НАЗВАНИЕ: The Godfather (1972)
ГОД: 1972
СЦЕНАРИСТ: Francis Ford Coppola and Mario Puzo
ИСТОЧНИК: ScriptSlug (PDF) — https://www.scriptslug.com/script/the-godfather-1972
URL: https://assets.scriptslug.com/live/pdf/scripts/the-godfather-1972.pdf
СКАЧАНО: 2026-10-12 11:48
ПРИМЕЧАНИЕ: текст чужой, для личного изучения. Не распространять. Не исполнять.
======================================================================

   THE GODFATHER



    Screenplay

        by

    Mario Puzo

Francis Ford Coppola


 Based on a Novel

        by

    Mario Puzo
                                                                     1

                                                FADE FROM BLACK


INT. DON CORLEONE'S HOME OFFICE – DAY

                       BONASERA
                  (seated in front of the
                  Don's desk, facing the
                  camera)
           I believe in America. America has made my
           fortune. And I raised my daughter in the
           American fashion. I gave her freedom, but
           I taught her never to dishonor her family.
           She found a boyfriend; not an Italian. She
           went to the movies with him; she stayed
           out late. I didn't protest. Two months
           ago, he took her for a drive, with another
           boyfriend. 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 a'broken.
           Her jaw was a'shutted, held together by
           wire. She couldn't even weep because of
           the pain. But I wept. Why did I weep? She
           was the light of my life ... beautiful
           girl. Now she will never be beautiful
           again.

Bonasera breaks down. The Don gestures to Sonny to give Bonasera a
drink.

                       BONASERA
           Sorry...

Bonasera, taking the drink, sips from the shot glass.

                       BONASERA
           I-I went to the police, like a good
           American. These two boys were brought to
           trial. The judge sentenced them to three
           years in prison ... suspended sentence.
           Suspended sentence! They went free that
           very day! I stood in the courtroom like a
           fool. And those two bastard, they smiled
           at me. Then I said to my wife, "for
           justice, we must go to Don Corleone."

                       VITO CORLEONE
                  (sitting behind his desk,
                  petting a cat)
           Why did you go to the police? Why didn't
           you come to me first?
                                                                   2

                       BONASERA
           What do you want of me? Tell me anything.
           But do what I beg you to do.

                       VITO CORLEONE
           What is that?

Bonasera gets up to whisper his request into Don Corleone's ear.

                       VITO CORLEONE
           That I cannot do.

                       BONASERA
           I'll give you anything you ask.

                       VITO CORLEONE
           We've known each other many years, but
           this is the first time you came to me for
           counsel, for help. I can't remember the
           last time that you invited me to your
           house for a cup of coffee, even though my
           wife is godmother to your only child. But
           let's be frank here: you never wanted my
           friendship. And uh, you were afraid to be
           in my debt.

                       BONASERA
           I didn't want to get into trouble.

                       VITO CORLEONE
           I understand. You found paradise in
           America, had a good trade, made a good
           living. The police protected you; and
           there were courts of law. And you didn't
           need a friend of me. But uh, now you come
           to me and you say "Don Corleone give me
           justice." But you don't ask with respect.
           You don't offer friendship. You don't even
           think to call me Godfather. Instead, you
           come into my house on the day my daughter
           is to be married, and you uh ask me to do
           murder, for money.

                       BONASERA
           I ask you for justice.

                       VITO CORLEONE
           That is not justice; your daughter is
           still alive.

                       BONASERA
           Then they can suffer then, as she suffers.
                  (then)
           How much shall I pay you?
                                                                   3

                       VITO CORLEONE
                  (stands, turning his back
                  toward Bonasera)
           Bonasera... Bonasera... What have I ever
           done to make you treat me so
           disrespectfully? Had you come to me in
           friendship, then this scum that ruined
           your daughter would be suffering this very
           day. And that by chance if an honest man
           such as yourself should make enemies, then
           they would become my enemies. And then
           they would fear you.

                       BONASERA
           Be my friend...
                  (after bowing and the Don
                  shrugs)
           Godfather?

                         VITO CORLEONE
                    (after Bonasera kisses his
                    hand)
           Good.
                  (then)
           Some day, and that day may never come,
           I'll call upon you to do a service for me.
           But uh, until that day accept this justice
           as a gift on my daughter's wedding day.

                       BONASERA
                  (as he leaves the room)
           Grazie, Godfather.

                        VITO CORLEONE
           Prego.
                  (to Tom Hagen, after
                  Bonasera leaves the room)
           Ah, give this to ah, Clemenza. I want
           reliable people; people that aren't gonna
           be carried away. I'm mean, we're not
           murderers, despite of what this undertaker
           says.

                                                   CUT TO:

CONNIE'S WEDDING RECEPTION – DAY

We hear the music "Connie's Wedding (The Godfather Tarantella)".

                                                   CUT TO:

CONNIE AND CARLO AT THE HEAD TABLE

                                                   CUT TO:
                                                                 4

THE FAMILY GATHERS FOR A FAMILY PORTRAIT

                       VITO CORLEONE
           Where's Michael?

                       SONNY CORLEONE
           Don't worry; it's early.

                        VITO CORLEONE
           We're not taking the picture without
           Michael
                   (he tells the photographer,
                   in Italian)

                       TOM HAGEN
           What's the matter, Sonny?

                       SONNY CORLEONE
           It's Michael

The Don meets some guests outside.

Mama dances with Sonny's twin girls.

Connie and Carlo laughs with guest at head table.

Clemenza dances with his wife.

FBI arrives and take license plate numbers.

Tessio sits at a table, tosses himself an orange.

FBI continues to take license plate numbers.

Don Barzini arrives.

                       VITO CORLEONE
           Eh, Don Barzini.

Vito introduces Barzini to someone, in Italian.

Clemenza is dancing, gets tired, and spins off the dancefloor,
laughing.

                       CLEMENZA
                  (after dancing)
           Hey, Paulie! Let me have some wine.
           Paulie! More wine...

                       PAULIE (O.S.)
                  (to someone)
           Scusi, please.
                  (in view, to Clemenza,
                  handing him a pitcher
                  quarter-full of wine)
           Hey, you look terrif'' on the dance floor.
                                                                     5

                       CLEMENZA
           Hey, what are you a dance judge or
           something? Go take a walk around the
           neighborhood. Do your job.

Sonny pinches Lucy Mancini's cheek as he walks towards his wife,
Sandra.

                       SONNY
           Hey Sandra, do me a favor, watch the kids.
           Don't let'em run wild, all right?

                       SANDRA
           Well, you watch yourself, all right?

Reception continues with part two of Connie's Wedding Song (The
Godfather Mazurka). We first see Tessio dancing with a young girl
standing on his feet.

                       OFF SCREEN
           Eh Tessio...
                  (something in Italian)
           ... buona fai.

Don Corleone dances with his wife, Carmella (Mama).

Connie collects gifts for her bridal purse. Paulie is watching.

                       PAULIE
           Twenty... Thirty-grand. In small bills,
           cash. In that little silk purse. Maron, i
           f this was someone else's wedding, sweet
           tonato!

                       BUTTONMAN
                  (from afar, tossing him
                  sandwiches)
           Hey, Paulie! I got two gavagool?
           Gabagone?... and a...

                       PAULIE
           Eh, you stupid jerk!

A news photographer takes Barzini's picture. Barzini motions to
his men to get the camera.

                       PHOTOGRAPHER
           Eh, what's the matter?

The men bring the camera to Barzini, who removes and crumples the
film.

Tom going up to his wife, Theresa, who's sitting at a table at the
reception.
                                                                    6

                       TOM
           I have to go back to work.

                       THERESA
           Oh, Tom.

                       TOM
                  (after he kisses his wife)
           It's part of the wedding: No Sicilian can
           refuse any request on his daughter's
           wedding day.

                       LUCA
                  (rehearsing his lines as Tom
                  passes him)
           Don Corleone, I am honored and grateful
           that you have invited me to your home...

Sonny goes out into the driveway to see the FBI guys. The Mazurka
ends.
                        SONNY
            Eh...what... Get outta here; it's a
            private party, go on!
                   (then to FBI guy in car)
            What's is it? Hey, it's my sister's
            wedding.
                   (he spits after being shown
                   a badge, turns and walks
                   away)
            Goddamn FBI don't respect nothing jazz
            music begins to play from party.
                   (to photographer)
            Eh, come here; come here; come here; come
            here, come here; come here; come here...
                   (smashes camera, which
                   Paulie kicks, and flips cash
                   to him)

                                                      CUT TO:

NAZORINE AND ENZO IN DON CORLEONE'S OFFICE – DAY

                       NAZORINE
                  (seated in front of the
                  Don's desk)
           But towards the end, he was uh paroled to
           help with the American uh war effort. So
           for the last six months he's been working
           in my pastry shop.

                       VITO CORLEONE
                  (seated)
           Nazorine, my friend, what can I do for
           you?
                                                                 7

                       NAZORINE
           Well now that the war is over, this boy,
           Enzo...they want to repatriate him back to
           Italy. Godfather, I have a daughter. You
           see, she and Enzo...

                       VITO CORLEONE
           You want Enzo to stay in this country, and
           you want your daughter to be married .

                       NAZORINE
                  (stands)
           You understand everything.

They shake hands, Nazorine turns to leave.

                         VITO CORLEONE
           Bene.

                       NAZORINE
                  (with Mr. Hagen now, by the
                  door)
           Mr. Hagen, thank you.
                  (turning to Don Corleone)
           An' wait til you see the beautiful wedding
           cake I made for your daughter! Ooof!
                  (gestures)
           Like this! The bride and the groom and the
           angel...

                       TOM
                  (after Nazorine exits)
           Who should I give this job to?

                       VITO CORLEONE
           Not to our paisan. Give it to a jew
           congressman, in another district. Who else
           is on the list?

                                                   CUT TO:

OUTSIDE

Michael and Kay arrive, make some introductions. They dance to
"Ev'rytime I Look In Your Eyes" as the Don watches from his
window.

                                                   CUT TO:

THE DON'S OFFICE – DAY

                       TOM
           He's not on the list, but Luca Brasi wants
           to see you.
                                                                     8

                       VITO CORLEONE
                  (looking out the window)
           Is this...is this necessary?

                       TOM
           He didn't expect to be invited to the
           wedding, so he wanted to thank you.

                        VITO CORLEONE
           All right.

                                                     CUT TO:

OUTSIDE OF THE CORLEONE RESIDENCE

Luca sits, rehearsing his lines.

                       LUCA BRASI
                  (rehearsing his lines aloud)
           Don Corleone, I am honored and grateful
           that you have invited me to your home on
           the wedding day of your daughter. And may
           there first child be a masculine child.
                  (starting over, which
                  continues throughout the
                  following dialogue)
           Don...Don Corleone...

                       KAY
           Michael, that man over there is talking to
           himself. See that scary looking guy over
           there?

                       LUCA'S VOICE
           ... On the wedding day of your daughter...

                       MICHAEL
                  (after glancing over at
                  Luca)
           He's a very scary guy.

                       KAY
           Well, who is he? What's his name?

                       MICHAEL
           His name is Luca Brasi an' he helps my
           father out sometimes.

Luca stands up, facing Mike and Kay, seemingly coming toward them.

                       KAY
           Oh, Michael, wait a minute; he's coming
           over here...

                        TOM
           Mike!
                                                     9

           MICHAEL
Oh!

            TOM
       (embracing Michael)
Heh...! You look terrific!

            MICHAEL
My brother, Tom Hagen. This is Kay Adams.

            TOM
How do you do.

            KAY
How do you do, Tom

            TOM
       (into Michael's ear)
Your father's been asking for you.
       (to Kay, before he leaves)
Very nice to meet you.

            KAY
Nice to meet you.
       (after Tom exits)
If he's your brother, why does he have a
different name?

            MICHAEL
Oh, ah, that...when my brother Sonny was a
kid, he found Tom Hagen in the street. And
he had no home and so my father took him
in – and he's been with us ever since .
He's a good lawyer. Not a Sicilian, but I
think he's gonna be consiglieri.

            KAY
What's that?

            MICHAEL
That's um, like a counselor...an
advisor...very important to the family.
       (then)
You like your lasagna?

                                           CUT TO:
                                                                    10

LUCA BRASI IN DON CORLEONE'S OFFICE – DAY

                       LUCA BRASI
           Don Corleone, I am honored and grateful
           that you have invited me to your
           daughter's wedding...
                  (after realizing he messed
                  up his rehearsed lines, he
                  fails to re cover)
           ... on the day of your daughter's wedding.
           And I hope that their first child be a
           masculine child. I pledge my ever-ending
           loyalty.

Playing kids run into the room and then are escorted out by Tom.

