaudeville theatre by an energetic and fulfilled GENCO 2141 ABBANDANDO, his friend in America. This entire sequence is 2142 played in Sicilian. 2143 2144 <b> GENCO 2145 </b> Come on, you've got to see her! 2146 2147 <b>VIEW ON THE STAGE 2148 </b> 2149 A tattered melodrama is in progress in Neapolitan. The sets 2150 are two-dimensional, and flap whenever there's an entrance 2151 or exit. 2152 2153 The hero, PEPPINO, is weeping as he sings about how he's 2154 left his Mother in Italy, while he is in this new country, 2155 America. 2156 2157 <b>VIEW ON THE AUDIENCE 2158 </b> 2159 All poor, Italo-Americans. Genco finds a few seats, and 2160 leads Vito to them, stepping on a few shoes in the process. 2161 They have barely come to their seats, when an excited Genco 2162 nudges Vito, and points to the stage. People shout that 2163 they should sit down. 2164 2165 <b>VIEW ON THE STAGE 2166 </b> 2167 There is a knock on the door, and a young girl enters, 2168 delivering a letter to Peppino in his tenement in America. 2169 The girl is pretty; and obviously the object of Genco's 2170 affection. The letter brings bad news. Peppino's Mother is 2171 dead. He weeps, and sings the final song, which most of the 2172 audience knows: SENZA MAMMA. 2173 2174 <b>VIEW ON THE AUDIENCE 2175 </b> 2176 Genco is enthralled with the young actress. The people in 2177 the audience are singing along with Peppino. 2178 2179 <b>VIEW ON THE STAGE 2180 </b> 2181 The actress, object of Genco's affection, makes a dramatic 2182 exit. 2183 2184 <b>VIEW ON THE AUDIENCE 2185 </b> 2186 Genco pulls on Vito's jacket, indicating that now that his 2187 love is offstage, they should leave. Vito rises with him, 2188 and they make their way all the way down the aisle. 2189 2190 <b>INT. BACKSTAGE THEATRE - MOVING VIEW - NIGHT 2191 </b> 2192 Genco hurrying down the backstage corridor, hoping to catch 2193 a glimpse of the actress. He is followed by Vito. Suddenly, 2194 Genco stops short. 2195 2196 <b>GENCO'S VIEW 2197 </b> 2198 A heavy-set, fierce looking Italian wearing an expensive 2199 light-colored suit and a cream colored fedora. This is 2200 FANUCCI. He is discussing a business matter with the 2201 theatre IMPRESARIO; a large, strong looking man, who is 2202 sweating nonetheless. He doesn't seem to be giving in to 2203 Fanucci. He holds a locked strongbox. 2204 2205 <b>VIEW ON VITO 2206 </b> 2207 watching. The two men argue in Italian. 2208 2209 <b>MED. VIEW 2210 </b> 2211 The young ACTRESS crosses into the area, unaware of the 2212 difficulties. The impresario sees her, and frightened, 2213 motions that she should keep away. 2214 2215 <b> IMPRESARIO 2216 </b> Carla! 2217 2218 But Fanucci grabs her easily by her slender wrist, and with 2219 lightning speed, produces a knife which he holds against her 2220 cheek. The impresario wrings his hands in agony. 2221 2222 <b> IMPRESARIO 2223 </b> (Sicilian) 2224 No...please, not my daughter. 2225 2226 Whereupon he begins to unlock the box which holds the 2227 receipts for the night's box-office. 2228 2229 <b>VIEW ON GENCO AND VITO 2230 </b> 2231 hiding, watching. At first, Genco is enraged, as though he 2232 would rush up to help his enamorata. 2233 2234 <b> GENCO 2235 </b> (Sicilian) 2236 The Black Hand. 2237 2238 Then he backs away. Vito looks at him shocked and 2239 disappointed in this cowardly behavior. Genco shakes his 2240 head, and points, as though to say that where Fanucci is 2241 concerned, there is nothing to be done. 2242 2243 <b> GENCO 2244 </b> (Sicilian) 2245 (whispered) 2246 Let's get out of here. 2247 2248 <b>VIEW ON FANUCCI 2249 </b> 2250 has released the girl. Her father pulls her away from him, 2251 and slaps her for no reason; then he pays Fanucci. 2252 2253 <b> FANUCCI 2254 </b> (Sicilian) 2255 Because you protested, it will cost 2256 a hundred more. 2257 2258 <b>EXT. NEW YORK ALLEY - NIGHT 2259 </b> 2260 Genco and Vito; Genco leans against the wall, breathlessly, 2261 as though he's had a near escape. 2262 2263 <b> GENCO 2264 </b> (Sicilian) 2265 I know what you are thinking, 2266 Vitone, but you don't understand 2267 yet how things are. Fanucci is of 2268 the Black Hand. Everyone in the 2269 neighborhood pays him, even my 2270 father. 2271 2272 <b> VITO 2273 </b> (Sicilian) 2274 He's an Italian? 2275 2276 <b> GENCO 2277 </b> (Sicilian) 2278 A pig of a Neaponitan. 2279 (spits) 2280 2281 2282 <b> VITO 2283 </b> (Sicilian) 2284 Why? Why does he bother other 2285 Italians? 2286 2287 <b> GENCO 2288 </b> (Sicilian) 2289 Because he knows them; he knows 2290 they have no one to protect them. 2291 Vitone? What do you think of my 2292 angel? 2293 2294 <b> VITO 2295 </b> (Sicilian) 2296 Beautiful. 2297 2298 <b> GENCO 2299 </b> (Sicilian) 2300 Beautiful. 2301 2302 <b> VITO 2303 </b> For you, she is beautiful. For me, 2304 there is only my wife! 2305 2306 <b> GENCO 2307 </b> I know. That's why I brought you 2308 with me! 2309 2310 Genco embraces his good friend, and they laughingly walk 2311 down the alley. 2312 2313 The stage door opens, and Fanucci exits, a sinister figure 2314 in white, moving down the alley just in front of them, into 2315 the night. 2316 2317 The two friends hold their breath, until he disappears. 2318 2319 <b>EXT. NEW YORK STREETS - MOVING VIEW - DAY 2320 </b> 2321 Vito moves through the street, carrying groceries that he is 2322 to deliver. 2323 2324 It is cold, and so vendors are huddled around fires they 2325 have lit in old cans and drums. 2326 2327 He turns up an alleyway, and then stops. 2328 2329 <b>VIEW UP THE ALLEY 2330 </b> 2331 With great strength, Fanucci lifts one of them up into the 2332 air and throws him down hard to the concrete; but another, 2333 holding onto his back, manages to produce a switchblade 2334 knife and awkwardly reaching around from behind the moving 2335 man, slits Fanucci's throat from one side to the other. 2336 2337 Fanucci groans like some great hurt animal. Blood pours 2338 from the deep, smile-like slit in his throat. 2339 2340 He throws the young man off his back. 2341 2342 <b>VIEW ON VITO 2343 </b> 2344 stepping back in the alley. 2345 2346 <b>VIEW ON FANUCCI 2347 </b> 2348 He takes off his white fedora, and runs down the alley 2349 toward Vito, catching the flowing blood in his hat. 2350 2351 The young attackers scurry off in various directions. 2352 2353 <b>INT. ABBANDANDO GROCERY STORE - DAY 2354 </b> 2355 A tiny shop featuring imported food: trays of cured meats, 2356 prosciutto, copagole, mortadella lies on the counter covered 2357 with netting to keep away the thousands of flies. 2358 2359 Olive oil is sold in bulk, as well as wine, cheese and bacala. 2360 2361 Genco works here for his father, and is busy slicing paper 2362 thin prosciutto for a customer, by hand. Vito works in the 2363 back as a stock clerk. 2364 2365 Finished with his customer, Genco moves to his friend. 2366 2367 <b> GENCO 2368 </b> (Sicilian) 2369 I bet you can't guess what happened? 2370 2371 <b> VITO 2372 </b> (Sicilian) 2373 What? 2374 2375 <b> GENCO 2376 </b> (Sicilian) 2377 Some guys from Ninth Avenue jumped 2378 Fanucci today; slit his throat from 2379 ear to ear. 2380 2381 <b> VITO 2382 </b> (Sicilian) 2383 No, I didn't know. Is he dead? 2384 2385 <b> GENCO 2386 </b> (Sicilian) 2387 Nah. Those guys aren't murderers. 2388 They wanted to scare him, that's 2389 all. Make him look bad. 2390 2391 <b> VITO 2392 </b> (Sicilian) 2393 In Sicily, when you attack a man, 2394 you had better finish him. 2395 2396 <b> GENCO 2397 </b> (Sicilian) 2398 I wish they had. He takes fifty 2399 dollars a week from my father's 2400 cash drawer. But you can't kill a 2401 man like Fanucci. 2402 2403 <b> VITO 2404 </b> (Sicilian) 2405 Why? 2406 2407 <b> GENCO 2408 </b> (Sicilian) 2409 Because he's what we say... 2410 "connected"... You wait, see what 2411 happens to those guys from Ninth 2412 Avenue. 2413 2414 A customer enters; and Genco moves away to serve him. 2415 2416 <b>CLOSE VIEW ON VITO 2417 </b> 2418 recalling what he had seen and thought. 2419 2420 <b>EXT. NEW YORK ALLEYWAY - MED. VIEW - NIGHT 2421 </b> 2422 A young man, one of those who had tried to kill Fanucci, 2423 runs down an alleyway, breathlessly. Then he stops, and 2424 looks behind himself. Whoever was following him is gone. 2425 He turns and walks ahead. Then the mammoth, white-suited 2426 figure of Fanucci leaps down before him from the fire-escape. 2427 He grins at the young man, and then raises his neck, showing 2428 the gruesome wound that marks his throat. 2429 2430 He takes out his pistol and fires point-blank at his attacker. 2431 2432 <b>INT. TINY TENEMENT - FULL VIEW - NIGHT 2433 </b> 2434 The very small, railroad type flat where Vito lives with his 2435 new family. 2436 2437 It is late at night, and he is exhausted. 2438 2439 He returns home; where his young wife, CARMELLA, goes 2440 through the silent ritual of preparing a simple meal for him. 2441 He sits and eats quietly. 2442 2443 <b>INT. TENEMENT ROOM - NIGHT 2444 </b> 2445 Vito and Carmella enter the darkened bedroom, and approach a 2446 metal crib. Vito reaches down and takes the small hand of 2447 the baby between his thick peasant fingers. Carmella waits 2448 a respectful distance behind him. 2449 2450 <b>INT. ABBANDANDO GROCERY - DAY 2451 </b> 2452 The shop bell RINGS; SINGER ABBANDANDO turns to see a 2453 smiling Fanucci tipping his hat, like an old customer. 2454 2455 <b> FANUCCI 2456 </b> Buon giorno. 2457 2458 Immediately, Vito turns back to his work, and Signor 2459 Abbandando moves to Fanucci with a sigh. 2460 2461 Vito notices the two men talking quietly at one side of the 2462 store, while he goes about his work. Genco works his way 2463 closer to his friend. 2464 2465 <b> GENCO 2466 </b> (Sicilian) 2467 What did I tell you. The one who 2468 cut him was found in an alley. And 2469 the family of the others paid 2470 Fanucci all their savings to make 2471 him forswear his vengeance. 2472 2473 <b> VITO 2474 </b> (Sicilian) 2475 (surprised) 2476 And he agreed? 2477 2478 <b> GENCO 2479 </b> (Sicilian) 2480 He took the money. Now he wants 2481 double from everybody in the 2482 neighborhood, including Papa. 2483 2484 Vito watches the heated, but inevitable transaction. 2485 2486 <b> VITO 2487 </b> (Sicilian) 2488 (almost to himself) 2489 A real mafioso doesn't sell his 2490 vengeance. 2491 2492 <b>MED. VIEW 2493 </b> 2494 Signor Abbandando seems to be arguing with Fanucci, and 2495 every so often they turn and relate to where Vito is working. 2496 Then Fanucci leaves, the little bell RINGING; and Signor 2497 Abbandando reluctantly moves to Vito. 2498 2499 <b> SIG. ABBANDANDO 2500 </b> (Sicilian) 2501 Vitone. How is your son? 2502 2503 <b> VITO 2504 </b> (Sicilian) 2505 We are all well. 2506 2507 It is clear that he has something difficult to tell the 2508 young man. 2509 2510 <b> SIG. ABBANDANDO 2511 </b> Vitone...I...Fanucci has a nephew. 2512 2513 Vito looks at him a while, as the old man struggles to tell 2514 him. 2515 2516 <b> VITO 2517 </b> (Sicilian) 2518 And you must give him my job. 2519 2520 The old man nods, regretfully. 2521 2522 <b> VITO 2523 </b> (Sicilian) 2524 You have been kind to me since I 2525 was a boy; taken care of me, and 2526 been as a father. I will always be 2527 grateful to you. Thank you. 2528 2529 Vito takes off his apron, and leaves, passing the youth who 2530 loiters by the counter. 2531 2532 <b>EXT. THE STREET - DAY 2533 </b> 2534 making his way from the store. 2535 2536 <b> SIG. ABBANDANDO 2537 </b> (Sicilian o.s.) 2538 Vitone! 2539 2540 He turns, and Abbandando has followed him out of the shop, 2541 holding a basket of some groceries. 2542 2543 <b> SIG. ABBANDANDO 2544 </b> Here...for your family. 2545 2546 <b> VITO 2547 </b> No...please understand...I cannot 2548 accept. 2549 2550 <b>INT. VITO'S TENEMENT - MED. VIEW - NIGHT 2551 </b> 2552 Vito and his wife sit quietly at the table; the two are 2553 quiet and sad. 2554 2555 Suddenly, we HEAR a noise, and Vito is astonished to see a 2556 young man, PETER CLEMENZA, leaning out of the window on the 2557 other side of the air shaft which separates their apartments. 2558 2559 <b> CLEMENZA 2560 </b> Hey Paisan! Hold this for me until 2561 I ask for it. Hurry up! 2562 2563 Automatically Vito reaches over to the empty space at the 2564 air shaft, and takes the bundle of rags. Clemenza's round 2565 face is strained and urgent, obviously in some kind of 2566 trouble. Suddenly, he closes the window and there is 2567 activity that we cannot see in the other apartment. 2568 2569 Vito looks to his wife, and then closes the window and 2570 window dressing and takes the bundle into a private part of 2571 his kitchen and begins to unwrap it. 2572 2573 <b>WHAT HE SEES: 2574 </b> 2575 Five oily guns. He immediately wraps them again, and 2576 carries them to a private closet, and hides it, and returns 2577 to his wife. He sits down back at the table; and she knows 2578 not to ask him what has happened. 2579 2580 <b>EXT. NEW YORK STREETS - DAY 2581 </b> 2582 Vito is walking through the crowded streets with a group of 2583 workmen; they all wear work clothes, and paper hats on their 2584 heads. 2585 2586 Vito looks to his left, and realizes that Clemenza is 2587 walking silently with him; by contrast, Clemenza dresses well. 2588 2589 <b> CLEMENZA 2590 </b> (Sicilian) 2591 (casually) 2592 Do you have my goods still? 2593 2594 Vito nods. 2595 2596 <b> CLEMENZA 2597 </b> (Sicilian) 2598 Did you look inside? 2599 2600 Vito, his face impassive, shakes his head 'no.' 2601 2602 <b> CLEMENZA 2603 </b> (Sicilian) 2604 I'm not interested in things that 2605 don't concern me. 2606 2607 <b>INT. DOWNTOWN ITALIAN SOCIAL CLUB - DAY 2608 </b> 2609 Vito and Clemenza drinking wine; they've become friends. 2610 2611 <b> CLEMENZA 2612 </b> (Sicilian) 2613 I have a friend who has a fine rug. 2614 Maybe your wife would like it. 2615 2616 <b> VITO 2617 </b> (Sicilian) 2618 We have no money for a rug. 2619 2620 <b> CLEMENZA 2621 </b> (Sicilian) 2622 No. He would give it away. I know 2623 how to repay a consideration. 2624 2625 Vito thinks, then nods. 2626 2627 <b> VITO 2628 </b> (Sicilian) 2629 She would like it. 2630 2631 <b>INT. HALLWAY WEALTHY APARTMENT BUILDING - DAY 2632 </b> 2633 The two men proceed up the hallway; Vito is impressed with 2634 the opulence. 2635 2636 <b> VITO 2637 </b> (Sicilian) 2638 Your friend lives in a fine building. 2639 2640 <b> CLEMENZA 2641 </b> (Sicilian) 2642 Oh yes, the very best. 2643 2644 Clemenza knocks on the door as though he is well known here; 2645 then rings. No answer. 2646 2647 <b> CLEMENZA 2648 </b> (Sicilian) 2649 Ah, he's not at home. Oh, well, he 2650 wouldn't mind. 2651 2652 Quickly and expertly he takes out a tool and pries open the 2653 door. 2654 2655 <b>INT. WEALTHY APARTMENT - FULL VIEW - DAY 2656 </b> 2657 Vito looks in awe at the luxurious apartment, which features 2658 a fabulous rich red wool rug. 2659 2660 Clemenza immediately moves some of the furniture away, and 2661 drops to the floor. 2662 2663 <b> CLEMENZA 2664 </b> A little help. 2665 2666 Vito joins him, and the two begin rolling the rug. We HEAR 2667 a BUZZER RING. Clemenza immediately drops his side of the 2668 roll, and moves to the window. He pulls a gun from his 2669 jacket. 2670 2671 VIEW ON Vito watching. He moves so he can see out the window. 2672 2673 <b>THEIR VIEW 2674 </b> 2675 A Policeman stands at the exterior door, waiting. He rings 2676 the buzzer again. 2677 2678 <b>VIEW ON CLEMENZA 2679 </b> 2680 cocking his gun. Vito realizes that if the Policeman should 2681 pursue it any further he is a dead man. The Policeman gives 2682 up and leaves. 2683 2684 Clemenza puts away his gun. 2685 2686 <b>INT. VITO'S TENEMENT HALLWAY - DAY 2687 </b> 2688 The two men run up the steps, laughing, carrying the fine rug. 2689 2690 <b>INT. VITO'S TENEMENT - DAY 2691 </b> 2692 They are on their knees cutting the rug to fit the small 2693 room. Carmella watches, holding the baby SANTINO. 2694 2695 <b>MED. CLOSE ON CLEMENZA 2696 </b> 2697 Like a professional, cutting quickly, with the proper tools. 2698 He sings as he works. 2699 2700 <b> DISSOLVE TO: 2701 </b> 2702 <b>EXT. DOWNTOWN WAREHOUSE - NIGHT 2703 </b> 2704 Clemenza knocks on the steel door of this downtown building. 2705 Vito waits with him, holding some packages; and another 2706 youth, TESSIO, tall and thin and deadly waits with them. 2707 2708 The door is lifted, and they are greeted by a bright, 2709 middle-aged Italian named AUGUSTINO who leads them into a 2710 machine shop. 2711 2712 <b>INT. MACHINE SHOP - NIGHT 2713 </b> 2714 <b> CLEMENZA 2715 </b> (Sicilian) 2716 Good, you waited for us. 2717 2718 Clemenza looks up on a higher level. 2719 2720 <b>HIS VIEW 2721 </b> 2722 There is a nine year old boy, operating a drill press. 2723 2724 <b>MED. VIEW 2725 </b> 2726 <b> TESSIO 2727 </b> (Sicilian) 2728 Who is he? 2729 2730 <b> AUGUSTINO 2731 </b> (Sicilian) 2732 My son, Carmine...it's all right. 2733 2734 The men then quickly open the packages they've brought; 2735 revealing gun, including a more sophisticated machine weapon. 2736 2737 Augustino takes them and expertly begins to clean and 2738 prepare them. 2739 2740 <b> CLEMENZA 2741 </b> (Sicilian) 2742 (to Vito) 2743 Paisan Augustino was a gunsmith in 2744 the Italian army. We do each other 2745 favors. 2746 2747 <b> AUGUSTINO 2748 </b> (Sicilian) 2749 (while he works) 2750 My boy is studying the flute. He 2751 plays very well. He helps me at 2752 night so we can buy him a silver 2753 flute someday. Now he has one made 2754 of wood. Carmine...play...play for 2755 my friends. 2756 2757 <b>VIEW ON THE BOY 2758 </b> 2759 wide-eyed... he shuts off the press; and takes out a shabby 2760 wooden flute. And begins to play a simple and pure melody. 2761 2762 <b>CLOSE ON VITO 2763 </b> 2764 listening. 2765 2766 <b>CLOSE ON AUGUSTINO 2767 </b> 2768 proudly smiling, as he prepares the machine gun. 2769 2770 <b>CLOSE ON TESSIO 2771 </b> 2772 listening, smiling. 2773 2774 <b>FULL VIEW 2775 </b> 2776 The men listening, as the boy's father prepares their guns. 2777 2778 <b>EXT. WAREHOUSE AREA - NIGHT 2779 </b> 2780 Tessio and Clemenza quickly load racks of cheap dresses. 2781 2782 Vito sits behind the wheel of the truck. He seems reserved, 2783 and we get the impression that he is studying every move his 2784 two friends are making. 2785 2786 <b>INT. TENEMENT STAIRS - DAY 2787 </b> 2788 Clemenza runs up a flight of stairs with an armful of 2789 dresses. He knocks on a door, and a pretty HOUSEWIFE answers. 2790 2791 <b> CLEMENZA 2792 </b> (Sicilian) 2793 Lady, I got a bargain on these 2794 dresses. Five dollars each. You 2795 gotta pay at least fifteen, maybe 2796 twenty in a store. Look at them, 2797 first class. 2798 2799 He holds the dresses up and the woman seems interested. She 2800 handles a couple of them and stands aside so Clemenza can 2801 enter her apartment. 2802 2803 <b> WOMAN 2804 </b> (Sicilian) 2805 I don't know which one I like best. 2806 2807 She holds the dresses against her body, Clemenza approving 2808 of each one; and then she goes to her purse and takes out 2809 five singles and gives them to him. 2810 2811 <b> CLEMENZA 2812 </b> (Sicilian) 2813 You'd look beautiful in all of 2814 these. You should buy at least two. 2815 2816 <b> WOMAN 2817 </b> (Sicilian) 2818 Are you kidding? My husband will 2819 kill me if he knows I paid five 2820 dollars for one dress. 2821 2822 She holds one up, then another. She is torn. Clemenza 2823 shakes his head and straightens the dress on her body. His 2824 hand brushes her arm; she looks at him smiling. 2825 2826 <b> CLEMENZA 2827 </b> (Sicilian) 2828 You can have two for five. 2829 2830 She smiles back. 2831 2832 <b>EXT. TENEMENT BUILDING - DAY 2833 </b> 2834 Clemenza jumps down the stairs, and out to the middle of the 2835 street, where Vito and Tessio are waiting in the car with 2836 some of the stock. 2837 2838 <b> TESSIO 2839 </b> (Sicilian) 2840 What took so long? 2841 2842 <b> CLEMENZA 2843 </b> (Sicilian) 2844 She couldn't decide. 2845 2846 Tessio and Clemenza each take more armsful of dresses and 2847 divide the neighborhood. 2848 2849 <b> CLEMENZA 2850 </b> (Sicilian) 2851 Vito, take the rest of the stock 2852 over to Dandine's warehouse; he'll 2853 move it to a wholesaler. 2854 2855 The three part. Vito drives the truck off. 2856 2857 <b>MOVING VIEW 2858 </b> 2859 Vito drives the truck through the downtown streets; he turns 2860 a corner and stops for a light. 2861 2862 Suddenly, to his left, he sees the formidable figure of 2863 Fanucci. 2864 2865 He grabs young Corleone by the shoulder. 2866 2867 <b>CLOSE VIEW ON FANUCCI 2868 </b> 2869 frightening, revealing the large circular scar, now healed. 2870 2871 <b> FANUCCI 2872 </b> (Sicilian) 2873 Ahhh, young fellow. People tell me 2874 you're rich, you and your two 2875 friends. Yet, you don't show 2876 enough respect to send a few 2877 dresses to my home. You know I 2878 have three daughters. 2879 2880 Vito says nothing. Fanucci thumbs through the stock. 2881 2882 <b> FANUCCI 2883 </b> (Sicilian) 2884 This is my neighborhood. You and 2885 your friends have to show me a 2886 little respect, ah? This truck you 2887 hijacked was in my neighborhood. 2888 You should let me wet my beak a 2889 little. 2890 2891 Fanucci takes a few of the dresses. 2892 2893 <b> FANUCCI 2894 </b> (Sicilian) 2895 I understand each of you cleared 2896 around six hundred dollars. I 2897 expect two hundred dollars for my 2898 protection and I'll forget the 2899 insult. After all, young people 2900 don't know the courtesies due a man 2901 like myself. 2902 2903 Vito smiles at him and nods. 2904 2905 <b> FANUCCI 2906 </b> (Sicilian) 2907 Otherwise the police will come to 2908 see you and your wife and children 2909 will be dishonored and destitute. 2910 Of course, if my information as to 2911 your gains is incorrect, I'll dip 2912 my beak just a little. Just a 2913 little, but no less than one 2914 hundred dollars, and don't try to 2915 deceive me, eh paisan? 2916 2917 <b> VITO 2918 </b> (Sicilian) 2919 (quietly) 2920 My two friends have my share of the 2921 money. I'll have to speak to them 2922 after we deliver these to the 2923 wholesaler. 2924 2925 <b> FANUCCI 2926 </b> (Sicilian) 2927 You tell your friends I expect them 2928 to let me wet my beak in the same 2929 manner. Don't be afraid to tell 2930 them. Clemenza and I know each 2931 other well, he understands these 2932 things. Let yourself be guided by 2933 him. He has more experience in 2934 these matters. 2935 2936 <b> VITO 2937 </b> (Sicilian) 2938 (shrugging innocently) 2939 You must understand, this is all 2940 new to me... 2941 2942 <b> FANUCCI 2943 </b> (Sicilian) 2944 I understand... 2945 2946 <b> VITO 2947 </b> (Sicilian) 2948 But thank you for speaking to me as 2949 a Godfather. 2950 2951 <b> FANUCCI 2952 </b> (Sicilian) 2953 (impressed) 2954 You're a good fellow. 2955 2956 He takes Vito's hands and clasps them in his own. 2957 2958 <b> FANUCCI 2959 </b> (Sicilian) 2960 You have respect. A fine thing in 2961 the young. Next time, speak to me 2962 first, eh? Perhaps I can help you 2963 make your plans. 2964 2965 Fanucci turns with the dresses draped over his arms, waving 2966 to Vito. 2967 2968 Vito throws the truck in gear, and drives off. 2969 2970 <b>CLOSE VIEW ON VITO 2971 </b> 2972 We know that throughout this encounter he has seethed with 2973 an icy rage. 2974 2975 <b>INT. VITO'S APARTMENT - MED. VIEW - NIGHT 2976 </b> 2977 He wife serves a dinner for her husband and his two friends. 2978 They discuss Fanucci as they eat. 2979 2980 <b> TESSIO 2981 </b> (Sicilian) 2982 Do you think he'd be satisfied with 2983 the two hundred dollars? I think 2984 he would. 2985 2986 <b> CLEMENZA 2987 </b> (Sicilian) 2988 That scar-faced bastard will find 2989 out what we got from the wholesaler. 2990 He won't take a dime less than 2991 three hundred dollars. 2992 2993 <b> TESSIO 2994 </b> (Sicilian) 2995 What if we don't pay? 2996 2997 <b> CLEMENZA 2998 </b> (Sicilian) 2999 (gestures, it's hopeless) 3000 You know his friends...real animals. 3001 And his connections with the police. 3002 Sure he'd like us to tell him our 3003 plans so he can set us up for the 3004 cops and earn their gratitude. 3005 Then they would owe him a favor; 3006 that's how he operates. We'll have 3007 to pay. Three hundred, are we 3008 agreed? 3009 3010 <b> TESSIO 3011 </b> (Sicilian) 3012 What can we do? 3013 3014 Clemenza doesn't even bother checking for Vito's opinion. 3015 3016 <b> CLEMENZA 3017 </b> (Sicilian) 3018 They say Fanucci has a license from 3019 Maranzalla himself to work this 3020 neighborhood. 3021 3022 <b> VITO 3023 </b> (Sicilian) 3024 If you like, why not give me fifty 3025 dollars each to pay Fanucci. I 3026 guarantee he will accept that 3027 amount from me. 3028 3029 <b> TESSIO 3030 </b> (Sicilian) 3031 When Fanucci says two hundred he 3032 means two hundred. You can't talk 3033 with him. 3034 3035 <b> VITO 3036 </b> (Sicilian) 3037 I'll reason with him. Leave 3038 everything in my hands. I'll 3039 settle this problem to your 3040 satisfaction. 3041 3042 Tessio and Clemenza regard him suspiciously. 3043 3044 <b> VITO 3045 </b> (Sicilian) 3046 I never lie to people I've accepted 3047 as my friends. Speak to Fanucci 3048 yourself tomorrow. Let him ask you 3049 for the money, but don't pay it, 3050 and don't in any way quarrel with 3051 him. Tell him you have to get the 3052 money and will send me as your 3053 messenger. Let him understand that 3054 you're willing to pay what he asks, 3055 don't bargain. I'll go to his 3056 house, and quarrel with him. He 3057 likes me; enjoys explaining how 3058 things are here. He uses ten 3059 sentences when he only needs one, 3060 so while he talks, I'll kill him. 3061 3062 Clemenza, irritated, makes a large belch, and washes his 3063 food down with wine. 3064 3065 <b> CLEMENZA 3066 </b> (Sicilian) 3067 Vitone! 3068 (to Tessio) 3069 Our driver has drunk too much wine. 3070 3071 <b> TESSIO 3072 </b> (Sicilian) 3073 (laughs at himself) 3074 He's going to kill Fanucci. 3075 3076 <b> CLEMENZA 3077 </b> (Sicilian) 3078 (stern) 3079 Then, after that, what? Joe 3080 'Little Knife' Pisani; Willie 3081 Bufalino, maybe, Mr. Maranzalla 3082 himself, c'mon! 3083 3084 <b> VITO 3085 </b> (Sicilian) 3086 Fanucci is not connected; he is 3087 alone. 3088 3089 <b> CLEMENZA 3090 </b> (Sicilian) 3091 (sarcastically) 3092 What? You read it in the papers? 3093 3094 <b> VITO 3095 </b> (Sicilian) 3096 This man informs to the police; 3097 this man allows his vengeance to be 3098 bought off... No, he is alone. 3099 3100 <b> TESSIO 3101 </b> (Sicilian) 3102 If you're wrong... 3103 3104 <b> VITO 3105 </b> (Sicilian) 3106 If I'm wrong, they will kill me. 3107 3108 Both Clemenza and Tessio are impressed with their young 3109 friend; his willingness to risk his life on his perception 3110 of the situation. 3111 3112 <b>EXT. NEW YORK STREET - MED. VIEW - NIGHT 3113 </b> 3114 A ten piece Italian street band plays in front of the church 3115 to commemorate the first night of the Festa di San Gennaro. 3116 People swarm in crowds, delighted by the music, as out of 3117 the church four men carry the statue of San Gennaro down to 3118 the street. 3119 3120 <b>MOVING VIEW 3121 </b> 3122 Clemenza moves along the booths that have been set up along 3123 the street: sausage cooking on an open fire; pork livers and 3124 sweetbeards. He stops for a sandwich, and makes an irritated 3125 gesture when the vendor expects to be paid. He crosses to a 3126 church-sponsored booth with a great Wheel of Fortune, and 3127 slaps a dollar on a number. Standing next to him is Vito; 3128 they embrace. 3129 3130 <b> CLEMENZA 3131 </b> (Sicilian) 3132 (quietly) 3133 All three daughters are at church; 3134 he is alone. It's important that 3135 you let his neighbors see you leave. 3136 Tessio has broken the latch on the 3137 skylight of his building. 3138 3139 The wheel stops; they both lose. 3140 3141 <b> CLEMENZA 3142 </b> (English) 3143 See, Brother Carmello, even the 3144 church makes numbers. 3145 3146 <b> PRIEST 3147 </b> (English) 3148 It's only the way we collect that's 3149 different. 3150 3151 Vito has left while Clemenza jokes with the Priest. 3152 3153 <b>EXT. FESTA STREET - NIGHT 3154 </b> 3155 Vito passes the booths of food, crossing toward a small and 3156 dark club. 3157 3158 <b>INT. SOCIAL CLUB - NIGHT 3159 </b> 3160 We can still HEAR the crowds and music of the festa. Vito 3161 enters; the club is empty, except for the large white figure 3162 sitting alone at a small table. Fanucci barely acknowledges 3163 Vito as he joins him. 3164 3165 Without a word, Vito counts out two hundred dollars on the 3166 table. Fanucci looks, then takes off his fedora and puts it 3167 on the table over the money. 3168 3169 <b> FANUCCI 3170 </b> (Sicilian) 3171 I think there's only two hundred 3172 dollars under my hat. 3173 (he peeks) 3174 I'm right. Only two hundred dollars. 3175 3176 <b> VITO 3177 </b> (Sicilian) 3178 I'm a little short. I've been out 3179 of work. Let me owe you the money 3180 for a few weeks. 3181 3182 <b> FANUCCI 3183 </b> (Sicilian) 3184 Ah, you're a sharp young fellow. 3185 How is it I've never noticed you 3186 before 3187 (he takes the two 3188 hundred and pours 3189 some wine for Vito) 3190 You're too quiet for your own 3191 interest. I could find some work 3192 for you to do that would be very 3193 profitable. 