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