                       LUCA BRASI
                  (as Luca hands Don Corleone
                  a cash-filled envelope)
           For your daughter's bridal purse.

                       VITO CORLEONE
           Thank you, Luca, my most valued friend.

                       LUCA BRASI
           Don Corleone, I'm gonna leave you know,
           because I know you are busy.

                        VITO CORLEONE
           Thank you.

Tom escorts Luca out.

Bride & groom dance to "The Godfather Fox Trot".

Sonny moves closer to Lucy to whisper into her ear.

Sandra gestures to other women about the size of Sonny's manhood;
they laugh.

Sandra turns to see Lucy get up to meet Sonny.

Singing and dancing on stage.

                       VOICE
                  (urging Mama Corleone to
                  come onto the stage to sing)
           Signora Corleone!

                       MAMA
                  (laughingly)
           No...no...no!
                  (once on stage)
           Assesta stori!
                  (sings the first verse to
                  "Luna Mezz'a Mare")
                                                                     11

Sonny goes upstairs.

An old man continues "Luna Mezz'a Mare" while Nazorine dances a nd
laughs on stage.

Lucy Mancini goes upstairs.

The old man who was singing is now dancing.

                                                    CUT TO:

DON'S OFFICE

                        TOM
           Senator Cauly apologized for not coming
           personally...he said you'd understand.
           Also, some of the judges. They've all sent
           gifts.
                   (toasting to the Don)
           Salute!

Off screen: screaming of joy from the party outside.

                       VITO CORLEONE
           What is that outside?

                                                    CUT TO:

OUTSIDE

Johnny Fontane enters the party.

                       CONNIE
                  (while running up to Johnny,
                  then hugging him)
           Johnny! Johnny! Johnny! I love you!

                                                    CUT TO:

DON'S OFFICE

The Don is looking out the window.

                       VITO
           He came all the way from California to
           come to the wedding; I told you he was
           going to come.

                       TOM
           It's been two years; he probably got into
           trouble again.

                       VITO
           He's a good godson.

                                                    CUT TO:
                                                               12

BANDSTAND AREA – DAY

                       MAMA CORLEONE
           Johnny, Johnny!
                  (in Italian)
           "Sing a song".
                  (in English)
           Sing a song.

The crowd encourages Johnny, and he gives in.

                                                     CUT TO:

MICHAEL AND KAY'S TABLE – DAY

                       KAY
           Mike, you never told me you knew Johnny
           Fontane!

                       MICHAEL
           Sure... You wanna meet him?

                       KAY
           Huh? Oh, well, sure!

                       MICHAEL
           My father helped him with his career.

                       JOHNNY (O.S.)
           For my Connie...

                       KAY
           He did? How?

                       JOHNNY (O.S.)
                  (singing "I Have But One
                  Heart")
           "I have but one heart..."

                       MICHAEL
           Let's listen to the song...

PAN to the crowd cheering and screaming as Johnny sings.

                       JOHNNY
                  (singing, continues)
           "... this love I bring you
           I have but one heart
           To share with you
           I have but one dream
           That I can cling to
           You are the one dream..."

                       KAY
           Oh, Michael...
                                                                    13

                       JOHNNY
                  (singing, finishing the
                  verse)
           "...I dream comes true..."

                       KAY
           Please, Michael, tell me.

                       JOHNNY (O.S.)
                  (continues the song)
           "My darling, until I saw you..."

                       MICHAEL
           Well, when Johnny was first starting out,
           he was signed to this personal service
           contract; with a big band leader. And as
           his career got better and better, he
           wanted to g et out of it. Now, Johnny is
           my father's godson. And my father went to
           see this band leader, and he offered him
           $10,000 to let Johnny go. But the band
           leader said no. So the next day, my father
           went to see him; only this time with Luca
           Brasi. And within an hour, he signed a
           release, for a certified check for $1,000.

                       KAY
           How'd he do that?

                       MICHAEL
           My father made him an offer he couldn't
           refuse.

                       KAY
           What was that?

                       MICHAEL
           Luca Brasi held a gun to his head, and my
           father assured him that either his brains
           or his signature would be on the contract.
                  (then)
           That's a true story.
                  (then)
           That's my family, Kay. It's not me.

                                                     CUT TO:


BANDSTAND AREA – DAY

                         MAMA (O.S.)
           Bene! Bene!

The song is finished, and we hear applause. The Don goes out to
meet Johnny, and they, and other guests, toast. The Mazurka music
and dancing continue.
                                                                   14


                         VOICE (O.S.)
           Salute!

Johnny whispers into the Don's ear that he wants to talk to him.

                       VITO CORLEONE
           I'll take care of it.
                  (to Tom)
           Tom, I want you to find Santino. Tell him
           to come to the office.

Tom looks up, as if knowing what Sonny's up to.

                                                    CUT TO:

MICHAEL AND KAY'S TABLE AT THE RECEPTION

                          MICHAEL
                     (with Kay, gets tapped in
                     the head by Fredo)
           Oh!
                  (noticing Fredo)
           How are you, Fredo?
                  (then)
           Fredo...my brother Fredo...this is Kay
           Adams

                         KAY
           Oh, hi

                       FREDO
           How'ya doing?
                  (after Fredo kisses Kay on
                  the cheek)
           This is my brother, Mike.

                       MICHAEL
           Are you having a good time?

                       FREDO
           Huh? yeah...
                  (then)
           This your friend, huh?

                                                    CUT TO:
                                                                  15

JOHNNY FONTANE IN THE DON'S OFFICE – DAY

                       JOHNNY
           I don't know what to do. My voice is...is
           weak. It's weak. Anyway, uh, if I ha d
           this part in the picture, ya'know, it puts
           me right back up on top again. But this,
           uh...this man out there, he won't give it
           to me; the head of the studio.

                       VITO CORLEONE
           What's his name?

                       JOHNNY
           Woltz...Woltz. He won't give it to
           me...and ah, he says there's no chance. No
           chance.

                                                   CUT TO:

TOM LOOKING FOR SONNY INSIDE THE HOUSE

                       TOM
                  (at the bottom of the
                  stairs)
           Sonny? Sonny?

Sonny and Lucy are going at it, standing against a door in an
upstairs bedroom. Tom goes upstairs, then knocks on the bedroom
door.

                       TOM
           Sonny? Sonny you in there?

                        SONNY
                   (stopping the action)
           What?

                       TOM
           Your old man wants to see you.

                       SONNY
           Yeah, one minute.

Tom smiles, and walks away, as Sonny and Lucy continue.

                                                   CUT TO:

OUTSIDE

A woman singing Italian song, opera-like, on the stage.

                                                   CUT TO:
                                                        16

THE DON'S OFFICE

                       JOHNNY
                  (as Tom quietly enters the
                  Don's office)
           A month ago he bought the movie rights to
           this book. A bestseller and the main
           character, it's a guy just like me. I
           uh...I wouldn't even have to act...just be
           myself. Oh, godfather, I don't know what
           to do. I don't know what to do.

                       VITO CORLEONE
           You can act like a man!
                  (after the Don slaps him on
                  the face)
           What's the matter with you? Is this how
           you turned out? A Hollywood...? That ah
           cries like a woman?
                  (imitating Johnny)
           What can I do?! What can I do?!
                  (then)
           What is that nonsense? Ridiculous.

Sonny enters the room.

                       VITO CORLEONE
                  (to Johnny, after glancing
                  to see Sonny enter)
           You spend time with your family?

                         JOHNNY
           Sure I do.

                       VITO CORLEONE
                  (to Johnny, but toward and
                  about Sonny)
           Good. 'Cause a man who doesn't spend time
           with his family can never be a real m an.
                  (to Johnny)
           Come're.
                  (then)
           You look terrible. I want you to eat. I
           want you to rest a while. And in a month
           from now, this – Hollywood bigshot's gonna
           give you what you want.

                       JOHNNY
           It's too late, they start shooting in a
           week.
                                                                  17

                        VITO CORLEONE
           I'm gonna make him an offer he can't
           refuse.
                   (then)
           Now you just go outside and enjoy
           yourself, and ah, forget about all this
           nonsense. I want you to leave it all to
           me.

                       JOHNNY
                  (exiting)
           All right

                          VITO CORLEONE
                     (after Johnny exits)
           Well...

                                                      CUT TO:

OUTSIDE

The cake comes out. Nazorine, the baker, takes a proud bow. The
Tarantella plays again.

                                                      CUT TO:

THE DON'S OFFICE

                       VITO CORLEONE
           What time does my daughter leave with the
           bridegroom?

                       TOM
           In a few minutes, right after they cut the
           cake.
                  (as we hear clinking glasses
                  coming from outside, which
                  continues )
           Now you're new son-in-law; give him
           something important?

                       VITO CORLEONE
           Never. Give him a living, but never
           discuss the family business with him. What
           else?

                       TOM
           Virgil Sollozzo called. Now we're gonna
           have to give him a day sometime next week.

                       VITO CORLEONE
           We'll discuss it when you come back from
           California.
                                                                   18

                       TOM
                  (laughing)
           When am I going to California?

                       VITO CORLEONE
           Want you to go tonight; I want you to talk
           to this movie bigshot, and settle this
           business for Johnny. Now, if there's
           nothing else, I'd like to go to my
           daughter's wedding.

                                                    CUT TO:

OUTSIDE

Family portrait scene in the yard the clinking glasses have
stopped.

                       MAMA
                  (seeing Carlo and Connie
                  kissing)
           Carlo, we're gonna take the picture...

                       MICHAEL
                  (as he goes to get Kay for
                  the photo)
           Wait a minute...

                       KAY
           No, Michael, not me.

                       PHOTOGRAPHER
           Okay, that's it. Just like that; now, hold
           it.

Connie and the Don dance to "The Godfather Waltz (Come Live Your
Life With Me)"

                                                    CUT TO:

TOM ARRIVING IN HOLLYWOOD – DAY

By plane, takes a cab, then walks by foot through Woltz
International Studios. Music: "Manhattan Serenade" plays.

                       WOLTZ
                  (who's just walked toward
                  Tom)
           All right, start talking.

                       TOM
           Uh, I was sent by a friend of Johnny
           Fontane's. His friend is my client, who' d
           give his undying friendship to Mr. Woltz,
           if Mr. Woltz would grant us a small favor.
                                                        19

                       WOLTZ
           Woltz is listening.

                       TOM
           Give Johnny the part in that new war film
           you're starting next week.

                       WOLTZ
                  (laughs)
           And ah, what favor would ah your friend ah
           grant Mr. Woltz?

                       TOM
           You're gonna have some union problems; my
           client could make then disappear. Also,
           one of your top stars has just moved from
           ah marijuana to heroin...

                       WOLTZ
           Are you trying to muscle me?

                       TOM
           Absolutely not.

                       WOLTZ
           Now listen to me, you smooth-talking son-
           of-a-bitch! Let me lay it on the line for
           you and your boss, whoever he is. Johnny
           Fontane will never get that movie! I don't
           care how many daigo guinea WOP greaseball
           gumbahs come out of the woodwork!

                       TOM
           I'm German-Irish...

                       WOLTZ
           Well let me tell you something my Kraut
           Mick friend, I'm gonna make so much
           trouble for you, you won't know what hit
           you!

                       TOM
           Mr. Woltz, I'm a lawyer, I have not
           threatened you.

                       WOLTZ
           I know almost every big lawyer in New
           York, who the hell are you?

                       TOM
           I have a special practice; I handle one
           client. Now you have my number; I'll wait
           for your call...by the way, I admire your
           pictures very much.

Tom shakes Woltz' hand, then leaves.
                                                                   20


                       WOLTZ
                  (to a staff member)
           Check him out...

                                                      CUT TO:

LATER – EARLY EVENING

Tom and Woltz walking around Woltz' estate. "Manhattan Serenade"
plays again.

                       TOM
           This is really beautiful.

                       WOLTZ
           Well, look at this. It used to decorate
           the palace of a king.

                       TOM
           Oh, yeah; very nice.

                       WOLTZ
           Why didn't you say you worked for
           Corleone, Tom? I thought you were just
           some c heap two-bit hustler Johnny was
           running in trying to bluff me.

                       TOM
           I don't like to use his name unless it's
           really necessary.

                       WOLTZ
           How's your drink, Tom?

                        TOM
           Fine.

                       WOLTZ
           Hey, come on over here with me; I wanna
           show you something really beautiful. You
           do appreciate beauty, don't you?
                  (then)
           There you are, $600,000 on four hooves. I
           bet a Russian Czar never paid that kind of
           dough for a single horse.
                  (toward the horse)
           Khartoum. Khartoum.
                  (to Tom)
           I'm not gonna race him, though. I'm gonna
           put him out to stud.

                       TOM
           He's beautiful.
                                                               21

                       WOLTZ
                  (to stablehand)
           Thanks, Tony.