3194 (he rises) 3195 No hard feelings, eh? If I can 3196 ever do you a service let me know. 3197 You've done a good job for yourself 3198 tonight. 3199 3200 <b>EXT. FESTA STREET - MED. VIEW - NIGHT 3201 </b> 3202 By now the musicians have left, but still families are 3203 walking the street, and stopping at the booths. 3204 3205 Fanucci stands there a moment; he is known by everyone, and 3206 considers himself highly loved. 3207 3208 Then Fanucci begins the walk through the festa, on his way 3209 home. 3210 3211 <b>EXT. ROOFTOPS - MOVING VIEW - NIGHT 3212 </b> 3213 Vito silently moves along the rooftop; paralleling Fanucci's 3214 walk. 3215 3216 We HEAR the sounds of the festa, and every so often catch a 3217 glimpse of the patterned lights, and the crowds below. 3218 3219 <b>EXT. FESTA STREETS - MOVING VIEW ON FANUCCI - NIGHT 3220 </b> 3221 walking through the crowded streets. The statue of San 3222 Gennaro is arranged in some midnight religious ceremony. 3223 3224 The VIEW LIFTS UP, to the rooftops. 3225 3226 <b>EXT. THE ROOFTOPS - NIGHT 3227 </b> 3228 Vito makes the leap that separates two buildings; then 3229 crosses toward the large skylight in the center of the 3230 building. 3231 3232 <b>EXT. THE STREETS - NIGHT 3233 </b> 3234 The procession in the streets is preceded by ten altar boys; 3235 and the glittering Monstrance, something of an altar carried 3236 out into the streets. 3237 3238 The priest begins this nocturnal service, as the crowds in 3239 the street kneel down in prayer. 3240 3241 <b>INT. FANUCCI'S BUILDING - NIGHT 3242 </b> 3243 Fanucci unlocks the door to his building; we can HEAR the 3244 services in the background. 3245 3246 <b>EXT. THE ROOFTOP - NIGHT 3247 </b> 3248 Vito tries the trap door on the roof; it is stuck firmly 3249 shut; despite Clemenza's instructions. He struggles with 3250 it, but no luck. 3251 3252 From the distance, the Choir begins to Latin. Vito moves 3253 around the skylight, to an identical trap, tries this one; 3254 it opens. 3255 3256 <b>EXT. THE MONSTRANCE - MED. VIEW ON THE PRIEST - NIGHT 3257 </b> 3258 performing the services in Latin. The ten altar boys are in 3259 attendance. 3260 3261 <b>EXT. THE ROOFTOP - NIGHT 3262 </b> 3263 Vito reaches down into the trap, and pulls out the newly 3264 oiled gun that has been left for him. He slides down into 3265 the building. 3266 3267 <b>INT. FANUCCI'S HALLWAY - DOWN ANGLE - NIGHT 3268 </b> 3269 Fanucci proceeds up the staircase with loud, heavy steps. 3270 An OLD WOMAN on one of the flights sees him, and immediately 3271 moves to her apartment. 3272 3273 <b> FANUCCI 3274 </b> (Sicilian) 3275 What's the matter, Signora? You 3276 don't say 'good evening'? 3277 3278 <b> WOMAN 3279 </b> (Sicilian) 3280 'Good evening,' Signor Fanucci. 3281 3282 She quickly disappears behind her door. Fanucci laughs, 3283 continues up, singing to himself. The MASS outside is 3284 always in evidence. 3285 3286 <b>INT. HALLWAY - NIGHT 3287 </b> 3288 Vito climbs down from the attic, and finds Fanucci's rear 3289 door open. He slips in, and makes his way past the open 3290 windows, out of which pour the music and chanting of the 3291 Mass. Slowly and quietly he pulls them down, shut. 3292 3293 He moves quietly to a glass door, and peeks out. 3294 3295 <b>WHAT HE SEES: 3296 </b> 3297 Three young women, Fanucci's DAUGHTERS, laughing and talking. 3298 3299 <b>VIEW ON VITO 3300 </b> 3301 A slip up. Tessio had said they were out. He steps outside 3302 to the alley where he can look into the apartment. 3303 3304 <b>ANOTHER VIEW 3305 </b> 3306 Fanucci opens the door of his apartment, and enters. 3307 3308 <b>CLOSE VIEW ON VITO 3309 </b> 3310 He begins to wrap the gun. 3311 3312 <b>VIEW ON THE DAUGHTERS 3313 </b> 3314 Their father greets them with a kiss; and a little religious 3315 gift he has bought for each. 3316 3317 <b>CLOSE ON THE GUN 3318 </b> 3319 wrapped in this primitive method of a silencer. The VIEW 3320 TILTS to Vito, caught in the dilemma of having to kill all 3321 or none of them. Then something catches his eye. 3322 3323 <b>WHAT HE SEES: 3324 </b> 3325 A small gray alley cat is attracted to the young man, comes 3326 up to him and rubs itself against him. Vito rubs the 3327 animal, speaking softly in Sicilian, then, gaining its 3328 confidence, lifts it up and carefully lets it into Fanucci's 3329 apartment. 3330 3331 He steps back, holding the gun. We HEAR some Italian 3332 shouted in the house; a loud sound from the cat, and some of 3333 the thumping footsteps of Fanucci. 3334 3335 <b>VIEW ON VITO 3336 </b> 3337 holding the wrapped gun, waiting. 3338 3339 <b>WHAT HE SEES: 3340 </b> 3341 The white blob of Fanucci opening the door and cursing in 3342 Italian as he throws the cat out. 3343 3344 <b>VIEW ON VITO 3345 </b> 3346 squeezing the trigger; the muffled, but still LOUD BLAST 3347 resounding in the building. 3348 3349 <b>VIEW ON FANUCCI 3350 </b> 3351 He holds onto the door frame, trying to stand erect, trying 3352 to reach for his gun. The force of his struggle has torn 3353 the buttons off his jacket and made it swing loose. His gun 3354 is exposed but so is a spidery vein on the white shirtfront 3355 of his stomach. Carefully, as if plunging a needle into 3356 this vein, Vito Corleone fires a second bullet. 3357 3358 Fanucci falls to his knees, propping the door open, giving a 3359 terrible groan. We begin to hear the VOICES of girls inside 3360 the apartment. 3361 3362 Vito quickly opens his wallet, removes the two hundred, 3363 quickly fires one last bullet into Fanucci's sweaty cheek. 3364 Now the towel the gun was wrapped with catches fire, 3365 literally on Vito's hand; quickly he throws it to the 3366 ground, stamps it out...and disappears upward. 3367 3368 <b>EXT. THE ROOFTOPS - MED. VIEW - NIGHT 3369 </b> 3370 Vito moves like a cat along the rooftops; we HEAR the 3371 conclusion of the Mass down below. 3372 3373 <b>CLOSE ON VITO 3374 </b> 3375 Pausing; we can SEE the great spectacle of lights and 3376 candles on the streets below. 3377 3378 He empties the gun of bullets and smashes the barrel against 3379 the side of the roof ledge. He reverses it in his hand, and 3380 breaks the butt into two separate halves against the chimney. 3381 He smashes it again, and the pistol breaks into barrel and 3382 handle, two separate pieces. 3383 3384 He then moves along the rooftop, dropping the two separate 3385 fragments into various air shafts. 3386 3387 <b>EXT. THE STREET PROCESSION - MOVING VIEW - NIGHT 3388 </b> 3389 The Priest, having completed the ceremony, follows as the 3390 Monstrance is carried off through the streets, as the Choir 3391 sings. 3392 3393 <b>EXT. THE ROOFTOPS - MOVING VIEW - NIGHT 3394 </b> 3395 Vito is a dark figure, moving with agility across the 3396 rooftops. 3397 3398 <b>INT. FANUCCI'S VESTIBULE - MED. VIEW - NIGHT 3399 </b> 3400 The corpse that was Fanucci, stained with blood. 3401 3402 <b>EXT. PROCESSION - CLOSE VIEW - NIGHT 3403 </b> 3404 The statue of San Gennaro, followed by the altar boys. 3405 3406 <b>EXT. CORLEONE TENEMENT - MED. VIEW - NIGHT 3407 </b> 3408 Vito's wife; her baby and several friends and neighbors sit 3409 happily on the front stoop of their tenement. Some of the 3410 men drink wine poured out of a pitcher; we can still HEAR 3411 the music and night sounds of the Festa. 3412 3413 A neighbor is singing a Neapolitan song. 3414 3415 Quietly, without a word, and with only a momentary glance 3416 from his wife, Vito joins the little group; takes a glass of 3417 wine, and listens to the song. 3418 3419 <b>CLOSE VIEW ON VITO 3420 </b> 3421 listening to the song. He reaches out and takes the small 3422 hand of his son. 3423 3424 <b> VITO 3425 </b> (Sicilian) 3426 Santino, your papa loves you. 3427 3428 <b> DISSOLVE TO: 3429 </b> 3430 <b>INT. ANTHONY'S TAHOE ROOM - NIGHT 3431 </b> 3432 The room is large, lit from the outside by a bright evening. 3433 We can see the outline of many toys on the shelves built 3434 along the wall. We see the dark figure of Michael Corleone 3435 enter the room and approach the bed where his son Anthony 3436 lies curled in messy blankets. Michael quietly arranges his 3437 small hands and feet and covers the little boy. Suddenly, 3438 Anthony turns, his eyes open. He is staring, perfectly 3439 awake, at his father. 3440 3441 <b> MICHAEL 3442 </b> Can't you sleep? 3443 3444 No answer. 3445 3446 <b> MICHAEL 3447 </b> Are you alright? 3448 3449 <b> ANTHONY 3450 </b> Yes. 3451 3452 <b> MICHAEL 3453 </b> Did you like your party? 3454 3455 <b> ANTHONY 3456 </b> I got lots of presents. 3457 3458 <b> MICHAEL 3459 </b> Do you like them? 3460 3461 <b> ANTHONY 3462 </b> I didn't know the people who gave 3463 them to me. 3464 3465 <b> MICHAEL 3466 </b> They were friends. 3467 3468 He kisses his boy, and then turns. 3469 3470 <b> ANTHONY 3471 </b> Did you see my present for you? 3472 3473 <b> MICHAEL 3474 </b> No, where is it? 3475 3476 <b> ANTHONY 3477 </b> On your pillow. 3478 3479 <b> MICHAEL 3480 </b> I'm leaving very early tomorrow, 3481 before you wake up. 3482 3483 <b> ANTHONY 3484 </b> I know. How long will you be gone? 3485 3486 <b> MICHAEL 3487 </b> Just a few days. 3488 3489 <b> ANTHONY 3490 </b> Will you take me? 3491 3492 <b> MICHAEL 3493 </b> I can't. 3494 3495 <b> ANTHONY 3496 </b> Why do you have to go? 3497 3498 <b> MICHAEL 3499 </b> To do business. 3500 3501 <b> ANTHONY 3502 </b> I can help you. 3503 3504 <b> MICHAEL 3505 </b> Some day you will. 3506 3507 Michael kisses him again. 3508 3509 <b>INT. MICHAEL-KAY'S BEDROOM - NIGHT 3510 </b> 3511 The room is lit from a small night lamp on Michael's side of 3512 the large bed. 3513 3514 Kay is huddled in blankets, asleep. Michael closes the door 3515 to his room, moves to his side of the bed, and glances down 3516 to the pillow. 3517 3518 <b>VIEW ON THE PILLOW 3519 </b> 3520 is a child's drawing of a long limousine, with a man in a 3521 hat sitting in the back seat. 3522 3523 An arrow pointing to him is marked "DAD." Under it, a nine 3524 year old's handwriting says: "Do you like it? Check YES __ 3525 I liked it or NO __ I didn't like it." Michael turns, 3526 looking for a pencil, and moves to the dresser, where he 3527 places a check next to "YES." 3528 3529 He starts to cross back toward his side of the bed, when Kay 3530 turns, almost in her sleep: 3531 3532 <b> KAY 3533 </b> Michael? Why are the drapes open? 3534 3535 His eyes dart back to the curved, beautifully leaded windows 3536 of the room. The DRAPES are opened. Then, without a 3537 second's hesitation, he leaps to the floor, still holding 3538 his son's drawing, as a spray of machine gun bullets sweep 3539 across the windows; glass shattering all over the room. 3540 3541 Kay screams out; rising, still half-asleep. Michael crawls 3542 toward her, and pulls her down to the floor to him. 3543 3544 Then, for a moment, there is silence, soon filled by the 3545 shouts of men; as flashes of light sweep by the window, as 3546 guards with flashlights come running. 3547 3548 Michael holds Kay to him, knowing they have both survived, 3549 and then gently: 3550 3551 <b> MICHAEL 3552 </b> Go with the kids. 3553 3554 <b>EXT. THE TAHOE ESTATE - NIGHT 3555 </b> 3556 Suddenly, the great floodlights are turned on, bathing lawns 3557 in an intense blue light. 3558 3559 Groups of ordinarily dressed security men drawn in from all 3560 directions; a state of confusion prevails. There is no sign 3561 of the attackers. 3562 3563 <b>VIEW BY MICHAEL'S HOUSE 3564 </b> 3565 Michael is joined by Rocco Lampone, his gun drawn. 3566 3567 <b> ROCCO 3568 </b> They're still on the property. 3569 Maybe you better stay inside. 3570 3571 <b> MICHAEL 3572 </b> Keep them alive. 3573 3574 Six men take up posts by Michael's house. 3575 3576 <b> ROCCO 3577 </b> We'll try. 3578 3579 <b> MICHAEL 3580 </b> It's important. 3581 3582 He returns inside. 3583 3584 <b>EXT. MAIN GATE AND KENNELS - NIGHT 3585 </b> 3586 The character of the summer estate has changed: bright 3587 floodlights illuminate the main points of entry: the main 3588 gate; the waterway; the stone wall that encompasses the 3589 estate on all sides. 3590 3591 Several men with flashlights reinforce the guard at the main 3592 gate. 3593 3594 <b>FULL VIEW 3595 </b> 3596 Off in the distance, we see another group of men with 3597 flashlights combing the waterline. We hear indistinguishable 3598 shouts. 3599 3600 <b>VIEW ON THE KENNELS 3601 </b> 3602 The wire gates are opened, and the trained dogs go out 3603 yelping into the outer edge of the estate. 3604 3605 <b>ROOFTOP 3606 </b> 3607 One of Rocco's men turns the large floodlight scanning 3608 darkened forest areas, where men could hide. 3609 3610 <b>MOVING VIEW 3611 </b> 3612 Men with flashlights and dogs. Moving through the dark areas. 3613 3614 <b>LOOSE VIEW 3615 </b> 3616 A small Corleone launch, with a bright spotlight slowly 3617 cruises the boundaries of the estate. We SEE the silhouette 3618 of men with guns, quietly waiting and watching. 3619 3620 <b>EXT. MICHAEL'S HOUSE - NIGHT 3621 </b> 3622 Some of the bodyguards by the shattered windows of Michael's 3623 bedroom. 3624 3625 The curtains are drawn from inside. 3626 3627 <b>INT. MICHAEL'S HOUSE - NIGHT 3628 </b> 3629 Kay, the children, and some women servants have come down 3630 from the various rooms into the central living area, that 3631 can be most easily secured. The little girl is still 3632 asleep; they make you think of an immigrant family, with 3633 their blankets and frightened faces, all waiting in a 3634 central room. 3635 3636 Michael goes up to Kay, squeezes her hand, and whispers: 3637 3638 <b> MICHAEL 3639 </b> It will be all right. We were lucky. 3640 3641 She says nothing; but her face expresses the anger she feels 3642 over the jeopardy Michael has placed his children in. She 3643 holds her young daughter in her arms. 3644 3645 The door opens, and Rocco enters. He quickly realizes he is 3646 holding his gun in plain view in front of the family, and 3647 puts it away. Michael moves to him, and they talk a distance 3648 away from Kay. 3649 3650 <b> ROCCO 3651 </b> Your family all seem to be okay in 3652 the other houses; your Mother's 3653 still sleeping. 3654 3655 <b> MICHAEL 3656 </b> And? 3657 3658 <b> ROCCO 3659 </b> No sign of them yet; but they're 3660 still on the Estate. 3661 3662 We HEAR loud shouting from outside. 3663 3664 <b> DEANNA (O.S.) 3665 </b> Goddamn you! You're all nuts here, 3666 I'm not goin' to calm down... 3667 3668 <b>MICHAEL'S VIEW 3669 </b> 3670 Through the door, that Rocco opens. 3671 3672 Deanna, in her nightgown, has been frightened by the 3673 gunshots; while Fredo in his bathrobe, tries to get her back 3674 into the house. 3675 3676 <b> FREDO 3677 </b> Deanna, will you get back into the 3678 house! 3679 3680 <b> DEANNA 3681 </b> I'm getting out of here I said; 3682 these guys all have guns! 3683 3684 <b> MICHAEL 3685 </b> Fredo, can't you shut that woman up! 3686 (to Rocco's men) 3687 Get her in here! 3688 3689 The bodyguards, gracefully help Fredo bring the hysterical 3690 Deanna into the safety of the house. 3691 3692 <b> DEANNA 3693 </b> (whimpering) 3694 I don't want to stay here... 3695 3696 <b> FREDO 3697 </b> Mike, what can I do, she's a 3698 hysterical woman... 3699 3700 <b> KAY 3701 </b> Leave her alone! You're talking as 3702 though she has no right to be 3703 frightened when there are machine 3704 guns going off in her backyard. 3705 3706 <b> MICHAEL 3707 </b> (to Rocco) 3708 Have Tom Hagen meet me in the 3709 Harbor House. 3710 3711 <b>EXT. TAHOE ESTATE - HIGH ANGLE - NIGHT 3712 </b> 3713 Michael walks the short distance from his house, to the 3714 boathouse where he conducts his business away from his family. 3715 3716 A small group of bodyguards, carrying machine guns, make the 3717 walk with him from all sides, a respectful distance away. 3718 It gives the appearance of a lonely President moving in his 3719 compound, followed by teams of Secret Service men. 3720 3721 The boathouse is already secured by teams of men, hastily 3722 wakened from their lodge house; a barracks-like structure 3723 where reinforcements are lodged just for this kind of 3724 emergency. 3725 3726 <b>FULL VIEW 3727 </b> 3728 In the distance, we can see the teams of men and dogs, with 3729 their lights, guns and shouts, combing every inch of the 3730 estate. 3731 3732 <b>INT. THE BOATHOUSE - EMPTY VIEW - NIGHT 3733 </b> 3734 Michael alone in the great room. He moves to a walk-in 3735 safe, quickly runs through the combination, and opens it. 3736 He takes out an envelope, and puts it into his pocket; 3737 there's a KNOCK on the door, and Hagen enters. He had been 3738 asleep, and has quickly thrown on a robe. 3739 3740 <b> MICHAEL 3741 </b> Sit down, Tom. 3742 3743 <b>EXT. TAHOE BOATHOUSE - NIGHT 3744 </b> 3745 From outside the leaded windows, a disoriented Hagen sits 3746 down; Michael starts to talk to him; obviously about 3747 something very serious. 3748 3749 The patrol securing the boathouse, walk past the window. 3750 Michael says something to Tom, who rises, and pulls the 3751 drapes, obscuring OUR VIEW. 3752 3753 <b>INT. TAHOE BOATHOUSE - NIGHT 3754 </b> 3755 Michael talks intimately to Tom. 3756 3757 <b> MICHAEL 3758 </b> There's a lot I can't tell you, Tom. 3759 I know that's upset you in the 3760 past; and you've felt that it was 3761 because of some lack of trust or 3762 confidence. But it is because I do 3763 trust you that I've kept so much 3764 secret from you. It's precisely 3765 that at this moment, you are the 3766 only one that I can completely 3767 trust. In time, you'll understand 3768 everything. 3769 3770 <b> HAGEN 3771 </b> (nods with this statement) 3772 But your people... Neri... Rocco; 3773 you don't think... 3774 3775 <b> MICHAEL 3776 </b> No, I have confidence in their 3777 loyalty... but this is life and 3778 death, and Tom, you are my brother. 3779 3780 Hagen in very moved. 3781 3782 <b> HAGEN 3783 </b> Mikey, I hoped... 3784 3785 <b> MICHAEL 3786 </b> No Tom, just listen. All my people 3787 are businessmen; their loyalty is 3788 based on that. One thing I learned 3789 from my father is to try to think 3790 as the people around you think...and 3791 on that basis, anything is possible. 3792 Fredo has a good heart, but he is 3793 weak...and stupid, and stupid 3794 people are the most dangerous of 3795 all. I've kept you out of things, 3796 Tom, because I've always known that 3797 your instincts were legitimate, and 3798 I wanted you to know very little of 3799 things that would make you an 3800 accomplice, for your own protection. 3801 I never blamed you for the setbacks 3802 the family took under Sonny; I know 3803 you were in a position of limited 3804 power, and you did your best to 3805 advise and caution him. What I am 3806 saying is that now, for how long I 3807 do not know, you will be the Don. 3808 If what I think has happened is 3809 true; I will leave tonight, and 3810 absolutely no one will know how to 3811 contact me. And even you are not 3812 to try to reach me unless it is 3813 absolutely necessary. I give you 3814 complete power: over Neri... Fredo, 3815 everyone. I am trusting you with 3816 the lives of my wife and children, 3817 and the future of this family, 3818 solely resting on your judgment and 3819 talent. 3820 3821 <b>VIEW ON HAGEN 3822 </b> 3823 A man who has steadily declined over the last five years, 3824 realizing that total power and responsibility is being 3825 placed on him. 3826 3827 <b> MICHAEL 3828 </b> (continuing) 3829 ...But Tom, you must know that I do 3830 this only because I believe you are 3831 the only one who is capable of 3832 taking over for me. 3833 3834 <b>VIEW ON MICHAEL 3835 </b> 3836 taking out the envelope. 3837 3838 <b> MICHAEL 3839 </b> I've prepared this; have had it for 3840 over a month. It won't explain 3841 everything; but indicates where I 3842 will be, so in a sense, it is my 3843 life. 3844 (he hands the envelope 3845 to Hagen) 3846 Also, there are three tasks that 3847 must be executed immediately. Pop 3848 would have given those to Luca -- 3849 You knew Pop as well as anyone, act 3850 as though you were him. It 3851 discusses Kay as well; that will be 3852 the most difficult. The men who 3853 tried to kill me tonight, will 3854 never leave the estate. 3855 3856 <b> HAGEN 3857 </b> Will we...be able to get who 3858 ordered it out of them? 3859 3860 <b> MICHAEL 3861 </b> I don't think so. Unless I'm very 3862 wrong...they're already dead. 3863 Killed by someone inside...very 3864 frightened that they botched it. 3865 That's why I am going to disappear 3866 in a few minutes, and leave 3867 everything to you. 3868 3869 <b> HAGEN 3870 </b> But if you're wrong... 3871 3872 <b> MICHAEL 3873 </b> If I'm wrong... 3874 3875 There is a KNOCK on the door. 3876 3877 <b> MICHAEL 3878 </b> ...I don't think I'm wrong. 3879 (he indicates the knock) 3880 Yes. 3881 3882 The door opens; it is Rocco; Michael rises, after making a 3883 knowing glance toward Tom, and moves to talk quietly to a 3884 frightened and agitated Rocco. 3885 3886 <b>EXT. STONE WALL AND STREAM - MOVING VIEW - NIGHT 3887 </b> 3888 A group of men with flashlights and guns lead Michael, Tom 3889 and Rocco to the stone bridge spanning the stream which runs 3890 through the estate. 3891 3892 <b>LOW CLOSE VIEW 3893 </b> 3894 Michael's dispassionate face, looking down. THE VIEW MOVES 3895 to Hagen's, and then down to the murky water under the 3896 bridge, where we see the bodies of three strangers, lying in 3897 the moving water; machine-type guns nearby, with their 3898 throats cut. Light from the many flashlights illuminates 3899 the grotesque scene. 3900 3901 <b> MICHAEL (O.S.) 3902 </b> Fish them out. 3903 3904 Several of the men wade down into the stream; Rocco helps, 3905 and even Tom steps down to get a better look at who they 3906 were. They are total strangers; Rocco examines the type of 3907 guns they used. 3908 3909 When they climb back onto the ground, Michael is gone. 3910 Everyone notices it, but no one says anything. 3911 3912 Hagen stands there, holding the envelope Michael had given 3913 him in his hand. 3914 3915 He realizes that now, he is the DON. 3916 3917 <b> HAGEN 3918 </b> Get rid of the bodies. Tomorrow 3919 morning I want a report made to the 3920 local police, and paper, that some 3921 explosives we keep on the property 3922 were accidentally ignited. 3923 3924 The men respond; Hagen makes the lonely walk back to the 3925 lighted section of the compound, which now resembles a 3926 prison camp. 3927 3928 <b> FADE OUT. 3929 </b> 3930 <b>FADE IN: 3931 </b> 3932 <b>INT. STATE SENATE FLOOR - DAY 3933 </b> 3934 The Senate is in session; Senator Geary is on the floor 3935 during a vote. An aide approaches him, with a slip of paper. 3936 3937 <b>INT. GEARY'S OFFICE - DAY 3938 </b> 3939 The Senator steps behind his desk. 3940 3941 <b> SENATOR GEARY 3942 </b> All right, Mr. Hagen, you've got 3943 ten minutes. 3944 3945 He flicks the switch of a small tape recorder. 3946 3947 <b> SENATOR GEARY 3948 </b> ...and the tape will be running. 3949 3950 <b> HAGEN 3951 </b> Actually, I've come with good news; 3952 the Corleone family has done you a 3953 favor. 3954 3955 The Senator immediately shuts the tape recorder off. 3956 3957 <b> SENATOR GEARY 3958 </b> What the hell are you talking about? 3959 3960 <b> HAGEN 3961 </b> We know you're a busy man, with 3962 plenty of enemies -- we saw the 3963 opportunity to do you a favor, and 3964 we did. No strings. 3965 3966 <b> SENATOR GEARY 3967 </b> No strings. 3968 3969 <b> HAGEN 3970 </b> You know there's a Senate 3971 Investigating Committee recently 3972 set up; we thought it would be 3973 unfortunate if they were to trace 3974 anything though-provoking to your 3975 name. 3976 3977 <b> SENATOR GEARY 3978 </b> No one can trace anything to me; I 3979 pride myself on that. 3980 3981 <b> HAGEN 3982 </b> Do you gamble? 3983 3984 <b> SENATOR GEARY 3985 </b> A little; what's so thought- 3986 provoking about that? 3987 3988 <b> HAGEN 3989 </b> Do you owe markers? 3990 3991 <b> SENATOR GEARY 3992 </b> Maybe two, three thousand dollars. 3993 3994 Hagen leans forward, and deposits a handful of paper on the 3995 Senator's desk. 3996 3997 <b> HAGEN 3998 </b> The Corleone family has paid them 3999 off for you...as an expression of 4000 our esteem. 4001 4002 Geary quickly looks through the paid markers. 4003 4004 <b> SENATOR GEARY 4005 </b> There's thirty grand worth of paid 4006 off markers -- I never owed that 4007 much. 4008 4009 <b> HAGEN 4010 </b> Our mistake. But what does it 4011 matter; it was our money. 4012 (rising) 4013 We don't even expect thanks. 4014 4015 <b> SENATOR GEARY 4016 </b> You paid off thirty grand I never 4017 owed. 4018 4019 <b> HAGEN 4020 </b> We'll keep it quiet; the people who 4021 know are trustworthy...the Committee 4022 needn't find out. 4023 4024 <b> SENATOR GEARY 4025 </b> And what's the price of their not 4026 finding out. 4027 4028 <b> HAGEN 4029 </b> Simple. Be friendly like us. Not 4030 hostile. 4031 4032 <b> SENATOR GEARY 4033 </b> (he despises Hagen) 4034 Thanks...friend. 4035 4036 <b>EXT. TAHOE ESTATE - FULL VIEW - DAY 4037 </b> 4038 There are more men on duty than usual; not that there are 4039 guns apparent, but it's clear that the boundaries are being 4040 patrolled. 4041 4042 <b>VIEW BY MICHAEL'S HOUSE 4043 </b> 4044 Kay exits her house, followed by her children; she helps 4045 them into her station wagon like any housewife, and drives 4046 along the path leading to the main gate. 4047 4048 She's about to drive through, when one of the men steps in 4049 front of her, raising his hand. 4050 4051 <b> KAY 4052 </b> (graciously) 4053 Yes. 4054 4055 <b> MAN 4056 </b> I'm sorry, Mrs. Corleone. We're 4057 not to let you through. 4058 4059 <b> KAY 4060 </b> (disbelieving) 4061 I'm going to the market. 4062 4063 <b> MAN 4064 </b> If you could just give us a list, 4065 we'll pick up anything you want. 4066 4067 <b> KAY 4068 </b> Whose orders are these? 4069 4070 <b> MAN 4071 </b> Mr. Hagen's, ma'am. 4072 4073 We notice Hagen walking to them in the background. 4074 4075 <b> HAGEN 4076 </b> Kay. 4077 4078 <b>VIEW THROUGH THE GATE 4079 </b> 4080 Hagen approaches the car; Kay gets out so they can talk away 4081 from the children. 4082 4083 <b> HAGEN 4084 </b> I wanted to explain this myself... 4085 I had business in Carson City. 4086 4087 He walks with her a little way from the others; the children 4088 run out of the station wagon, and start to play. 4089 4090 <b> HAGEN 4091 </b> It's Michael's request...for your 4092 safety. We can send out for 4093 anything you need. 4094 4095 <b> KAY 4096 </b> I'm supposed to stay in my house. 4097 4098 <b> HAGEN 4099 </b> Within the compound will be fine. 4100 4101 <b> KAY 4102 </b> I was supposed to take the children 4103 to New England next week. 4104 4105 <b> HAGEN 4106 </b> That's off now. 4107 4108 <b> KAY 4109 </b> I'm going to see my parents. 4110 4111 <b> HAGEN 4112 </b> Kay, Michael didn't tell me a lot; 4113 and what he did tell me, I can't 4114 repeat. But the responsibility for 4115 you and the kids was the most 4116 important thing he left me with. 4117 4118 <b> KAY 4119 </b> How long does this go on? 4120 4121 <b> HAGEN 4122 </b> I don't know. 4123 (pause) 4124 I'm sorry, Kay... 4125 4126 <b> KAY 4127 </b> Am I a prisoner? 4128 4129 <b> HAGEN 4130 </b> That's not the way we look at it. 4131 4132 Angrily, without another word, Kay turns away from him, and 4133 walks to her children, ignoring the running station wagon. 4134 4135 <b>EXT. ITALIAN LUXURY LINER - DAY 4136 </b> 4137 The luxury liner making its way across the Atlantic. 4138 4139 <b>INT. ITALIAN LUXURY LINER - MED. VIEW - DAY 4140 </b> 4141 The PURSER followed by several white uniformed associates 4142 knocks on the door of something designated the "Leonardo 4143 Suite." He is holding a telegram. 4144 4145 The door opens, and a tanned Merle peeks out of the door. 4146 4147 <b> PURSER 4148 </b> (holding up the telegram) 4149 I'm terribly sorry to disturb you 4150 but we have received two telegrams. 4151 4152 <b> MERLE 4153 </b> (reluctantly) 4154 Well...come in. 4155 4156 This entourage enters the suite, an impressive and 4157 beautifully spacious luxury suite. Connie is relaxing. 4158 4159 <b> CONNIE 4160 </b> What is it? 4161 4162 <b> PURSER 4163 </b> Yes. One is from our office in New 4164 York. The check that you wrote for 4165 your passage has been returned. 4166 4167 <b> CONNIE 4168 </b> Can't be... 4169 4170 <b> MERLE 4171 </b> Why don't you wire your bank? 4172 4173 <b> PURSER 4174 </b> The other telegram is from your 4175 bank. Your account has been closed 4176 and the company is warned not to 4177 extend any credit. 4178 4179 <b> CONNIE 4180 </b> I'll take care of it in Naples. 4181 4182 <b> PURSER 4183 </b> The company hopes so. But for now, 4184 we have orders to change your 4185 accommodations. 4186 4187 And with that, the men in white begin to pack Connie and 4188 Merle's luggage. 4189 4190 <b> CONNIE 4191 </b> That son of a bitch! 4192 4193 <b>INT. ITALIAN LUXURY LINER - TINY THIRD CLASS CABIN - NIGHT 4194 </b> 4195 Connie and Merle are attempting to sleep in the miniature 4196 cabin in bunk beds. The little space is crowded with their 4197 trunks and luggage. Merle can barely hang onto the bunk, 4198 the boat pitches so violently below. 4199 4200 <b>EXT. TRAIN TRACKS - MED. VIEW - DAY 4201 </b> 4202 A train speeds across the countryside. 4203 4204 <b>INT. THE TRAIN - DAY 4205 </b> 4206 Inside the corridor, a porter advances, and knocks on the 4207 door of a stateroom. A voice tells him to enter. OUR VIEW 4208 enters with him as he carries a tray of lunch. From this 4209 POV we see Michael Corleone sitting in the compartment. 4210 4211 <b> PORTER 4212 </b> Mr. Paul? 4213 4214 <b> MICHAEL 4215 </b> Yes. 4216 4217 <b> PORTER 4218 </b> You ordered lunch? 4219 4220 <b> MICHAEL 4221 </b> Put it right there. 4222 4223 The porter does so; as he places the tray down, he catches a 4224 glimpse of a second person in the compartment with Michael. 4225 4226 <b>HIS VIEW 4227 </b> 4228 A very fierce, almost maniacal looking man, BUSSETTA. He 4229 nods that the porter should leave. 4230 4231 <b> MICHAEL 4232 </b> Thank you. 4233 4234 The porter takes his advice and leaves quickly, closing the 4235 door behind him. 4236 4237 <b>VIEW THROUGH THE WINDOW 4238 </b> 4239 Michael and his mysterious companion have lunch together on 4240 the moving train. 4241 4242 <b>EXT. GULFSTREAM RACE TRACK IN MIAMI - HIGH FULL VIEW - DAY 4243 </b> 4244 The empty parking lot of the Gulfstream track, on an off- 4245 race day. 4246 4247 <b>CLOSER VIEW 4248 </b> 4249 Michael sits behind the wheel of a nondescript late model 4250 car. Bussetta sits in the rear. 4251 4252 Another car swings into the lot. Michael starts his car, 4253 and pulls out of the lot; the second car following. 4254 4255 <b>NEW VIEW 4256 </b> 4257 This car pulls out and begins to follow them. Michael 4258 glances back by adjusting the rear view mirror, and nods to 4259 Bussetta. 4260 4261 Michael's car begins to slow down, allowing the other car to 4262 overtake them. 4263 4264 The overtaking car hesitates a moment, moving side by side 4265 with them. 4266 4267 Michael glances toward the driver. 4268 4269 <b>MICHAEL'S VIEW 4270 </b> 4271 We recognize Johnny Ola, who waves a greeting to Michael, 4272 and then continues on to lead him. 4273 4274 <b>EXT. SUBURBAN MIAMI NEIGHBORHOOD - DAY 4275 </b> 4276 Ola's car leads Michael's through a middle-class suburban 4277 area of $30,000 to $40,000 homes. There are small channels 4278 with sporting and fishing boats parked near the houses. 4279 Ola's car pulls up in front of a very simple, tract-type 4280 home. Michael's car parks nearby. 4281 4282 <b> MICHAEL 4283 </b> (Sicilian) 4284 (to Bussetta) 4285 You'll wait in the car. 4286 4287 Ola has gotten out of his car and walks up the little path 4288 to the front door. Michael waits. 4289 4290 Ola rings the bell, and after a moment, a rather pretty, 4291 middle-aged WOMAN answers, remaining behind the screen door. 4292 Ola says a few things to her and she disappears, leaving the 4293 door open. 4294 4295 Ola comes down the steps, looks at Michael, nodding to him. 4296 Ola then gets into his car and drives off. Michael walks up 4297 the walkway and enters the little house, closing the door 4298 behind him. 4299 4300 This woman, TERRI ROTH, is in the kitchen, looking out at 4301 Michael. 4302 4303 <b> TERRI 4304 </b> I'm just going to make lunch. How 4305 about a tuna fish sandwich? 4306 4307 <b> MICHAEL 4308 </b> Thank you, Mrs. Roth. 4309 4310 She hurries halfway up the staircase. 4311 4312 <b> TERRI 4313 </b> Hyman...HYMAN, your friend is here. 4314 (turning to Michael) 4315 Why don't you go right upstairs, Mr. 4316 Paul? 4317 4318 <b> MICHAEL 4319 </b> Fine. 4320 4321 He continues upstairs; she goes into the kitchen. 4322 4323 <b> TERRI 4324 </b> I'll give a yell when lunch is ready. 4325 4326 Michael continues up to a small den on the second floor; we 4327 can HEAR the sound of a baseball game coming over the 4328 television. 4329 4330 <b>INT. HYMAN ROTH'S DEN - DAY 4331 </b> 4332 Michael enters the den: it's very comfortable, but somewhat 4333 like a senior citizen's retirement home in Florida. 4334 4335 <b>MICHAEL'S VIEW 4336 </b> 4337 There, sitting before the television is a small man in his 4338 middle sixties, thin, with a wizened face, looking like a 4339 small-time retired Jewish businessman. This is HYMAN ROTH. 4340 4341 <b> ROTH 4342 </b> Sit down, this is almost over. You 4343 follow the baseball games? 4344 4345 <b> MICHAEL 4346 </b> Not for a few years. 4347 4348 <b> ROTH 4349 </b> I like sporting events -- I really 4350 enjoy watching them in the afternoon. 4351 One of the things I love about this 4352 country. I loved baseball ever 4353 since Arnold Rothstein fixed the 4354 World Series of 1919...I heard you 4355 had some trouble. 4356 4357 <b> MICHAEL 4358 </b> Yes. 4359 4360 <b> ROTH 4361 </b> What a mistake; people behaving 4362 like that, with guns. 4363 (he shakes his head) 4364 It was my understanding we left all 4365 that behind. But, let me tell you, 4366 the important thing is that you're 4367 all right. Good health is the most 4368 important thing; more than success; 4369 more than power; more than money. 4370 4371 <b> MICHAEL 4372 </b> The incident of the other night is 4373 a nuisance that I can take care of. 4374 I came to you because I want 4375 nothing to affect our agreement; I 4376 wanted to clear everything I'm 4377 going to do with you, just in case. 4378 4379 <b> ROTH 4380 </b> You're a considerate young man. 4381 4382 <b> MICHAEL 4383 </b> You're a great man, Mr. Roth, I 4384 have much to learn from you. 4385 4386 <b> ROTH 4387 </b> (warmly) 4388 However I can help you... 4389 4390 <b> MICHAEL 4391 </b> The Rosato Brothers have performed 4392 services for you in the past; I 4393 understand that they are under your 4394 protection. 4395 4396 <b> ROTH 4397 </b> (simply) 4398 We do favors for each other... 4399 4400 <b> MICHAEL 4401 </b> Technically, they are still under 4402 the Clemenza wing of the Corleone 4403 Family, now run by Frankie 4404 Pentangeli. After Clemenza died, 4405 the Rosatos wanted territory of 4406 their own. Pentangeli refused, and 4407 came to me, asking for permission 4408 to eliminate them. I, of course, 4409 knew of their relationship with 4410 you, and in gratitude for your help 4411 with the Tropicana matter, turned 4412 him down. Pentangeli was furious, 4413 and paid one hundred and fifty 4414 thousand dollars to have me killed. 4415 I was lucky and he was stupid. 4416 I'll visit him soon. 4417 (leaning toward the 4418 old man, sincerely) 4419 The important thing is that nothing 4420 jeopardize our plans, yours and 4421 mine. This thing of ours, that we 4422 will build. 4423 4424 The old man touches Michael's hand, warmly. 4425 4426 <b> ROTH 4427 </b> Nothing is more important. 4428 4429 <b> MICHAEL 4430 </b> (quietly) 4431 Pentangeli is a dead man; do you 4432 object? 4433 4434 <b> ROTH 4435 </b> It's always bad for business; but 4436 you have no choice. 4437 4438 <b> MICHAEL 4439 </b> Then it's done. I must choose his 4440 replacement: it cannot be Rosato. 4441 4442 <b> ROTH 4443 </b> Of course you must keep control of 4444 your family. 4445 4446 He turns to Michael, turning the volume higher on the 4447 television, and moving closer to his young partner. 4448 4449 <b> ROTH 4450 </b> Michael, these things are 4451 unimportant. Who should be the 4452 manager of a dime store, Joe or 4453 Jack? Unimportant. You do what 4454 you think is right. You're a young 4455 man, and I'm old and sick. What we 4456 do together in the next few months 4457 will be history, Michael; it has 4458 never been done before. We will do 4459 this historical thing together, and 4460 even your Father could never dream 4461 it would be possible. We are 4462 bigger than U.S. Steel, you and 4463 me... because in America, anything 4464 is possible! 4465 (pause) 4466 But soon I will be dead, and it 4467 will all belong to you. 4468 4469 There is a KNOCK on the door, and Terri Roth pushes the door 4470 open with her hip. 4471 4472 <b> TERRI 4473 </b> My goodness, you'll rupture your 4474 eardrums, Hyman. 4475 4476 She puts the tray down, and turns down the television. 4477 4478 <b>EXT. ROTH'S HOUSE - MED. VIEW - DAY 4479 </b> 4480 The sinister Bussetta waits patiently in the rear seat of 4481 the car, outside Roth's modest house. 4482 4483 <b>EXT. DOWNTOWN NEW YORK - MOVING VIEW - DAY 4484 </b> 4485 A black Cadillac moves down the street, slowed by the 4486 Festivities of the Festa that is in progress: people milling 4487 around, buying souvenirs at the many stands set up. 4488 4489 Sausage and grilled meats are prepared, just as they were 4490 years ago. Electric lights are strung from the street 4491 lamps, and brightly colored banners pronounce the "Festa of 4492 the Madonna." 4493 4494 <b>MOVING CLOSE VIEW 4495 </b> 4496 Willy Cicci drives, frustrated that he cannot go any faster. 4497 Next to him, Frankie Pentangeli sits, catching a few seconds' 4498 snooze. 4499 4500 <b>MED. VIEW 4501 </b> 4502 The black car pulls up; another car that had been following 4503 it parks nearby. 4504 4505 One of Pentangeli's button men gets out of the car, and 4506 steps into a small Italian restaurant; he exits quickly, and 4507 nods affirmatively toward Pentangeli's Cadillac. 4508 4509 The group of them step out quickly, men huddled around 4510 Pentangeli, and enter the restaurant. 4511 4512 <b>INT. THE RESTAURANT - DAY 4513 </b> 4514 The restaurant is quite empty, despite the excitement out on 4515 the street. 4516 4517 Pentangeli immediately sits at a table with a tall, dark, 4518 snappily dressed young man, CARMINE ROSATO. 4519 4520 Nearby, on the other side of the room is Rosato's brother, 4521 TONY, seated with a group of their men. 4522 4523 At another table in the restaurant is a table of Pentangeli's 4524 people: they are joined by bodyguards. 4525 4526 <b> PENTANGELI 4527 </b> Rosato, where's your brother? 4528 4529 <b> ROSATO 4530 </b> Sitting right behind you. 4531 4532 Pentangeli glances behind himself. 4533 4534 <b> PENTANGELI 4535 </b> He don't want to talk? 4536 4537 <b> ROSATO 4538 </b> We worked it all out beforehand. 4539 4540 <b> PENTANGELI 4541 </b> Are we going to eat or what? 4542 4543 <b> ROSATO 4544 </b> Sure, on me. I got Diner's Club. 4545 4546 <b> PENTANGELI 4547 </b> (sarcastically) 4548 Forget it; I'm suddenly without an 4549 appetite. You're making big 4550 trouble, Carmine. 4551 4552 <b> ROSATO 4553 </b> You weren't straight with us, 4554 Frankie, what else could we do? 4555 4556 <b> PENTANGELI 4557 </b> We could have talked first, saved a 4558 lot of running around. 4559 4560 <b> ROSATO 4561 </b> You wasn't listening, you didn't 4562 want to talk. 4563 4564 <b> PENTANGELI 4565 </b> Don't I look like I'm listening? 4566 4567 <b> ROSATO 4568 </b> We want Brooklyn one hundred 4569 percent. No more taxes to you. We 4570 want to be only loosely connected 4571 with your family -- sort of a 4572 under-family all of our own. Then 4573 we can act on all internal matters 4574 without talking. Also we want you 4575 to inform Michael Corleone that we 4576 can deal directly with him. 4577 4578 <b> PENTANGELI 4579 </b> I'm a little hungry, maybe I'll 4580 order something. Joe. 4581 (one of his men) 4582 Get me some bracciole or something. 4583 And pay cash. 4584 (to Rosato) 4585 And in return for these concessions, 4586 what do you do for me? 4587 4588 <b> ROSATO 4589 </b> We will release the hostages, 4590 number one. Number two, we're here 4591 for you to count on when you need 4592 us. We're independent, but we're 4593 here if you need us. In general, 4594 we'll cooperate with you and your 4595 businesses, and you in turn will 4596 cooperate with us. Pari persu. 4597 4598 <b> PENTANGELI 4599 </b> Pari Persu; what the fuck is Pari 4600 persu...? 4601 4602 <b> ROSATO 4603 </b> My lawyer went over this beforehand. 4604 4605 <b> PENTANGELI 4606 </b> What assurances do I have that 4607 there will be no more kidnapping, 4608 no more hits? 4609 4610 <b> ROSATO 4611 </b> The same assurance we got from you. 4612 4613 <b> PENTANGELI 4614 </b> What if I say shove it? 4615 4616 <b> ROSATO 4617 </b> Then Carmine Fucillo and Tony Blue 4618 DeRosa will need to be fitted for 4619 slabs. 4620 4621 <b> PENTANGELI 4622 </b> You want a war? 4623 4624 <b> ROSATO 4625 </b> We got no choice. 4626 4627 <b> PENTANGELI 4628 </b> You know if there's a way I'll go 4629 to the commission and the commission 4630 will side with me. That puts me 4631 and the other New York families 4632 against you. 4633 4634 <b> ROSATO 4635 </b> We got friends in the commission. 4636 4637 <b> PENTANGELI 4638 </b> (getting angry) 4639 I'm talking about Italians! 4640 4641 <b> ROSATO 4642 </b> What about Michael Corleone? 4643 4644 <b> PENTANGELI 4645 </b> He supports me. 4646 4647 <b> ROSATO 4648 </b> Maybe, yes... maybe no. 4649 4650 One of Pentangeli's men approaches with a plate of Italian 4651 food. 4652 4653 Pentangeli stands up, angered by this remark of Rosato's; he 4654 pushes the dish of food out of the surprised Bodyguard's 4655 hands. 4656 4657 <b> PENTANGELI 4658 </b> You drove old Pete Clemenza to his 4659 grave, Carmine; you and your 4660 brother. Turning on him; trouble 4661 in his territories -- you and your 4662 demands. I hold you responsible, 4663 just as though you shot him in the 4664 head. And I ain't gonna let that 4665 go for long! 4666 4667 Pentangeli walks out of the restaurant; there's a little 4668 tension between the bodyguards of the two factions. 4669 4670 <b> ROSATO (O.S.) 4671 </b> Hey, Five-Angels... 4672 4673 He gives him the arm. 4674 4675 Frankie's face turns red, like he wants to have it out here 4676 and now; but Willy Cicci calms his down, and they all make 4677 their move out. 4678 4679 <b>EXT. THE RESTAURANT - DAY 4680 </b> 4681 Pentangeli gets into the car. 4682 4683 <b> PENTANGELI 4684 </b> Nobody I hate calls me Five-Angels 4685 to my face! 4686 4687 He slams the door. 4688 4689 <b>EXT. PENTANGELI'S LONG BEACH ESTATE - DAY 4690 </b> 4691 Part of the old estate of Don Corleone. By now, the wall 4692 has been torn down, and the other houses sold off. 4693 4694 His car is parked; Pentangeli steps out, still angry over 4695 the confrontation. As he approaches the house, he notices 4696 something strained about the bodyguards who discreetly guard 4697 his house. No one seems to want to tell him. 4698 4699 <b> PENTANGELI 4700 </b> What's up? 4701 4702 Pentangeli glances over to the front door foyer. 4703 4704 <b>PENTANGELI'S VIEW 4705 </b> 4706 The strange and silent Bussetta, the man who now always 4707 travels with Michael. 4708 4709 <b>INT. PENTANGELI'S HOUSE - DAY 4710 </b> 4711 Pentangeli enters; he sees his WIFE, standing oddly in the 4712 hallway. 4713 4714 <b> PENTANGELI 4715 </b> (Sicilian) 4716 What's this? 4717 4718 <b> WIFE 4719 </b> Michael Corleone. 4720 4721 <b> PENTANGELI 4722 </b> One Michael Corleone...Dove? 4723 4724 <b> WIFE 4725 </b> (Sicilian) 4726 He's in your study. 4727 4728 He knows it is very very serious for Michael to be here in 4729 his home. 4730 4731 He automatically moves into his study. 4732 4733 <b>INT. PENTANGELI'S STUDY - DAY 4734 </b> 4735 Michael stands quietly in the room. This was once his 4736 father's study, although it is totally redecorated. 4737 Pentangeli starts sweating, and moves toward the young Don, 4738 and kisses his hand. 4739 4740 <b> PENTANGELI 4741 </b> Don Corleone, I wish you let me 4742 know you was coming. We could have 4743 prepared something for you. 4744 4745 <b> MICHAEL 4746 </b> I didn't want you to know I was 4747 coming. You heard what happened in 4748 my home? 4749 4750 <b> PENTANGELI 4751 </b> Michael, yes, we was all relieved... 4752 4753 <b> MICHAEL 4754 </b> (furious) 4755 In my home! In the same room where 4756 my wife was sleeping; where my 4757 children come in their pajamas, and 4758 play with their toys. 4759 4760 He's terrified Pentangeli with his anger; then, just as 4761 suddenly, he talks quietly, calmly. 4762 4763 <b> MICHAEL 4764 </b> I want you to help me take my 4765 revenge. 4766 4767 <b> PENTANGELI 4768 </b> Michael, anything. What is it I 4769 can do for you? 4770 4771 <b> MICHAEL 4772 </b> I want you to settle these troubles 4773 with the Rosato Brothers. 4774 4775 <b> PENTANGELI 4776 </b> I was just going to contact you, 4777 Michael; we just had a 'sit-down' - 4778 in fact, I just come from there. 4779 4780 <b> MICHAEL 4781 </b> I want you to settle on their terms. 4782 4783 <b> PENTANGELI 4784 </b> Mike, I don't understand. Don't 4785 ask me to do that. 4786 4787 <b> MICHAEL 4788 </b> Trust me; do as I ask. 4789 4790 <b> PENTANGELI 4791 </b> It would be the beginning of the 4792 end for my family. How can I keep 4793 all my other territories in like if 4794 I let two wise-guys stand up and 4795 demand this and that, and then give 4796 it to them? 4797 4798 <b> MICHAEL 4799 </b> Frankie...do you respect me? Do I 4800 have your loyalty? 4801 4802 <b> PENTANGELI 4803 </b> Always... But sometimes I don't 4804 understand. I know I'll never have 4805 your kind of brains, in big deals. 4806 But Mike, this is a street thing. 4807 And Hyman Roth in Miami is behind 4808 the Rosato Brothers. 4809 4810 <b> MICHAEL 4811 </b> I know. 4812 4813 <b> PENTANGELI 4814 </b> Then why do you want me to lay down 4815 to them? 4816 4817 <b> MICHAEL 4818 </b> (coldly, but convincing) 4819 Frankie, Roth tried to have me 4820 killed. I'm sure it was him, but I 4821 don't know yet why. 4822 4823 <b> PENTANGELI 4824 </b> Jesus Christ, Michael, then let's 4825 hit 'em now, while we still got the 4826 muscle. 4827 4828 <b> MICHAEL 4829 </b> This was my father's old study. 4830 When I was a kid, we had to be 4831 quiet when we played near here. 4832 When I was older, I learned many 4833 things from him here. I was happy 4834 that this house never went to 4835 strangers; first Clemenza took it 4836 over, and then you. My father 4837 taught me, in this room, never to 4838 act until you know everything 4839 that's behind things. Never. If 4840 Hyman Roth sees that I interceded 4841 with you in the Rosato Brothers' 4842 favor, he'll think his relationship 4843 with me is still sound. I'm going 4844 somewhere to meet him tomorrow. We 4845 have friends in some very important 4846 business that we're making. Do 4847 this for me; you make the peace 4848 with the Rosato Brothers on their 4849 terms. Let the word out that I 4850 forced you; you're not happy wit 4851 hit, but acquiesced, just because 4852 of me. It will get back to Hyman 4853 Roth. Do this, Frankie. You can 4854 trust me. 4855 4856 <b> PENTANGELI 4857 </b> Sure, Mike. I'll go along. 4858 4859 <b> MICHAEL 4860 </b> Good. 4861 4862 They embrace; Michael kisses him. He looks at the young 4863 Don, thoughtfully. 4864 4865 <b>INT. TROPICANA HOTEL - CLOSE VIEW - DAY 4866 </b> 4867 The money trays are carefully unloaded from the gaming 4868 tables, and put on a cart with others. 4869 4870 The cart, preceded and followed by security guards, is then 4871 wheeled through the casino, into a private, counting room. 4872 4873 <b>INT. COUNTING ROOM - MED. VIEW - DAY 4874 </b> 4875 The guards leave the room; the door is locked after them, 4876 leaving only Hagen. Neri and an ACCOUNTANT, a very fat man. 4877 The numbered boxes are opened, and cash and checks are 4878 spread out on the counting table. 4879 4880 The accountant begins with amazing speed and skill, to count 4881 and divide the money. 4882 4883 <b> NERI 4884 </b> Fifteen percent skim? 4885 4886 <b> HAGEN 4887 </b> Twenty-five this time. 4888 4889 The accountant stops, and looks up to Neri. 4890 4891 <b> NERI 4892 </b> It might show. 4893 4894 <b> HAGEN 4895 </b> Mike wants it. 4896 4897 Neri nods, and the accountant continues. Neri opens a door, 4898 allowing a sandy-haired man, a COURIER, into the room. The 4899 cream is placed into his pouch personally by Neri. 4900 4901 <b> NERI 4902 </b> We've never sent this much with one 4903 courier. 4904 4905 <b> HAGEN 4906 </b> (to the courier) 4907 Your plans are a little different 4908 this time. You skip Miami, and go 4909 straight to Geneva. It's to be 4910 deposited to this number. 4911 (handing him a small envelope) 4912 And it's got to be there by Monday 4913 morning, no slip-up. 4914 4915 <b> COURIER 4916 </b> I think I was 'picked-up' last trip. 4917 That hour layover I had at Kennedy. 4918 I went over and bought a paper... 4919 4920 Neri has finished putting the 'creamed' money into the pouch. 4921 4922 <b> NERI 4923 </b> Those were our people. 4924 4925 <b> COURIER 4926 </b> Okay, just thought you should know. 4927 4928 He is just about to close and lock the pouch, when Hagen 4929 gestures that he should wait, and adds more stacks of 4930 carefully packaged bills into the pouch. Then Neri locks 4931 it, and handcuffs it to the courier's arm, looking 4932 inquiringly at Hagen. 4933 4934 <b> HAGEN 4935 </b> Let them count. 4936 4937 The courier is shown out through a private door, and then 4938 the first door is opened. Two accountants come in with the 4939 guards, and the trays are opened, and the counting process 4940 is begun all over again, this time with the State Tally 4941 sheets. 4942 4943 <b>INT. TROPICANA CORRIDOR - MOVING VIEW - DAY 4944 </b> 4945 The courier continues on his way; followed by Hagen and Neri. 4946 4947 <b> NERI 4948 </b> What's up? 4949 4950 <b> HAGEN 4951 </b> No questions. 4952 4953 <b> NERI 4954 </b> I got to ask questions, Tom, 4955 there's three million dollars cash 4956 in that pouch; Mike is gone and I 4957 have no word from him. 4958 4959 <b> HAGEN 4960 </b> Al, as far as you're concerned, I'm 4961 the Don. 4962 4963 <b> NERI 4964 </b> How do I know you haven't gone into 4965 business for yourself? 4966 4967 This hurts Tom; but he is a reasonable man, and he knows he 4968 owes Neri some explanation. 4969 4970 <b> HAGEN 4971 </b> You've been through a lot with us 4972 so I'm going to give you the truth. 4973 Mike knows it was someone within 4974 the compound that set him up for 4975 that hit. So nobody is to know 4976 where he is, not you, not Rocco, 4977 not even his brother Fredo. Sorry, 4978 Al, I know how you feel about 4979 Mike...but he still remembers Tessio. 4980 4981 <b>EXT. KEY WEST - NIGHT 4982 </b> 4983 Michael is led to a desolate, night-lit private dock. He is 4984 followed by the ever-present Bussetta, and they are helped 4985 onto a light-weight, luxury cabin cruiser. The crew cast 4986 off various ropes, and the boat sets out into the night. 4987 4988 <b> FADE OUT. 4989 </b> 4990 <b>FADE IN: 4991 </b> 4992 <b>EXT. TAHOE ESTATE - DAY 4993 </b> 4994 A seaplane lands nicely by the private Corleone harbor; 4995 Hagen disembarks with his inevitable overloaded briefcase. 4996 He continues down the ramp, past several Buttonmen, dressed 4997 in summer casual attire, and who resemble secret service men 4998 rather than thugs. 4999 5000 His wife THERESA lies on a blanket on the great lawn, with 5001 her youngest children, who run to their father for a kiss. 5002 5003 <b> THERESA 5004 </b> Hungry? 5005 5006 <b> HAGEN 5007 </b> Just a little. 5008 5009 <b> THERESA 5010 </b> I've invited Mama, Sandra and the 5011 kids for barbecue. 5012 5013 <b> HAGEN 5014 </b> What about Kay? 5015 5016 <b> THERESA 5017 </b> I couldn't find her. She's been so 5018 broody, sticks to herself. 5019 5020 <b>EXT. TAHOE LAWN BARBECUE - MED. VIEW - DAY 5021 </b> 5022 Hagen and Sonny's boys are throwing a football around on the 5023 lawn; the littler kids running after them. 5024 5025 Coals are burning in the old style stone barbecue, and 5026 several tables are set for the family. 5027 5028 In the distance, there is always evidence of the bodyguards. 5029 5030 Theresa, Mama and Sandra prepare the steaks. 5031 5032 Hagen relaxes in a sports shirt. 5033 5034 <b> HAGEN 5035 </b> Let me try Kay. 5036 5037 He crosses the lawn, to the house on the beach where Michael 5038 and his family live. Is about to knock on the door: 5039 5040 <b> HAGEN'S SON 5041 </b> Hey, Pop, heads up! 5042 5043 The football is flying in his direction; he catches it and 5044 throws it back. Then he cracks the door open, and peeks in. 5045 5046 <b>INT. MICHAEL'S HOUSE - DAY 5047 </b> 5048 <b> HAGEN 5049 </b> Kay? 5050 5051 He steps in, the beautiful summer living room is neat, but 5052 empty. 5053 5054 <b> HAGEN 5055 </b> Anyone hungry? 5056 5057 He moves through the house more quickly; into the dining and 5058 recreation room areas. A cat jumps off a pile of cushions 5059 and runs across the room. 5060 5061 <b> HAGEN 5062 </b> Hello? 5063 5064 <b> SANDRA (O.S.) 5065 </b> She's gone, Tom. 5066 5067 Sandra has followed him into Michael's house. 5068 5069 <b> HAGEN 5070 </b> What do you mean gone? 5071 5072 <b> SANDRA 5073 </b> The Barretts from Rubicon Bay came 5074 by in a new speedboat. Rocco tried 5075 to say she wasn't in, but Kay 5076 spotted them and asked if they 5077 would take her and the kids for a 5078 ride. That was three hours ago. 5079 5080 <b> HAGEN 5081 </b> (furious) 5082 Why didn't someone tell me! 5083 5084 <b> SANDRA 5085 </b> I wanted to tell you alone; your 5086 wife doesn't know what's going on. 5087 5088 Hagen rushes out of the house. 5089 5090 <b>EXT. TAHOE LAWN - DAY 5091 </b> 5092 Hagen moves quickly out of Michael's house; moving across 5093 the lawn to the boathouse. 5094 5095 <b> HAGEN'S SON 5096 </b> Hey, Dad! 5097 5098 This time he ignores the thrown ball, and moves directly to 5099 Rocco, who is by some men near the boathouse. 5100 5101 <b> HAGEN 5102 </b> Rocco! 5103 5104 <b> ROCCO 5105 </b> I know. I went down to the Barrett 5106 house. But she's gone. They drove 5107 her and the kids to North Tahoe 5108 airport. 5109 5110 <b> HAGEN 5111 </b> Goddamn it, where were you? 5112 5113 <b> ROCCO 5114 </b> I was in my house. Willy tried, 5115 but it would have taken some 5116 strong-arm to stop her, and he 5117 figured you wouldn't want that. 5118 5119 <b>INT. THE BOATHOUSE - DAY 5120 </b> 5121 They enter the boathouse. 5122 5123 <b> HAGEN 5124 </b> (to one of the men) 5125 Get me a Scotch and water. 5126 5127 The man hurries behind the bar. 5128 5129 <b> ROCCO 5130 </b> She took a flight to San Francisco. 5131 We figure she's going to connect to 5132 New Hampshire; her parents' place. 5133 5134 <b> HAGEN 5135 </b> (almost to himself) 5136 I can't let him down. 5137 5138 He swallows the drink down in several gulps. And then looks 5139 up to his men watching him. He's embarrassed to have shown 5140 such weakness. 5141 5142 <b> HAGEN 5143 </b> All right, let me think a minute. 5144 5145 Rocco clears the men out. 5146 5147 <b> ROCCO 5148 </b> Me too, Tom? 5149 5150 <b> HAGEN 5151 </b> Yeah, give me a minute. 5152 5153 Rocco gone, Hagen moves behind the enormous bar, and pours 5154 himself a giant drink. He drinks that, and calms himself. 5155 5156 <b> HAGEN 5157 </b> Oh Christ, Pop. It was so good 5158 when you were alive. I felt I 5159 could handle anything... 5160 5161 <b>EXT. VIEW FROM BOAT - FULL VIEW - DAY 5162 </b> 5163 A beautiful coastal view of a tropical Caribbean city. An 5164 extraordinary view, high buildings, palm trees, all set 5165 right on the bay. 5166 5167 <b>MED. CLOSE VIEW ON MICHAEL 5168 </b> 5169 on the cruiser, Bussetta a little distance away, watching, 5170 but never speaking. The dark-skinned CAPTAIN of the cruiser 5171 keeps pointing repeatedly. 5172 5173 <b> CAPTAIN 5174 </b> Habana, Habana. 5175 5176 <b>EXT. HAVANA STREET - MOVING VIEW - DAY 5177 </b> 5178 Michael and Bussetta are driven in a Mercury sedan, making 5179 its way through the streets of Havana. 5180 5181 <b>CLOSE VIEW ON MICHAEL 5182 </b> 5183 looking out the window. 5184 5185 <b>MICHAEL'S POV 5186 </b> 5187 Crowded streets, occasional roving bands playing for the 5188 tourists; there is much evidence of tourism: Americans 5189 walking through the streets with cameras. Occasionally, we 5190 see a Cuban with a row of numbers attached to his hat, 5191 carrying a big sheet of the daily lottery numbers. From all 5192 of these street impressions, the city is booming with 5193 activity, but there is also much evidence of whores and 5194 pimps and little children begging in the streets. 5195 5196 <b>MED. VIEW 5197 </b> 5198 The big American car stops at an intersection. Bussetta is 5199 sitting in the forward passenger side; while Michael is in 5200 the back. He hears tapping on the window; he turns and sees 5201 four Cuban boys tapping on his window and extending their 5202 hands, and rubbing their stomachs as though they were hungry. 5203 The Cuban driver rolls down his window and shouts them away 5204 in Spanish. 5205 5206 <b>INT. HAVANA CASINO LOBBY - MOVING VIEW - NIGHT 5207 </b> 5208 Michael is led through a beautiful wooden lobby of the 5209 hotel, done in Spanish style, apparently just recently 5210 completed. He is approached by a thin, mousy man, SAM ROTH, 5211 who ushers him toward the casino entrance. 5212 5213 <b> SAM ROTH 5214 </b> Hiya, Mr. Corleone, I'm Sam Roth. 5215 Welcome to the Capri; my brother's 5216 upstairs. You wanta take a rest 5217 before you see him, or can I get 5218 you something, anything at all? 5219 5220 <b> MICHAEL 5221 </b> No, I'm fine. 5222 5223 He leads Michael into the main casino. 5224 5225 <b> SAM ROTH 5226 </b> This is it! We think it makes 5227 Vegas look like the corner crap game. 5228 5229 <b> MICHAEL 5230 </b> Very impressive. 