                       TONY
           You're welcome...

                       WOLTZ
                  (to Tom)
           Let's get something to eat, huh?

                                                     CUT TO:

INT. WOLTZ'HOUSE – EARLY EVENING

Woltz' dinner table.

                       TOM
           Mr. Corleone is Johnny's godfather. To the
           Italian people, that's a very religious,
           sacred, close relationship.

                       WOLTZ
           I respect that; just tell him he should
           ask me anything else. But this is one
           favor I can't give him.

                       TOM
           He doesn't ask a second favor once he's
           been refused the first, understood?

                       WOLTZ
           You don't understand. Johnny Fontane never
           gets that movie. That part is perfect for
           him; it'll make him a big star. And I'm
           gonna run him out of the business, and let
           me tell you why.
                  (after he stands)
           Johnny Fontane ruined one of Woltz
           International's most valuable proteges.
           For five years we had her under training.
           Singing lessons; acting lessons, dancing
           lessons. I spent hundreds of thousands of
           dollars on her. I was gonna make her a big
           star! And let me be even more frank, just
           to show you that I'm not a hard-hearted
           man, and it's not all dollars and cents.
           She was beautiful; she was young, she was
           innocent. She was the greatest piece of
           ass I ever had, and I had'em all over the
           world! And then Johnny Fontane comes along
           with his olive-oil voice, and guinea
           charm. And she runs off. She threw it all
           away just to make me look ridiculous! And
                  (more)
                                                                    22

                       WOLTZ (Cont’d)
           a man in my position can't afford to be
           made to look ridiculous ! Now you get the
           hell outta here! And if that gumbah tries
           any rough stuff, you tell him I ain't no
           band leader! Yeah, I heard that story...

                       TOM
           Thank you for the dinner and a very
           pleasant evening. If your car could take
           me to the airport; Mr. Corleone is a man
           who insists on hearing bad news
           immediately.

Tom nods, then exits.

                                                      CUT TO:

PAN OF EXTERIOR OF WOLTZ' ESTATE – DAWN

Music is a variation of the Title Theme, then we see the interior
of Woltz' bedroom. Woltz awakens in a pool of blood, and finds
Khartoum's severed head in his bed; and SCREAMS
ah...ah...ah...ah...ah!

                                                      CUT TO:

CLOSEUP OF VITO CORLEONE'S FACE

He nods.

                       VITO CORLEONE
           You're not too tired, are you, Tom?

                       TOM
           No, no. I slept on the plane.
                  (as we see Sollozzo entering
                  the Don's office from the
                  street)
           I have the Sollozzo notes here. Now
           Sollozzo is known as 'The Turk.' He's
           supposed to be very good with a knife, but
           only in matters of business or some sort
           of reasonable complaint. Uh, his business
           is narcotics. He has fields in Turkey
           where they grow the poppy. And in Sicily
           he has the plants to process them into
           heroin. Now he needs cash, and he needs
           protection from the police, for which he
           gives a piece of the action...I couldn't
           find out how much. The Tattaglia family is
           behind him here in New York. Now they have
           to be in it for something.

                                                      CUT TO:
                                                                     23

SONNY INTRODUCING HIMSELF TO SOLLOZZO – DAY

Shaking hands.

                       SONNY
           Sonny Corleone...

                                                     CUT TO:

BACK TO DON, SONNY AND TOM BEFORE THE MEETING – EVENING

                       VITO CORLEONE
           What about his prison record?

                       TOM
           Two terms. One in Italy, one here. He's
           known as a top narcotics man.

                       VITO CORLEONE
           Santino? Whattaya think?

                       SONNY
           There's a lot of money in that white
           powder.

                       VITO CORLEONE
           Tom?

                       TOM
                  (Sollozzo scenes still
                  intercut)
           Well, I say yes. There's more money
           potential in narcotics than anything else
           we're looking at. Now if we don't get into
           it, somebody else will. Maybe one of the
           Five Families, maybe all of them. Now with
           the money they earn, they can buy more
           police and political power; then they come
           after us. Now we have the unions, we have
           the gambling; an' they're the best things
           to have. But narcotics is a thing of the
           future. An' if we don't get a piece of
           that action, we risk everything we
           have...I mean not now, but ah ten years
           from now.

                       SONNY
           So, what's your answer gonna be, Pop?

                                                     CUT TO:

SOLLOZZO MEETING IN DON CORLEONE'S GENCO OFFICE – DAY

Scene includes the Don, Sollozzo, Tom, Sonny, Fredo, Clemenza, and
Tessio sitting in Room #2.
                                             24

            SOLLOZZO
Bene. Don Corleone. I need a man who has
powerful friends. I need a million dol
lars in cash. I need, Don Corleone, those
politicians that you carry in your pocket,
like so many nickels and dimes.

            VITO CORLEONE
What is the interests for my family?

            SOLLOZZO
Thirty percent. In the first year, your
end should be three-four-million dollars.
And then it would go up.

            VITO CORLEONE
And what is the interest for the Tattaglia
Family?

            SOLLOZZO
       (to Tom)
My compliments.
       (to Don Corleone)
I'll take care of the Tattaglia's, outta
my share.

            VITO CORLEONE
So I receive thirty percent for finance
political influence, and legal protection,
that's what your telling me?

            SOLLOZZO
That's right

            VITO CORLEONE
Why do you come to me? Why do I deserve
this generosity?

            SOLLOZZO
If you consider a million dollars in cash
just finance, te salute, Don Corleone.

            VITO CORLEONE
       (gets up to pour Sollozzo
       another drink)
I said that I would see you because, I
heard that you're a serious man, to be
treated with respect.
       (after sitting)
But uh, I must say no to you and I'll give
you my reasons. It's true, I have a lot of
friends in politics, but they wouldn't be
friendly very long if they knew my
business w as drugs instead of
       (more)
                                                                   25

                       VITO CORLEONE (Cont'd)
           gambling, which they rule that as a
           harmless vice. But drugs is a dirty
           business.

                       SOLLOZZO
           Don Corleone...

                       VITO CORLEONE
           It...makes...it doesn't make any
           difference to me what a man does for a
           living, understand. But your business is
           ah...a little dangerous.

                       SOLLOZZO
           If you're worried about security for your
           million, the Tattaglia's will guarantee
           it.

                       SONNY
           Aw, you're telling me that the Tattaglia's
           guarantee our investment?

                       VITO CORLEONE
                  (to Sonny)
           Wait a minute...

Clemenza and Tom look at each other, realizing Sonny's faux pas.
Sollozzo notices this.

                       VITO CORLEONE
                  (to Sollozzo)
           I have a sentimental weakness for my
           children, and I spoil them as you can see;
           they talk when they should listen. But,
           anyway, Signor Sollozzo, my no is final,
           and I wish to congratulate you on your new
           business, and I hope you do very well. And
           good luck to you...as best as your
           interests don't conflict with my
           interests. Thank you.

The group begins to leave the room: Sollozzo, Clemenza, Tessio,
Fredo.

                       VITO CORLEONE
           Santino, come're. Whattsa matter with you?
           I think your brain is going soft fro m all
           that comedy your playing with that young
           girl. Never tell anybody outside the
           family what you're thinking again!
                  (more)
                                                                    26

                  VITO CORLEONE (Cont'd)
                  (then)
           Go on...
                  (after Sonny exits)
           Tom...
                  (after a huge flower
                  arrangement appears at the
                  office entrance)
           What...what is this nonsense?

                       TOM
           It's from ah Johnny, staring in that new,
           ah, film.

                       VITO CORLEONE
           Ah...Well, take it away.

                       TOM
                  (to person holding flowers)
           Take it over there.

                       VITO CORLEONE
           And uh, tell Luca Brasi to come in.

                                                   CUT TO:

LUCA SITS DOWN IN FRONT OF THE DON – DAY

We hear scary Luca-like music.

                       VITO CORLEONE
           I'm a little worried about this Sollozzo
           fella. I want you to find out what he' s
           got under his fingernails, ya'know. Go to
           the ah Tattaglia's, and ah, make them
           think that ah you're...you're not too
           happy with our family and...and ah find
           out what you can.

FADE IN:

EXT. BEST & CO – DAY

Michael and Kay Christmas shopping. "Have Yourself A Merry Little
Christmas" is playing.

                       KAY
           I got something...I got something for your
           mother, and for Sonny, and a tie for
           Freddy, and Tom Hagen got the Reynolds
           pen...

                       MICHAEL
           And what do you want for Christmas?
                                                                 27

                       KAY
           Me? Oh, just you.

                                                   CUT TO:

LUCA BRASI GETTING READY FOR HIS MEETING – NIGHT

Putting on his vest and checking his gun.

INT. HOTEL ROOM – DAY

Mike and Kay are in a hotel room bed. The phone rings, and Kay
picks up.

                       VOICE ON THE PHONE
           Good afternoon, it's 3 o'clock

                       KAY
                  (into phone)
           Thank you....
                  (to Michael, after hanging
                  up the phone)
           Michael, it's 3 o'clock

                        MICHAEL
                   (barely awake)
           What?

                       KAY
                  (laughs)
           It's 3 o'clock. We hafta get up because we
           have to go to your father's house...

                       MICHAEL
           Why do we have to?

                       KAY
                  (laughing)
           Because we have to, ya know.

                       MICHAEL
           If we go to my father's house –

                        KAY
           Uh-huh...

                       MICHAEL
           – we can't push the beds together...

                       KAY
                  (laughs)
           Why not?

                       MICHAEL
           Because they're in separate rooms.
                                                                    28

                       KAY
                  (laughs)
           Well, alright then I...then we won't
           go...we won't tell your father...

                       MICHAEL
           Okay...

                       KAY
           You know, we'll just get married first and
           we'll tell'em later...

                       MICHAEL
           I can't do that...

                       KAY
           Then Michael, get outta bed.

                       MICHAEL
           We'll go tomorrow...

                       KAY
           Michael, they're expecting us!

                       MICHAEL
           Oh, Kay...get the phone...

                       KAY
           What are you gonna do?

                       MICHAEL
           Just get the phone...

Kay gives Michael the phone, and he picks up the receiver and the
operator responds.

                       OPERATOR
                  (over the phone)
           Yes, may I help you?

                       MICHAEL
                  (into phone)
           Hi, may I please have Orchard-9-9539
           please...

                       KAY
           What are you doing? What are you doing?

                       MICHAEL
                  (to Kay)
           You're going to be the long-distance
           operator from New Hampshire.
                  (after Kay laughs)
           Come on...
                                                                   29

                       KAY
                  (laughing)
           I can't do this.

                       MICHAEL
           You gotta...come on...

                         TOM'S VOICE
                    (over phone)
           Hello?

                       KAY
                  (pretending to be an
                  operator, into phone)
           Hello, this is long distance calling...I
           have a collect call from Mr. Michael
           Corleone...um, will you accept the
           charges?

                         TOM'S VOICE
                    (over phone)
           Yes...

                       KAY
                  (pretending to be an
                  operator, into phone)
           One moment, please...

Kay hands Michael the receiver. He inaudibly asks Kay who it is,
but she doesn't know.

                         MICHAEL
                    (into phone)
           Hello?

                        TOM'S VOICE
           Hello?

                       MICHAEL
                  (into phone)
           Hello, Tom, how are you?

                       TOM'S VOICE
           Hi, Mike, how are you?

                       MICHAEL
                  (into phone)
           Listen we're up in New Hampshire still
           we're gonna drive down tomorrow mo
           rning...

The beds on which Michael and Kay are laying, pushed together,
begin to separate.

                       TOM
           Is there anything I can do for you?
                                                                30

                       MICHAEL'S VOICE
           No, ah...we're fine. Now, I'm...I'm gonna
           see you Christmas...everybody's go in' out
           to the mall?

                       TOM'S VOICE
           Right...

                       MICHAEL
           Okay...

                       TOM'S VOICE
           Right, Mikey...

                       MICHAEL
                  (as the beds separate, and
                  Michael and Kay fall between
                  them)
           Bye, Tom...

                                                      CUT TO:

DON CORLEONE'S OFFICE ON MOTT STREET – EARLY EVENING

                       VITO CORLEONE
           Andiamo, Fredo. Tell Paulie to get the
           car; we're going.

                       FREDO
           Okay, Pop – I'll have to get it myself,
           Pop; Paulie called in sick this morning.

                       VITO CORLEONE
           Huh?!

                       FREDO
                  (exiting)
           Paulie's a good kid, I don't mind getting
           the car.

The office manager helps the Don with his coat.

                       VITO CORLEONE
                  (to office manager)
           Buon nateli, Dano. Grazie

                                                      CUT TO:

LUCA BRASI WALKING DOWN HALLWAY TO THE BAR – NIGHT

                                                      CUT TO:

LUCA BRASI'S MEETING AT TATTAGLIA'S BAR – NIGHT

                       BRUNO TATTAGLIA
           Luca, I'm Bruno Tattaglia.
                                                                     31

                         LUCA
           I know

                       BRUNO TATTAGLIA
           Su bequero Scotch? Pre-war...

                       LUCA
           Io no bib' "I don't drink".

                       SOLLOZZO
           You know who I am?

                       LUCA
                  (in Italian)
           I know you.

                       SOLLOZZO
                  (in Italian)
           You have been talking to the Tattaglia
           family... right? I think you and I can do
           business. I need someone strong like you.
           I heard you are not happy with the
           Corleone family. Want to join me?.

                       LUCA
                  (in Italian)
           What's in it for me?.

                       SOLLOZZO
                  (in Italian)
           $50,000...to start with..

                       LUCA
                  (in Italian)
           Not bad.

                          SOLLOZZO
                     (offering his hand to Luca;
                     in Italian)
           Agreed?

Luca doesn't shake. He takes out a cigarette, which Bruno lights.

                         LUCA
           Grazie.

Bruno grabs Luca's hand to the bar, Sollozzo rams a knife into it,
and Luca is garroted by an unidentified buttonman.

                                                   CUT TO:
EXT. CITY STREET – EARLY MORNING

Sollozzo kidnaps Tom Hagen on the city street while Tom's
Christmas shopping.
                                                                     32

Tom is carrying a sled and some tied-up boxes. "Santa Claus Is
Coming To Town" is playing.

                       SOLLOZZO
           Tom! Tom Hagen! Merry Christmas!
                  (after Tom nods)
           Heh, I'm glad I run into you; I want to
           talk to you.

                       TOM
           Well I haven't got time

                        SOLLOZZO
           Aw, make time, consiglieri. Get in the
           car.
                   (then)
           What are you worried about? If I wanted to
           kill you, you'd be dead already.
                   (then)
           Get in.

                                                      DISSOLVE TO:

THE DON AND FREDO LEAVING THE GENCO OFFICE – LATE AFTERNOON

                       VITO CORLEONE
           Aspetta, Fredo; I'm gonna buy some fruit
           aspetta...wait.

                       FREDO
                  (getting into the driver's
                  seat of the car)
           Okay, Pop

                       VITO CORLEONE
                  (to merchant)
           Hi, merry Christmas; I wan some fruit over
           there. What is this? Gimme three. And that
           one...

After the don gets some oranges and a green pepper, he hears
footsteps, then running. He begins to run toward the car, he
stumbles and falls onto the car. The shooters shoot about 10 shots
at him. The Don screams Uh!, falls over, the assassins run, and
the Don falls to the curb.

                       FREDO
                  (gets out of the car,
                  fumbling with the gun, then
                  sits on the curb crying)
           I can't...I can't...Papa!!

                                                      CUT TO:
                                                                     33

EXT. RADIO CITY MUSIC HALL – EVENING

Michael and Kay walking outside of Radio City Music Hall, which is
showing Leo McCarey's "The Bells of St. Mary's" which Michael and
Kay just saw. Music playing is "Bells of St. Mary's".

                       KAY
           Mike, would you like me better if I were a
           nun? Like in the story, you know?

                       MICHAEL
                  (after pausing)
           No.

                       KAY
           Then would you like me better if I were
           Ingrid Bergman?

                       MICHAEL
           Now that's a thought...

                       KAY
                  (shaken)
           Michael...

                       MICHAEL
           No, I would not like you better if you
           were Ingrid Bergman.

                       KAY
                  (upset)
           Michael...

                       MICHAEL
           What's the matter?

                        KAY
           Michael...

They walk back to a newsstand they just passed, and Michael picks
up The Daily Mirror which has the headline: "VITO CORLEONE FEARED
MURDERED". He flips the pages to reveal an inside article:
"Assassins Gun Down Underworld Chief".

                       MICHAEL
           They don't say if he's dead or alive...

They run across the street to a phone booth to call Sonny, as
"Mystery Music" plays, an excerpt from the Title Theme.

                       MICHAEL
                  (into the phone)
           Sonny...Michael.
                                                                34

                       SONNY'S VOICE
                  (over the phone)
           Michael, where you been?

                       MICHAEL
                  (into the phone)
           Is he all right?

                       SONNY'S VOICE
                  (over the phone)
           We don't know yet. There's all kinds of
           stories.
                  (after a sigh)
           He was hit bad, Mikey...
                  (then)
           Are you there?

                       MICHAEL
                  (into the phone)
           Yeah, I'm here.

                       SONNY'S VOICE
                  (over the phone)
           Where you been? I was worried.

                       MICHAEL
                  (into the phone)
           Didn't Tom tell you? I called.

                       SONNY'S VOICE
                  (over the phone)
           No look, come home, kid. You should be
           with Mama, ya'hear?

                       MICHAEL
                  (into the phone)
           Alright...

                                                      CUT TO:

INT. SONNY'S HOUSE – NIGHT

Just after talking to Michael on the phone. Sonny hangs up.

                       SANDRA
                  (sadly hugging Sonny)
           Oh my God...

There's a loud crash heard off screen from outside the house.

                       SANDRA
                  (as the baby starts to cry)
           Oh! Sonny!

Sonny searches for and finds his gun from a drawer.
                                            35

            SONNY
       (to Sandra, at the door,
       after hearing knocking)
Get back...go.
       (to the door)
Who is it?

            CLEMENZA'S VOICE
       (through the door)
Open up. It's Clemenza.

             SONNY
        (after letting him in)
What?

            CLEMENZA
       (entering)
There's more news about your old man. The
word is out on the street that he's
already dead.

            SONNY
Watch your mouth. What's the matter with
you?

            CLEMENZA
       (after being pushed up
       against the wall)
Jesus Christ; take it easy...take it easy

            SONNY
Where was Paulie?

            CLEMENZA
Paulie was out sick. He been calling sick
all winter.

            SONNY
How many times has he been sick?

            CLEMENZA
Only maybe three or four times. I mean –

              SONNY
3, 4 times?

            CLEMENZA
I asked Freddy if he wants me to get a
different bodyguard and he said no.

            SONNY
Listen, do me a favor, pick him up right
now, I don't care how sick he is. If he's
breathing, I want you to bring him to my
father's house. Now, you understand? Now.
                                                                36

                       CLEMENZA
           Yeah. You want me to send any people over
           here?

                       SONNY
           No. No. No. Just you and him. Ga'head.

Clemenza leaves.

                       SONNY
                  (to Sandra, who's holding
                  the crying baby)
           Look, uh... I'll be having some people
           come over to the house. A couple of our
           people...

Sonny's phone rings, and he picks up.

                          SONNY
                     (into the phone)
           Hello?

                       SOLLOZZO'S VOICE
                  (over the phone)
           Santino Corleone?

                          SONNY
                     (into the phone, and Sandra
                     leaves the room with the
                     baby)
           Yeah...

                       SOLLOZZO'S VOICE
                  (over the phone)
           We have Tom Hagen. In about three hours
           he'll be released with our proposition.

Sonny checks his watch, then writes the time onto the kitchen
cabinet.

                       SOLLOZZO'S VOICE
                  (over the phone, continues)
           Listen to everything he has to say before
           you do anything. What's done is done.
                  (then)
           And don't lose that famous temper of
           yours, uh Sonny?

                       SONNY
                  (into the phone)
           No, I'll wait...

Sollozzo hangs up, then Sonny hangs up.

                                                     CUT TO:
                                                        37

INT. AN ABANDONED DINER – NIGHT

Sollozzo with kidnapped Tom Hagen.

                       SOLLOZZO
                  (drinking coffee, to Tom)
           Your boss is dead. I know you're not in
           the muscle-end of the family, Tom, so I
           don't want you to be scared. I want you to
           help the Corleone's, and I want you to
           help me.
                  (handing Tom a drink)
           Yeah, we got him outside his office just
           about an hour after we picked you up.
                  (then)
           Drink it.
                  (then)
           So now it's up to you to make the peace
           between me and Sonny.
                  (then)
           Sonny was hot for my deal, wasn't he? And
           you knew it was the right thing to do.

                       TOM
           Sonny'll come after you with everything
           he's got.

                       SOLLOZZO
           That'll be his first reaction, sure.
           That's why you gotta talk some sense into
           him. The Tattaglia family is behind me
           with all their people. The other New York
           Families will go along with anything that
           will prevent a full-scale war. Let's face
           it, Tom, and all due respect, the Don,
           rest in peace, was slippin'. Ten years ago
           could I have gotten to him?
                  (then)
           Well now he's dead. He's dead, Tom, and
           nothing can bring him back. So you gotta
           talk to Sonny, you gotta talk to the
           caporegimes, that Tessio and Fat Clemenza.
                  (then)
           It's good business, Tom.

                       TOM
           I'll try, but even Sonny won't be able to
           call off Luca Brasi.

                       SOLLOZZO
           Yeah, well, let me worry about Luca.
                  (then)
           You just talk to Sonny – and the other two
           kids.
                                                                     38

                       TOM
           I'll to my best.

                       SOLLOZZO
           Good. Now, you can go.
                  (while walking out)
           I don't like violence, Tom. I'm a business
           man. Blood is a big expense.

Outside, a car, sounding its horn, pulls up; Sollozzo goes to talk
to them, and returns.

                       SOLLOZZO
           He's still alive. They hit 'em with five
           shots, and he's still alive! Well that' s
           bad luck for me, and bad luck for you if
           you don't make that deal!

                                                      CUT TO:

MICHAEL ARRIVES AT CORLEONE COMPOUND – NIGHT

A car drop him off at the gate, and he goes inside, seeing family
and friends.

                       CLEMENZA
                  (sitting with his wife,
                  stands to greet Michael)
           Mike, your mother's over in the hospital
           with your father; looks like he's gonna
           pull through, thank God.

                                                      CUT TO:

THE DON'S OFFICE – NIGHT

With Sonny, Tom, Mike, Tessio, & Clemenza.

                       SONNY
                  (b.g., to Tom)
           Whattaya think?

                       TOM
                  (b.g., to Sonny)
           Too much...

                       SONNY
                  (b.g., to Tom)
           Huh?

                       CLEMENZA
                  (b.g., to Tessio)
           ... it's a lot of bad blood. Sollozzo,
           Philip Tattaglia, Bruno Tattaglia;
           Garbone...
                                            39

            TOM
       (b.g., to Sonny)
It's too far – I think it's too
personal... The Don'll consider this
all...

            MICHAEL
       (to Clemenza)
You kill all those guys?

            SONNY
Hey, stay out of it, Mickey; do me a
favor.

            TOM
Sollozzo's the key. You get rid of him,
every falls into line. Now what about
Luca? Sollozzo thinks he's...

            SONNY
Aw...I don't know if Luca sold out we're
in a lot of trouble, believe me. A lot of
trouble.

            TOM
Has anyone been able to get in touch with
Luca?

            CLEMENZA
Eh, I've been trying all night. He might
be shacked up.

            SONNY
Hey, Mick, do me a favor.

            TOM
       (b.g., to Clemenza)
Luca never sleeps over with a broad – he
always goes home when he's through...

            SONNY
       (to Michael)
– try ringing him...
       (to Tom)
Well, Tom you're consiglieri, now what do
we do if the old man dies, God for bid.

            TOM
If we lose the old man we lose our
political contacts and half our strength.
The other New York Families might wind up
supporting Sollozzo just to avoid a long
destructive war. This is almost 1946,
       (more)
                                                       40

                       TOM (Cont'd)
           nobody wants bloodshed anymore. If your
           father dies...
                  (then)
           ... you make the deal, Sonny.

                       SONNY
           That's easy for you to say, Tom, he's not
           your father!

                       TOM
           I'm as much a son to him as you or Mike.

Knock on door.

                         SONNY
           What is it?

Paulie enters.

                       CLEMENZA
           Hey, Paulie, I thought I told you to stay
           put.

                       PAULIE
           Well, the guy at the gates say...say they
           got a package.

                       SONNY
           Yeah? Hey, Tessio, go see what it is.

                       PAULIE
                  (to Sonny, after Tessio
                  exits)
           You want me to hang around?

                       SONNY
           Yeah, hang around. You all right?

                       PAULIE
           Yeah, I'm fine

                         SONNY
           Yeah?

Paulie coughs, perhaps deliberately.

                       SONNY
           There's some food in the icebox, you
           hungry or anything?

                       PAULIE
           Nah, it's alright...thanks...
                                                              41

                       SONNY
           How 'bout a drink? Have a little brandy
           that'll help sweat it out. Huh? Go ahead,
           baby...

                       PAULIE
           Alright, sure that might be a good idea...