5231 5232 <b> SAM ROTH 5233 </b> Jake, Jake, come over here. Mike, 5234 I want you to meet Jake Cohen; he 5235 manages the casino for us. 5236 5237 <b> COHEN 5238 </b> (appreciating 5239 Michael's status) 5240 Mr. Corleone. 5241 5242 Sam turns to Bussetta and extends his glad-hand. 5243 5244 <b> SAM ROTH 5245 </b> Pleasure to meet you, I'm sure... 5246 5247 He gets no response whatsoever from Bussetta. 5248 5249 <b>INT. PRESIDENTIAL PALACE - NIGHT 5250 </b> 5251 An extremely tall, well-built Cuban, tanned and wearing an 5252 attractive mustache, LEON, in his middle forties, reads from 5253 a prepared paper. His sentences are translated by a smaller 5254 man, standing to his rear. 5255 5256 <b> LEON 5257 </b> (Spanish) 5258 Most respected gentlemen, allow me 5259 to welcome you to the City of 5260 Havana, the Republic of Cuba on 5261 behalf of His Excellency, Fulgencio 5262 Batista. 5263 5264 THE VIEW BEGINS TO MOVE along the various men gathered for 5265 this meeting. 5266 5267 <b> LEON (O.S.) 5268 </b> I'd like to thank this distinguished 5269 group of American Industrialists, 5270 for continuing to work with Cuba, 5271 for the greatest period of 5272 prosperity in her entire history. 5273 Mr. William Proxmiro, representing 5274 the General Fruit Company... Messrs. 5275 Corngold and Dant, of the United 5276 Telephone and Telegraph Company; Mr. 5277 Petty, regional Vice-President of 5278 the Pan American Mining Corporation; 5279 and, of course, our friend Mr. 5280 Robert Allen, of South American 5281 Sugar. Mr. Nash of the American 5282 State Department. And Mr. Hyman 5283 Roth of Miami, and Michael Corleone 5284 of Nevada representing our 5285 Associates in Tourism and Leisure 5286 Activities. 5287 5288 <b>VIEW ON THE ENTIRE GROUP 5289 </b> 5290 Leon pauses to take a drink of water. Then proudly, he 5291 lifts a shiny yellow telephone for all to see. 5292 5293 <b> LEON 5294 </b> The President would like to take 5295 this opportunity to thank U T&T for 5296 their lovely gift: a solid gold 5297 telephone! He thought all you 5298 gentlemen would care to take a look 5299 at it. 5300 5301 He hands the heavy phone set to one of his aides, and it is 5302 passed in turn to each of the men in attendance. 5303 5304 <b> CORNGOLD 5305 </b> Your Excellency, perhaps you could 5306 discuss the status of rebel activity 5307 and how this may affect our 5308 businesses. 5309 5310 <b>MED. CLOSE VIEW ON MICHAEL 5311 </b> 5312 He receives the telephone, and glances at it before passing 5313 it on to Hyman Roth. 5314 5315 <b> LEON (O.S.) 5316 </b> Of course. The rebel movement is 5317 basically unpopular, and since July 5318 of 1958 has been contained in the 5319 Oriente Province, in the mountains 5320 of the Sierra Muestre. 5321 5322 Michael passes the phone on to Roth. 5323 5324 <b> LEON 5325 </b> (continuing) 5326 We began a highly successful 5327 offensive against them in March, 5328 and activities within the city 5329 itself are at a minimum. I can 5330 assure you we'll tolerate no 5331 guerrillas in the casinos or 5332 swimming pools! 5333 5334 General subdued laughter. 5335 5336 <b>A CUBAN STREET - LATE DAY 5337 </b> 5338 Police are stopping traffic. Michael's Mercury is among the 5339 cars; a police officer, seeing that some important person is 5340 being driven, walks up to the driver. He leans forward, and 5341 says something in Spanish to the driver. 5342 5343 The driver, in turn, leans over to Michael. 5344 5345 <b> DRIVER 5346 </b> He says it will just be a short 5347 time and they'll let us through. 5348 5349 Michael looks out the window. 5350 5351 <b>MICHAEL'S VIEW 5352 </b> 5353 The old building has been totally surrounded by police and 5354 military vehicles. Right at this moment, they are waiting 5355 lazily, but soldiers are there with automatic weapons ready. 5356 There is a momentary commotion inside the building, and the 5357 men brace up. A Captain of the Army detachment says 5358 something in Spanish over a megaphone; and his men put their 5359 weapons at the ready, as other policemen lead a group of 5360 civilians out of the building with their hands up. 5361 5362 They are moved over to some military truck, where they are 5363 frisked before being loaded. 5364 5365 All of a sudden, one of the civilian rebels breaks loose, 5366 and rushes toward the command vehicle. He hurls himself 5367 into the vehicle, as two police try to pull him out. A 5368 second later, and there is an explosion; the man obviously 5369 having hidden a grenade on his body, sacrificing his own 5370 life to take the life of the Captain. 5371 5372 There is a commotion, but the military quickly quell it. 5373 5374 <b>CLOSE VIEW ON MICHAEL 5375 </b> 5376 watching. The police rush to Michael's car and guide it 5377 outside of the trouble area. 5378 5379 <b>MED. VIEW 5380 </b> 5381 as they lead and escort the Mercury out of the area. 5382 5383 <b>EXT. HAVANA COUNTRY CLUB - CLOSE VIEW - DAY 5384 </b> 5385 Some glasses; rum is poured into them; then Coca Cola. 5386 Quarter limes are squeezed. 5387 5388 <b> SAM ROTH (O.S.) 5389 </b> Rum... Coca Cola...a squeeze of 5390 fresh lime... 5391 5392 Sam prepares the drinks for his brother, Hyman, and a group 5393 of men, including Michael. 5394 5395 <b> MAN 5396 </b> Cuba Libres. 5397 5398 <b> MICHAEL 5399 </b> I was told the Cubans now call this 5400 drink: "La Mentira." 5401 5402 <b> ROTH 5403 </b> I still don't speak Spanish, Michael. 5404 5405 <b> MICHAEL 5406 </b> It means... "The Lie." 5407 5408 A moment's hesitation, then a few of the men laugh. Now two 5409 Cubans in white carry a table which has a lovely small cake 5410 on it. 5411 5412 <b> SAM ROTH 5413 </b> The cake is here. 5414 5415 They all raise their glasses to the old man. 5416 5417 <b> EVERYONE 5418 </b> (ad lib) 5419 Happy Birthday! 5420 5421 Roth glances at the cake and its inscription, is pleased. 5422 5423 <b> ROTH 5424 </b> I hope my age is correct: I am 5425 always accurate about my age. 5426 5427 Some laugh. He nods, and they begin to cut it, put a piece 5428 on plates, and carry them to the different men. 5429 5430 <b> ROTH 5431 </b> Everything we've learned in Vegas 5432 is true here; but we can go further. 5433 The bigger, the swankier, the 5434 plusher the store, the more a sense 5435 of legitimacy, and the bigger 5436 business we do. 5437 (looking at the plate 5438 brought to him) 5439 A smaller piece. What we've 5440 proposed to the Cuban Government is 5441 that it put up half the cash on a 5442 dollar for dollar basis. 5443 (accepting a smaller piece) 5444 Thank you. We can find people in 5445 the United States who will put up 5446 our share for a small piece of the 5447 action, yet we will retain control. 5448 5449 <b> ONE OF THE MEN 5450 </b> How much? 5451 5452 <b> ROTH 5453 </b> A hundred million dollars. But 5454 only if this Government relaxes its 5455 restrictions on importing building 5456 materials; we'll need some new 5457 laws, too, but that will be no 5458 difficulty. 5459 5460 <b> ANOTHER MAN 5461 </b> What are import duties now? 5462 5463 <b> ROTH 5464 </b> As much as seventy percent. Also, 5465 I'm working out an arrangement with 5466 the Minister of Labor so that all 5467 our pit bosses, stick-men and 5468 Dealers, can be considered 5469 specialized technicians eligible 5470 for two year visas. As of now 5471 they're only allowed in Cuba for 5472 six months at a time. In short, 5473 we're in a full partnership with 5474 the Cuban Government. 5475 5476 <b>VIEW ON MICHAEL 5477 </b> 5478 is handed a piece of cake. Roth moves over to a folder of 5479 documents. 5480 5481 <b> ROTH 5482 </b> (continuing) 5483 Here are applications from Friends 5484 all over the States. I understand 5485 Santo Virgilio in Tampa is trying 5486 to make his own deal. Well, the 5487 Cuban Government will brush him off. 5488 The Lakeville Road Boys are going 5489 to take over the Nacionale here. 5490 I'm planning a new hotel casino to 5491 be known as Riviera. The new Capri 5492 will go to the Corleone Family. 5493 5494 <b>MED. VIEW 5495 </b> 5496 The cake is sliced and carried to each of the men. 5497 5498 <b> ROTH 5499 </b> Then there's the Sevilla Biltmore; 5500 the Havana Hilton, which is going 5501 to cost twenty-four million -- 5502 Cuban banks will put up half, the 5503 Teamsters will bankroll the rest. 5504 Generally, there will be friends 5505 for all our friends including the 5506 Lieutenant Governor of Nevada; 5507 Eddie Levine of Newport will bring 5508 in the Pennino Brothers, Dino and 5509 Eddie; they'll handle actual casino 5510 operations. 5511 5512 And seeing that all of his friends have been served, Roth 5513 raises his fork. 5514 5515 <b> ROTH 5516 </b> Enjoy. 5517 5518 <b> MICHAEL 5519 </b> I saw an interesting thing today. 5520 A man was being arrested by the 5521 Military Police; probably an urban 5522 guerrilla. Rather than be taken 5523 alive, he exploded a grenade hidden 5524 in his jacket, taking the command 5525 vehicle with him. 5526 5527 The various men look up as Michael eats his cake, wondering 5528 what the point of it is. 5529 5530 <b> MICHAEL 5531 </b> It occurred to me: the police are 5532 paid to fight, and the Rebels are 5533 not. 5534 5535 <b> SAM ROTH 5536 </b> So? 5537 5538 <b> MICHAEL 5539 </b> So, that occurred to me. 5540 5541 <b>VIEW ON ROTH 5542 </b> 5543 He understands Michael's point, if the others do not. 5544 5545 <b> ROTH 5546 </b> This country has had rebels for the 5547 last fifty years; it's part of 5548 their blood. Believe me, I know... 5549 I've been coming here since the 5550 twenties; we were running molasses 5551 out of Havana when you were a baby. 5552 To trucks owned by your father. 5553 (he chuckles warmly 5554 over the memory) 5555 We'll talk when we're alone. 5556 5557 And he returns his attention to the men who are gathered 5558 with him on his birthday. 5559 5560 <b>EXT. ROTH'S PRIVATE TERRACE - DAY 5561 </b> 5562 Michael sits alone with the old man, on a terrace that 5563 overlooks the city. 5564 5565 <b> ROTH 5566 </b> You have to be careful what you say 5567 in front of the others... they 5568 frighten easy. It's always been 5569 that way, most men frighten easy. 5570 5571 <b> MICHAEL 5572 </b> We're making a big investment in 5573 Cuba. That's my only concern. 5574 5575 <b> ROTH 5576 </b> My concern is that the three 5577 million never arrived at Batista's 5578 numbered account in Switzerland. 5579 He thinks it's because you have 5580 second thoughts about his ability 5581 to stop the rebels. 5582 5583 <b> MICHAEL 5584 </b> The money was sent. 5585 5586 <b> ROTH 5587 </b> Then you have to trace it. Michael, 5588 people here look at me as a reliable 5589 man. I can't afford not to be 5590 looked on as a reliable man. But 5591 you know all that; there's nothing 5592 you can learn from me. You 5593 shouldn't have to put up with a 5594 sick old man as a partner. 5595 5596 <b> MICHAEL 5597 </b> I wouldn't consider anyone else. 5598 5599 <b> ROTH 5600 </b> Except the President of the United 5601 States. 5602 5603 He laughs slyly, as though this is some private joke between 5604 them. Then his laughter becomes a cough, which he painfully 5605 stifles with a handkerchief. 5606 5607 <b> ROTH 5608 </b> If only I could live to see it, 5609 kid; to be there with you. How 5610 beautifully we've done it, step by 5611 step. Here, protected, free to 5612 make our profits without the 5613 Justice Department, the FBI; ninety 5614 miles away in partnership with a 5615 friendly government. Ninety miles, 5616 just a small step, looking for a 5617 man who desperately wants to be 5618 President of the United States, and 5619 having the cash to make it possible. 5620 5621 <b> MICHAEL 5622 </b> You'll be there to see it; you'll 5623 be there. 5624 5625 <b>INT. MICHAEL'S SUITE - NIGHT 5626 </b> 5627 The telephone has just rung; Michael listens. 5628 5629 <b> OPERATOR 5630 </b> We have your call to Tahoe, Nevada, 5631 sir. 5632 5633 <b> MICHAEL 5634 </b> Thank you. 5635 (click, click) 5636 Tom? Tom, is that you? 5637 5638 <b> ROCCO (O.S.) 5639 </b> No, Tom's out of town. This is 5640 Rocco. Who is this? 5641 5642 Michael is openly disturbed that Hagen is not there. He 5643 hangs up without answering. 5644 5645 <b>EXT. NEW ENGLAND HOUSE - DAY 5646 </b> 5647 Tom Hagen steps out of a taxicab a bit tentatively, and then 5648 steps toward the door of a pleasant New England house. He 5649 rings the bell and waits, hat in hand. A moment later, the 5650 door opens, and Kay is standing there. 5651 5652 <b> KAY 5653 </b> I'm not surprised to see you, Tom. 5654 5655 <b>INT. SMALL ROOM - NEW ENGLAND HOUSE - MED. VIEW - DAY 5656 </b> 5657 Out to the yard, where we can see glimpses of little Anthony 5658 playing by himself. 5659 5660 <b> KAY (O.S.) 5661 </b> I can't love a man like that; I 5662 can't live with him, I can't let 5663 him be father to my children. Look. 5664 5665 The little boy, moodily by himself. 5666 5667 <b>VIEW ON KAY 5668 </b> 5669 obviously moved. 5670 5671 <b> KAY 5672 </b> He's not like a little boy... he 5673 doesn't talk to me; he doesn't want 5674 to play; he doesn't like other 5675 children, he doesn't like toys. 5676 It's as though he's waiting for the 5677 time he can take his Father's place. 5678 (almost in tears) 5679 You know what he told me when he 5680 was four years old. He said he had 5681 killed his Grandfather... 5682 5683 <b>VIEW ON HAGEN 5684 </b> 5685 listening, calmly. 5686 5687 <b> KAY 5688 </b> ... He said he had shot his 5689 Grandfather with a gun, and then he 5690 died in the garden. And he asked 5691 me... he asked me, Tom, if that 5692 meant now his father would shoot 5693 him out of... revenge. 5694 (she cries) 5695 How does a four year old boy learn 5696 the word... 'revenge'? 5697 5698 <b> HAGEN 5699 </b> Kay... Kay... 5700 5701 <b>VIEW ON KAY 5702 </b> 5703 <b> KAY 5704 </b> What kind of a family is this... 5705 are we human beings? He knows his 5706 Father killed his Uncle Carlo. He 5707 heard Connie. 5708 5709 <b> HAGEN 5710 </b> You don't know that's true. But 5711 Kay, just for the sake of an 5712 argument, let's assume it is, I'm 5713 not saying it is, remember, but... 5714 What if I gave you what might be 5715 some justification for what he 5716 did... or rather some possible 5717 justification for what he possibly 5718 did. 5719 5720 <b> KAY 5721 </b> That's the first time I've seen the 5722 lawyer side of you, Tom. It's not 5723 your best side. 5724 5725 <b> HAGEN 5726 </b> Okay, just hear me out. What if 5727 Carlo had been paid to help get 5728 Sonny killed? What if his beating 5729 of Connie that time was a deliberate 5730 plot to get Sonny out into the open? 5731 Then what? And what if the Don, a 5732 great man, couldn't bring himself 5733 to do what he had to do, avenge his 5734 son's death by killing his 5735 daughter's husband? What if that, 5736 finally, was too much for him, and 5737 he made Michael his successor, 5738 knowing that Michael would take 5739 that load off his shoulders, would 5740 take that guilt? 5741 5742 <b> KAY 5743 </b> He's not the same as when I met him. 5744 5745 <b> HAGEN 5746 </b> If he were, he'd be dead by now. 5747 You'd be a widow. You'd have no 5748 problem. 5749 5750 <b> KAY 5751 </b> What the hell does that mean? Come 5752 on, Tom, speak out straight once in 5753 your life. I know Michael can't, 5754 but you're not Sicilian, you can 5755 tell a woman the truth; you can 5756 treat her like an equal, a fellow 5757 human being. 5758 5759 There is a long silence. 5760 5761 Then Hagen shakes his head; he can tell her no more. 5762 5763 <b> HAGEN 5764 </b> If you told Michael what I've told 5765 you today, I'm a dead man. 5766 5767 <b> KAY 5768 </b> When is it finally over? I want it 5769 to be over before my baby is born. 5770 5771 <b> HAGEN 5772 </b> I don't know. I hope soon; but 5773 it's not over yet, and that's why 5774 you and the kids have to come back 5775 to me. 5776 5777 He looks at her; it's clear that he has been entrusted with 5778 her safety and her children's. 5779 5780 He is a kind, good man, and seems very nervous and 5781 overwrought. 5782 5783 <b>VIEW ON THE WINDOW 5784 </b> 5785 Little Anthony is pressing his face against the glass pane, 5786 as though he senses the adults are discussing something of 5787 importance to him. 5788 5789 <b>INT. TROPICANA HOTEL-CASINO - MED. VIEW - NIGHT 5790 </b> 5791 The Baccarat table. Busy, hundred dollar bills being played. 5792 5793 <b> LOUDSPEAKER 5794 </b> Mr. Corleone; Mr. Freddie Corleone, 5795 telephone please. 5796 5797 <b> PIT BOSS 5798 </b> Not here. 5799 5800 <b>VIEW ON THE CRAP TABLES 5801 </b> 5802 The play is fast; pit boss presiding; but no sign of Fredo. 5803 5804 <b> LOUDSPEAKER 5805 </b> Telephone for Mr. Corleone. 5806 5807 <b>ANOTHER PART OF THE CASINO 5808 </b> 5809 We see Neri, ominous, presiding over the entire store. He 5810 picks up a pit telephone. 5811 5812 <b> NERI 5813 </b> He's backstage. 5814 (and hangs up disgustedly) 5815 5816 <b>INT. TROPICANA BACKSTAGE AREA - MED. VIEW - NIGHT 5817 </b> 5818 Fredo is entertaining two showgirls done up in feathers and 5819 what-have-you. 5820 5821 <b> FREDO 5822 </b> C'mon, you got fifteen minutes 5823 before the finale! I want to show 5824 you a trick with feathers. 5825 5826 <b> STAGEHAND 5827 </b> Phone for you. 5828 5829 <b> FREDO 5830 </b> Don't go away; wait a minute. 5831 5832 He takes the phone; we can catch a VIEW of the show going on 5833 from the wings. 5834 5835 <b> FREDO 5836 </b> (on the phone) 5837 Yeah. Okay. Who? Mikey? But... 5838 Si... si, caposco. 5839 (in Sicilian) 5840 Sure... how much? I understand. 5841 Jesus, three million... I won't let 5842 you down. Sure. 5843 5844 He hangs up thoughtfully. 5845 5846 <b> ONE OF THE GIRLS 5847 </b> Freddie; we still got twelve 5848 minutes before the finale! 5849 5850 <b> FREDO 5851 </b> Yeah... some other time. 5852 5853 <b>EXT. NEW YORK BAR - DAY 5854 </b> 5855 There is a light rain. Pentangeli steps out of his car; 5856 points to Willy Cicci. 5857 5858 <b> PENTANGELI 5859 </b> Wait in the car. 5860 5861 He walks up the street, to the bar, where he is greeted by 5862 the tall, handsome Carmine Rosato. They shake hands. 5863 Pentangeli looks in his hand. 5864 5865 <b>CLOSE VIEW 5866 </b> 5867 Rosato has put a crisp one hundred dollar bill in his hand, 5868 folded sharply in two. 5869 5870 <b> PENTANGELI 5871 </b> What's this? 5872 5873 <b> ROSATO 5874 </b> That's a lucky C note for our new 5875 deal. 5876 5877 He puts his arm around Pentangeli, and they walk into the bar. 5878 5879 <b>INT. THE BAR - DAY 5880 </b> 5881 The bar is fairly empty; and very dark. Pentangeli and 5882 Rosato step up to the bar; the bartender momentarily stops 5883 polishing glasses to pour a couple of drinks. 5884 5885 <b> ROSATO 5886 </b> We were all real happy about your 5887 decision, Frankie; you're not goin' 5888 to regret it. 5889 5890 He holds up the glass. 5891 5892 <b> PENTANGELI 5893 </b> I don't like the C-note. I take it 5894 like an insult. 5895 5896 Suddenly, a garrote is thrown around Pentangeli's throat; 5897 and he is forcefully yanked back into the shadows, all the 5898 way into a wooden telephone booth. 5899 5900 <b>CLOSE VIEW 5901 </b> 5902 The folded hundred dollar bill resting on the bar. 5903 5904 <b>MED. CLOSE - THE PHONE BOOTH 5905 </b> 5906 We see only Pentangeli's feet and legs, struggling. We HEAR 5907 the terrible sounds of a man being strangled. 5908 5909 <b>CLOSE ON ROSATO 5910 </b> 5911 Calm, and then he sees something that disturbs him. 5912 5913 <b> ROSATO 5914 </b> Shit, your friend the cop! 5915 5916 Suddenly, the side door opens, and a shaft of sunlight cuts 5917 through the darkness. 5918 5919 <b> COP 5920 </b> Everything all right in there, 5921 Ritchie? The door was open. 5922 5923 <b>CLOSE ON THE PHONE BOOTH 5924 </b> 5925 Pentangeli's feet stop moving. 5926 5927 <b> RITCHIE 5928 </b> Just cleaning up. 5929 (strained voice) 5930 You okay? 5931 5932 <b> COP 5933 </b> Is that something on the floor? 5934 5935 <b> ROSATO 5936 </b> Take him! 5937 5938 <b> VOICE 5939 </b> Okay. 5940 5941 <b> RITCHIE 5942 </b> Not here; not a cop, not here! 5943 5944 Two figures race through the shadows and race through the 5945 doors. 5946 5947 <b> COP 5948 </b> (shouting to his 5949 partner, in uniform) 5950 Stutz! Watch out, Stutz! 5951 5952 <b>EXT. THE BAR - DAY 5953 </b> 5954 We see that a patrol car had stopped for its routine visit. 5955 STUTZ, the second patrolman, is just stepping out of his 5956 car; Pentangeli's bodyguard, seeing the commotion, leaps out. 5957 Three men, including Rosato, rush out. There is gunfire; 5958 Cicci is wounded. 5959 5960 <b>MED. CLOSE 5961 </b> 5962 The patrolmen is grazed across the face; trying to stop the 5963 flow of blood with his hand. 5964 5965 <b>NEW VIEW 5966 </b> 5967 The three assailants jump into the car and drive off. 5968 5969 <b>INT. THE BAR - DAY 5970 </b> 5971 The stricken Pentangeli comes back to life. He can barely 5972 move his lips. 5973 5974 <b> PENTANGELI 5975 </b> The bastard. The dirty bastard, he 5976 gave me a C-note. He gave me a C- 5977 note. 5978 5979 He sees the patrolman leaning over him. 5980 5981 <b>EXT. PATROL CAR - DAY 5982 </b> 5983 The Sergeant is on the car radio. 5984 5985 <b> SERGEANT 5986 </b> Frankie Pentangeli murder attempt. 5987 Patrolman Stutz shot. Sahara 5988 Lounge - Utica Avenue and Claredon 5989 Road. White Cadillac three or four 5990 men took off from scene. Need 5991 ambulance; Stutz is bad. Taking 5992 Pentangeli into custody... 5993 5994 <b>INT. ROTH'S SUITE IN HAVANA - MED. CLOSE VIEW ON ROTH - DAY 5995 </b> 5996 His wizened face, pale. Right now, though, his eyes have a 5997 sparkle as he watches three million dollars in cold cash 5998 being counted on a card table in front of him. 5999 6000 His brother Sam is present, and the sandy-haired Courier, a 6001 little nervous; the one who had left from the Tropicana with 6002 the Corleone skim-money. Also Johnny Ola. The money is 6003 evidently all there; Roth picks up a packet; probably a 6004 hundred thousand dollars, and throws it over to the Courier. 6005 6006 <b> ROTH 6007 </b> Make it fast; I don't want to 6008 chance him being seen. 6009 6010 <b> COURIER 6011 </b> (frightened) 6012 What about the arrangements? How 6013 can I be sure about the arrangements? 6014 6015 <b> OLA 6016 </b> Relax. You're under our protection; 6017 the Corleone family will never find 6018 you. 6019 6020 Ola leads the Courier to the adjoining room where two 6021 smartly dressed Military (Cuban) Police are standing, and a 6022 civilian. The Courier sees them, looks back to Ola. One of 6023 the police steps forward, placing the Courier under arrest; 6024 handcuffing him. 6025 6026 <b> COURIER 6027 </b> Hey, what's this? 6028 6029 The other takes the packet of money, and hands it to the 6030 civilian, who places it in the briefcase he carries. The 6031 other officer kneels down and fastens leg manacles. 6032 6033 <b> COURIER 6034 </b> The arrangements... YOU BASTARDS! 6035 What... 6036 6037 The Captain strikes him expertly across the side of his head 6038 with his pistol. 6039 6040 Ola closes the door on this scene. 6041 6042 <b>EXT. THE HAVANA CAPRI - DAY 6043 </b> 6044 Fredo Corleone steps out of a car, squints up at the sunshine 6045 and palm trees. He is holding on tightly to a small satchel, 6046 which he won't let the bellman carry along with his other 6047 things. 6048 6049 <b>INT. MICHAEL'S SUITE - MED. CLOSE VIEW - DAY 6050 </b> 6051 Michael and Fredo in a brother's embrace; they kiss each 6052 other. Fredo is still in his jacket, holding the satchel. 6053 6054 <b> FREDO 6055 </b> Mikey. How are you? 6056 6057 He glances up at Bussetta, who doesn't say a word. Fredo 6058 extends his hand. 6059 6060 <b> FREDO 6061 </b> Hiya, Freddie Corleone. 6062 6063 <b> MICHAEL 6064 </b> Mio fratello. 6065 6066 Then Bussetta offers his hand back to Fredo. 6067 6068 <b> FREDO 6069 </b> (taking off his jacket) 6070 What a trip, Jesus Christ, the 6071 whole time I'm thinking what if 6072 someone knew what I got in here. 6073 6074 He undoes the combination of the briefcase starts taking out 6075 cash. Then he stops, remembering that there's a stranger in 6076 the room. 6077 6078 <b> FREDO 6079 </b> Oh, 'scuse me. 6080 6081 <b> MICHAEL 6082 </b> It's all right. He stays with me 6083 all the time. 6084 6085 <b> FREDO 6086 </b> Oh. Mikey, what's up? I'm totally 6087 in the dark. 6088 6089 <b> MICHAEL 6090 </b> We're making an investment in Havana. 6091 6092 <b> FREDO 6093 </b> Great, Havana's great. Lots of 6094 activity in Havana! Anybody I know 6095 here. Five-Angels? Anybody? 6096 6097 <b> MICHAEL 6098 </b> Johnny Ola... Hyman Roth. 6099 6100 <b> FREDO 6101 </b> I never met them. 6102 6103 <b> MICHAEL 6104 </b> Pentangeli's dead. He was ambushed 6105 by the Rosato Brothers. 6106 (pause) 6107 Didn't you know that? 6108 6109 <b> FREDO 6110 </b> No. No, I didn't. Who tells me 6111 anything? I been kept in the dark 6112 so long, I'm getting used to it. 6113 6114 <b> MICHAEL 6115 </b> I want you to help me, Fredo. 6116 6117 <b> FREDO 6118 </b> That's what I'm here for. 6119 6120 <b> MICHAEL 6121 </b> Tonight I want to relax with you. 6122 The Senator from Nevada is here 6123 with some people from Washington. 6124 I want to show them a good time in 6125 Havana. 6126 6127 <b> FREDO 6128 </b> Count on me; that's my specialty. 6129 6130 <b> MICHAEL 6131 </b> I'd like to come along. There's 6132 been a lot of strain, and I've been 6133 cooped up in this room for three 6134 days. 6135 6136 <b> FREDO 6137 </b> Me and you, great! Gimme an hour 6138 to wash my face and do my research 6139 and we'll have these Washington 6140 suckers right where you want 'em. 6141 (then a thought 6142 strikes him) 6143 Poor Frankie Five-Angels. He 6144 always wanted to die in bed...with 6145 a broad. 6146 6147 <b>INT. ROTH'S SUITE - MED. VIEW - DAY 6148 </b> 6149 Michael stands at Roth's door carrying the briefcase that 6150 Fredo had brought. 6151 6152 A hotel DOCTOR takes Hyman Roth's blood pressure, while his 6153 wife waits nervously. 6154 6155 <b> DOCTOR 6156 </b> (Spanish) 6157 You must not exert yourself; I will 6158 write out a prescription and come 6159 back tomorrow. 6160 6161 <b> HOTEL MAN 6162 </b> He's going to write a prescription. 6163 6164 <b> ROTH 6165 </b> I want my own doctor; fly him in 6166 from Miami. I don't trust a doctor 6167 who can't speak English. 6168 6169 The doctor is shown out. Roth gestures to the hotel man, 6170 who also leaves. Then he looks to his wife. 6171 6172 <b> ROTH 6173 </b> Honey, go down to the casino? 6174 6175 <b> TERRI 6176 </b> If you feel better... 6177 6178 <b> ROTH 6179 </b> I do. Play the Bingo game. 6180 6181 They kiss, and she leaves. Also Bussetta and Ola remain. 6182 6183 <b> ROTH 6184 </b> My sixth sense tells me you have a 6185 bag full of money in your hand. 6186 6187 Ola locks the door; Michael nods, and opens the bag, spilling 6188 its contents on the card table. 6189 6190 <b> MICHAEL 6191 </b> This doubles my investment. 6192 6193 <b> ROTH 6194 </b> Still no word of your courier? 6195 We'll find him. But at least this 6196 will satisfy our friends here. 6197 You've been invited to the New Year 6198 reception at the Presidential Home. 6199 I understand your brother is here 6200 as well; I hope he'll come. 6201 6202 <b> MICHAEL 6203 </b> Six million dollars in cash is a 6204 high price for a piece of a country 6205 in the middle of a revolution. 6206 6207 Roth looks patiently at Michael, as though he were a child 6208 who hadn't minded the lesson that he had been taught over 6209 and over again. 6210 6211 <b> ROTH 6212 </b> You're a careful kid, and that's 6213 good. But look. An international 6214 dispatch on the wire service. 6215 American journalism, not propaganda. 6216 The government troops have all but 6217 eliminated the rebels. All but 6218 their radio station. 6219 6220 <b> MICHAEL 6221 </b> I've read it; I'm pleased that the 6222 government is doing so well. As a 6223 heavy investor, I'm pleased. How 6224 did the doctor find you? 6225 6226 <b> ROTH 6227 </b> Terrible. I'd give twice this 6228 amount to take a piss without it 6229 hurting. 6230 6231 <b> MICHAEL 6232 </b> Who had Frankie Pantangeli killed? 6233 6234 <b> ROTH 6235 </b> (taken a bit off-balance) 6236 Why...the Rosato Brothers. 6237 6238 <b> MICHAEL 6239 </b> I know that; but who gave the go 6240 ahead. 6241 6242 Roth glances to Ola; he is not a fool; he realizes Michael 6243 has begun to suspect him. 6244 6245 <b> MICHAEL 6246 </b> I know it wasn't me...so that 6247 leaves you. 6248 6249 <b> ROTH 6250 </b> There was this kid that I grew up 6251 with; he was a couple years younger 6252 than me, and sort of looked up to 6253 me, you know. We did our first 6254 work together, worked our way out 6255 of the street. Things were good 6256 and we made the most of it. During 6257 prohibition, we ran molasses up to 6258 Canada and made a fortune; your 6259 father too. I guess as much as 6260 anyone, I loved him and trusted him. 6261 Later on he had an idea to make a 6262 city out of a desert stop-over for 6263 G.I.'s on the way to the West Coast. 6264 That kid's name was Moe Greene, and 6265 the city he invented was Las Vegas. 