                       SONNY
           Yeah, right.
                  (to Clemenza, after Paulie
                  exits)
           I want you to take care of that
           sonofabitch right away. Paulie sold out
           the old man, that stronz'. I don't want to
           see him again. Make that first thing on
           your list, understand?

                         CLEMENZA
           Understood.

                       SONNY
           Hey, Mickey, tomorrow get a couple of
           guys, you go over to Luca's apartment;
           hang around, waitin' for him to show up...

                       TOM
           Uh maybe we shouldn't get Mike uh mixed up
           in this too directly .

                       SONNY
           Yeah, listen, uh... hang around the house
           on the phone an' be a big help, huh?
                  (then)
           Try Luca again...go'head

Tessio enters with package, which he places on Sonny's lap.

                       SONNY
                  (unwrapping the package of
                  Luca's bulletproof vest-
                  wrapped fish)
           What the hell is this?

                       CLEMENZA
           It's a Sicilian message. It means Luca
           Brasi sleeps with the fishes.

Michael hangs up the phone.

                                                    CUT TO:
                                                                  42

CLEMENZA LEAVES HIS HOUSE – MORNING

Some boys are playing, one is pushing the other in a toy car as
the latter yells "ah!".

                       CLEMENZA
                  (to his wife, on his front
                  stoop)
           I'm goin' now...

                       MRS. CLEMENZA
                  (standing in the door)
           What time will you be home tonight?

                       CLEMENZA
                  (walking to the car)
           I don't know, probably late.

                       MRS. CLEMENZA (O.S.)
           Don't forget the cannoli!

                       CLEMENZA
                  (getting into the car, as is
                  Rocco)
           Yeah, yeah, yeah, yeah...

                       PAULIE
                  (in the driver's seat)
           Rocco, sit on the other side. You block
           the rearview mirror.

                       CLEMENZA
           That Sonny's runnin' wild. He's thinkin'a
           going to the mattresses already. We g otta
           find a spot over on the West Side. Ya try
           – 309 West 43rd Street. You know any gooda
           spots on the West Side?

                       PAULIE
           Yeah, I think about it.

                       CLEMENZA
           Well think about it while you're drivin',
           will ya? I wanna hit New York sometime
           this month.
                  (then)
           And watch out for the kids while you're
           backin' out.

                                                     CUT TO:
                                                        43

DRIVING UNDER THE EL TRACKS – DAY

                       CLEMENZA'S VOICE
           Hey, Paulie, I want you to go down 39th
           Street. Carlo Santos you pick up 18 -

                       PAULIE'S VOICE
           Yeah...

                       CLEMENZA'S VOICE
                  (continuing)
           ...mattresses for the guys to sleep, while
           you bring me the bill...

                       PAULIE'S VOICE
           Uh-huh, yeah, alright... That...?... bill

                       CLEMENZA'S VOICE
           Ya'know, you make sure they're clean, cuz
           those guys'll be stuck up in there for a
           long time, ya'know?

                       PAULIE'S VOICE
           They're clean. They told me they
           exterminate them .

                       CLEMENZA'S VOICE
                  (as Rocco laughs)
           Exterminate? That's a bad word to use:
           exterminate! Get this guy. Watch out we
           don't exterminate you laughs.

                       PAULIE'S VOICE
           You think that's funny, or what?

                       CLEMENZA'S VOICE
                  (laughs with Rocco)
           Hey, Paulie –
                  (in Italian)
           Did you fart?.

                       PAULIE'S VOICE
           Hey, Rocco, what did you do?

                       ROCCO'S VOICE
                  (laughs)
           Not me...nothin'...it wasn't me

                       PAULIE'S VOICE
                  (laughs)
           It's gotta be him, then...

                       CLEMENZA'S VOICE
           Pull over, will yah? I gotta take a leak.
                                                                     44

Paulie pulls over, and Clemenza gets out to relieve himself. Rocco
shoots Paulie three times as we hear a variation of the "Title
Theme" music.

                       CLEMENZA
           Leave the gun. Take the cannoli.

                                                   CUT TO:

OUTSIDE THE DON'S KITCHEN – DAY

Michael is sitting on a bench.

                       CLEMENZA'S VOICE (O.S.)
           Hey, Mike! Hey, Mikey?

                       MICHAEL
           Yeah?

                       CLEMENZA'S VOICE (O.S.)
           You're wanted on the telephone.

                       MICHAEL
                  (entering the kitchen)
           Who is it?

                       CLEMENZA
           Some girl... the music ends.

                       MICHAEL
                  (into phone)
           Hello, Kay?

                       KAY'S VOICE
                  (over the phone)
           How's your father?

                       MICHAEL
                  (into the phone)
           He's good. He's gonna make it.

                       KAY'S VOICE
                  (over the phone)
           I love you.

                        MICHAEL
                   (into the phone)
           Huh?

                       KAY'S VOICE
                  (over the phone, louder)
           I love you.
                  (then)
           Michael?
                                                        45

                       MICHAEL
                  (into the phone)
           Yeah, I know.

                       KAY'S VOICE
                  (over the phone)
           Tell me you love me...

                       MICHAEL
                  (into the phone)
           I can't talk...

                       KAY'S VOICE
                  (over the phone)
           Can't you say it?

                       MICHAEL
                  (into the phone)
           Eh...I'll see you tonight.

                       KAY'S VOICE
           Okay

Michael hangs up the phone.

                       CLEMENZA
           Hey, Mikey, why don't you tell that nice
           girl you love her?
                  (in an exaggerated Italian
                  accent)
           I love you with all-a my heart! If I don't
           see you again soon, I'm a-gonna die!
                  (laughs)
           Heh, come over here, kid, learn something.
           You never know, you might have to cook for
           twenty guys someday. You see, you start
           out with a little bit of oil. Then you fry
           some garlic. Then you throw in some
           tomatoes, tomato paste, your fry it; ya
           make sure it doesn't stick. You get it to
           a boil; you shove in all your sausage and
           your meatballs; heh?... And a little bit
           o'wine. An a little bit o'sugar, and
           that's my trick.

                       SONNY
                  (after entering the kitchen)
           Why don't you cut out the crap. I got more
           important things for you to do.
                  (then)
           How's Paulie?

                       CLEMENZA
           Oh, Paulie? Won't see him no more...
                                                                   46

                       SONNY
                  (nods; then to Michael,
                  who's walking out of the
                  kitchen)
           Where you going?

                       MICHAEL
           To the city.

                       SONNY
           No... wanna send some bodyguards with
           him...alright?

                       MICHAEL
           ... no, I'm just going to the hospital to
           see pop.

                       SONNY
           Never mind; send somebody with him

                       CLEMENZA
           Aw, he'll be alright. Sollozzo knows he's
           a civilian

                       SONNY
           Alright; be careful, huh?

                       MICHAEL
                  (as he exits)
           Yes, sir...

                       SONNY
           Send somebody with him, anyway...

Clemenza chuckles.

                                                   CUT TO:

MICHAEL GOES TO THE CITY – EARLY EVENING

Driven by bodyguards.

                                                   CUT TO:

KAY'S HOTEL ROOM

Michael and Kay are eating dinner, while "All of My Life" plays.

                       MICHAEL
                  (as he gets up to get his
                  coat)
           I have to go...

                       KAY
           Can I go with you?
                                                                    47

                       MICHAEL
           You know, Kay, there's gonna be detectives
           there...people from the press...

                       KAY
           Well, I'll ride in the cab...

                       MICHAEL
           I don't want you to get involved...

                       KAY
           When will I see you again?

                       MICHAEL
                  (after a long pause)
           Go back to New Hampshire, and I'll call
           you at your parents' house.

                       KAY
           When will I see you again, Michael?

                       MICHAEL
           I don't know...

Michael kisses Kay, then exits.

                                                     DISSOLVE TO:

THE HOSPITAL (10:30PM)

Michael arrives by cab. He enters the quiet hospital to find no
one at the nurse's station. He walks down the hall to check an
office, and only sees a half-finished sandwich on a desk. He runs
down the hall and up the stairs towards his father's room. He
pauses, noticing there is no guard outside the Don's door. He
walks around the corner up to Room #2 and hesitates before he
pushing the door open. His father is in the bed, and Michael
wonders if he's alive. He walks up to the Don.

                       NURSE
                  (entering the room)
           What are you doing here? You're not
           supposed to be here now!

                        MICHAEL
           I'm Michael Corleone...this is my father.
                   (then)
           There's nobody here. What happened to the
           guards?

                       NURSE
           Your father just had too many visitors.
           They interfered with hospital service. The
           police made them leave about ten minutes
           ago.
                                                                   48

As the nurse checks the Don's pulse, Michael picks up the phone.

                       MICHAEL
                  (into phone)
           Ah, Get me, ah, Long Beach-4-5620,
           please...
                  (to nurse, who was leaving
                  the room)
           Nurse, wait a minute. Stay here.
                  (into phone)
           Sonny, Michael. I'm at the hospital.

                        SONNY'S VOICE
                   (over the phone)
           Yeah?

                       MICHAEL
                  (into the phone)
           Listen I got here late. There's nobody
           here.

                       SONNY'S VOICE
                  (over the phone)
           What? Nobody?

                       MICHAEL
                  (into the phone)
           Nobody... no no no Tessio's men, no
           detectives, nobody. Papa's all alone.

                       SONNY'S VOICE
                  (over the phone)
           Don't panic we'll send somebody...

                       MICHAEL
                  (loudly)
           I won't panic!

He hangs up the phone.

                       NURSE
           I'm sorry; but you will have to leave.

                       MICHAEL
                  (as he checks to see if the
                  bed would fit through the
                  doorway)
           Uhh... You and I are gonna moo...move my
           father to another room. Now can you
           disconnect those tubes so we can move the
           bed out?

                       NURSE
           That's out of the question!
                                                                    49

                       MICHAEL
           You know my father? Men are coming here to
           kill him. You understand? Now help me,
           please.

Michael and nurse roll the Don's bed to another room. We hear a
door close, then footsteps are heard coming up the stairs as
Michael peers from the doorway. A man holding flowers seems to be
looking for a room.

                       MICHAEL
                  (coming out of hiding)
           Who are you?

                       ENZO
           I am Enzo, the baker. Do you remember me?

                       MICHAEL
           Enzo...

                       ENZO
           Yes, Enzo...

                       MICHAEL
           You better get out of here, Enzo; there's
           gonna be trouble...

                       ENZO
           If there is trouble, I stay here to help
           you. For your father...for your father.

                       MICHAEL
           Alright... Listen, wait for me outside in
           front of the hospital. Alright? I'll be
           out in a minute. Go ahead...

                       ENZO
           Okay... okay.

Michael returns to the Don's room, at his bedside. The nurse is
still in the room.

                       MICHAEL
           Just lie here, Pop. I'll take care of you
           now. I'm with you now. I'm with you...

Michael kisses the Don's hand; the Don smiles, with a tear in his
eye. Michael leaves to meet Enzo outside of the hospital.

                       MICHAEL
                  (grabbing and tossing the
                  flowers that Enzo is still
                  holding)
           Get rid of these
                  (more)
                                                                     50

                       MICHAEL (Cont'd)
                  (as Michael turns Enzo's
                  collar up)
           Come 'ere... Put your hand in your pocket
           like you have a gun. You'll be alright.
                  (after he sighs)
           You'll be okay...

A black car pulls up to the front of the hospital. The occupants
look at Michael and Enzo, as Michael undoes a button of his coat
and puts his hand in, as if he had a gun. The car then drives off.

                       MICHAEL
           You did good.

Enzo, very scared, takes out a cigarette and has trouble lighting
it with his Zippo lighter. His hands are shaking. Michael takes
the lighter and lights his cigarette, noticing that his hands are
not shaking. Moments later, sirens are heard as police cars
screech to a halt in front of the hospital. Michael shoos Enzo
away as he is grabbed by an officer.

                       OFFICER
                  (grabbing Michael)
           Now hold still...

                       CAPTAIN MCCLUSKEY
                  (entering the scene)
           I thought I got all you guinea hoods
           locked up! What the hell are you doing
           here?

                       MICHAEL
           What happened to the men who were guarding
           my father, captain?

                       MCCLUSKEY
           Why you little punk! What the hell are you
           doing telling me my business? I pulled
           them guys off of here, eh! Now you get
           outta here and stay away from this
           hospital!

                       MICHAEL
           I'm not moving until you put some guards
           around my father's room.

                       MCCLUSKEY
           Phil, take him in!

                       OFFICER PHIL
           The kid's clean, Captain. He's a war hero.
           He's never been busted for the rackets...
                                                                    51

                       MCCLUSKEY
                  (overlaps)
           Goddamn it, I said take him in!

                       MICHAEL
           What's the Turk paying you to set up my
           father, Captain?