6266 This was a great man; a man with 6267 vision and guts; and there isn't 6268 even a plaque or a signpost or a 6269 statue of him in that town. Someone 6270 put a bullet through his eye; no 6271 one knows who gave the order. When 6272 I heard about it I wasn't angry. I 6273 knew Moe; I knew he was headstrong, 6274 and talking loud, and saying stupid 6275 things. So when he turned up dead, 6276 I let it go, and said to myself: 6277 this is the business we've chosen. 6278 I never asked, who gave the go 6279 ahead because it had nothing to do 6280 with business. 6281 6282 He regards Michael silently a moment. 6283 6284 <b> ROTH 6285 </b> (continuing) 6286 There's three million dollars on 6287 that table. I'm going to lie down, 6288 maybe take a nap. When I wake up, 6289 if it's still there, I'll know I 6290 have a partner. If it's gone, then 6291 I'll know I don't. 6292 6293 The old man turns, and moves in his slippers, toward his 6294 bedroom. 6295 6296 <b>INT. THE CORRIDOR - DAY 6297 </b> 6298 Michael closes the door, and moves down the hallway. He is 6299 followed by Bussetta, who had waited in the corridor. 6300 6301 <b> MICHAEL 6302 </b> (Sicilian) 6303 How sick do you think the old man is? 6304 6305 <b> BUSSETTA 6306 </b> (Sicilian) 6307 He'll live longer than me. 6308 6309 <b>INT. TROPICOR NIGHT CLUB - VIEW ON THE SHOW - NIGHT 6310 </b> 6311 A Havana extravaganza, with tall, beautiful showgirls done 6312 up in flamboyant, 'South-of-the-Border' Carmen Miranda 6313 costumes; the lead singer is a six foot blonde doing "Rum 6314 and Coca Cola" in that style. Her name is YOLANDA. 6315 6316 <b>MED. VIEW 6317 </b> 6318 At a large round table, located in an obvious VIP section of 6319 the high, tropically draped room with living ferns and other 6320 tropical planting with artificial stars. 6321 6322 Michael rises, to be introduced by Fredo to some conservative 6323 looking Senatorial types, including Senator Pat Geary of 6324 Nevada. We notice Bussetta standing nearby. 6325 6326 <b> FREDO 6327 </b> Does everyone know everyone, or 6328 nobody knows nobody. Here, my 6329 brother, Michael Corleone... well, 6330 you know Senator Geary. 6331 6332 Geary warmly shakes Michael's hand. 6333 6334 <b> SENATOR GEARY 6335 </b> Good to see you, Mike; I'm glad we 6336 can spend this time together. 6337 6338 <b> FREDO 6339 </b> This is Senator Payton from Florida; 6340 Judge DeMalco from New York... 6341 Senator Ream... Mr. Questadt from 6342 California, he's a lawyer with the 6343 Price-Control Administration. And 6344 Fred Corngold of U T&T. 6345 6346 They all make themselves comfortable. A waiter with a tray 6347 of drinks appears. 6348 6349 <b> FREDO 6350 </b> Gentlemen... your pleasure? Cuba 6351 Libres, Pina Coladas, you name it. 6352 6353 <b> SENATOR GEARY 6354 </b> I'll take a Yolanda. 6355 6356 Laughter. 6357 6358 <b> FREDO 6359 </b> Later, later. All those girls look 6360 like they're on stilts! 6361 6362 The various tropical drinks are distributed. 6363 6364 <b> SENATOR GEARY 6365 </b> To a night in Havana! 6366 6367 They all join in. 6368 6369 <b> FREDO 6370 </b> (aside to Michael) 6371 Jeeze, it's great you came along, 6372 Mike... You know, we've never spent 6373 a night out on the town together. 6374 I always thought you looked down on 6375 me for liking a good time. 6376 6377 <b> MICHAEL 6378 </b> I never looked down on you, Fredo. 6379 You don't look down at a brother. 6380 6381 <b>INT. THE CASINO - NIGHT 6382 </b> 6383 By now the group has made its way into the casino. Some of 6384 them are crowded around the crap table; Senator Geary is 6385 with the enormous and beautiful Yolanda, who barely speaks 6386 English. There are other girls with some of the men; not 6387 with Michael, who gambles dollars while talking to Corngold. 6388 6389 <b> CORNGOLD 6390 </b> Our information is that Castro is 6391 dead. There are maybe a few 6392 hundred die-hards in the Sierra 6393 Muestra; but government troops are 6394 going to clean them out any day. 6395 6396 Johnny Ola approaches Michael. 6397 6398 <b> OLA 6399 </b> Mike, can I talk to you. 6400 6401 Michael follows Ola toward the Baccarat table; a watchful 6402 Bussetta moves, a distance away, with them. 6403 6404 <b> OLA 6405 </b> Listen, this Senator from Florida 6406 already has a hundred grand worth 6407 of markers on the table. 6408 6409 We can see Senator Ream at the table, making thousand dollar 6410 bets on the Bank. 6411 6412 <b> OLA 6413 </b> They asked him to sign paper to 6414 take down the markers; but he got 6415 mad; told them to wait until he was 6416 finished. 6417 6418 <b> MICHAEL 6419 </b> Let him gamble. 6420 6421 <b> OLA 6422 </b> Okay. You know he doesn't have 6423 that kind of money. 6424 6425 <b> FREDO 6426 </b> Mike said let him gamble. 6427 6428 Fredo puts his arm around his brother; he is high with the 6429 first attention Mike has ever given him, as though finally 6430 he is being taken seriously; as though his brother needs him. 6431 6432 <b> FREDO 6433 </b> Mike, I got something special up my 6434 sleeve for these boys. You ever 6435 hear of "Superman?" And I don't 6436 mean the comic book. 6437 6438 <b> MICHAEL 6439 </b> No. 6440 6441 <b> FREDO 6442 </b> Wait'll you see! 6443 6444 <b>INT. HAVANA BAR - NIGHT 6445 </b> 6446 Our group are in a large Havana bar; the walls totally 6447 covered with hundreds of fifths of different types of rum 6448 and other liquor. 6449 6450 A couple of the girls from the show are out with the men; 6451 Yolanda herself is giving them a private song and dance. 6452 6453 Fredo is a little loaded, and especially attentive to 6454 Michael this night. 6455 6456 <b> FREDO 6457 </b> Mikey, why would they ever hit poor 6458 old Frankie Five-Angels? I loved 6459 that ole sonuvabitch. I remember 6460 when he was just a 'button,' when 6461 we were kids. We used to put 6462 bedsheets on our heads, you know, 6463 like we were ghosts. An' ole 6464 Frankie come peek into our room, 6465 we'd jump up, and he'd always 6466 pretend like he was really scared. 6467 You remember? 6468 6469 <b> MICHAEL 6470 </b> It was hard to have him killed. 6471 6472 <b> FREDO 6473 </b> You? What do you mean you, I 6474 thought... 6475 6476 <b> MICHAEL 6477 </b> It was hard to have him killed. 6478 6479 <b> FREDO 6480 </b> You? What do you mean you, I 6481 thought... 6482 6483 <b> MICHAEL 6484 </b> It was Frankie tried to have me hit. 6485 6486 <b> FREDO 6487 </b> No. I mean, are you sure? 6488 6489 <b> MICHAEL 6490 </b> You know otherwise, Freddie? 6491 6492 <b> FREDO 6493 </b> Me? NO, no, I don't know anything. 6494 Fellas! You're all falling asleep. 6495 We got to see Superman. 6496 6497 <b>CLOSE ON MICHAEL 6498 </b> 6499 A growing feeling about his brother. 6500 6501 <b>EXT. GARISH HAVANA STREET - NIGHT 6502 </b> 6503 The street is lit with tons of neon signs; it is alive with 6504 people; some roving bands of musicians. Everywhere are 6505 little boys running around, begging for money. And in 6506 doorways and windows are silent, dark-skinned women. 6507 6508 <b> SENATOR REAM 6509 </b> (pushing away from 6510 the palm outstretched 6511 little hands of the boys) 6512 Goddamn beggers. Goddamn city of 6513 beggars and pimps and whores. And 6514 we bend over backwards to support 6515 them with the goddamn sugar quota. 6516 6517 <b> FREDO 6518 </b> (to Geary) 6519 What's eating him? 6520 6521 <b> SENATOR GEARY 6522 </b> He lost a quarter million dollars 6523 at the casino. 6524 6525 <b> SENATOR REAM 6526 </b> ...goddamn city of whores... 6527 6528 <b> SENATOR GEARY 6529 </b> He gave them a bad check. 6530 6531 <b>INT. 'SUPERMAN SHOW' - MED. VIEW - NIGHT 6532 </b> 6533 A large room with a succession of platforms arranged step- 6534 like around a circular area which becomes a stage. 6535 6536 There are a hundred or so people, practically all men, 6537 tourists and business men, standing on the different levels, 6538 forming the audience. 6539 6540 In the center of the stage is a thick, telephone type pole, 6541 to which is tied a young Cuban girl, in a flimsy white 6542 sacrificial slip. A small band, mostly drummers, play some 6543 Latin music. 6544 6545 <b>MED. VIEW 6546 </b> 6547 Fredo's party standing on the ramp, looking down at the 6548 spectacle. They're a little woozy from the drinks and late 6549 hour. Michael is with them, but now we sense he is using 6550 this time, with all exhausted and drunk, to come to some 6551 important conclusions. 6552 6553 <b> QUESTADT 6554 </b> Why do we have to stand? 6555 6556 <b> FREDO 6557 </b> Everyone stands. But it's worth 6558 it, watch! 6559 6560 <b>VIEW ON THE ARENA 6561 </b> 6562 Now two high priestesses, scantily clad, bring in a tall and 6563 muscular Cuban, done up in chains and loin cloth, as though 6564 he were a captured slave. This is SUPERMAN 6565 6566 <b>VIEW ACROSS THE MEN TO THE STAGE 6567 </b> 6568 <b> FREDO 6569 </b> That's him; that's Superman! 6570 6571 Some preliminary pornographic proceedings go on, as the 6572 priestesses lead the slave to the virgin tied to the post. 6573 The music is percussive and wild. 6574 6575 <b>MED. VIEW ON THE MEN 6576 </b> 6577 <b> SENATOR GEARY 6578 </b> Ohmygod. I don't believe it. 6579 6580 <b> QUESTADT 6581 </b> It's got to be fake. 6582 6583 <b> FREDO 6584 </b> That's why they call him Superman. 6585 Johnny Ola told me about this; I 6586 didn't believe it. 6587 6588 CLOSE on Michael turning away. Not because of the spectacle 6589 which he finds disgusting, but at what his brother is saying. 6590 6591 <b> FREDO (O.S.) 6592 </b> ... but seeing is believing. Ole 6593 Johnny knows all the places. I 6594 tol' you... can you believe it? 6595 6596 If Michael would ever allow himself to cry, it would be now. 6597 6598 <b> FREDO 6599 </b> (continuing) 6600 The old man Roth, would never come; 6601 but Johnny knows these places like 6602 the back of his hand... 6603 6604 <b> FADE OUT. 6605 </b> 6606 <b>FADE IN: 6607 </b> 6608 <b>INT. MICHAEL'S SUITE - MED. VIEW - MORNING 6609 </b> 6610 Michael is alone in his bedroom; it seems as though he 6611 hasn't slept very much, but sits by his window, looking out 6612 at the city. He is troubled and tired. 6613 6614 His radio is on: 6615 6616 <b> RADIO 6617 </b> (Spanish) 6618 "This is Rebel Radio: Rebel troops 6619 of Column Four 'Jose Marti' took 6620 the town of Baire yesterday at 8:30 6621 p.m. The enemy has retreated..." 6622 6623 <b>EXT. CUBAN STREET - MORNING 6624 </b> 6625 This street in Havana is like a Caribbean tourist city with 6626 no indication of the revolution in progress. 6627 6628 Michael walks along the street, alone, past the Cubans on 6629 their way to work; past the American ladies who have gotten 6630 up early for their shopping spree. 6631 6632 <b> RADIO 6633 </b> (Spanish) 6634 (continuing) 6635 ... An important military action is 6636 developing along a 35-kilometer 6637 stretch of the Central Highway. 6638 Numerous enemy garrisons are left 6639 with two alternatives, surrender or 6640 annihilation... 6641 6642 One full block away, Bussetta rides in the front seat of the 6643 dark Mercury, driving slowly, giving Michael his privacy, 6644 but never letting him out of Bussetta's sight. 6645 6646 <b>CLOSE ON MICHAEL 6647 </b> 6648 watching. 6649 6650 <b>MICHAEL'S VIEW 6651 </b> 6652 Shopkeepers happily luring the tourists into their shops in 6653 broken English. Havana is prosperous. 6654 6655 <b> RADIO 6656 </b> (continuing) 6657 ... Victories in war depend on a 6658 minimum on weapons and to a maximum 6659 on morale... 6660 6661 <b>VIEW ON MICHAEL 6662 </b> 6663 glances back to the dark car following him. In a moment, it 6664 pulls up to him, and he gets into the back seat. 6665 6666 <b>EXT. AMERICAN MILITARY MISSION - VIEW ON MICHAEL - DAY 6667 </b> 6668 standing by his car, looking through the cyclone fencing 6669 that borders this military training camp operated by the 6670 American Army near the city. 6671 6672 <b> RADIO 6673 </b> ... War is not a simple question of 6674 rifles, bullets, guns and planes... 6675 6676 <b>CLOSER VIEW INTO THE CAMP 6677 </b> 6678 <b>EXT. HAVANA STREET - DAY 6679 </b> 6680 A street singer, followed by a guitarist sings Jose Marti's 6681 words of "Guantanamera." It is solemn, as though it is a 6682 song of protest, a song of the revolution. 6683 6684 Nearby, in a restaurant, Michael has lunch with Fredo. 6685 6686 <b> MICHAEL 6687 </b> How is your wife, Fredo...your 6688 marriage? 6689 6690 <b> FREDO 6691 </b> (eating) 6692 You know her; drives me crazy, one 6693 minute she's a popsicle, the next 6694 she's all vinegar. Sometimes I 6695 think... I think - I should a 6696 married someone, like you did. To 6697 have kids, to have a family. 6698 6699 Michael turns, distracted for a moment at something the 6700 singer has sung. 6701 6702 <b> MICHAEL 6703 </b> "Yo soy un hombre sincero..." 6704 I am a sincere man, 6705 From the land of the palms... 6706 6707 <b> FREDO 6708 </b> What's that? 6709 6710 <b> MICHAEL 6711 </b> The song. Are you sincere with me, 6712 Fredo? 6713 6714 <b> FREDO 6715 </b> Sincere. What are you talking 6716 about, of course I'm sincere with 6717 you, Mike. 6718 6719 <b> MICHAEL 6720 </b> Then I'm going to confide in you; 6721 trust you with something. 6722 6723 <b> FREDO 6724 </b> (Sicilian) 6725 Mike, are you crazy, I'm your 6726 brother. 6727 6728 <b> MICHAEL 6729 </b> Tonight we've been invited to a 6730 reception at the Presidential 6731 Palace; to bring in the New Year. 6732 You and I will go in a special car 6733 that's being sent. They'll have 6734 cocktails... then dinner, and a 6735 reception with the President. When 6736 it's over, it will be suggested 6737 that you take Questadt and his 6738 friends from Washington to spend 6739 the night with some women. I'll go 6740 home alone in the car; and before I 6741 reach the hotel, I'll be 6742 assassinated. 6743 6744 <b> FREDO 6745 </b> ...Who? 6746 6747 <b> MICHAEL 6748 </b> The same man who tried in Nevada... 6749 Hyman Roth, not Pentangeli. 6750 6751 <b> FREDO 6752 </b> But, you told me yourself... 6753 6754 <b> MICHAEL 6755 </b> It was never Pentangeli... I've 6756 always known that. It was Roth all 6757 along. He talks to me as a son; as 6758 his successor, but the old man 6759 thinks he'll live forever. 6760 6761 <b> FREDO 6762 </b> What do you want me to do? 6763 6764 <b> MICHAEL 6765 </b> To go tonight, with me, as though 6766 we know nothing. I've already made 6767 my move. 6768 6769 <b> FREDO 6770 </b> What is it? Can I help? 6771 6772 <b> MICHAEL 6773 </b> The old man will never bring in the 6774 New Year. 6775 6776 Fredo realizes what he means; looks immediately to Bussetta, 6777 who had been sitting near the door and the musicians. He is 6778 gone. 6779 6780 <b>INT. HOTEL CORRIDOR - MOVING VIEW ON BUSSETTA - NIGHT 6781 </b> 6782 The first time ever away from Michael, moving toward us 6783 quickly. He stops, knocks on the door of Roth's suite. 6784 Then quickly for a man his size, he moves without noise to 6785 the adjoining door, opens it with a key, and disappears 6786 inside. 6787 6788 A moment elapses on the empty corridor, and then a roused 6789 Johnny Ola, opens the first door. He steps out into the 6790 corridor, to see who had knocked. Confused, he is about to 6791 return inside, when Bussetta easily breaks his neck in two 6792 from behind. 6793 6794 <b>INT. THE SUITE - MED. VIEW - NIGHT 6795 </b> 6796 as Bussetta quietly pulls the limp body of Johnny Ola, his 6797 head bent at an impossible angle, and lays it at the foot of 6798 the couch. 6799 6800 <b>EXT. PRESIDENTIAL PALACE - NIGHT 6801 </b> 6802 Guards who are regular troops patrol the Palace in twos, 6803 carrying machine weapons. 6804 6805 Now an elite officer, checks the identification of the 6806 various cars carrying dignitaries, as they are driven up to 6807 the Palace. The one being inspected at the moment contains 6808 Fredo and Michael. We can see the beautifully dressed 6809 people on their way to the reception, and sense the cheerful 6810 mood of this New Year's Eve. 6811 6812 <b>INT. THE SUITE - NIGHT 6813 </b> 6814 Bussetta bends over Ola's body, tying the wrists and knees 6815 with electrical extensions. He then easily carries the body 6816 to the small balcony which all the rooms have. 6817 6818 <b>EXT. THE BALCONY - NIGHT 6819 </b> 6820 Bussetta swings the body over the side of the balcony 6821 railing; tying the extension cord to the railing, and 6822 suspending the body so that it is invisible both from the 6823 inside and out during the night. 6824 6825 <b>INT. PRESIDENTIAL PALACE - VIEW ON THE MAIN FOYER - NIGHT 6826 </b> 6827 The PRESIDENT, his WIFE and six oldest CHILDREN great 6828 formally the many beautifully and affluently dressed guests. 6829 He speaks to them in Spanish, as one by one they file to him. 6830 6831 Michael and Fredo are presented in a group with several 6832 other Americans, including several of the American 6833 businessmen with interests in Cuba. 6834 6835 <b>EXT. STREETS OF HAVANA - MED. VIEW - NIGHT 6836 </b> 6837 The excitement of the night is beginning to build; people 6838 are out in the streets; poor people, but they are 6839 enthusiastic and lively. 6840 6841 <b>NEW VIEW 6842 </b> 6843 Traffic stops, as an ambulance speeds its way to a hospital; 6844 SIREN going. 6845 6846 <b>INT. THE SUITE - NIGHT 6847 </b> 6848 Bussetta delicately picks up a small satin cushion that had 6849 fallen from the couch, and replaces it as though nothing had 6850 happened. Slowly he cracks the door open which adjoins 6851 Roth's bedroom. There is a slight commotion; whispered 6852 voices. 6853 6854 <b>BUSSETTA'S VIEW 6855 </b> 6856 Terri, Mrs. Roth, is crying. A group of men lift Hyman 6857 Roth's frail body onto a stretcher. 6858 6859 <b>CLOSE ON BUSSETTA 6860 </b> 6861 realizes that this is the man he is to kill. 6862 6863 <b>CLOSER VIEW ON ROTH 6864 </b> 6865 He is alive; breathing hard with his mouth dry and open. 6866 The doctor examines him, and then gives instructions to the 6867 orderly who carries him out, presumably to the ambulance. 6868 6869 Bussetta closes the door on this VIEW. 6870 6871 <b>INT. PRESIDENTIAL PALACE - NIGHT 6872 </b> 6873 An orchestra plays for the guests, as an army of waiters 6874 serve champagne and hors d'oeuvres. Michael relaxes with 6875 Senator Geary, Major Leon, and several of the Americans. 6876 6877 <b> QUESTADT 6878 </b> The embargo on arms shipments from 6879 the U.S. to your government, was 6880 just a necessary public relations 6881 move... Only last month, your air 6882 force received a major shipment of 6883 rockets... 6884 6885 Michael glances at his watch; Fredo concentrates on this. 6886 6887 <b> SENATOR GEARY 6888 </b> We believe in non-intervention... 6889 but the agreement stipulates that 6890 our forces may be withdrawn... but 6891 as you've seen, we have not 6892 withdrawn them. 6893 6894 <b> CORNGOLD 6895 </b> And my guess is that President 6896 Eisenhower won't pull out while we 6897 have over three billion invested 6898 over here. 6899 6900 <b> MICHAEL 6901 </b> Fredo. Where are you going? 6902 6903 <b> FREDO 6904 </b> Nowhere, Mike. I wanted to get a 6905 refill. How about you? 6906 6907 <b>EXT. HAVANA HOSPITAL - MED. VIEW - NIGHT 6908 </b> 6909 The ambulance makes its way up to the emergency section of 6910 the hospital. The orderlies quickly carry the old man 6911 inside. His wife and the doctor, and several of his men, 6912 follow in another car. 6913 6914 <b>THE VIEW ALTERS 6915 </b> 6916 and we see Bussetta waiting in the shadows. 6917 6918 <b>EXT. HAVANA STREETS - NIGHT 6919 </b> 6920 The growing crowds of Cubans begin their celebration. 6921 6922 <b>NEW VIEW 6923 </b> 6924 A Cuban military detachment speeds along in the night, 6925 motorcyclists clear a path through the celebrants. 6926 6927 <b>INT. PRESIDENTIAL PALACE - FULL VIEW - NIGHT 6928 </b> 6929 A full sitdown dinner is being served the guests. Michael 6930 sits at a table at dinner with several of the distinguished 6931 Cubans, and some of the American businessmen. 6932 6933 <b> QUESTADT 6934 </b> What's kept Mr. Roth? 6935 6936 Fredo looks up at Michael. 6937 6938 In the back of the room, we notice the detachment of military 6939 moving quickly through the reception room on their way to 6940 the President's private quarters. Michael notices it as well. 6941 6942 <b>INT. THE HOSPITAL CORRIDOR - FULL VIEW - NIGHT 6943 </b> 6944 The activity at the end of the hall has come to rest; we can 6945 tell that the doctor tells Mrs. Roth that she should go, the 6946 old man will be taken to a room where he can rest. 6947 Gradually, these people leave him in the care of the hospital 6948 staff. 6949 6950 Bussetta watches from the distance of the hallway; after the 6951 old man has been moved, he quietly walks down the hallway to 6952 the room. 6953 6954 <b>HIS VIEW 6955 </b> 6956 A nurse sits in the room in attendance; Hyman Roth is 6957 asleep, his mouth wide open, breathing noisily. 6958 6959 <b>VIEW ON BUSSETTA 6960 </b> 6961 hears footsteps, quickly steps away from the door, and into 6962 another room. 6963 6964 Some nurses and attendants speak to the nurse in the room in 6965 Spanish; one has brought a small bottle of wine, and 6966 obviously they are inviting the nurse to have a New Year's 6967 toast with them. They laugh; and the nurse steps away from 6968 the room for a moment. 6969 6970 Bussetta moves slowly back into the room, alone with the 6971 helpless Roth. 6972 6973 <b>INT. PRESIDENTIAL PALACE - FULL VIEW ON THE GUESTS - NIGHT 6974 </b> 6975 seeing in the New Year; a great banner is hoisted up in 6976 Spanish, welcoming 1959. 6977 6978 Hands are shaken; kisses exchanged. 6979 6980 <b>MED. CLOSE VIEW 6981 </b> 6982 Michael and Fredo in an embrace; they kiss one another. 6983 6984 <b> MICHAEL 6985 </b> I've arranged for a plane; we're 6986 going to Miami in an hour. Try not 6987 to make a big thing of it. 6988 6989 He kisses his brother once again. 6990 6991 <b> MICHAEL 6992 </b> (Sicilian) 6993 I know it was you, Fredo. You've 6994 broken my heart. 6995 6996 Slowly, understanding, Fredo backs away from his brother, 6997 taking the kiss another way. 6998 6999 A little distance away, Major Leon notices an old woman, one 7000 of the President's maids, moving across the alcove, carrying 7001 her suitcases. 7002 7003 <b> LEON 7004 </b> What a pity; she's crying. Must 7005 have been fired, and she's been 7006 with the President's family for 7007 twenty years. 7008 7009 <b>EXT. HAVANA STREETS - NIGHT 7010 </b> 7011 The gathered crowd joyously welcomes the New Year. We 7012 notice the continual military movement. 7013 7014 <b>MED. VIEW 7015 </b> 7016 A family surreptitiously leaves their home, carrying 7017 suitcases and belongings. 7018 7019 <b>INT. ROTH'S HOSPITAL ROOM - NIGHT 7020 </b> 7021 Bussetta raises a hospital pillow, and easily begins to 7022 smother the thin old man, who can barely struggle. 7023 7024 <b>OUT IN THE HALL 7025 </b> 7026 A detachment of military move quickly, accompanied by some 7027 of Roth's men, as though they have important news that must 7028 be dealt with. 7029 7030 They pass the small group of aides and nurses welcoming the 7031 New Year. 7032 7033 Seeing them, the nurse assigned to him, puts down her glass 7034 and moves quickly to the room. 7035 7036 She opens the door, and lays bare the sight of Bussetta 7037 smothering Roth. Bussetta turns quickly; and one of the 7038 military takes out his pistol and shoots several times at 7039 his head. 7040 7041 <b>INT. PRESIDENTIAL PALACE - NIGHT 7042 </b> 7043 The entire reception has been disrupted for an announcement; 7044 all the guests in their formal dress and evening gowns, 7045 standing with frightened faces like first class passengers 7046 on a doomed ship. The President himself, his back to our 7047 VIEW, is making an announcement in Spanish. While he 7048 speaks, we notice continuous movement of his personal staff, 7049 carrying suitcases and possessions. 7050 7051 <b> PRESIDENT 7052 </b> ...Because of serious setbacks of 7053 our troops in Guantanamo and 7054 Santiago, we feel reluctantly, that 7055 we must leave the Capital at once. 7056 Myself and my family must bid you 7057 goodbye, and good fortune. We will 7058 go directly to Ciudad Trujillo. 7059 7060 The crowd is stunned; already whispers are moving throughout 7061 the guests. 7062 7063 The only one who is not completely taken off guard is 7064 Michael, who quietly steps back, and disappears from the room. 7065 7066 <b> PRESIDENT 7067 </b> ...My only regret is that there 7068 could not have been more warning... 7069 As my last official act as 7070 President, I hereby appoint a 7071 provisional government with Dr. 7072 Carlos M. Piedra, as its President. 7073 7074 By now, there is only one thought among the guests: how can 7075 they get out, and with what. 7076 7077 <b>EXT. PRESIDENTIAL PALACE - NIGHT 7078 </b> 7079 We see evidence of the confusion at this late hour; already 7080 cars are beginning to move; people leaving the Palace in 7081 haste. Michael moves quickly toward his car. He sees 7082 Fredo, watching him in fear. 7083 7084 <b> MICHAEL 7085 </b> Come with me. It's your only way 7086 of getting out! 7087 7088 <b>VIEW ON FREDO 7089 </b> 7090 Terrified of his brother, and what he knows; Fredo backs 7091 away into the growing noise and confusion of the crowd. 7092 7093 <b>VIEW ON MICHAEL 7094 </b> 7095 Finally, he has to step into the car and it roars off. 7096 7097 <b>EXT. HAVANA STREETS - NIGHT 7098 </b> 7099 Rebel cars with loudspeakers have already picked up the news 7100 that Batista has conceded...this throws the crowds already 7101 gathered for the New Year into cheers of joy. 7102 7103 They harass a wealthy family who are trying to get away in 7104 their car. 7105 7106 The people pull them out of the car, opening their suitcases, 7107 out of which spill piles of cash and jewelry into street. 7108 7109 Michael's car makes its way as the crowd cheers: "El animale 7110 se fue!" 7111 7112 <b>EXT. THE UNITED STATES EMBASSY - MED. VIEW - NIGHT 7113 </b> 7114 Crowds of panicked and frightened tourists, and Batistianos 7115 are trying to get to the safety of the Embassy with the 7116 families and possessions. 7117 7118 We see Geary, and some of the Americans we had met, working 7119 their way through the crowds, shouting that they are 7120 Americans in order to get preference on the line. Often 7121 that declaration brings 'boos' from the crowds. 7122 7123 Sometimes the joyous Cubans will let a family through, but 7124 again, taking away the suitcases, rich leather, filled with 7125 money and valuables. Money seems to be stuffed everywhere. 7126 7127 <b>EXT. THE YACHT CLUB - NIGHT 7128 </b> 7129 All forms of private transportation are jammed with people 7130 trying to get out, holding cash in their hands for anyone 7131 with a yacht or small boat to get them to Florida. 7132 7133 A car pulls up; and we see Sam Roth, Terri Roth and some of 7134 their men, carry the sickly, but still alive Hyman Roth to a 7135 private cruiser which is protected by men with machine guns. 7136 7137 Within seconds, they are on their way to Miami. 7138 7139 <b>EXT. THE PRIVATE AIRPORT - NIGHT 7140 </b> 7141 Things are no different at the airport; where anything that 7142 can fly is being jammed with refugees and their money. 7143 7144 A wealthy family is arguing with the pilot of a fast 7145 airplane; trying to force cash on him, and his family into 7146 the plane. The PILOT steadfastly refuses, although checking 7147 his watch, as though his passengers are late. He speaks 7148 only English. 7149 7150 <b> PILOT 7151 </b> No, this is a private plane. No, 7152 this plane is taken. 7153 7154 Finally Michael's Mercury pulls up, and Michael approaches 7155 the Pilot. 7156 7157 <b> MICHAEL 7158 </b> He isn't here. 7159 7160 <b> PILOT 7161 </b> We've got to leave, they'll take 7162 this thing apart. 7163 7164 <b> MICHAEL 7165 </b> All right. Go now. 7166 7167 The Pilot lets Michael in, as the Cuban screams curses at 7168 them, and begins searching for another plane for his family. 7169 7170 <b>INT. THE PLANE - VIEW ON THE PILOT - NIGHT 7171 </b> 7172 as the propeller turns over. 7173 7174 <b>EXT. THE AIRPORT - FULL VIEW - NIGHT 7175 </b> 7176 Groups of the cheering, celebrating Cubans sing 7177 "Guantanamera," now as a song of triumph. 7178 7179 <b>INT. THE PLANE - MOVING VIEW - MICHAEL - NIGHT 7180 </b> 7181 Closer to him, his personal and business life caught in the 7182 middle of history. 7183 7184 <b>EXT. NEW YORK STREET - MED. VIEW - DAY (1920) 7185 </b> 7186 He stops to pick out some choice oranges and peaches from a 7187 fruit stand. Then he reaches into his pocket for change. 7188 7189 <b> VENDOR 7190 </b> No, no. It is my pleasure to make 7191 this a gift. 7192 7193 <b>CLOSE VIEW ON VITO 7194 </b> 7195 <b> VITO 7196 </b> You are kind. If ever I can do 7197 something for you, in return, 7198 please come to me. 7199 7200 <b>INT. VITO'S TENEMENT - DAY 7201 </b> 7202 Despite his new position of 'respect,' there is little 7203 changed about his home. Only that they have lived there a 7204 while now, and the rooms are fuller with the inevitable 7205 possessions a young family acquires. 