                       MCCLUSKEY
           Take a hold of him. Stand him up. Stand'im
           up straight.

McCluskey punches Michael in the jaw as a Corleone car screeches
up. Men get out and run up the steps toward the Don's room. Tom
and a couple of men go to get Michael.

                       TOM
           I'm attorney for the Corleone family.
           These men are private detectives hired to
           protect Vito Corleone. They're licensed to
           carry firearms. If you interfere, you'll
           have to appear before a judge in the
           morning and show cause.

                       MCCLUSKEY
                  (to his officers)
           Alright... let'im go.
                  (inaudible "Shit!" as he
                  turns away)
           Come on!

                                                     DISSOLVE TO:

CORLEONE MALL – DAY

Clemenza and Michael get out of a car and walk through the gate,
noticing armed men all over the mall. Tessio greets them.

                       CLEMENZA
           What's with all the new faces?

                       TESSIO
           We'll need'em now. After the hospital
           thing, Sonny got mad. We hit Bruno
           Tattaglia 4 o'clock this morning.

                       CLEMENZA
           Jesus Christ...
                  (motions to Michael to come
                  on)
           It looks like a fortress around here...

                                                     CUT TO:
                                                        52

INSIDE THE CORLEONE OFFICE – DAY

                       SONNY
                  (to Tom)
           Tom-anuch! Hey, a hundred button men on
           the street twenty-four hours a day; that
           Turk shows one hair on his ass, he's dead.

                        TOM
                   (going to sit down)
           Yeah?

                       SONNY
           Believe me...
                  (to Michael, whose face is
                  bruised from McCluskey's
                  punch)
           Hey, Michael, come're, let me look at you.
           You look beautiful! Beautiful! Just
           gorgeous!
                  (to Tom)
           Hey, listen to this...the Turk wants to
           talk. Eh gosh...imagine the nerve of the
           sonofabitch, eh? Craps out last night, and
           wants a meetin' today...

                       TOM
           What did he say?

                       SONNY
           What did he say...Badda-beep, badda-bap,
           badda-boop, badda-beep. He wants us to
           send Michael here to proposition. And the
           promise is, that the deal is so good, that
           we can't refuse. Eh...

                       TOM
                  (as Tessio enters the room)
           What about Bruno Tattaglia?

                       SONNY
           That's part of the deal. Bruno cancels out
           what they did to my father...

                       TOM
           Sonny, we ought to hear what they have to
           say...

                       SONNY
                  (standing in front of Tom,
                  who's seated)
           No, no, no! No more! Not this time,
           consiglieri. No more meetin's, no more
           discussions, no more Sollozzo tricks. You
                  (more)
                                             53

            SONNY (Cont'd)
give'em one message: I want Sollozzo...if
not, it's all-out war...we go to the
mattresses...

            TOM
       (stands)
Some of the other families won't sit still
for all-out war!

            SONNY
Then they hand me Sollozzo!

            TOM
You're father wouldn't want to hear this!
This is business, not personal, Sonny !

            SONNY
They shot my father...that's business?
Your ass...

            TOM
Even the shooting of your father was
business, not personal, Sonny!

            SONNY
       (now seated behind the desk)
Well, then, business will have to suffer,
alright? And listen...do me a favor , Tom.
No more advice on how to patch things up,
please. Just help me win, please, alright?

            TOM
       (after they settle down)
I found out about this Captain McCluskey
who broke Mike's jaw...

            SONNY
What about 'im?

            TOM
Now he's definitely on Sollozzo's payroll,
and for big money. McCluskey has agreed to
be the Turk's bodyguard. What you have to
understand, Sonny, is that while Sollozzo
is being guarded like this, he is
invulnerable. Now 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 do me a favor take this into
consideration.
                                                        54

                       SONNY
           Alright. We'll wait.

                       MICHAEL
           We can't wait.

                       SONNY
           Huh?

                       MICHAEL
                  (who's seated with his arms
                  on the chair's arms)
           We can't wait. I don't care what Sollozzo
           says about a deal, he's gonna kill Pop,
           that's it. That's the key for him. Gotta
           get Sollozzo.

                       CLEMENZA
           Mike is right...

                       SONNY
           Lemme ask you something...? What about
           McCluskey? Huh? What do we do with this
           cop here?

                       MICHAEL
           They wanna to have a meeting with me,
           right? It will be me, McCluskey and
           Sollozzo. Let's set the meeting. Get our
           informers to find out where it's gonna be
           held. Now, we insist it's a public
           place...a bar, a restaurant...some place
           where there's people so I feel safe.
           They're gonna search me when I first meet
           them, right? so I can't have a weapon on
           me then. But if Clemenza can figure a way
           to have a weapon planted there for me,
           then I'll kill 'em both.

Clemenza, Tessio and Sonny laugh. Tom shrugs.

                       SONNY
           Hey, whataya gonna do, nice college boy,
           eh? Didn't want to get mixed up in the
           Family business, huh? Now you wanna gun
           down a police captain, why, because he
           slapped ya in the face a little bit? Hah?
           What do you think this is, the Army, where
           you shoot 'em a mile away? You've gotta
           get up close like this and bada-bing! you
           blow their brains all over your nice Ivy
           League suit. Come're...

                       MICHAEL
                  (as Sonny kisses his head)
           Sonny...
                                                               55

                       SONNY
           You're taking this very personal. Tom,
           this is business and this man is taking it
           very very personal.

                       MICHAEL
           Where does it say that you can't kill a
           cop?

                       HAGEN
           Come on, Mikey...

                       MICHAEL
           Tom, wait a minute. I'm talking about a
           cop that's mixed up in drugs. I'm talking
           about ah... ah... a dishonest cop...a
           crooked cop who got mixed up in the
           rackets and got what was coming to him.
           That's a terrific story. And we have
           newspaper people on the pay roll, don't
           we, Tom? Hagen nods in the affirmative.
           And they might like a story like that.

                       HAGEN
           They might, they just might...

                       MICHAEL
           It's not personal, Sonny. It's strictly
           business.

                                                     CUT TO:

CLEMENZA'S CELLAR – DAY

Clemenza is showing Michael the gun he's to use.

                       CLEMENZA
           It's as cold as they come...impossible to
           trace, so you don't worry about prints,
           Mike. I put a special tape on the trigger,
           and the butt. Here, try it...
                  (after Michael tries it but
                  doesn't shoot it)
           What's the matter, the trigger too tight?

                       MICHAEL
                  (after shooting the gun)
           Oh, my ears...

                       CLEMENZA
                  (laughs)
           Yeah, I left it noisy – that way it scares
           any pain-in-the-ass innocent bystanders
           away.
                  (more)
                                                                    56

                        CLEMENSA (Cont'd)
                   (then)
           All right, you shot'em both...now what do
           you do?

                       MICHAEL
           Sit down, finish my dinner...

                       CLEMENZA
           Come on kid, don't fool around. Just let
           your hand drop to your side, and let the
           gun slip out. Everybody'll still think you
           got it. They're gonna be staring at your
           face, Mike...so walk outta the place real
           fast but you don't run. Don't look nobody
           directly in the eye...but you don't look
           away, either. Hey, they're gonna be scared
           still of you, believe me, so don't worry
           about nothin'. You know, you're going to
           turn out all right. You take a long
           vacation...nobody knows where and we're
           gonna catch the hell.

                       MICHAEL
           How bad do you think it's gonna be?

                       CLEMENZA
           Pretty goddamn bad. Probably all the other
           Families will line up against us. That's
           alright...this things gotta happen every
           five years or so...ten years helps to get
           rid of the bad blood. Been ten years since
           the last one. You know you got to stop
           them at the beginning, like they should
           have stopped Hitler at Munich, They
           should've never let him get away with
           that. They were just asking for big
           trouble. You know, Mike, we was all proud
           of you – being a hero and all. Your
           father, too.

Clemenza hands Michael the gun after adjusting it. Michael points
and fires the unloaded gun.

                                                   CUT TO:

THE CORLEONE DINING ROOM (6:30PM)

Sonny, Clemenza, Tessio and Rocco are sitting around, eating
Chinese food while waiting for news about where the Sollozzo
meeting will take place. Michael smokes as the others eat.
                                                        57

                       TOM
                  (as he enters)
           Nothing. Not a hint. Absolutely nothing.
           Even Sollozzo's people don't know where
           the meeting's going to be held.

                       MICHAEL
           How much time do we have?

                       SONNY
                  (checking his watch)
           They're gonna pick you up in front of Jack
           Dempsey's joint in an hour and a half.
           Exactly an hour and a half.

                       CLEMENZA
           We could put a tail on them and see how it
           turns out...

                       SONNY
           Sollozzo'd lose our ass going around the
           block!

                       TOM
           What about the negotiator?

                       CLEMENZA
           He's over at my place playin' pinochle
           with a couple of my men. He's happy, the
           y're lettin' him win...

                       TOM
           There's too much of a risk for Mike. Maybe
           we outta call it off, Sonny.

                       CLEMENZA
           The negotiator keeps on playing cards
           until Mike comes back safe and sound.

                       SONNY
           So why don't he just blast whoever's in
           the goddamn car?

                       CLEMENZA
           Too dangerous – they'd be lookin' for
           that.

                       TOM
           Sollozzo might not even be in the car,
           Sonny!

The phone rings, Sonny gets up to get it.
                                                        58

                       SONNY
           I'll get it.
                  (into the phone)
           Yeah...Yeah...Well, thanks...
                  (after hanging up the phone
                  and returning to the table)
           Louis' Restaurant in the Bronx.

                       TOM
           Well is it reliable?

                       SONNY
           That's my man in McCluskey's precinct. A
           police captain's gotta be on call twenty-
           four hours a day. He signed out at that
           number between eight and ten. Anybody know
           this joint?

                       TESSIO
           Yeah, sure, I do. It's perfect for us. A
           small family place, good food. Everyone
           minds his business. It's perfect. Pete
           they got an old-fashion toilet...you know,
           the box, and... and... and... ah the
           chain-thing. We might be able to tape the
           gun behind it.

                       CLEMENZA
           All right, Mike: you go to the restaurant,
           you eat, you talk for a while, you relax.
           You make them relax. Then you get up and
           you go take a leak. No...better
           still...you ask for permission to go. Then
           when you come back, you come out blastin',
           and don't take any chances...two shots in
           the head apiece.

                       SONNY
           Listen, I want somebody good and I mean
           very good...to plant that gun. I don't
           want my brother coming out of that toilet
           with just his dick in his hands, alright?

                       CLEMENZA
           The gun'll be there...

                       SONNY
           All right
                  (to Tessio)
           Listen, you drive him and you pick him up
           after the job, okay?

                       CLEMENZA
           Come on, let's move...

As they're standing by the door, preparing to leave.
                                                                    59

                       MICHAEL'S VOICE (O.S.)
           Thank you, Tom...

                       SONNY
           Did he...ah...tell you to drop the gun
           right away?

                       MICHAEL
           Yeah, a million times.

                       CLEMENZA
           You don't forget: two shots apiece in the
           head soon as you come out the door, ah?
           Let's go...

                       MICHAEL
           How long do you think it'll be before I
           can come back?

                       SONNY
           At least a year, Mike. Listen...um...I'll
           square it with Mom, uh – you know, you're
           not seeing her before you leave; and uh,
           I'll get a message to that girlfriend,
           when I think the time is right.
                  (after he and Michael
                  embrace)
           Take care, huh?

                       TOM
           Take care, Mike...

                       MICHAEL
                  (embracing Tom)
           Tom.

                                                     DISSOLVE TO:

JACK DEMPSEY'S RESTAURANT (8:00PM)

Michael's waiting on the sidewalk until Sollozzo's car pulls up
and he gets in.

                       SOLLOZZO
           I'm glad you came, Mike. I hope we can
           straighten everything out. I mean, this is
           terrible. It's not the way I wanted things
           to go at all. It should've never happened.

                       MICHAEL
           We'll straighten everything out tonight. I
           don't want my father bothered any more...
                                                                     60

                       SOLLOZZO
           He won't be, Mike; I swear on my children
           he won't be. But you gotta keep an op en
           mind when we talk. I mean, I hope you're
           not a hothead like your brother Sonny. You
           can't talk business with him... something
           in Italian.

                       MCCLUSKEY
           Ahh, he's a good kid.
                  (as he leans forward)
           I'm sorry about the other night, Mike. I
           gotta frisk you, so turn around uh...on
           your knees, facing me.
                  (as McCluskey frisks
                  Michael)
           Ah, I guess I'm gettin' too old for my
           job. Too grouchy...can't stand the
           aggravation. You know how it is...
                  (to Sollozzo)
           He's clean.

A little while later, as the car begins to cross the Triborough
bridge. Michael notices the sign that says "To New Jersey".

                       MICHAEL
           We're goin' to Jersey?

                       SOLLOZZO
           Maybe...

Sollozzo's car does a high-speed U-turn, cutting off cars who
sound there horn, as he crosses over the road's divider into the
other direction across the bridge.

                       SOLLOZZO
           Nice work, Lou.

Later, the car pulls up to Louis' Italian-American Restaurant.
They go in.

                                                      DISSOLVE TO:

AT A TABLE IN LOUIS' ITALIAN RESTAURANT

The waiter brings a bottle of wine to the table.

                       MCCLUSKEY
           How's the Italian food in this restaurant?

                       SOLLOZZO
           Good...try the veal...it's the best in the
           city.

                       MCCLUSKEY
           I'll have it.
                                             61

               SOLLOZZO
          (to the waiter)
Capide?
       (after the waiter nods,
       opens the bottle and pours
       the wine)
All right.
       (to McCluskey)
I'm gonna speak Italian to Mike.

              MCCLUSKEY
Go ahead...

            SOLLOZZO
Me dispiace?
       (after Michael nods; in
       Italian)
What happened to your father was business?
I have much respect for your father but
your father...his thinking is old
fashioned. You must understand why I had
to do that...

            MICHAEL
       (in Italian)
I understand that...

             SOLLOZZO
        (after the waiter brings
        McCluskey's veal and leaves;
        in Italian)
Now let's work through where we go from
here...

            MICHAEL
... come si diche...?
       (in English)
What I want? What's most important to me
is that I have a guarantee: No more
attempts on my father's life.

            SOLLOZZO
What guarantees could I give you, Mike? I
am the hunted one! I missed my chance. You
think too much of me, kid. I'm not that
clever. All I want, is a truce.

            MICHAEL
       (after a while)
I have to go to the bathroom. Is that all
right?
                                                                    62


                          MCCLUSKEY
                     (while eating)
              You gotta go, you gotta go...
                     (after Sollozzo begins to
                     frisk Michael as he's
                     standing)
              I frisked him – he's clean.

                          SOLLOZZO
              Don't take too long...

                          MCCLUSKEY
                     (while watching Michael
                     enter the bathroom)
              I've frisked a thousand young punks...

                                                       CUT TO:

INSIDE THE RESTROOM

Mike's looking for the gun behind the tank. He can't find it.

                                                       CUT TO:

TABLE

McCluskey glances toward the restroom; Sollozzo smokes.

                                                       CUT TO:

RESTROOM

When Michael finally finds the gun. He's relieved.

                                                       CUT TO:

TABLE

McCluskey glances up again.

                                                       CUT TO:

RESTROOM

Where Michael hesitates by the door, preparing himself as a train
is loudly heard passing close by, just before he goes back to the
dining area.

                                                       CUT TO:

DINING ROOM

Sollozzo and McCluskey watch Michael emerge from the restroom,
hesitate at the door, then sit down.
                                                                     63


                       SOLLOZZO
                  (voice fading into
                  background)
                     (in Italian)
           Everything alright? – Look – Your
           father...

Michael doesn't pay attention to Sollozzo – he's under too much
mental anguish. He rises, and quickly shoots Sollozzo in the head.
He shoots McCluskey in the throat, then the forehead as McCluskey
holds his throat. McCluskey falls, overturning the table. Michael
goes to exit, dropping the gun. Outside, Michael gets picked up by
Tessio, and they speed off.

                                                   DISSOLVE TO:

NEWSPAPER STACK

Showing headline: "Police Hunt Cop Killer"

Newspaper headline: "City Cracks Down"

                                                   DISSOLVE TO:

Tessio by a lamp working on a crossword puzzle.

                                                   DISSOLVE TO:

Newspaper headline: "Police Captain Linked With Drug Rackets"

                                                   DISSOLVE TO:

Clemenza seated on a cot, starting to lie down.

                                                   DISSOLVE TO:

BUTTONMEN SEATED AROUND TABLE EATING – DAY

PAN RIGHT to piano player (who's playing the music we hear).

                                                   DISSOLVE TO:

Newspaper headline: "Mobster Barzini Questioned in Underworld
Feud"

                                                   DISSOLVE TO:

Buttonmen sitting on mattresses.

Buttonmen at table passing food.

                                                   DISSOLVE TO:

Newspaper photo of police overlooking a dead body in a bar.
                                                                     64

                                                      DISSOLVE TO:
Piano player's hands.

                                                      DISSOLVE TO:

Buttonman standing with back to camera. He's smoking as he exits
left.

                                                      DISSOLVE TO:

Newspaper headline: "Third Month of Gangland Violence"

                                                      DISSOLVE TO:

Pot of spaghetti being dumped into an outside trash can.

                                                      DISSOLVE TO:

Clemenza sleeping on cot.

                                                      DISSOLVE TO:

Newspaper with Vito Corleone's picture, with the headline:
"Syndicate Big Shot Vito Corleone Returns Home"

                                                      DISSOLVE TO:

EXT. HOSPITAL – DAY

Ambulance, police, reporters around, and photographers taking
pictures.

                       VOICE
                  (among other mumblings)
           Hey, come on, let's go... get in the car

Clemenza and four buttonmen get in the first car and drive off,
followed by the ambulance, and then another Corleone car..

                                                      CUT TO:

CORLEONE FAMILY GATHERING AT THE MALL'S GATE

Ambulance driving down the causeway.
Corleone family continuing to gather at the mall's gate.

Don Corleone's foyer filled with relatives including a crying
baby.

                       ORDERLY
           Okay, you take over...

Tom starts up steps. An attendant and a buttonman carry the Don on
his stretcher up the stairs as the family watches. At the bottom
of the steps we see Sonny holding his son, Frankie.
                                                                65


                        FRANKIE
                   (as he play-punches Clemenza
                   in the belly)
           Ow!

                       CLEMENZA
           Very nice...!

                                                      CUT TO:

THE DON'S BEDROOM – DAY

Vito Corleone is being visited by family members.

                       LITTLE GIRL
           I love you, Grandpa.

                       SANDRA
                  (carrying a crying baby)
           I'm sorry, Pa...he doesn't know you yet.

                       SONNY
           All right.
                  (to his son Frankie, whom
                  he's still holding)
           Here you are, big guy...give it to
           Grandpa.

                          FRANK
           Okay.
                  (reading from his handmade
                  card)
           I hope you get well, Grandpa, and I wish I
           would see you soon. Love, your grand son,
           Frank.

Frank kisses the Don.

                          MAMA
           Ooohh...

                       SONNY
                  (to Frank)
           Go with your mother
                  (to Sandra)
           Go ahead...take 'em downstairs...come
           on...
                  (after the women and
                  children leave)
           Go on, Carlo – you, too. Go on...

                                                      CUT TO:
                                                                     66


KITCHEN – DAY

Mama and others prepares dinner.

                       SANDRA
                  (background)
           You want all of that chicken cacciatore
           for your... sweetheart?
                  (to Connie, who's cutting
                  bread)
           Oh, hey, that's enough bread!

                       CONNIE
                  (background)
           But I like bread!

                                                     CUT TO:

THE CORLEONE MAIN GATE – DAY

Children are playing ball, and the ball bounces toward the gate. A
buttonman picks it up and tosses it back.

                                                     CUT TO:

THE DON'S DINING ROOM – DAY

                       CONNIE
                  (laughingly, while putting
                  the bread on the table)
           What's the matter with you, Carlo?

                       CARLO
           Shut up and set the table...

                                                     CUT TO:

THE DON'S BEDROOM – DAY

Vito is in bed, holding cards and presents given to him. Clemenza,
Tessio, Tom, Fredo and Sonny are standing around the bed.

                       TOM
                  (sighs)
           Since McCluskey's killing, the police have
           been cracking down on most of our
           operations – and also the other Families.
           There's been a lot of bad blood.

                       SONNY
           They hit us so...we hit 'em back.
                                                                  67


                       TOM
           Through our contacts in the newspapers,
           we've been able to put out a lot of
           material about McCluskey being linked with
           Sollozzo in the drug rackets. See – things
           are starting to loosen up.

                       SONNY
           And I'm ah sending Fredo to Las Vegas,
           under the protection of... uh... Don
           Francesco of L.A...I want him to rest.

                       FREDO
           I'm going to learn... the... casino
           business...

                       SONNY
           Yeah..

                       VITO CORLEONE
                  (whispering)
           Where's Michael?
                  (a little louder, after Tom
                  doesn't answer)
           Where's Michael?

                       TOM
                  (after looking off toward
                  Sonny, bends his head toward
                  the Don)
           It was Michael who killed Sollozzo. But
           he's safe and we're starting to work to
           bring him back now.

The Don, markedly upset and angry, gestures that they leave him
alone. They exit.

                                                     CUT TO:

HALLWAY AND STAIRS AS SONNY AND TOM DESCEND – DAY

                       SONNY
           I want you to find out where that ol' pimp
           Tattaglia is hiding. I want his as snow
           right now!

                       TOM
                  (after he stops Sonny)
           Hey Sonny...
                       SONNY
           What?
                                             68

            TOM
Things are starting to loosen up a little
bit. If you go after Tattaglia all he ll's
gonna break...
            SONNY
       (background)
Oh, Tom...

            TOM
       (continuing)
... loose. Let...let the smoke clear. Pop
can negotiate.

            SONNY
No, Pop can't do nothin' til he's better!
I'm going to decide what's going to be
done.

            TOM
All right, but your war is costing us a
lot of money; nothing's coming in!

            SONNY
       (background)
Whattsa matter?

            TOM
       (continuing)
We can't do business.

            SONNY
Well neither can they! Don't worry about
it.

            TOM
They don't have our over-head!

            SONNY
Please, don't worry about it!

            TOM
We can't afford a stalemate!

            SONNY
Well, then, there ain't no more stalemate.
I'm gonna end it by killin' that old
bastard! I'm gonna... kill...

            TOM
Yeah, well you're getting a great
reputation! I hope you're enjoying it...
                                                                69

                       SONNY
           Well you just do what I tell you to do!
           Goddamn it! If I had a wartime consiglieri
           ...a Sicilian...I wouldn't be in this
           shape! Pop and Genco look what I got.
                  (after exhaling)
           I'm sorry, I didn't mean that. Ma made a
           little dinner – it's Sunday...

                       TOM
                  (walking away)
           It's alright...

                                                      CUT TO:

DINING ROOM – EVENING

The family is eating at the table.

                       SONNY
                  (to Tom)
           You know niggers are havin' a good time
           with uh...our policy banks up there in
           Harlem...drivin' them new
           Cadillacs...payin' fifty percent on a bet.

                       CARLO
                  (to Sonny)
           I knew that was gonna happen soon as they
           started makin' big money.

                          SONNY
                     (background, to Carlo)
           Yeah...

                       CONNIE
           Well Papa never talked business at the
           table, and in front of the kids.

                       CARLO
           Hey shut up, Connie, when Sonny's
           talking...

                       SONNY
           Hey, don't you ever tell her to shut up.
           You got that?

                       CHILD
                  (background)
           ... cake.

                       MAMA
                  (to Sonny)
           Santino... don't interfere.
                                                                    70

                       CARLO
           Hey look, Sonny, Tom I'd like to talk to
           you maybe after dinner. I could be doing a
           lot more for the Family.
                       SONNY
           We don't discuss business at the table.

                                                     CUT TO:


DON'S BEDROOM

Fredo sitting in the window seat.

                                                     DISSOLVE TO:

SICILIAN COUNTRYSIDE

During the day. "The Love Theme".

Michael is walking with his bodyguards, Fabrizio and Calo. A car
drives up to them and stops. Fabrizio opens the door for
Tommasino.

                       FABRIZIO
                  (in Italian)
           I kiss your hand, Don Tommasino.

                       TOMMASINO
                  (in Italian)
           Michele, Why are you so far from the
           house? You know I'm responsible to your
           father for your life.

                       MICHAEL
                  (in Italian)
           I'm with Calo and Fabrizio...

                       TOMMASINO
                  (in Italian)
           It's still dangerous. We've heard from
           Santino in New York. Your enemies know
           you're here.

                       MICHAEL
                  (in Italian)
           Did Santino say when I can go back?

                       TOMMASINO
                  (in Italian)
           Not yet. It's out of the question.

                          MICHAEL
                     (as he starts to walk away)
           Grazie.
                                                              71

                       TOMMASINO
                  (in Italian)
           Where are you going now?

                        MICHAEL
           Corleone.

                       TOMMASINO
                  (in Italian)
           Take my car...

                       MICHAEL
                  (in Italian)
           No. I want to walk.

                       TOMMASINO
           Accura! Be careful!

MICHAEL, FABRIZIO AND CALO RESTING UNDER A TREE

Michael and Fabrizio are snacking, while Calo tans himself.