7206 7207 He kisses his wife, who seems a big apprehensive. He shows 7208 her the fruit; and from her reaction knows she has something 7209 on her mind. 7210 7211 <b> VITO 7212 </b> (Sicilian) 7213 What is it? 7214 7215 <b> CARMELLA 7216 </b> (Sicilian) 7217 Come... 7218 7219 They step into the tiny parlor, where we see an older woman, 7220 waiting nervously. 7221 7222 <b> CARMELLA 7223 </b> The Signora is a friend of mine. 7224 She has a favor to ask of you. 7225 7226 <b> VITO 7227 </b> (Sicilian) 7228 Why do you come to me? 7229 7230 <b> SIGNORA COLOMBO 7231 </b> (Sicilian) 7232 She told me to ask you. 7233 7234 He seems surprised; looks to his wife. 7235 7236 <b> CARMELLA 7237 </b> She is having some trouble. Her 7238 landlord has received complaints 7239 because of her dog. He told her to 7240 get rid of it, but her boy loved 7241 it, so they tried to hide it. When 7242 the landlord found out, he was so 7243 angry, he ordered her to leave. 7244 Even if she truly will let the dog 7245 go. 7246 7247 <b> SIGNORA COLOMBO 7248 </b> (Sicilian) 7249 He said he would have the police 7250 put us out. 7251 7252 <b> VITO 7253 </b> (thoughtfully) 7254 I can give you some money to help 7255 you move, is that what you want? 7256 7257 <b> SIGNORA COLOMBO 7258 </b> My friends are all here; how can I 7259 move to another neighborhood with 7260 strangers? I want you to speak to 7261 the landlord to let me stay. 7262 7263 Vito nods to the frightened old woman. 7264 7265 <b> VITO 7266 </b> It's done then. You won't have to 7267 move; I'll speak to him tomorrow 7268 morning. 7269 7270 Carmella breaks into a smile; which her husband des not 7271 acknowledge. 7272 7273 The old woman starts to leave the room; but she is not 7274 convinced. 7275 7276 <b> SIGNORA COLOMBO 7277 </b> You're sure he'll say yes, the 7278 landlord? 7279 7280 <b> VITO 7281 </b> I'm sure he's a good-hearted fellow. 7282 Once I explain how things are with 7283 you, I'm sure he'll take pity on 7284 your misfortunes. Don't let it 7285 trouble you any more. 7286 (as he shows her out) 7287 Guard your health, for the sake of 7288 your children. 7289 7290 <b>EXT. TENEMENT BLOCK - DAY 7291 </b> 7292 SIGNOR ROBERTO, a pompous, rather well-dressed Patrone 7293 angrily walks down the steps of one of his tenement buildings. 7294 7295 He carries a check list, and makes marks with a pencil 7296 concerning the condition of his various buildings; a broken 7297 window here, some missing tile there. He bends over to pick 7298 up some garbage left by a thoughtless tenant, muttering to 7299 himself, when he sees the shoes and legs of a young worker. 7300 7301 <b> VITO (O.S.) 7302 </b> Signore Roberto... 7303 7304 He rises to be face to face with a polite Vito Corleone. 7305 7306 <b> VITO 7307 </b> The friend of my wife, a poor widow 7308 with no man to protect her, tells 7309 me that for some reason she has 7310 been ordered to move from your 7311 building. She is in despair. She 7312 has no money, she has no friends 7313 except those that live here. 7314 7315 Signor Roberto brusquely answers, and continues on his way. 7316 7317 <b> ROBERTO 7318 </b> I have already rented the apartment 7319 to another family. 7320 7321 <b>MOVING SHOT ON THE TWO 7322 </b> 7323 <b> VITO 7324 </b> I told her I would speak to you, 7325 that you are a reasonable man who 7326 acted out of some misunderstanding. 7327 She has gotten rid of the animal 7328 that caused all the trouble, so why 7329 shouldn't she stay. As one Italian 7330 to another, I ask you the favor. 7331 7332 <b> ROBERTO 7333 </b> I've already rented it; I cannot 7334 disappoint the new tenants. They're 7335 paying a higher rent. 7336 7337 <b> VITO 7338 </b> How much more a month? 7339 7340 <b> ROBERTO 7341 </b> Eh... 7342 (we sense he is lying) 7343 Five dollars more. 7344 7345 Vito reaches into his pocket, and takes out a roll of bills. 7346 7347 <b> VITO 7348 </b> Here is the six month's increase in 7349 advance. You needn't speak to her 7350 about it, she's a proud woman. See 7351 me again in another six months. 7352 But of course, you'll let her keep 7353 her dog. 7354 7355 <b> ROBERTO 7356 </b> Like hell! And who the hell are 7357 you to give me orders. Watch your 7358 manners or you'll be on your 7359 Sicilian ass in the street there. 7360 7361 Vito raises his hands in surprise; his voice is reasonable. 7362 7363 <b> VITO 7364 </b> I'm asking you a favor, only that. 7365 One never knows when one might need 7366 a friend, isn't that true? Here, 7367 take this money as a sign of my 7368 good-will, and make your own 7369 decision. I won't quarrel with it. 7370 (he puts the money in 7371 Roberto's hand) 7372 Do me this little favor, just take 7373 it and think carefully. Tomorrow 7374 morning if you want to give me the 7375 money back, by all means do so. If 7376 you want the woman out of your 7377 house, how can I stop you? It's 7378 your property, after all. If you 7379 don't want the dog in there, I can 7380 understand. I dislike dogs myself. 7381 (he pats Roberto on 7382 the shoulder) 7383 Do me this service, eh? I won't 7384 forget it. Ask your friends in 7385 this neighborhood about me, they'll 7386 tell you I'm a man who believes in 7387 showing his gratitude. 7388 7389 Without a word more, Vito leaves a hypnotized Roberto 7390 standing in front of the tenement, his hand clasping the 7391 money. 7392 7393 <b>EXT. NEIGHBORHOOD STREET - DAY 7394 </b> 7395 A thin young man, almost gawky, walks down the street in 7396 this Italian neighborhood, his name is HYMAN SUCHOWSKY. 7397 7398 He carries his tools as he comes home from work. He is 7399 pursued and tormented by a couple of Italian youths, about 7400 his own age, eighteen. 7401 7402 <b> ITALIAN BOY 7403 </b> Kid, where do you live? 7404 7405 <b> ANOTHER 7406 </b> Where'd you get those nigger lips? 7407 7408 He tries not to be intimidated; finally one of the boys, 7409 steps in front of him and stops him. 7410 7411 <b> ITALIAN BOY 7412 </b> Say 'bread' in Italian. 7413 7414 <b> ANOTHER 7415 </b> He dunno. 7416 7417 <b> ITALIAN BOY 7418 </b> Go on; how do you say 'bread' in 7419 Italian? If you're from the 7420 neighborhood, you should know how 7421 to say 'bread' in Italian. 7422 7423 An amused Peter Clemenza steps forward from a local coffee 7424 house, to preside over the fuss. He's a 'big' man in the 7425 neighborhood, and loves a fight. 7426 7427 <b> CLEMENZA 7428 </b> What's up? 7429 7430 <b> ITALIAN BOY 7431 </b> This kid lives around here, but he 7432 can't say bread in Italian. 7433 7434 <b> CLEMENZA 7435 </b> That's 'cause he's Jew. Look at 7436 those pregnant lips! 7437 7438 He giggles at his own joke. 7439 7440 <b> ITALIAN BOY 7441 </b> Are you a Jewboy? 7442 7443 The boy doesn't answer, tries to keep going. 7444 7445 <b> ITALIAN BOY 7446 </b> Well, if you're not a Jew, say 7447 'bread' in Italian. See, he can't. 7448 7449 And with that, he rounds a blow squarely to the boy's face, 7450 sending him sprawling to the cement, his tools flying with a 7451 clatter. 7452 7453 The other Italian immediately joins in with a few kicks to 7454 the boy's stomach. Hyman tries to fight back; grabs a hold 7455 of his tormentor's foot, and brings him down on the cement 7456 as well. For a moment, they are rolling around on the 7457 sidewalk, two against one, Hyman taking the worst of it. 7458 7459 <b> CLEMENZA 7460 </b> Alright, alright, cut it out. 7461 7462 <b> SECOND ITALIAN 7463 </b> What for? He killed Jesus Christ! 7464 7465 Clemenza pulls him off, and kicks him in the ass. 7466 7467 <b> CLEMENZA 7468 </b> I said cut it out! 7469 (to the beaten kid) 7470 What's your name? 7471 7472 <b> HYMAN 7473 </b> Hyman Suchowsky. 7474 7475 <b> ITALIAN BOY 7476 </b> I don't believe it. In our 7477 neighborhood, with a name like that! 7478 7479 <b> CLEMENZA 7480 </b> What are those tools? You work on 7481 cars? 7482 7483 <b> HYMAN 7484 </b> Yeah. 7485 7486 <b> CLEMENZA 7487 </b> Maybe I know how you can make a 7488 couple of extra bucks working as a 7489 mechanic. 7490 7491 The boy seems agreeable. 7492 7493 <b> CLEMENZA 7494 </b> But you gotta know how to keep your 7495 mouth shut, and fer Chrissakes, get 7496 rid of that name. I'll call you 7497 Johnny Lips. 7498 (he giggles at his 7499 own humor again) 7500 Come on... 7501 7502 He leads the boy down the street, whispering to him, on the 7503 side: 7504 7505 <b> CLEMENZA 7506 </b> Bread in Italian is pane. P-A-N-E, 7507 pane. Don't forget. 7508 7509 <b>INT. NEW GENCO WAREHOUSE - DAY 7510 </b> 7511 A newly acquired warehouse, stocked with cases of the new 7512 product "GENCO PURA" olive oil. It is the beginning of a 7513 new business, in the American tradition. Now they have one 7514 rattling old truck, and a few stock boys. 7515 7516 Genco has become the accountant-business manager, based on 7517 the experience working with his father. But it is clear, 7518 that Vito is the leader, and undisputed 'President' of the 7519 new enterprise. 7520 7521 Genco moves through the darkness of the warehouse, to the 7522 small divided area that Vito uses as his office. 7523 7524 <b> GENCO 7525 </b> (Sicilian) 7526 The 'patrone' is here. 7527 7528 <b> VITO 7529 </b> Chi? 7530 7531 <b> GENCO 7532 </b> Roberto. Who owns the 'rat-holes.' 7533 7534 Vito nods that he will see him; and soon Roberto enters, on 7535 tiptoe, his hat in his hand, and in a apologetic voice. 7536 7537 <b> ROBERTO 7538 </b> Excuse me, I hope I am not a 7539 disturbance, Don Corleone. 7540 7541 <b> VITO 7542 </b> Yes. 7543 7544 <b> ROBERTO 7545 </b> What a terrible misunderstanding. 7546 Of course, Signora Colombo can stay 7547 in the flat. Who were those 7548 miserable tenants to complain about 7549 noise from a poor animal...when 7550 they pay such low rent. 7551 7552 Then abruptly, he puts the roll of money on Vito's table, 7553 and steps back a respectful distance. 7554 7555 <b> ROBERTO 7556 </b> Your good heart in helping the poor 7557 widow has shamed me, and I want to 7558 show that I, too, have some 7559 Christian charity. Her rent will 7560 remain what it was. 7561 7562 <b> VITO 7563 </b> What was that? 7564 7565 <b> ROBERTO 7566 </b> In fact, reduced, bu five dollars! 7567 7568 Vito embraces him warmly. 7569 7570 <b> VITO 7571 </b> I accept your generosity... 7572 7573 <b> ROBERTO 7574 </b> I won't keep you another minute... 7575 7576 He quickly takes his leave, bowing several times, and then 7577 makes it back to the safety of the warehouse; he sighs, 7578 deflates his lungs, and mops his brow; his bones have turned 7579 too jelly with fear at his narrow escape. He all but runs 7580 out of the warehouse. 7581 7582 Genco laughs as he watches. 7583 7584 <b> GENCO 7585 </b> We won't see him for weeks! He'll 7586 stay in bed in the Bronx! 7587 7588 Clemenza has been waiting with his new mechanic. We notice 7589 the subtle difference in the way he treats Vito. He is no 7590 longer a junior apprentice in their petty crimes; but an 7591 imposing leader. 7592 7593 <b> CLEMENZA 7594 </b> This kid is good with cars; he 7595 kiijed at the truck, and says he 7596 can keep it going. 7597 7598 Vito looks over the lanky young man. 7599 7600 <b> CLEMENZA 7601 </b> What's your name? 7602 7603 <b> HYMAN 7604 </b> Suchowsky. Hyman Suchowsky. 7605 7606 <b> CLEMENZA 7607 </b> He's gonna dump that; I call him 7608 Johnny Lips. 7609 7610 <b> VITO 7611 </b> Who is the greatest man you can 7612 think of? 7613 7614 <b> CLEMENZA 7615 </b> Go on, answer him when he talks to 7616 you. Tell him: Columbus, Marconi... 7617 Garibaldi. 7618 7619 <b> HYMAN 7620 </b> Arnold Rothstein. 7621 7622 <b> VITO 7623 </b> Then take that as your name: Hyman 7624 Rothstein. 7625 7626 Genco is out in the alley; he calls out with glee. 7627 7628 <b> GENCO 7629 </b> Vitone! Look at this! 7630 7631 Vito moves out to the smiling Genco; Clemenza and the newly 7632 christened Hyman Rothstein follow a distance behind. 7633 7634 <b>EXT. THE ALLEY - DAY 7635 </b> 7636 Genco stands beaming, as two workers raise up high, the 7637 freshly painted sign: "GENCO OLIVE OIL COMPANY." 7638 7639 <b> GENCO 7640 </b> (enthusiastically) 7641 God bless America! We're in 7642 business! 7643 7644 The young men watch as the sign is hoisted into place. OUR 7645 VIEW goes from one to the other: Clemenza, Genco, Vito and 7646 Hyman Rothstein. 7647 7648 <b> DISSOLVE TO: 7649 </b> 7650 <b>INT. SENATE CAUCUS ROOM - MED. CLOSE VIEW - DAY 7651 </b> 7652 Willy Cicci, Pentangeli's associate and bodyguard takes a 7653 drink of water. 7654 7655 <b> SENATOR (O.S.) 7656 </b> Mr. Cicci. From the year 1927 to 7657 the present time, you were an 7658 employee of the "Genco Olive Oil 7659 Company." 7660 7661 <b> CICCI 7662 </b> That's right. 7663 7664 <b> SENATOR (O.S.) 7665 </b> But in actuality, you were a member 7666 of the Corleone Crime organization. 7667 7668 <b> CICCI 7669 </b> The Corleone Family, Senator. We 7670 called it, "The Family." 7671 7672 <b> SENATOR (O.S.) 7673 </b> What position did you occupy? 7674 7675 <b> CICCI 7676 </b> At first, like everybody, I was a 7677 soldier. 7678 7679 <b>VIEW ON SENATOR KANE 7680 </b> 7681 A thin, angular Baptist with a Mid-Western accent. 7682 7683 <b> SENATOR KANE 7684 </b> What is that exactly? 7685 7686 <b> CICCI 7687 </b> A button. You know, Senator. 7688 7689 <b> SENATOR KANE 7690 </b> No, I don't know, explain that 7691 exactly. 7692 7693 <b> CICCI 7694 </b> When the boss says push the button 7695 on a guy, I push the button, see, 7696 Senator? 7697 7698 The Senators treat Cicci with a surface courtesy, as if he 7699 were a curious kind of animal, not really human. Cicci 7700 reacts to this by being even more brutally forthright than 7701 he has to be, to show his contempt for what he considers a 7702 hypocrisy. 7703 7704 The VIEW ALTERS from Senator Kane to the Committee's 7705 attorney, Mr. Questadt. 7706 7707 <b> QUESTADT 7708 </b> You mean you killed people at the 7709 behest of your superiors? 7710 7711 <b> CICCI 7712 </b> That's right, counsellor. 7713 7714 <b> QUESTADT 7715 </b> And the head of your family was 7716 Michael Corleone. 7717 7718 <b> CICCI 7719 </b> Yeah, counsellor, Michael Corleone. 7720 7721 <b> SENATOR KANE 7722 </b> Did you ever get such an order 7723 directly from Michael Corleone? 7724 7725 <b> CICCI 7726 </b> No, Senator, I never talked to him. 7727 7728 <b> SENATOR SAVOY 7729 </b> (very autocratic, 7730 deep South, 7731 gentlemanly man) 7732 There was always a buffer, someone 7733 in between you who gave you orders. 7734 7735 <b> CICCI 7736 </b> Yeah, a buffer, the Family had a 7737 lot of buffers. 7738 7739 <b>EXT. THE TROPICANA IN VEGAS - MED. VIEW - DAY 7740 </b> 7741 A limousine pulls up at a private area near the side of the 7742 hotel. Michael exits the limousine followed by Hagen and 7743 Neri. 7744 7745 <b> MICHAEL 7746 </b> Do you think they have somebody to 7747 back up Cicci? 7748 7749 <b> HAGEN 7750 </b> No. But if they do have somebody, 7751 you'll do three years for perjury 7752 if you give them so much as a wrong 7753 middle name. 7754 7755 Michael smiles to him, but it's a cold, deadly smile. 7756 7757 <b> HAGEN 7758 </b> Michael, take the Fifth all the 7759 way, that way you can't get into 7760 trouble. 7761 7762 <b>EXT. PRIVATE BALCONY OF CORLEONE APARTMENT AT TROPICANA - DAY 7763 </b> 7764 A Corleone bodyguard waits outside on the balcony overlooking 7765 the pool area. Through the translucent draperies, we see a 7766 grouping of me. 7767 7768 <b>INT. CORLEONE APARTMENT AT THE TROPICANA - DAY 7769 </b> 7770 Michael, Hagen, Neri and Rocco are seated in this luxury in 7771 the hotel. Michael sits in a comfortable chair in his 7772 apartment. Neri comes and brings him a drink without 7773 asking, but Michael refuses it. 7774 7775 <b> MICHAEL 7776 </b> Al, get me a wet towel. Does Kay 7777 know I'm back? 7778 7779 Hagen nods. 7780 7781 <b> MICHAEL 7782 </b> Did the boy get something from me 7783 for Christmas? 7784 7785 <b> HAGEN 7786 </b> I took care of it. 7787 7788 <b> MICHAEL 7789 </b> What was it, so I'll know. 7790 7791 <b> HAGEN 7792 </b> A little care he can ride in with 7793 an electric motor. 7794 7795 Neri comes around with a wet face towel, which Michael uses 7796 to cool his eyes. He puts the used towel down on the table. 7797 7798 <b> MICHAEL 7799 </b> Fellas, can you wait outside a 7800 minute? 7801 7802 They know what he means and leave the apartment, going out 7803 to the balcony where we can see them but they cannot hear. 7804 Only Hagen remains. 7805 7806 <b> MICHAEL 7807 </b> Where's my brother? 7808 7809 <b> HAGEN 7810 </b> Roth got out on a private boat. 7811 He's in a hospital in Miami. Had a 7812 stroke but he's recovered okay. 7813 Bussetta's dead. 7814 7815 <b> MICHAEL 7816 </b> I asked about Fredo? 7817 7818 <b> HAGEN 7819 </b> The new government arrested him, 7820 held him for a couple of days with 7821 a lot of the other casino people, 7822 including Roth's brother, Sam. The 7823 American Embassy arranged flights 7824 for citizens; I'm not sure, but I 7825 think he's somewhere in New York. 7826 7827 <b> MICHAEL 7828 </b> I want you to reach Fredo. I know 7829 he's scared, but have one of our 7830 people reach him. Assure him that 7831 there will be no reprisals. Tell 7832 him that I know Roth misled him. 7833 7834 <b> HAGEN 7835 </b> My information is that Fredo 7836 thought it was a kidnapping. Roth 7837 assured him nothing would happen to 7838 you. 7839 7840 <b> MICHAEL 7841 </b> (indicating Rocco and 7842 Neri on the balcony) 7843 They can come in now. 7844 7845 <b> HAGEN 7846 </b> Wait... there's something else. 7847 7848 <b> MICHAEL 7849 </b> Alright. 7850 7851 Hagen pauses; doesn't know how to begin. 7852 7853 <b> MICHAEL 7854 </b> (impatiently) 7855 Go on, tell me. 7856 7857 <b> HAGEN 7858 </b> Kay had a miscarriage; she lost the 7859 baby. 7860 7861 After a moment: 7862 7863 <b> MICHAEL 7864 </b> Was it a boy or a girl? 7865 7866 <b> HAGEN 7867 </b> Mike, at three and a half... 7868 7869 <b> MICHAEL 7870 </b> What is it, can't you give me 7871 straight answers anymore! 7872 7873 <b> HAGEN 7874 </b> It was a boy. 7875 7876 <b> MICHAEL 7877 </b> And Kay...she's all right? 7878 7879 <b> HAGEN 7880 </b> She took the Senate Investigation 7881 worse. 7882 7883 <b> MICHAEL 7884 </b> Does she blame it on me? The baby? 7885 7886 <b> HAGEN 7887 </b> I don't know. 7888 7889 <b>EXT. TAHOE ESTATE - DAY 7890 </b> 7891 The first snow of the New Year has fallen; the trees are 7892 bare, and there is hush all over this part of the Sierras. 7893 Michael is driven in his car, looking out at the familiar 7894 sight of the home he has been forced to be away from. 7895 7896 <b>VIEW ON MICHAEL 7897 </b> 7898 looking out from his window. The last time he had seen the 7899 estate it was warm, and the trees were full. 7900 7901 <b>MOVING VIEW 7902 </b> 7903 approaching the great stone gates; closed. The bodyguards 7904 are not readily visible, but they are there. The iron gates 7905 are opened, and one of the men makes a simple nod of respect, 7906 as the car pulls in. 7907 7908 <b>NEW VIEW 7909 </b> 7910 Inside the estate, the private roads have been freshly 7911 plowed, and occasionally a worker will pause to watch the 7912 car as it passes. 7913 7914 The Grandchildren are in school now, and so the estate is 7915 especially quiet. Although there are signs that children 7916 live here; a bicycle, a sled, a swing and gymnastic set, wet 7917 and with a rim of snow still on it. 7918 7919 <b>INT. MICHAEL'S HOUSE - VIEW FROM INSIDE THE HOUSE - DAY 7920 </b> 7921 to the outside, where Michael walks slowly. He stops and 7922 looks at a little Italian red sportscar made for children. 7923 7924 <b>NEW VIEW 7925 </b> 7926 The front door opens, and Michael enters his own home. It 7927 is very quiet, no one is at home to greet him. He can see 7928 the evidence of his family; things his wife and his children 7929 have been using, and left on a sofa or a table. 7930 7931 He moves toward his and Kay's bedroom, where we can HEAR the 7932 SOUND of a sewing machine running. 7933 7934 Quietly he opens the door. 7935 7936 <b>MICHAEL'S VIEW 7937 </b> 7938 into the bedroom. Kay is sitting by the window, lit by the 7939 cold afternoon light, at work with her sewing machine. She 7940 hasn't noticed that he's in the room yet, and goes on with 7941 her work. 7942 7943 <b>VIEW ON MICHAEL 7944 </b> 7945 stands there a moment, watching, not making a sound. And 7946 then without a word, he steps back, and closes the door, so 7947 that she doesn't see him. 7948 7949 <b>VIEW FROM INSIDE THE HOUSE 7950 </b> 7951 onto Michael, moving outside, walking through the snow, he 7952 moves to the house next to his own. 7953 7954 <b>INT. CONNIE'S HOUSE - DAY 7955 </b> 7956 This is the house where Mama lives with Connie's children, 7957 Connie so rarely is there. 7958 7959 He steps in; his mother is asleep in a chair in the living 7960 room. He moves to her, and bends low, whispers. 7961 7962 <b> MICHAEL 7963 </b> Mom... Mom... 7964 7965 She opens her eyes, which are red and small with age. 7966 7967 <b> MICHAEL 7968 </b> (Sicilian) 7969 It's Michael. How are you, Mom? 7970 7971 <b> MAMA 7972 </b> (Sicilian) 7973 I'm alright. Will you stay home 7974 for awhile? 7975 7976 <b> MICHAEL 7977 </b> (Sicilian) 7978 There are still things I have to do. 7979 7980 <b> MAMA 7981 </b> (Sicilian) 7982 Well, we can all have a nice dinner 7983 together tonight. How are your eyes? 7984 7985 <b> MICHAEL 7986 </b> Alright. They bother me once in 7987 awhile. 7988 (a pause as he thinks) 7989 Tell me, when Pop had troubles... 7990 did he ever think, even to himself, 7991 that he had gone the wrong way; 7992 that maybe by trying to be strong 7993 and trying to protect his family, 7994 that he could... that he could... 7995 lose it instead? 7996 7997 <b> MAMA 7998 </b> (Sicilian) 7999 You talk about the baby. She can 8000 have another baby. 8001 8002 <b> MICHAEL 8003 </b> (Sicilian) 8004 No, I meant lose his family. 8005 8006 <b> MAMA 8007 </b> (as best she ever 8008 understood it) 8009 Your family? How can you ever lose 8010 your family? 8011 8012 <b> MICHAEL 8013 </b> (almost to himself) 8014 But times are different... 8015 8016 <b>FULL VIEW IN ROOM - MICHAEL AND HIS MOTHER 8017 </b> 8018 Quietly we HEAR the music of a small band playing an Italian 8019 march. From the orchestration, we know it is from the past. 8020 8021 <b> DISSOLVE TO: 8022 </b> 8023 <b>EXT. TRAIN STATION AT CORLEONE - DAY 8024 </b> 8025 Vitone and his young family: Mama, Santino, Fredo and the 8026 baby Michael are met at the small station in Sicily by 8027 friends, and Mama's relatives. There is a small band, 8028 playing for the occasion. A small man has brought a motor 8029 car to pick the family up; and there are certain dark men, 8030 with shotguns slung over their shoulders to preside over the 8031 occasion. 8032 8033 The family is helped into the car; the luggage is packed on 8034 the roof, and the car drives off. The second car, with 8035 bodyguards following. 8036 8037 <b>EXT. DON TOMASINO'S VILLA OUTSIDE OF CORLEONE - DAY 8038 </b> 8039 The villa is bloomed with flowers and DON TOMASINO at this 8040 point is a man in his late twenties. He embraces Vitone and 8041 pats the heads of his children, and leads them all into the 8042 garden. 8043 8044 <b>INT. THE VILLA - SUMPTUOUS MED. VIEW - LATE DAY 8045 </b> 8046 A sumptuous table is set for the visiting family from 8047 America. There is a warm atmosphere as Vito, his wife and 8048 children eat. Tomasino and his family received presents 8049 from Carmella and to Tomasino's mother, and gifts are given 8050 to all of the children. 8051 8052 All typically American representing some of the prosperity 8053 and interests in the consumer goods that followed a great war. 8054 8055 <b>EXT. CORLEONE PLAZA - DAY 8056 </b> 8057 The family exits the church on the plaza of the town. Vito 8058 shakes hands warmly with the priest. 8059 8060 <b>INT. VILLAGE COTTAGE - NIGHT 8061 </b> 8062 The door is open -- the footsteps of a man enter the room. 8063 We follow these footsteps without quite knowing to whom they 8064 belong. They lead us to a bed, where we see asleep an OLD 8065 MAN. He sleeps in his undershirt and is sweating, covered 8066 by mosquito netting. 8067 8068 <b>VIEW ALTERS 8069 </b> 8070 and we realize that it is young Vito looking at the MAN. 8071 8072 We remember that the man is MOSCA, one of three men, who 8073 almost twenty years before had hunted down Vito when he was 8074 a boy. With lightning speed, Vito slashes through the 8075 mosquito netting with a knife. And with the movement 8076 precise as a butcher's he disembowls this man. 8077 8078 <b>EXT. OLIVE OIL WAREHOUSE - FULL VIEW 8079 </b> 8080 Vito has brought his wife and children to see the Olive Oil 8081 Depot which is the link to his New York importing business. 8082 They go inside. 8083 8084 <b>INT. OLIVE OIL WAREHOUSE - DAY 8085 </b> 8086 They are led by one of Vito's associates through rows and 8087 rows of large vats of olive oil. Vito very proudly shows 8088 his associates in Italy the olive oil can that will be used 8089 in the United States. They all stand around at the link to 8090 their new importing business and share a toast of wine. 8091 8092 <b>EXT. THE BAY - DAY 8093 </b> 8094 A team of Sicilian fisherman are at work mending their nets. 8095 One sings accompanied by a guitar. 8096 8097 <b>VIEW MOVES TO ONE OF THE OLD FISHERMAN 8098 </b> 8099 He is recognized as the second of the men who had hunted 8100 Vito down. STROLLO. As he walks we notice there is a 8101 figure that is moving through the drying sails and barrels, 8102 it is Vito. He moves quietly, stepping up behind the old 8103 man. In an instant, he has thrown a garrote around his 8104 throat, twisting it tight, so that there is very little 8105 sound. 8106 8107 Then, almost silently dragging him through the space hidden 8108 by the drying sails. 8109 8110 <b>EXT. THE IMPRESSIVE ESTATE OF DON FRANCESCO - DAY 8111 </b> 8112 We see an old car approach. Its driver is the young Tomasino. 8113 Sitting in the car with him is Vito. 8114 8115 The car stops at the gates, and an old guard sees and 8116 recognizes Tomasino, opens the gates allowing them to enter. 8117 8118 <b>MED. VIEW 8119 </b> 8120 on an almost decrepit DON FRANCESCO. He must be in his 8121 early nineties, sitting as powerful and as impressive as 8122 ever, in his throne-like chair from which he manages the 8123 power as the Mafia Chieftan of this village. Young Don 8124 Tomasino is speaking. 8125 8126 We notice in a little distance in the rear, there are some 8127 younger shepherds with shotguns thrown over their shoulders. 8128 8129 <b> TOMASINO 8130 </b> (Sicilian) 8131 Don Francesco, if you will honor 8132 me, by allowing me to introduce my 8133 associate in America, in New York. 8134 His name is Vito Corleone. 8135 8136 The old man and his eyes glance up at a notion of a man who 8137 has taken the name of this town as his name. 8138 8139 <b> TOMASINO 8140 </b> We will supply him with olive oil 8141 exclusively in the town of Corleone. 8142 His company is called the "Genco 8143 Olive Oil Company." Here we have 8144 brought you an indication of how he 8145 will sell the product. 8146 8147 Tomasino respectfully puts a can of olive oil where the old 8148 man can look at it. The old man nods, accepting the notion 8149 of this business. 8150 8151 <b> TOMASINO 8152 </b> (Sicilian) 8153 We have come to ask your blessing 8154 and permission to continue this 8155 enterprise. 8156 8157 <b> DON FRANCESCO 8158 </b> (Sicilian) 8159 (in a shrill, high, 8160 raspy voice) 8161 Where is this young man? 8162 8163 <b> TOMASINO 8164 </b> He is right here, standing next to 8165 me, Don Francesco. 8166 8167 <b> DON FRANCESCO 8168 </b> (Sicilian) 8169 Have him come closer, I can't see 8170 very well. 8171 8172 Vito takes those several steps, so that he is standing right 8173 in front of the old man. 8174 8175 <b>VIEW ON DON FRANCESCO 8176 </b> 8177 looking up, squinting against the sun. 8178 8179 <b>DON FRANCESCO'S VIEW 8180 </b> 8181 Strangely backlit, almost blurry image of the young man from 8182 America. 8183 8184 <b> DON FRANCESCO 8185 </b> (Sicilian) 8186 What is your name? 8187 8188 <b> VITO 8189 </b> (Sicilian) 8190 Vito Corleone. 8191 8192 <b> DON FRANCESCO 8193 </b> (Sicilian) 8194 You took the name of this town, eh? 8195 What was your father's name? 8196 8197 <b> VITO 8198 </b> (Sicilian) 8199 Antonio Andolini. 8200 8201 <b>CLOSE VIEW ON THE OLD MAN 8202 </b> 8203 The recognition of the name throws a shudder through him. 8204 It is as though he recognizes that this is the boy; the son 8205 of his old enemy, whom he had killed, and whose sons he had 8206 tried to wipe out. The old man raises his feeble hands 8207 signalling his guard, and in his weak voice, he shouts: 8208 8209 <b> DON FRANCESCO 8210 </b> (Sicilian) 8211 Kill him! Kill him! 8212 8213 But he is too late; Vito steps forward. 8214 8215 <b> VITO 8216 </b> (Sicilian) 8217 In the name of my Father, and my 8218 Brother... 8219 8220 And uses the knife, ritualistically plunging it into the old 8221 man's belly, and then up to his throat, which is severed. 8222 8223 <b>VIEW ON TOMASINO 8224 </b> 8225 has drawn his pistol and quickly shoots one of the guards, 8226 helping Vito to escape back into the motor car. 8227 8228 <b>VIEW ON A GUARD 8229 </b> 8230 raising his shotgun. 8231 8232 <b>VIEW ON THE MOTOR CAR 8233 </b> 8234 Just as Tomasino is about to get into the car, the shotgun 8235 is fired, and he is hit in the legs. 8236 8237 Vito manages to pull him up into the car, and they make 8238 their escape. 8239 8240 <b>EXT. RAILROAD STATION IN CORLEONE - DAY 8241 </b> 8242 Some of the townspeople have come bringing flowers and gifts 8243 for Vito and his family. 8244 8245 His wife is radiant with the flowers given her. 8246 8247 The train has arrived and the crowd shout "Ciao, come back 8248 soon." 8249 8250 <b>THE VIEW ALTERS 8251 </b> 8252 revealing his good friend Tomasino, waving from his 8253 wheelchair. 8254 8255 <b>VIEW ON VITO 8256 </b> 8257 and his wife. She holds up the baby Michael, and helps him 8258 wave his hand. 8259 8260 <b>INT. SENATE CAUCUS ROOM - MED. CLOSE VIEW ON MICHAEL - DAY 8261 </b> 8262 <b> SENATOR KANE (O.S.) 8263 </b> Are you the son of Vito Corleone? 8264 8265 <b> MICHAEL 8266 </b> Yes. 8267 8268 <b> SENATOR KING 8269 </b> Did he use at times an alias? Was 8270 this alias in certain circles 8271 <b> GODFATHER? 8272 </b> 8273 <b> MICHAEL 8274 </b> It was not an alias. GODFATHER was 8275 a term of affection, used by his 8276 friends, one of respect. 8277 8278 <b> SENATOR WEEKLER 8279 </b> (Senator from New 8280 York, very smooth, 8281 partly liberal, 8282 Tammany Hall) 8283 Let me agree with that. Many of my 8284 constituents are Italian and have 8285 been honored with that certain 8286 friendship by my close Italian 8287 friends. Up to this point before I 8288 have to leave this hearing to join 8289 my own committee, let me say, that 8290 this hearing on the Mafia is in no 8291 way a slur on the Italians by the 8292 Senate; nor is it meant to be; nor 8293 will I allow it to be. Italian 8294 Americans are the hardest working, 8295 most law abiding patriotic Americans 8296 of our country. It is a shame and 8297 a pity that a few rotten apples 8298 give them a bad name. We are here 8299 to weed those rotten apples out of 8300 the vast healthy barrel of Italian 8301 Americans, who are one of the 8302 backbones of our country. 8303 8304 There is a pause for a while, while the New York Senator 8305 poses for the TV cameras and leaves the hearing so that he 8306 will not be associated with hearing the rough stuff. 8307 8308 <b> SENATOR KANE 8309 </b> I'm sure we all agree with our 8310 esteemed colleague. Now, Mr. 8311 Corleone, you have been advised as 8312 to your legal rights. We have had 8313 testimony from a preceding witness 8314 who states you are head of the most 8315 powerful Mafia family in this 8316 country. Are you? 8317 8318 <b> MICHAEL 8319 </b> No. 8320 8321 <b> SENATOR KANE 8322 </b> This witness has testified that you 8323 are personally responsible for the 8324 murder of a New York Police Captain 8325 in the year 1947 and with him a man 8326 named Virgil Sollozzo. Do you deny 8327 this? 8328 8329 <b> MICHAEL 8330 </b> I deny his every charge. 8331 8332 <b> SENATOR KANE 8333 </b> Is it true that in the year 1950 8334 you devised the murder of the heads 8335 of the Five Families in New York, 8336 to assume and consolidate your 8337 nefarious power? 8338 8339 <b> MICHAEL 8340 </b> That is a complete falsehood. 8341 8342 <b> SENATOR KANE 8343 </b> Is it true that you own a 8344 controlling interest in three of 8345 the major hotels in Las Vegas? 8346 8347 <b> MICHAEL 8348 </b> That is not true. I own some stock 8349 in some of the hotels, but only 8350 very small amounts. I also own 8351 some American Telephone and IBM 8352 stock. 8353 8354 Michael had checked this point with Hagen, before answering, 8355 and then once again after the answer. 8356 8357 <b> SENATOR ROGERS 8358 </b> Why is it necessary for your 8359 counsel to advise you on that 8360 question? 8361 8362 <b> MICHAEL 8363 </b> Senator, I've observed the head of 8364 General Motors before a Senate 8365 Committee, and his lawyer whispered 8366 in his ear. That was not commented 8367 upon in the way you have just done. 8368 8369 <b> SENATOR KANE 8370 </b> Mr. Corleone, do you have any hotel 8371 interests in the state of Arizona? 8372 Or any gambling interests in that 8373 state? 8374 8375 <b> MICHAEL 8376 </b> I do not. 8377 8378 <b> SENATOR KANE 8379 </b> Do you have interests or control 8380 over gambling and narcotics in the 8381 state of New York. 8382 8383 <b> MICHAEL 8384 </b> I do not. 8385 8386 A pause. Silence, as the Chairman whispers something to his 8387 assistant. 8388 8389 Tom Hagen takes a paper out of his briefcase, and addresses 8390 the Chair. 8391 8392 <b> HAGEN 8393 </b> Senator, my client would like to 8394 read a statement for the record. 8395 8396 <b> SENATOR KANE 8397 </b> I don't think that's necessary. 8398 8399 <b> HAGEN 8400 </b> Sir, my client has answered every 8401 question asked by this committee 8402 with the utmost cooperation and 8403 sincerity. He has not taken that 8404 Fifth Amendment as it was his right 8405 to do, and which because of the 8406 extreme legal complexity of this 8407 hearing, counsel advised him to do. 8408 So, I think in all fairness this 8409 committee should hear his statement 8410 and put it in the record. 8411 8412 <b> SENATOR KANE 8413 </b> Very well. 8414 8415 At this point Senator Rogers contemptuously walks out of the 8416 hearing room. 8417 8418 <b> MICHAEL 8419 </b> (reading) 8420 In the hopes of clearing my family 8421 name, in the sincere desire to give 8422 my children their fair share of the 8423 American way of life without a 8424 blemish on their name and background 8425 I have appeared before this 8426 committee and given it all the 8427 cooperation in my power. I consider 8428 my being called before this 8429 committee an act of prejudice to 8430 all Americans of Italian extraction. 8431 I consider it a great dishonor to 8432 me personally to have to deny that 8433 I am a criminal. I wish to have 8434 the following noted for the record. 8435 That I served my country faithfully 8436 and honorably in World War II and 8437 was awarded the Distinguished 8438 Service Cross for actions in 8439 defense of my country. That I have 8440 never been arrested or indicted for 8441 any crime whatsoever... that no 8442 proof linking me to any criminal 8443 conspiracy, whether it is called 8444 Mafia or Cosa Nostra or whatever 8445 other name you wish to give, has 8446 ever been made public. Only one 8447 man has made charges against me, 8448 and that man is known to be a 8449 murderer, arsonist and rapist. And 8450 yet this committee had used this 8451 person to besmirch my name. My 8452 personal protest can only be made 8453 to the people of this country. I 8454 can only thank God that in this 8455 country we have a legal system and 8456 courts of law to protect innocent 8457 people from wild accusation. I 8458 thank God for our democratic due 8459 process of Law that shields me from 8460 the false charges made by this 8461 committee's witness. I have not 8462 taken refuge behind the Fifth 8463 Amendment, though counsel advised 8464 me to do so. I challenge this 8465 committee to produce any witness or 8466 evidence against me, and if they do 8467 not, I hope they will have the 8468 decency to clear my name with the 8469 same publicity with which they have 8470 now besmirched it. I ask this 8471 without malice, in the interests of 8472 fair play. 8473 8474 The television cameras have documented this moment, as Hagen 8475 hands the document over to the committee lawyer. 8476 8477 <b> SENATOR ROGERS 8478 </b> We are all impressed. The committee 8479 will now recess over the weekend. 8480 However, it will continue Monday 8481 morning, at eleven a.m. At that 8482 time, this committee will then 8483 produce a witness directly linking 8484 Mr. Corleone to the charges we have 8485 made. And then, Mr. Corleone may 8486 very well by liable for indictments 8487 of perjury. However, this document 8488 will be made a matter of record. 8489 8490 <b>EXT. ARMY POST - DAY 8491 </b> 8492 An army post somewhere in the East. It is safely guarded. 8493 8494 <b>INT. HOUSE ON THE POST - DAY 8495 </b> 8496 where Pentangeli is being held by his constant companions, 8497 the two FBI MEN. 8498 8499 <b> PENTANGELI 8500 </b> Ten to one shot, you said. Ten to 8501 one shot in my favor, and I lose. 8502 8503 <b> FBI MAN #1 8504 </b> Get a good night's sleep. We got a 8505 new suit, new shirt, new tie, and 8506 I'm going to shave you myself. 8507 Tomorrow we want you to look 8508 respectable for fifty million of 8509 your fellow Americans. 8510 8511 <b> PENTANGELI 8512 </b> My life won't be worth a nickel 8513 after tomorrow. 8514 8515 <b> FBI MAN #1 8516 </b> We have a special home for you for 8517 the rest of your life. Nobody gets 8518 near you. You're not going any 8519 place. 8520 8521 <b> PENTANGELI 8522 </b> Yeah, some deal I made. 8523 8524 <b> FBI MAN #2 8525 </b> You live like a king. You'll be a 8526 hero. You'll live better in here 8527 than most people on the outside. 8528 8529 <b> PENTANGELI 8530 </b> Some deal. 8531 (pause) 8532 I just wish Mike had took the Fifth. 8533 8534 <b> FBI MAN #1 8535 </b> Why'd you do it, Frankie? After 8536 all these years, why'd you turn 8537 against him? 8538 8539 <b> PENTANGELI 8540 </b> I didn't turn against nobody; he 8541 turned against me. 8542 8543 <b>EXT. THE BOATHOUSE ALCOVE - DAY 8544 </b> 8545 A somewhat frightened Fredo Corleone sits in the easy chair 8546 overlooking the lake in this canopied section of the 8547 boathouse. Rocco sits with him. 8548 8549 <b>INT. BOATHOUSE - DAY 8550 </b> 8551 Michael is in the dark room with Hagen and Neri. 8552 8553 <b> MICHAEL 8554 </b> How did they get their hands on 8555 Pentangeli? 8556 8557 <b> HAGEN 8558 </b> Roth engineered it, Michael. He 8559 made Pentangeli think you hit him. 8560 Deliberately letting him get off 8561 alive. Then the New York detectives 8562 turned Frankie over to the FBI. My 8563 informants say he was half dead and 8564 scared stiff -- talking out loud 8565 that you had turned on him and 8566 tried to kill him. Anyway, they 8567 had him on possession, dealing in 8568 heroin, murder one and a lot more. 8569 There's no way we can get to him 8570 and you've opened yourself to five 8571 points of perjury. 8572 8573 <b> NERI 8574 </b> They've got him airtight. He's in 8575 a military base, twenty-four hour 8576 guards. Trying to kill him is like 8577 trying to like the President -- 8578 it's impossible. 8579 8580 <b> MICHAEL 8581 </b> What does Fredo know? 8582 8583 <b> HAGEN 8584 </b> He says he doesn't know anything, 8585 and I believe him. Roth played 8586 this one beautifully. 8587 8588 <b> MICHAEL 8589 </b> Alright. I'm going to go outside 8590 and talk to Fredo. 8591 8592 <b>EXT. BOATHOUSE FOYER - DAY 8593 </b> 8594 Fredo sits on the couch. When Rocco sees Michael, he 8595 automatically takes his leave. Michael sits in the chair 8596 opposite Fredo. 8597 8598 <b> FREDO 8599 </b> (after a pause) 8600 I don't have a lot to say, Michael. 8601 8602 <b> MICHAEL 8603 </b> We have time. 8604 8605 <b> FREDO 8606 </b> I was kept pretty much in the dark. 8607 I didn't know all that much. 8608 8609 <b> MICHAEL 8610 </b> What about now, is there anything 8611 you can help me out with? 8612 8613 <b> FREDO 8614 </b> I know they get Pentangeli, that's 8615 all I know. 8616 8617 Fredo gets up, walks to the glass panel that separates the 8618 terrace from the lake. 8619 8620 <b> FREDO 8621 </b> I didn't know it was a hit. I 8622 swear to you I didn't know. Johnny 8623 Ola contacted me in Beverly Hills -- 8624 said he wanted to talk. He said 8625 you and Roth were in on some big 8626 deal, and there was a place for me 8627 in it if I could help them out. 8628 They said you were being tough on 8629 the negotiation, and if they had a 8630 little bit of help, they could 8631 close it fast and it would be good 8632 for you. 8633 8634 <b> MICHAEL 8635 </b> And you believed that story. 8636 8637 <b> FREDO 8638 </b> He said there was something good in 8639 it for me...me on my own. 8640 8641 <b> MICHAEL 8642 </b> I've always taken care of you. 8643 8644 <b> FREDO 8645 </b> Taken care of me. Mike, you're my 8646 kid brother, and you take care of 8647 my. Did you ever think of that. 8648 Ever once? Send Fredo off to do 8649 this, send Fredo to take care of 8650 that... take care of some little 8651 unimportant night club here, and 8652 there; pick somebody up at the 8653 airport. Mike, I'm your older 8654 brother; I was stepped over! 8655 8656 <b> MICHAEL 8657 </b> It's the way Pop wanted it. 8658 8659 <b> FREDO 8660 </b> It wasn't the way I wanted it! I 8661 can handle things. I'm not dumb 8662 Christ, not like everyone says. 8663 I'm smart; and I want respect. 8664 8665 <b> MICHAEL 8666 </b> There's nothing more you can tell 8667 me about this investigation? 8668 8669 <b> FREDO 8670 </b> The lawyer; Questadt, he belongs to 8671 Roth. 8672 8673 <b> MICHAEL 8674 </b> You're nothing to me now, Fredo; 8675 not a brother, not a friend, I 8676 don't want to know you, or what 8677 happens to you. I don't want to 8678 see you at the hotels, or near my 8679 home. When you visit our Mother, I 8680 want to know a day in advance, so I 8681 won't be there. Do you understand? 8682 8683 Michael turns, and starts to leave. A frightened voice 8684 behind him: 8685 8686 <b> FREDO 8687 </b> Mikey? 8688 8689 Michael doesn't stop, doesn't turn back. He continues off 8690 through the veranda, and out the summer doors. 8691 8692 Neri stops by him. 8693 8694 <b> MICHAEL 8695 </b> I don't want anything to happen to 8696 him while my Mother's alive. 8697 8698 Michael leaves. 8699 8700 <b>EXT. ARMY POST - DAY 8701 </b> 8702 Five cars brimming with Army guards and Agents are waiting 8703 to move Pentangeli. There is one empty car. 8704 8705 <b>INT. GUARDED HOUSE - DAY 8706 </b> 8707 The two FBI Agents are helping Pentangeli get dressed. He's 8708 in brightly colored striped shorts and bare-chested. The 8709 Agents help him with the shirt and tie. One holds out the 8710 trousers but Pentangeli ignores it and looks at himself in 8711 the mirror. 8712 8713 <b> FBI MAN #1 8714 </b> Ready, Frankie. 8715 8716 <b> PENTANGELI 8717 </b> Let's go. 8718 8719 The Agents open the door, and precede him, surveying the 8720 area. They check the cars waiting, each with two Agents. 8721 They check the gate and note the military sentries. Then 8722 they stand aside, and let Pentangeli come out. They get 8723 close to his side, and it is obvious they will protect his 8724 life with their own. 8725 8726 <b>EXT. ARMY POST - DAY 8727 </b> 8728 The Agents put him in the front seat of the empty car, and 8729 get in with him, one at each side. Another Agent drives. 8730 Now, the first cars start out; the Sentries opening the 8731 gates, and letting the caravan pass. 8732 8733 An Army supply truck comes very close to them, and the 8734 Agents next to Pentangeli become very tense. Pentangeli 8735 grins. Then the truck passes on, and they relax. 8736 8737 <b>INT. SENATE CAUCUS ROOM - DAY 8738 </b> 8739 The room is crowded with TV journalists, cameras, etc. We 8740 pick Pentangeli up, closely guarded, being led to witness 8741 chair. 8742 8743 Pentangeli is seated, and made to take his oath. FBI Agents 8744 are all around him. 8745 8746 <b>MED. VIEW 8747 </b> 8748 Anyone given entrance to the caucus room is being frisked. 8749 The five Senators take their places. 8750 8751 <b>VIEW ON HAGEN 8752 </b> 8753 waiting at his long table, very nervous. He seems startled 8754 by the appearance of Pentangeli. 8755 8756 <b>VIEW ON PENTANGELI 8757 </b> 8758 catching Hagen's eye. It's as though he is pleading for 8759 some kind of understanding of the fact that he has become a 8760 traitor. 8761 8762 <b>VIEW ON HAGEN 8763 </b> 8764 cold; then he turns away. 8765 8766 <b>VIEW ON THE ENTRANCE 8767 </b> 8768 The bustle is settling down; then Michael Corleone enters, 8769 and with him is someone very peculiar and out of keeping for 8770 this setting. A burly-chested imposing man of middle age. 8771 Very powerful-looking with frightening magnetic eyes. His 8772 dress is odd: boots, rough tie, and shirt. He could be the 8773 tenor out of a Sicilian opera. He is clearly a country Don, 8774 direct from Sicily, and he dominates the room. 8775 8776 <b>VIEW ON PENTANGELI 8777 </b> 8778 At first his view is blocked. Then he sees Michael and is a 8779 bit shamefaced, but still defiant. 8780 8781 <b>PENTANGELI'S POV 8782 </b> 8783 Michael returns his glances without emotion. Then the VIEW 8784 ALTERS, revealing the Sicilian. 8785 8786 <b>VIEW ON PENTANGELI 8787 </b> 8788 He is terror stricken; obviously he recognizes the man. 8789 8790 <b>VIEW ON HAGEN'S TABLE 8791 </b> 8792 Michael and the Sicilian sit by Hagen, where they can stare 8793 directly at Pentangeli; he is frozen with fear. 8794 8795 <b>VIEW ON THE SENATOR 8796 </b> 8797 Notices the tension in the room. The Chairman commences: 8798 8799 <b> SENATOR KANE 8800 </b> We have here a witness who will 8801 testify further on Michael 8802 Corleone's rule of the criminal 8803 empire that controls gambling in 8804 this country and perhaps in other 8805 countries. This witness had no 8806 buffer between himself and Michael 8807 Corleone. He can corroborate our 8808 charges on enough counts for this 8809 committee to consider a charge of 8810 perjury against Michael Corleone. 8811 (then he turns to Pentangeli) 8812 Your name please, for the record. 8813 8814 <b> PENTANGELI 8815 </b> Frank Pentangeli. 8816 8817 <b> SENATOR KANE 8818 </b> Were you a member of the Corleone 8819 Family? Were you under the 8820 Caporegime Peter Clemenza, under 8821 Vito Corleone, known as the 8822 Godfather? 8823 8824 There is a long silence. 8825 8826 <b>VIEW ON PENTANGELI 8827 </b> 8828 He seems unable to speak. 8829 8830 <b>VIEW ON THE SICILIAN 8831 </b> 8832 gazing at him. 8833 8834 <b>VIEW ON PENTANGELI 8835 </b> 8836 <b> PENTANGELI 8837 </b> I never knew no Godfather. I got 8838 my own family. 8839 8840 Senator Kane is stunned. The two FBI men are alert, their 8841 eyes searching the room for what has intimidated their 8842 witness at the last moment. 8843 8844 <b> SENATOR KANE 8845 </b> Mr. Pentangeli, you are 8846 contradicting your confessions to 8847 our investigators; I ask you again, 8848 were you a member of a crime 8849 organization headed by Michael 8850 Corleone? 8851 8852 <b> PENTANGELI 8853 </b> No. I never heard of it. I never 8854 heard of nothing like that. I was 8855 in the olive oil business with his 8856 father a long time ago. That's all. 8857 8858 <b> SENATOR KANE 8859 </b> We have your confession that you 8860 murdered on the orders of Michael 8861 Corleone. Do you deny that 8862 confession and do you know what 8863 denying that confession will mean 8864 to you? 8865 8866 The die is cast and like a good soldier, Pentangeli will go 8867 all the way now. So he is brazen in his defiance of the 8868 Senator. 8869 8870 <b> PENTANGELI 8871 </b> The FBI guys promised me a deal. 8872 So I made up a lot of stuff about 8873 Michael Corleone. Because then, 8874 that's what they wanted. But it 8875 was all lies. Everything. They 8876 said Michael Corleone did this, 8877 Michael Corleone did that. So I 8878 said, "Yeah, sure." 8879 8880 He makes a big grin to show how he has made fools of 8881 everybody. 8882 8883 <b>VIEW ON THE FBI AGENTS 8884 </b> 8885 glancing around the room; their eyes have settled on the 8886 Sicilian. One of them scribbles a note on a piece of paper, 8887 and passes it to the Committee lawyer. Then in turn it goes 8888 to Senator Kane. 8889 8890 <b> SENATOR KANE 8891 </b> Mr. Hagen, would you kindly identify 8892 to this committee that gentleman 8893 sitting on your right hand? 8894 8895 <b> HAGEN 8896 </b> (coolly) 8897 Yes, sir. His name is Vincenzo 8898 Pentangeli. 8899 8900 <b> SENATOR KANE 8901 </b> Is he related to the witness? 8902 8903 <b> HAGEN 8904 </b> He is, I believe, a brother. 8905 8906 <b>VIEW ON MICHAEL AND VINCENZO PENTANGELI 8907 </b> 8908 They wait with no expression. 8909 8910 <b> SENATOR KANE 8911 </b> (to Vincenzo Pentangeli) 8912 Sir, I would like you to take the 8913 stand. 8914 8915 Vincenzo stares at him, uncomprehending. There may just be 8916 a shadow of contempt. He doesn't answer. 8917 8918 <b> HAGEN 8919 </b> Sir, the gentleman does not 8920 understand English. He would not 8921 in any case, take the stand. He 8922 came, at his own expense, to aid 8923 his brother in his trouble. He is 8924 not under any jurisdiction of our 8925 government and his reputation in 8926 his own country is impeccable. 8927 8928 <b> SENATOR KANE 8929 </b> (furious) 8930 The witness is excused; take him out. 8931 8932 The guards and FBI Agents quickly remove Pentangeli, as 8933 everybody else in the room is required to sit still. 8934 8935 <b> HAGEN 8936 </b> Senator Kane. 8937 8938 <b> SENATOR KANE 8939 </b> This meeting is adjourned. 8940 8941 <b> HAGEN 8942 </b> (rising and shouting) 8943 This committee owes an apology! 8944 8945 <b> SENATOR KANE 8946 </b> The committee is adjourned until 8947 further notice. 8948 8949 For the first time, in the midst of the confusion, Hagen 8950 smiles. A bitter, contemptuous smile. 8951 8952 <b>VIEW ON MICHAEL 8953 </b> 8954 The modest champion. He rises and they take their leave. 8955 8956 <b>VIEW ON THE TWO FBI AGENTS 8957 </b> 8958 They watch the Corleone party as they exit. 8959 8960 <b>INT. WASHINGTON HOTEL CORRIDOR - DAY 8961 </b> 8962 The Corleone nurse is waiting, playing with the little girl 8963 MARY. A distance away, the boy, Anthony, is standing by 8964 himself. 8965 8966 <b>INT. MICHAEL'S SUITE - WASHINGTON HOTEL - DAY 8967 </b> 8968 The door to Michael's suite opens; Rocco leans in. 8969 8970 <b> ROCCO 8971 </b> It's Kay. 8972 8973 Michael is sitting in an easy chair; he seems to have 8974 difficulty with his eyes. 8975 8976 <b> MICHAEL 8977 </b> On the phone? 8978 8979 <b> ROCCO 8980 </b> No, she's here. 8981 8982 Michael rises, surprised. Rocco steps back, and Kay enters. 8983 8984 <b> MICHAEL 8985 </b> I had no idea... 8986 8987 <b> KAY 8988 </b> I wanted to see you before you went 8989 back to Nevada. Also, the 8990 children - Michael, they're here. 8991 8992 <b> MICHAEL 8993 </b> Where? 8994 8995 <b> KAY 8996 </b> In a minute. They're outside with 8997 Esther. I'm very happy for you... 8998 I suppose I knew that you're simply 8999 too smart for anyone ever to beat 9000 you. 9001 9002 <b> MICHAEL 9003 </b> Why don't you sit down? 9004 9005 <b> KAY 9006 </b> I'm not going to stay long; I can't. 9007 9008 <b> MICHAEL 9009 </b> There are a lot of things I want to 9010 talk to you about. Things I've 9011 been thinking about -- changes I 9012 want to make. 9013 9014 <b> KAY 9015 </b> I think it's too late for changes, 9016 Michael. I promised myself I 9017 wouldn't talk about it and I've 9018 gone and spoiled it. 9019 9020 <b> MICHAEL 9021 </b> Why too late? 9022 9023 <b> KAY 9024 </b> Tell me, Michael. What really 9025 happened with Pentangeli? 9026 9027 <b> MICHAEL 9028 </b> His brother came to help him. 9029 9030 <b> KAY 9031 </b> I didn't even know he had a brother. 9032 And where is he now? 9033 9034 <b> MICHAEL 9035 </b> On a plane back to Sicily. 9036 9037 <b> KAY 9038 </b> And that's all he had to do. Just 9039 show his face. 9040 9041 <b> MICHAEL 9042 </b> That's all. You see, in Sicily, in 9043 the old days... there was only one 9044 legitimate reason to kill a blood 9045 relative... only one. IF he was a 9046 traitor. 9047 9048 <b> KAY 9049 </b> You would have killed his brother? 9050 9051 <b> MICHAEL 9052 </b> Kay, you've got it wrong. That 9053 kind of thing's all over, I promised 9054 you. This was between the two 9055 brothers. Years ago Frankie had a 9056 young girlfriend; he called her his 9057 co-wife. That was his joke, but he 9058 meant it. He wouldn't divorce his 9059 wife... because she was a great 9060 cook. He said he girlfriend made a 9061 spaghetti sauce once and it was so 9062 terrible he knew he could never 9063 marry her. He set her up in a 9064 house in Jersey. She had to be 9065 faithful... and she had to have kids. 9066 And she did, two, a boy and a girl. 9067 He had her checked out and watched 9068 so she couldn't cheat... but the 9069 girl couldn't stand that kind of 9070 life. She begged him to let her go. 9071 He did. He gave her money and made 9072 her give up the kids. Then Frankie 9073 took them to Italy, and had them 9074 brought up by his brother Vincenzo. 9075 Where he knew they'd by safe. 9076 9077 Kay begins to realize. 9078 9079 <b> MICHAEL 9080 </b> When he saw his brother in the 9081 hearing room, he knew what was at 9082 stake. 9083 (pause) 9084 I don't think Vincenzo would have 9085 done it. He loves the kids, too. 9086 Omerta, Kay. Honor, silence. It 9087 had nothing to do with me. It was 9088 between those brothers. 9089 9090 <b> KAY 9091 </b> I'll bring the children up now; 9092 they want to say goodbye. 9093 9094 <b> MICHAEL 9095 </b> Kay, I told you... 9096 9097 <b> KAY 9098 </b> Goodbye, Michael. 9099 9100 <b> MICHAEL 9101 </b> I won't let you leave! Christ, do 9102 you think I'm going to let you leave. 9103 9104 <b> KAY 9105 </b> (meekly) 9106 Michael. 9107 9108 <b> MICHAEL 9109 </b> No, I don't want to hear anything. 9110 There are things between men and 9111 women that will not change; things 9112 that have been the same for 9113 thousands of years. You are my 9114 wife, and they are my children... 9115 and I love you and I will not let 9116 you leave, because you are MINE! 9117 9118 <b> KAY 9119 </b> Oh, I do feel things for you, 9120 Michael; but now, I think it's pity. 9121 For the first time since I've known 9122 you, you seem so helpless. You 9123 held me a prisoner once; will you 9124 try again? 9125 9126 <b> MICHAEL 9127 </b> If that's what it takes; then yes, 9128 I will. 9129 9130 <b> KAY 9131 </b> At this moment, I feel no love for 9132 you at all. I never thought that 9133 could happen, but it has. 9134 9135 <b> MICHAEL 9136 </b> We'll go back tonight. Bring the 9137 children. 9138 9139 <b> KAY 9140 </b> You haven't heard me. 9141 9142 He moves to her; he does love her, and is tender with her. 9143 9144 <b> MICHAEL 9145 </b> How can I let you leave; how can I 9146 let you take my children away? 9147 Don't you know me? You understand, 9148 it's an impossibility. I would 9149 never let it happen; no, never, not 9150 if it took all my strength, all my 9151 cunning. But in time, soon, you'll 9152 feel differently. You see, you'll 9153 be happy that I stopped you. I 9154 know you. You'll forget about 9155 this; you'll forget about the baby 9156 we lost... and we'll go on, you and 9157 <b> I. 9158 </b> 9159 <b> KAY 9160 </b> The baby I lost... 9161 9162 <b> MICHAEL 9163 </b> I know what it meant... and I'm 9164 prepared to make it up to you. I 9165 will make changes; I can. 9166 (he clenches his fist tightly) 9167 I CAN change; that I have learned, 9168 that I have the strength to change... 9169 And we have another child, a boy... 9170 and you'll forget the miscarriage. 9171 9172 <b> KAY 9173 </b> It wasn't a miscarriage. And you 9174 with your cunning, couldn't you 9175 figure it out! It was an abortion; 9176 an abortion, like our marriage is 9177 an abortion, something unholy and 9178 evil. I don't want your son; I 9179 wouldn't bring another of your sons 9180 into this world. An abortion, 9181 Michael... it was a son, and I had 9182 it killed, but this must all end! 9183 9184 <b>VIEW ON MICHAEL 9185 </b> 9186 He had no hint, not in his wildest imagination could he have 9187 guessed that she would do such a thing. 9188 9189 <b> KAY 9190 </b> And I know that now it's over; I 9191 knew it then, there would be no way 9192 you could ever forgive me, not with 9193 this Sicilian thing that goes back 9194 two thousand years. 9195 9196 He is silent, though raging -- then, with all his passion, 9197 and his strength, he raises his arms, and strikes her across 9198 her neck, literally knocking her down to the floor, and 9199 hurting her badly. 9200 9201 <b> MICHAEL 9202 </b> (coldly) 9203 You won't take my children. 9204 9205 <b> FADE OUT. 9206 </b> 9207 <b>FADE IN: 9208 </b> 9209 <b>EXT. THE CORLEONE ESTATE AT TAHOE - FULL VIEW - DAY 9210 </b> 9211 A collection of dark cars and black limousines are gathered 9212 to one side. A few drivers wait quietly. 9213 9214 And then, to the other extreme of the estate, is a small 9215 grouping of about twenty to thirty people, gathered near 9216 Michael's house. 9217 9218 <b>MED. CLOSE SHOT 9219 </b> 9220 Connie Corleone, dressed simply and now showing her age 9221 without the carefully applied makeup which we have been used 9222 to, kneels down before the shrine of Santa Theresa, and puts 9223 down a bouquet of flowers, along with others that have been 9224 placed there. We see that some have the simple silk ribbon 9225 with the word "Mama" hand-lettered upon it. 9226 9227 Her two children stand close behind her; they had been 9228 raised by their Grandmother. 9229 9230 Connie steps back, and moves through the small group of 9231 friends and relatives, into Michael's house. 9232 9233 <b>INT. MICHAEL'S HOUSE - CONNIE'S VIEW - DAY 9234 </b> 9235 Fredo, kneeling by the coffin of his mother in a portion of 9236 the house that has been set aside for the wake. Fredo 9237 concludes his prayer, wipes away the tears in his eyes and 9238 steps away from the coffin. 9239 9240 He stops when he notices Neri, a little distance away, 9241 looking at him. 9242 9243 <b>VIEW ON NERI 9244 </b> 9245 After a moment, he nods respectfully to Fredo, and steps 9246 forward, moving to the old woman's coffin. Fredo moves to 9247 Hagen, who is there with his wife and children. 9248 9249 <b> FREDO 9250 </b> Tom. Where's Mike? 9251 9252 <b> HAGEN 9253 </b> (difficult to tell him) 9254 He's waiting for you to leave. 9255 9256 <b> FREDO 9257 </b> Can I talk to him? 9258 9259 <b> HAGEN 9260 </b> No chance. I'm sorry, Freddie. 9261 9262 <b> CONNIE 9263 </b> (who has heard this) 9264 Can I see him? 9265 9266 <b> HAGEN 9267 </b> He's in the boathouse. 9268 9269 <b>INT. THE BOATHOUSE - MED. VIEW - DAY 9270 </b> 9271 Michael sits quietly in the darkened room in one of the big 9272 sofas, dressed immaculately in suit and tie. His two 9273 children, also dressed for the wake sit opposite him in the 9274 other oversized sofa, their shoes not touching the floor. 9275 We regard this tableau for a long moment. 9276 9277 <b> CONNIE (O.S.) 9278 </b> (quietly) 9279 Michael? It's Connie. 9280 9281 She comes in, and sits down by his knees. 9282 9283 <b> CONNIE 9284 </b> I want to stay close to home now, 9285 is that alright? 9286 9287 Michael nods. 9288 9289 <b> CONNIE 9290 </b> Is Kay coming? 9291 9292 <b> MICHAEL 9293 </b> No. 9294 9295 <b> CONNIE 9296 </b> Michael, Fredo's in the house with 9297 Mama. He asked for you, and Tom 9298 said he couldn't see you. 9299 9300 <b> MICHAEL 9301 </b> Tom is right. 9302 9303 <b> CONNIE 9304 </b> Kids, why don't you go outside for 9305 a while? 9306 9307 The children don't move; Connie realizes they will only 9308 listen to Michael. 9309 9310 <b> CONNIE 9311 </b> I want to talk to you, Michael. 9312 9313 <b> MICHAEL 9314 </b> The children can stay. 9315 9316 <b> CONNIE 9317 </b> I hated you for so long, Michael; 9318 for so many years. I think I did 9319 things to myself, to hurt myself, 9320 so that you would know -- and you 9321 would be hurt too. But I understand 9322 you now; I think I do. You were 9323 being strong for all of us, like 9324 Papa was. And I forgive you, and 9325 want to be close to you now. Can't 9326 you forgive Fredo; he's so sweet, 9327 and helpless without you. 9328 9329 Slowly, Michael puts his hand on her hair, and touches her 9330 gently. 9331 9332 <b> CONNIE 9333 </b> You need me, Michael. I want to be 9334 with you now. 9335 9336 <b>INT. MICHAEL'S HOUSE - DAY 9337 </b> 9338 Friends, relatives; Francesca and her new husband, Gardner 9339 and their baby; Sandra Corleone; Teresa, her children; all 9340 the familiar faces of the family are present, quietly paying 9341 their respects to Mama. 9342 9343 Some of the men can be seen in the kitchen, drinking wine, 9344 and talking in low voices. 9345 9346 Fredo is there, broken-hearted over the loss of his Mother; 9347 like some lost child with no friends. 9348 9349 <b>MED. VIEW 9350 </b> 9351 Michael enters the room, followed by Connie, who tends 9352 little Mary and Anthony. 9353 9354 He approaches his brother, and then embraces. Fredo breaks 9355 into tears. 9356 9357 <b> FREDO 9358 </b> Christ, Mike. Jesus Christ, Mike. 9359 9360 <b>VIEW ON MICHAEL 9361 </b> 9362 embracing his brother, he glances up. 9363 9364 <b>VIEW ON NERI 9365 </b> 9366 quiet, and deadly. 9367 9368 <b>EXT. THE TAHOE ESTATE - MED. VIEW - DAY 9369 </b> 9370 Tom Hagen is talking in the distance to his wife, and one of 9371 his older sons; he kisses, and moves toward the boathouse. 9372 After crossing the lawn, he stops. 9373 9374 <b>VIEW ON SANDRA CORLEONE 9375 </b> 9376 waiting there; obviously wanting to talk to him. He 9377 continues, and she walks with him. 9378 9379 <b>MOVING VIEW ON THE TWO 9380 </b> 9381 as they cross toward the boathouse. 9382 9383 <b> SANDRA 9384 </b> You're going to talk to him now. 9385 9386 <b> HAGEN 9387 </b> Yes. 9388 9389 <b> SANDRA 9390 </b> Will you tell him? 9391 9392 <b> HAGEN 9393 </b> I don't know. 9394 9395 She stops him. 9396 9397 <b> SANDRA 9398 </b> Tom, think of yourself for once. 9399 Don't let this opportunity slip 9400 through your fingers; don't do it. 9401 We're all trapped here, don't you 9402 see? 9403 9404 He continues past her, without answering her. Continues up 9405 to the boathouse. He stops before he enters. 9406 9407 <b>HAGEN'S VIEW 9408 </b> 9409 Fredo is sitting by the edge of the harbor with Michael's 9410 son Anthony; he is helping him with some fishing rig. 9411 9412 <b>INT. THE BOATHOUSE - VIEW ON MICHAEL - DAY 9413 </b> 9414 looking through the window at his son and brother. Neri 9415 sits in the room, dressed informally. 9416 9417 <b> MICHAEL 9418 </b> (without looking back) 9419 Sit down, Tom. Have you heard 9420 about our friend and partner, Mr. 9421 Hyman Roth? 9422 9423 <b> HAGEN 9424 </b> I know he's in Israel. 9425 9426 <b> NERI 9427 </b> (hands Hagen the paper) 9428 The High Court of Israel turned 9429 down his request to live as a 9430 'returned Jew.' His passport's been 9431 invalidated except for return to 9432 the U.S. He landed in Buenos Aires 9433 yesterday, offered a gift of one 9434 million dollars if they would give 9435 him citizenship. They turned him 9436 down. 9437 9438 <b> HAGEN 9439 </b> (reading) 9440 He's going to try Panama... 9441 9442 <b> MICHAEL 9443 </b> They won't take him; not for a 9444 million, not for ten million. 9445 9446 <b> HAGEN 9447 </b> His medical condition is reported 9448 as... "terminal." 9449 9450 <b> MICHAEL 9451 </b> He's been dying of the same heart 9452 attack for twenty years. 9453 9454 <b> HAGEN 9455 </b> That plane goes to Miami... 9456 9457 <b> MICHAEL 9458 </b> I want it met. 9459 9460 <b> HAGEN 9461 </b> (understanding) 9462 Mike, it's impossible. He'll be 9463 met by the Internal Revenue; the 9464 Customs Service, and half the FBI. 9465 9466 <b> MICHAEL 9467 </b> I don't like it when you use the 9468 word impossible; nothing is 9469 impossible... 9470 9471 <b> HAGEN 9472 </b> Mike, it would be like trying to 9473 kill the President; there's no way 9474 we can get to him. 9475 9476 <b> MICHAEL 9477 </b> I'm surprised at you, Tom. If 9478 there's anything certain; certain 9479 in life; if history has taught us 9480 anything, it's that you can kill... 9481 (he stops, then coldly) 9482 ANYBODY. But perhaps your 9483 relucatance is because you've come 9484 to tell me that you're moving your 9485 family to Vegas, that you've been 9486 offered the Vice-Presidency of the 9487 Houstan Hotels there. Or weren't 9488 you going to tell me at all? 9489 9490 <b> HAGEN 9491 </b> Are you so hungry for traitors; do 9492 you want to find them everywhere? 9493 9494 <b> MICHAEL 9495 </b> They are everywhere! 9496 9497 <b> HAGEN 9498 </b> I turned Houstan down; I didn't see 9499 why I should tell you about an 9500 offer I turned down. 9501 (Michael begins to 9502 confuse him) 9503 Are you sure, Mikey? Are you sure 9504 of what we're doing; what we'll 9505 gain; what does the family gain? 9506 Forget that, Mike; I already know 9507 the answer. 9508 9509 <b> MICHAEL 9510 </b> I know you do, Tom. Then I can 9511 count on you to help me do the 9512 things I have to do. If not, call 9513 Houstan, and become a Vice-President. 9514 Take your family and your mistress 9515 and move them to Las Vegas. 9516 9517 <b> HAGEN 9518 </b> Why do you hurt me, Michael? I've 9519 always been loyal to you. 9520 9521 <b> MICHAEL 9522 </b> Good. Then you're staying. 9523 9524 <b> HAGEN 9525 </b> I'm staying. 9526 (he pauses...then, 9527 without being asked) 9528 Don't ever enjoy the cruel part of 9529 all this; Sonny never listened to 9530 me about that. 9531 (then he sits down, 9532 and opens his briefcase) 9533 Now, explain everything to me. 9534 9535 <b>EXT. THE HARBOR - DAY 9536 </b> 9537 Fredo sits with Anthony, with a silly-looking fishing hat on 9538 his head, covered with lure and flies. 9539 9540 <b> FREDO 9541 </b> Anthony, ole buddy, your Uncle 9542 Fredo's gonna teach you how to 9543 catch the big fish. You know, when 9544 I was a kid, I did this amazing 9545 thing. I went out on a fishing 9546 trip; me and my brothers and my 9547 Pop, and no one could catch a fish 9548 except me. And this was my secret: 9549 (confidentially) 9550 Every time I would put the line 9551 down I would say a "Hail Mary" and 9552 every time I said a "Hail Mary" I 9553 would catch a fish. Now, when it's 9554 sunset, we're gonna go out on the 9555 lake, and we're gonna try it. 9556 9557 <b>INT. GUARDED HOUSE - DAY 9558 </b> 9559 The guards step aside as Tom Hagen enters the foyer of the 9560 house. He shows a court order to them and they lead him up 9561 the stairs where he knocks on the door. 9562 9563 <b>INT. GUARDED HOUSE - DAY 9564 </b> 9565 There is a KNOCK at the door. The two guards show Hagen in 9566 and Hagen presents the court order to one of the FBI men. 9567 9568 <b> HAGEN 9569 </b> I think I prefer to see my client 9570 privately. 9571 9572 <b> PENTANGELI 9573 </b> The room has a bug in it. 9574 9575 <b> HAGEN 9576 </b> (to the FBI men) 9577 I'd like to go outside with him, in 9578 the open air. 9579 9580 <b> FBI MAN #1 9581 </b> This room is not bugged. 9582 9583 <b> HAGEN 9584 </b> You have guards outside and the 9585 electric fence. There's no security 9586 reason for not letting us talk in 9587 the yard. 9588 9589 <b> FBI MAN #1 9590 </b> Okay. 9591 9592 They pass out of the room. 9593 9594 <b>EXT. THE ARMY POST - DAY 9595 </b> 9596 Hagen and Pentangeli outside, by the electric fence. They 9597 cannot be overheard. Pentangeli takes out some cigars and 9598 offers Hagen one. Hagen takes it and Pentangeli lights both 9599 their cigars. They puff on them contentedly. They are 9600 comfortable together, almost. 9601 9602 <b> HAGEN 9603 </b> Everything is going to be okay, 9604 Frankie, don't worry. 9605 9606 <b> PENTANGELI 9607 </b> Did my brother go back? 9608 9609 <b> HAGEN 9610 </b> Yeah, but don't worry. 9611 9612 <b> PENTANGELI 9613 </b> He's ten times tougher than me, my 9614 brother. He's old-fashioned. 9615 9616 <b> HAGEN 9617 </b> Yeah. He wouldn't even go out to 9618 dinner. Just wanted to go home. 9619 9620 <b> PENTANGELI 9621 </b> That's my brother. Nothing could 9622 get him away from that two mule 9623 town. He coulda been big over 9624 here -- he could of had his own 9625 Family. 9626 9627 <b> HAGEN 9628 </b> You're right. 9629 9630 <b> PENTANGELI 9631 </b> Tom, what do I do now? 9632 9633 The light is beginning to turn reddish as the sun falls. 9634 9635 <b> HAGEN 9636 </b> Frankie, you were always interested 9637 in politics, in history. I remember 9638 you talking about Hitler back in 9639 '43. We were young then. 9640 9641 <b> PENTANGELI 9642 </b> Yeah, I still read a lot. They 9643 bring me stuff. 9644 9645 <b> HAGEN 9646 </b> You were around the old timers who 9647 dreamed up how the Families should 9648 be organized, how they based it on 9649 the old Roman Legions, and called 9650 them 'Regimes'... with the 'Capos' 9651 and 'Soldiers,' and it worked. 9652 9653 <b> PENTANGELI 9654 </b> Yeah, it worked. Those were great 9655 old days. We was like the Roman 9656 Empire. The Corleone family was 9657 like the Roman Empire. 9658 9659 <b> HAGEN 9660 </b> (sadly) 9661 Yeah, it was once. 9662 9663 They both puff on their cigars. Pentangeli lets himself be 9664 carried away by thoughts of old days of glory; Hagen thinks 9665 of other days too. 9666 9667 <b> HAGEN 9668 </b> (very gently) 9669 The Roman Empire... when a plot 9670 against the Emperor failed, the 9671 plotters were always given a chance 9672 to let their families keep their 9673 fortunes. 9674 9675 <b> PENTANGELI 9676 </b> Yeah, but only the rich guys. The 9677 little guys got knocked off. If 9678 they got arrested and executed, all 9679 their estate went to the Emperor. 9680 If they just went home and killed 9681 themselves, up front, nothing 9682 happened. 9683 9684 <b> HAGEN 9685 </b> Yeah, that was a good break. A 9686 nice deal. 9687 9688 Pentangeli looks at Hagen; he understands. 9689 9690 <b> PENTANGELI 9691 </b> They went home and sat in a hot 9692 bath and opened their veins, and 9693 bled to death. Sometimes they gave 9694 a little party before they did it. 9695 9696 Hagen throws away his cigar. Pentangeli puffs on his. 9697 9698 <b> HAGEN 9699 </b> Don't worry about anything, Frankie 9700 Five-Angels. 9701 9702 <b> PENTANGELI 9703 </b> Thanks, Tom. Thanks. 9704 9705 They shake hands. The FBI Agents come out to let Hagen out 9706 the gate. Pentangeli is led back to the house. 9707 9708 <b> FBI MAN #1 9709 </b> Your lawyer tell you he can get 9710 that 600 years reduced to 500? 9711 9712 Pentangeli puffs on his cigar and reflects. 9713 9714 <b> PENTANGELI 9715 </b> You boys sure you can't get me a 9716 broad for tonight? Give me a 9717 little party? 9718 9719 <b> FBI MAN #2 9720 </b> We got some nice books. 9721 9722 Pentangeli puffs on his cigar and gives the Agent a smile an 9723 old man gives a child. He starts upstairs. 9724 9725 <b> PENTANGELI 9726 </b> I guess I'll just take a hot bath. 9727 9728 <b>EXT. THE ARMY POST - DAY 9729 </b> 9730 Hagen walks away; glances back. Then gets into his waiting 9731 car and drives off. 9732 9733 <b>INT. THE BOATHOUSE - FULL VIEW - SUNSET 9734 </b> 9735 Michael sits alone in the empty boathouse; in the shadows. 9736 9737 <b>INT. BOAT DOCK - SUNSET 9738 </b> 9739 Neri stands by the dock area under the boathouse. He pushes 9740 the button which lowers a boat by winch and tackle. He 9741 wears a fishing cap. 9742 9743 He steps into the boat, and pulls the small outboard, which 9744 glides the boat out into the harbor. 9745 9746 <b>MED. VIEW 9747 </b> 9748 The boat pulls up alongside Fredo and Anthony. 9749 9750 <b> FREDO 9751 </b> Here we go; and remember the secret. 9752 9753 He lifts Anthony into the boat. 9754 9755 <b> CONNIE (O.S.) 9756 </b> Anthony. 9757 9758 <b>THEIR VIEW 9759 </b> 9760 Connie, in houseclothes, is calling Anthony. 9761 9762 <b> FREDO 9763 </b> He's here; we're goin' fishing. 9764 9765 <b> CONNIE 9766 </b> He can't go; Michael wants to take 9767 him into Reno. 9768 9769 <b> FREDO 9770 </b> Ah. Okay, kid, you got to go to 9771 Reno with your Pop. 9772 9773 He lifts the boy out of the boat, and puts him on the shore. 9774 9775 <b> FREDO 9776 </b> I'll catch one for you, with the 9777 secret. 9778 9779 <b> CONNIE 9780 </b> Hurry, Anthony. 9781 9782 Neri stands the motor; and the boat with the two fisherman 9783 glides off. 9784 9785 <b>VIEW ON MICHAEL 9786 </b> 9787 watching, from the dark window of the boathouse. 9788 9789 <b>INT. HIGH SECURITY HOUSE IN ARMY POST - NIGHT 9790 </b> 9791 The FBI man knocks on the bathroom door in the house where 9792 they have kept Pentangeli. 9793 9794 <b> FBI MAN #1 9795 </b> Frankie, open up. You okay? 9796 9797 No answer; he hammers on the door. Using his elbow, and 9798 then a kick he breaks into the bathroom. 9799 9800 <b>HIS VIEW 9801 </b> 9802 Pentangeli lying in a tub of water. His stomach shows above 9803 it. His wrists are cut and covered with blood. The bath 9804 water has a purplish tone. 9805 9806 <b> DISSOLVE TO: 9807 </b> 9808 <b>EXT. LAKE TAHOE - MED. VIEW - SUNSET 9809 </b> 9810 Fredo and Neri are fishing, each with lines out. The VIEW 9811 MOVES CLOSER, and we can hear Fredo as he holds the pole. 9812 9813 <b> FREDO 9814 </b> ... the Lord is with thee. Blessed 9815 art thou amongst women, and blessed 9816 is the fruit of thy womb, Jesus. 9817 9818 <b>LONG SHOT 9819 </b> 9820 The boat on the shimmery lake. 9821 9822 <b> FREDO 9823 </b> ... Holy Mary, Mother of God, pray 9824 for us... 9825 9826 We hear a quiet, echoing GUNSHOT; and then silence. 9827 9828 <b> DISSOLVE TO: 9829 </b> 9830 <b>INT. MIAMI AIRPORT - NIGHT 9831 </b> 9832 An exhausted Hyman Roth, ill-shaven, and in shirt-sleeves in 9833 taken into custody by a swarm of Customs, and FBI men. They 9834 allow him to be photographed by press people; and television 9835 cameramen. 9836 9837 <b> FBI MAN 9838 </b> Mr. Roth, we have to take you into 9839 custody. 9840 9841 <b> ROTH 9842 </b> Yes, I know. 9843 9844 Some flashbulbs go off. 9845 9846 <b> REPORTER 9847 </b> Can you give us your reaction to 9848 the High Court of Israel's ruling. 9849 9850 <b> ROTH 9851 </b> I am a retired investor on a 9852 pension, and I wished to live there 9853 as a Jew in the twilight of my 9854 life... 9855 9856 <b> LAWYER 9857 </b> Mr. Roth is not a well man; he's 9858 tired of running. 9859 9860 <b> ROTH 9861 </b> I'm an old man; at my age, it's too 9862 late to start worrying. 9863 9864 <b> REPORTER 9865 </b> Is it true you are worth over three 9866 hundred million dollars, Mr. Roth? 9867 9868 <b> ROTH 9869 </b> I'm a retired investor, living on a 9870 pension... I came home to vote in 9871 the Presidential election, because 9872 they wouldn't give me an absentee 9873 ballot... 9874 9875 The newsmen and photographers all laugh, as the FBI men move 9876 him away. 9877 9878 <b>CLOSE VIEW 9879 </b> 9880 One of the newspapermen laughing we recognize to be Rocco 9881 Lampone. 9882 9883 He moves closer to Roth, and shoves his revolver right 9884 against his head, and in a second, on camera, assassinates 9885 Roth. People scream, as Rocco attempts to run down the 9886 airport corridor, limping as he does. 9887 9888 FBI men easily pick him off. 9889 9890 <b> FADE OUT. 9891 </b> 9892 <b>EXT. THE DRIVEWAY BY MICHAEL'S HOUSE - DAY 9893 </b> 9894 A taxi cab waits by the house; its driver sleeping with a 9895 newspaper over his face. 9896 9897 <b>INT. MICHAEL'S HOUSE - DAY 9898 </b> 9899 The cleaning woman, Esther, who had been with Kay for years, 9900 sits by the dining room table, weeping profusely. Behind 9901 her, in the recreation room, we can see the tableau of Kay 9902 sitting on the couch, her little daughter Mary, between her 9903 knees, talking quietly about things we cannot hear. Her son 9904 Anthony sits by himself, in another chair by the side of the 9905 room. 9906 9907 <b>MED. VIEW 9908 </b> 9909 Connie comes into the house quickly, and moves toward them. 9910 9911 <b> CONNIE 9912 </b> Kay, you have to go. 9913 9914 This prompts Esther to weep all the more. Kay hugs her 9915 daughter, and kisses her many times. 9916 9917 <b> CONNIE 9918 </b> You have to hurry; he's coming. 9919 9920 Kay puts her coat on; then stands, and reaches out for her 9921 son. 9922 9923 <b> KAY 9924 </b> Anthony, kiss Mama goodbye. 9925 9926 He doesn't move. 9927 9928 <b> CONNIE 9929 </b> (angrily) 9930 Anthony, you kiss your Mother 9931 goodbye! 9932 9933 He rises, and walks to her. Hugs her lifelessly. 9934 9935 <b>MED. CLOSE VIEW 9936 </b> 9937 on Kay, kissing her boy. 9938 9939 <b> KAY 9940 </b> Anthony, say goodbye; your Mama 9941 loves you. 9942 9943 <b> ANTHONY 9944 </b> Goodbye. 9945 9946 She restrains any tears; she has become too strong for tears. 9947 Kay starts to go; picks up Mary, kisses her, and starts to go. 9948 9949 <b>NEW VIEW 9950 </b> 9951 She steps out the kitchen door; then she cannot help herself. 9952 Crouches down, outside, and calls to her son. 9953 9954 <b> KAY 9955 </b> Anthony, kiss me once. 9956 9957 Then she looks up, and slowly rises. 9958 9959 <b>HER VIEW 9960 </b> 9961 Michael has stepped into the dining room. He seems older 9962 somehow; as though some sickness has taken more years away 9963 from him. 9964 9965 <b>VIEW ON KAY 9966 </b> 9967 looks at him; instinctively, she takes a step back. 9968 9969 <b>VIEW ON MICHAEL 9970 </b> 9971 slowly steps toward her. 9972 9973 <b>VIEW ON KAY 9974 </b> 9975 Another step back; the door is still open. 9976 9977 <b>VIEW ON MICHAEL 9978 </b> 9979 He moves closer to the door; stops, looks at her. And then 9980 closes it obscuring any view of her. 9981 9982 <b> DISSOLVE TO: 9983 </b> 9984 <b>EXT. TAHOE ESTATE - DAY 9985 </b> 9986 It is late fall -- most of the leaves have fallen on the 9987 grounds and there is quite a wind. 9988 9989 <b>MED. VIEW 9990 </b> 9991 The water is whipped up by the wind, and the waves are high 9992 as they break against the pavilion. We HEAR the MUSIC of 9993 time passing, of Michael, of the Godfather over these images. 9994 9995 <b>VIEW ON THE SWIMMING POOLS 9996 </b> 9997 They have not been used in several months; they are drained 9998 and the bottoms are mossy and dark. 9999 10000 <b>VIEW ON THE MAIN GATE 10001 </b> 10002 Leaves blowing past it; we don't see the button men; only a 10003 hint of someone in the gatehouse. 10004 10005 <b>VIEW ON THE HOUSES 10006 </b> 10007 Some of the houses have had the summer awnings taken down, 10008 and put away. Some of the windows have been boarded up. 10009 10010 <b>VIEW ON THE KENNELS 10011 </b> 10012 There are still the guard dogs; some sleeping, some moving 10013 impatiently. 10014 10015 As the MUSIC concludes its statement. 10016 10017 <b>MED. VIEW 10018 </b> 10019 The peninsula of the private Corleone Harbor. We see the 10020 figures of two people, seated at a table. 10021 10022 <b>MED. VIEW 10023 </b> 10024 Michael sits at a table having a sparse lunch. He is 10025 attended by his sister Connie, who seems to be the closest 10026 person now living on the estate with him. We see from the 10027 way she pampers him with his lunch, that she has fallen into 10028 the role of a surrogate Mother-Wife. He seems older than 10029 his years, as though his illness, diabetes, has taken its 10030 toll. 10031 10032 <b> CONNIE 10033 </b> Don't worry; I'm sure he got here 10034 on time. The roads from the 10035 airport are so windy, it takes 10036 forever; I've driven them myself. 10037 10038 She picks up some of the serving plates that he has left 10039 untouched. 10040 10041 <b> CONNIE 10042 </b> I'll bring him out to you as soon 10043 as he comes. 10044 10045 She moves back to the main house. 10046 10047 <b>MED. CLOSE VIEW ON MICHAEL 10048 </b> 10049 He turns and looks at the rough water of the lake for a 10050 moment. He slowly takes a sip of wine. 10051 10052 <b>EXT. A PLACE IN THE GARDEN - DAY 10053 </b> 10054 There are a few chairs. 10055 10056 <b>MED. VIEW ON ANTHONY CORLEONE 10057 </b> 10058 He is eighteen years old. 10059 10060 <b> ANTHONY 10061 </b> Hello, Dad. 10062 10063 <b>VIEW ON MICHAEL 10064 </b> 10065 squinting up at his son. 10066 10067 <b> MICHAEL 10068 </b> Anthony. 10069 10070 He rises, and reaches up to his son, who is now taller than 10071 he; he embraces him. 10072 10073 <b> MICHAEL 10074 </b> You've grown so tall... so tall in 10075 the last year. You're much taller 10076 than me. 10077 10078 <b> ANTHONY 10079 </b> I was taller than you when I was 10080 fourteen. 10081 10082 <b> MICHAEL 10083 </b> Sit down. Your Aunt Connie and I 10084 waited for you to have some lunch, 10085 but now it's all dried out. 10086 10087 <b> ANTHONY 10088 </b> I'm not hungry. 10089 10090 <b> MICHAEL 10091 </b> Well, that's alright... alright. 10092 Good. You'll graduate in another 10093 year, isn't that right? You know... 10094 I never finished college. I was a 10095 good student, but I never finished. 10096 Of course, there was a war then. 10097 10098 Connie approaches them. 10099 10100 <b> CONNIE 10101 </b> Don't let me interrupt anything, 10102 this will just take a second. Here. 10103 (she takes out a 10104 small needle, and 10105 begins to prepare it) 10106 Your father has to have his insulin 10107 shot. Why don't you go to your 10108 room and put your things away, 10109 Anthony. 10110 10111 She begins to give Michael the shot. 10112 10113 <b> MICHAEL 10114 </b> Hurry back; we'll talk. We'll talk. 10115 10116 Anthony goes on his way to the house with his things. 10117 Connie gives Michael the shot. 10118 10119 <b> CONNIE 10120 </b> Whenever I see that lake so cold, I 10121 think of poor Fredo, drowned. Lake 10122 Tahoe is very cold. They say if a 10123 person drowns in it, that the body 10124 will remain mid-suspended -- 10125 perfectly preserved. Some say it 10126 will remain forever. 10127 10128 She finishes the shot, puts her things away. 10129 10130 <b> CONNIE 10131 </b> Your boy will be right back. 10132 10133 She leaves. 10134 10135 <b>VIEW ON MICHAEL 10136 </b> 10137 Alone in the garden. 10138 10139 OUR VIEW begins to MOVE CLOSER to him. We begin to HEAR 10140 MUSIC of the forties; happy music, swing music, as we move 10141 CLOSER to Michael. 10142 10143 <b> DISSOLVE TO: 10144 </b> 10145 <b>INT. OLD CORLEONE HOUSE - MED. VIEW - NIGHT 10146 </b> 10147 SONNY CORLEONE, his arm wrapped around a smiling red-faced 10148 Carlo Rizzi, pulls him into the Corleone dining room. 10149 10150 <b> SONNY 10151 </b> Hey, who knows my buddy Carlo Rizzi. 10152 Here... my brother Fredo, here's my 10153 Mom. Mom, whatcha got cooking? 10154 And Carlo, this is my kid sister 10155 Connie. Here, pull up a chair, 10156 Carol is sitting next to Connie. 10157 Oh, the droopy kid over there is 10158 Mike. The college boy. 10159 10160 An older, lanky man enters the room, his arms laden with 10161 presents. This is TESSIO. 10162 10163 <b> TESSIO 10164 </b> Buon Natale, everybody. Buon 10165 Natale... 10166 (he smiles at Tom Hagen) 10167 Hi, Tom, how's every little thing? 10168 10169 <b> HAGEN 10170 </b> (helping him with the presents) 10171 Wonderful, Sal. 10172 10173 Now the study door opens, and DON CORLEONE enters. 10174 10175 <b> DON CORLEONE 10176 </b> Is dinner ready? 10177 10178 <b> MOM 10179 </b> Two minutes. 10180 10181 The Don happily regards his family; his sons and daughters 10182 and even some Grandchildren. He raises a glass. 10183 10184 <b> DON CORLEONE 10185 </b> A good life, a long life to all my 10186 children, and friends. To my 10187 grandchildren, and those that will 10188 be. To our family. 10189 10190 They all drink. 10191 10192 They refill glasses; then Tessio proposes a toast. 10193 10194 <b> TESSIO 10195 </b> To our Godfather. 10196 10197 They all drink. 10198 10199 <b>INT. THE DINING ROOM - MED. VIEW - NIGHT 10200 </b> 10201 The family is happily at Christmas dinner. Don Corleone 10202 seated at the head of the table. 10203 10204 <b> SONNY 10205 </b> What'd you think of those Japs, eh? 10206 The nerve of those Japs, coming 10207 right here in our own backyard 10208 dropping bombs! 10209 10210 <b> HAGEN 10211 </b> Well, we could have expected it 10212 after the embargo. 10213 10214 <b> SONNY 10215 </b> Hey! Expect it or not, those Japs 10216 don't have a right to drop bombs in 10217 our backyard. Whose side you on? 10218 10219 <b> MAMA 10220 </b> Please, do we have to talk about 10221 the war at the table? On Christmas, 10222 much less. 10223 10224 <b>VIEW ON MICHAEL 10225 </b> 10226 He has been listening to this discussion. 10227 10228 <b> MICHAEL 10229 </b> Pop, I've decided I'm going to 10230 enlist. 10231 10232 A quiet hush descends over the table, as though everyone 10233 knows the effect this will have on the old man. Sonny tries 10234 to make light of it. 10235 10236 <b> SONNY 10237 </b> Kid, stay in college. The girls 10238 are cuter, if you know what I mean. 10239 10240 <b> HAGEN 10241 </b> Pop had to pull a lot of strings to 10242 get you your deferment. 10243 10244 <b> MICHAEL 10245 </b> I never asked for it; I don't want 10246 it. 10247 10248 <b>VIEW ON DON CORLEONE 10249 </b> 10250 Disturbed; but wise and prudent. 10251 10252 <b> DON CORLEONE 10253 </b> My son wants to talk about this, 10254 and so we'll talk, but not at the 10255 dinner table. 10256 10257 He rises, and starts across the room toward his study. Then 10258 he looks back. 10259 10260 <b> DON CORLEONE 10261 </b> Michael. 10262 10263 He disappears into his study. Michael rises, glances around. 10264 People are generally tense over the situation. Michael 10265 follows his father into the study. 10266 10267 <b>INT. DON CORLEONE'S OLD STUDY - NIGHT 10268 </b> 10269 The Don closes the door behind his son, and then moves 10270 across the room. He stops at the little bar there, and 10271 pours himself a brandy. 10272 10273 <b> DON CORLEONE 10274 </b> Would you like some? 10275 10276 <b> MICHAEL 10277 </b> No, Dad. 10278 10279 <b> DON CORLEONE 10280 </b> Now what is this talk about joining 10281 the army? Eh? 10282 10283 <b> MICHAEL 10284 </b> It's not talk; I'm doing it. 10285 10286 <b> DON CORLEONE 10287 </b> You would risk your life for 10288 strangers? 10289 10290 <b> MICHAEL 10291 </b> Not for strangers; for my country. 10292 10293 <b> DON CORLEONE 10294 </b> Anyone not in your family, is a 10295 stranger. Believe me, when trouble 10296 comes, your country won't take care 10297 of you. 10298 10299 <b> MICHAEL 10300 </b> That's how it was in the old world, 10301 Pop, but this is not Sicily. 10302 10303 <b> DON CORLEONE 10304 </b> I know. I know, Michael. It's 10305 Christmas, your brothers and sister 10306 are all here -- we are happy. 10307 Let's not spoil this. Go your own 10308 way, but when you are ready, come 10309 to me the way a son should. I have 10310 hopes for you... 10311 10312 <b>CLOSE VIEW ON MICHAEL 10313 </b> 10314 looking at his father with a mixture of great love, and also 10315 fear, and confusion. 10316 10317 <b> MICHAEL 10318 </b> I won't be a man like you. 10319 10320 <b> DISSOLVE TO: 10321 </b> 10322 <b>EXT. THE TAHOE ESTATE - HIGH FULL VIEW - DAY 10323 </b> 10324 The leaves are blowing. MUSIC comes up. 10325 10326 Michael and his young son, Anthony, walk through the grounds 10327 of the estate, talking about things we cannot hear. 10328 </pre> 10329 10330 <b></b></pre> 10331 </div> 10332 </body> 10333 </html>