                       FABRIZIO
                  (in Italian)
           Tell us something about New York.

                       MICHAEL
                  (in Italian)
           How do you know I'm from New York?

                       FABRIZIO
                  (in Italian)
           We heard.

                         MICHAEL
                    (in Italian)
           Where?

                       FABRIZIO
                  (in Italian)
           Somebody told us you were a real
           important...how do you say...a
           pezzonovante. A big shot.

                       MICHAEL
                  (in Italian)
           I'm the son of a pezzonovante.

                       FABRIZIO
                  (in Italian)
           Ah...Is America as rich as they say?

                       CALO
                  (sunbathing; in Italian)
           Stop bothering me with this rich America
           stuff!
                                                                    72


                       FABRIZIO
                  (to Calo; in Italian)
           Eh, shut up...
                  (to Michael, in English)
           Eh, take me to America. If you need a good
           lupara in America, take me...I'd be the
           best man you can get.
                  (he sings The National
                  Anthem in broken English)
           Oh, say can you see? By the dawn's early
           light? Ah?

                          MICHAEL
                     (as Fabrizio laughs)
           Bravo!

                                                     DISSOLVE TO:

ANOTHER SECTION OF THE SICILIAN COUNTRYSIDE – DAY

Michael, Calo, and Fabrizio are walking.

They walk on a terraced hillside.

Calo, pointing to a town on a hilltop as we hear church bells.

                         CALO
           Corleone.

                                                     DISSOLVE TO:

EMPTY STREETS IN CORLEONE, SICILY

                       MICHAEL
                  (in Italian)
           Where have all the men gone?

                       CALO
                  (in Italian)
           They're dead from vendettas.
                  (pointing to a plaque on a
                  wall)
           There are the names of the dead.

                                                     DISSOLVE TO:

COUNTRY ROAD – DAY

                       FABRIZIO
                  (as an American Army jeep
                  dives past)
           Hey, hey, take me to the America, G.I.!
                  (more)
                                                                   73

                       FABRISIO (Cont'd)
           Hey!
                  (to another jeep)
           Hey, hey, hey, take me to the America,
           G.I.! Clark Gable! Eh!
                  (as a third jeep drives by)
           America, America, va! take me to the
           America, G.I.! Clark Gable!
                  (mutters in Italian)

                                                    DISSOLVE TO:
SICILIAN COUNTRYSIDE – DAY

Young village girls pick flowers and sing. Unaware of Michael,
Fabrizio and Calo watching them. One of the girls, Appolonia, is
startled when she sees Michael. After an exchange of looks,
Appolonia turns and walks away, saying something in Italian.

                       FABRIZIO
                  (in Italian)
           Mama mia what a beauty.

                       APPOLONIA
                  (something in Sicilian)

                       FABRIZIO
                  (to Michael, who can't keep
                  his eyes off of Appolonia)
           Oh...I think you got hit by the
           thunderbolt.

                       CALO
                  (poking Michael's shoulder;
                  in Italian)
           Michele. In Sicily, women are more
           dangerous than shotguns.

Apollonia turns to look at Michael.

                                                    DISSOLVE TO:

A SMALL VILLAGE CAFE – DAY

We hear "Sicilian Pastorale." The owner, Vitelli, after yelling
something into the kitchen, welcomes the guests, who are seating
themselves at a table.

                       VITELLI
                  (in Italian)
           Did you have a good hunt?

                       FABRIZIO
                  (in Italian)
           You know all the girls around here? We saw
                  (more)
                                             74

            FABRISIO (Cont'd)
some real beauties.
       (after Vitelli smiles)
One of them struck our friend like a
thunderbolt. She would tempt the devil
himself.

            CALO
       (in Italian)
... tempt the devil...

            VITELLI
       (gesturing "put together"
       with his fingers; in
       Italian)
Ah, I understand...really put together...

            FABRIZIO
       (in Italian)
Really put together, eh Calo?

            CALO
       (in Italian)
... together

            FABRIZIO
       (in Italian)
Such hair...such mouth!

             CALO
A bocca...

            VITELLI
       (in Italian)
Ah, he girls around here are beautiful but
virtuous, ah?

            FABRIZIO
       (in Italian)
This one had a purple dress and a purple
ribbon in her hair.

            CALO
       (in Italian)
... a purple ribbon...

            FABRIZIO
       (in Italian)
... a type more Greek than Italian.

            CALO
Piu Greca d'Italiana

            FABRIZIO
       (in Italian)
Do you know her?
                                                                     75


                       VITELLI
                  (curtly; in Italian)
           NO! There's no girl like that in this
           town!

Vitelli turns and enters the cafe, yelling.

                       FABRIZIO
                  (gets up to look into cafe;
                  in Italian)
           My God, I understand!

                       MICHAEL
                  (to Calo; in Italian)
           What's wrong?

                       FABRIZIO
                  (returns, after Calo shrugs,
                  to collect his things; in
                  Italian)
           Let's go. It's his daughter.

                       MICHAEL
                  (in Italian)
           Tell him to come here.

                       FABRIZIO
                  (in Italian)
           You don't understand. It's his daughter!

                       MICHAEL
                  (in Italian)
           No, no, no, no. Call him.

Fabrizio dons his lupara before going in to get Vitelli. Fabrizio,
Vitelli, and other men emerge from the cafe. Vitelli looks irate.

                       MICHAEL
           Fabrizio...traducce per me.

                         FABRIZIO
           Si, Signor.

                       MICHAEL
           I apologize if I offended you...

Fabrizio translates into Italian.

                       MICHAEL
           I am a stranger in this country...

Fabrizio translates.
                                                              76

                       MICHAEL
           And I meant no disrespect to you, or your
           daughter...

Fabrizio translates.

                       VITELLI
                  (in Italian)
           Who is this? He sounds American...


                       MICHAEL
           I am an American...hiding in Sicily...

Fabrizio translates.

                       MICHAEL
           My name is Michael Corleone...

Fabrizio translates.

                       MICHAEL
           There are people who'd pay a lot of money
           for that information...

Fabrizio translates.

                       MICHAEL
                  (after Vitelli nods)
           But then your daughter would lose a
           father...

Fabrizio translates.

                       MICHAEL
           ... instead of gaining a husband.

Fabrizio hesitates, then translates after Michael gestures.

                       CALO
                  (in Italian)
           Ah –

                       MICHAEL
           I wanna meet your daughter...

Fabrizio translates.

                       MICHAEL
           ... with your permission...

Fabrizio translates.

                       MICHAEL
           ... and under the supervision of your
           family.
                                                                     77


Fabrizio translates.

                       MICHAEL
           With all respect.

Fabrizio translates.

                       VITELLI
                  (in Italian)
           Come to my house Sunday. My name is
           Vitelli...

                       MICHAEL
           Grazie e como se chiama, vostra figlia?

                         VITELLI
           Apollonia.

                         MICHAEL
           Bene.

                                                     DISSOLVE TO:

TOMMASINO'S VILLA COURTYARD – DAY

Michael, Calo, and Fabrizio get ready to drive to Vitelli's. The
Love Theme plays.

                                                     DISSOLVE TO:

VITELLI'S YARD – DAY

Michael, holding gifts, is introduced to each of the relatives,
then to Apollonia, after she descends the steps and sits on the
bench beside her mother.

                       VITELLI
                  (introducing Apollonia to
                  Michael)
           E guesta mia figlia, Apollonia e guesto
           Michele Corleone.

Apollonia shakes Michael's hand, accepts his gift, and looks at
her mother who nods, giving her permission to open it. She unwraps
a boxed necklace.

                          APOLLONIA
                     (holding the necklace)
           Grazie.

                         MICHAEL
           Prego.

                                                     DISSOLVE TO:
                                                                     78

VITELLI'S CAFE – DAY

Michael and his bodyguards drive up to the cafe and sit with
Vitelli, who is jovial, and his family.

                       VITELLI
                  (to Michael; in Italian)
           What happened to your eye...
                       MICHAEL
                  (in Italian)
           No, no...it's okay...

Michael looks at Apollonia, who's wearing the necklace. She
touches the necklace, and they smile at each other.

                                                      CUT TO:

HILLTOP IN THE VILLAGE – DAY

Michael and Apollonia are walking and talking. Behind them walk
many female relatives. Behind the women, Fabrizio and Calo with
their luparas.

                                                      CUT TO:

LUCY MANCINI'S APARTMENT BUILDING – NEW YORK – DAY

Three bodyguards are pitching pennies outside where Sonny's car is
parked. There are others inside the lobby and on the stairs.

                                                      CUT TO:

OUTSIDE LUCY'S APARTMENT DOOR – DAY

She pushes the door open, revealing Sonny in an embrace with her.
Sonny jumps back as though goosed.

                       SONNY
                  (as he exits, Lucy smiles)
           Hey! I'm gonna knock you dizzy.
                  (coming down the stairs, to
                  a bodyguard reading in the
                  lobby)
           Save it for the library. Come on, we got
           to go pick up my sister...let's go.

Sonny leaves the building, looking around the street.

                                                      CUT TO:

CONNIE AND CARLO'S APARTMENT – DAY

Connie unlocks the door for Sonny, turning away from him as he
enters.
                                                                  79

                       SONNY
           Wha's the matter?
                  (then)
           Huh? What'sa matter?

Connie faces him with a bruised face. Sonny bites his knuckles.

                       CONNIE
           It was my fault!

                       SONNY
           Where is he?

                       CONNIE
           Sonny, please, it was my fault. Sonny, it
           was my fault! I hit him. I started a fight
           with him. Please let me be. I hit him, so
           he hit me. I didn't...I -

                       SONNY
           Sh sh sh sh sh. Okay. I'm just... uh...I'm
           just gonna get a doctor to come and take a
           look at you, alright?

                       CONNIE
           Sonny, please don't do anything...please
           don't do anything!

                       SONNY
           Okay. What's the matter with you? What am
           I gonna do...I'm gonna make that baby an
           orphan before he's born or what? Huh?
           Hmmm?
                  (after Connie laughs)
           All right?

                                                      CUT TO:

CITY STREET – DAY

Carlo is seated on a stoop with two men.

                        CARLO
                   (watching a man leave the
                   building)
           This fat slob's still bettin' the Yankees
           pretty heavy? You tell 'em to stop takin'
           action on 'em, alright?
                   (then)
           We lost enough money last week on the
           game...

Sonny's car appears, screeches to a halt. He gets out.
                                                                     80

                       SONNY
                  (as he throws a sawed-off
                  broom stick at Carlo)
           Carlo, come'ere! come'ere!, come'ere!,
           come'ere!
                  (after catching him after a
                  short chase and beating him)
           You bastard!

Sonny punches and kicks Carlo while bodyguards hold back on-
lookers. Carlo screams when Sonny bites his knuckles which are
clenched to a metal fence. Sonny slams a garbage can lid on
Carlo's head over and over. The one-sided fight continues until
Carlo ends up motionless on his back in the downpour of an open
fire hydrant that kids were playing in.

                       SONNY
                  (exhausted)
           You touch my sister again, I'll kill ya.

As Sonny begins to walk away, he stops, goes back, and kicks Carlo
one last time.

                                                      CUT TO:

VILLAGE CHURCH IN SICILY – DAY

Traditional Sicilian wedding music plays as the church bells ring.
The priest blesses Michael and Apollonia as they kneel at the
church's entrance. Apollonia's family, and other townspeople are
gathered around. Fabrizio and Calo look on.

                       PRIEST
                  (in Latin)
           Et Domini Patri...et Filii...et Spiritu
           Sanctu – Amen.

The bridal procession makes its way up the street. Appolonia and
Michael, the bride and groom, are followed by the procession,
which includes Tommasino being helped with his wheelchair, Calo
and Fabrizio.

                                                      CUT TO:

VILLAGE SQUARE

Michael and Apollonia and guests are dancing at the reception, to
the Mazurka (alla Siciliana).

                                                      DISSOLVE TO:

MICHAEL'S BEDROOM – NIGHT

Michael opens the shutters. Apollonia stands in her wedding slip,
seemingly a little nervous. Michael goes and kisses her. She lets
down her slip. They embrace and kiss.
                                                                   81


                                                      CUT TO:

CORLEONE MAIN GATE – NEW YORK – DAY

Kay gets out of a cab and a buttonman lets her through the gate.
Tom hurries out of the house to meet her.


                       TOM
           Hey! We weren't expecting you, Kay you
           should call.

                       KAY
           Yes, well...I have. I mean I've tried
           writing and calling. Now I want to reach
           Michael.

                       TOM
           Nobody knows where he is. We know that
           he's alright, but that's all.

                       KAY
           Uh…
                  (after noticing a wrecked
                  car behind her)
           What was that?

                       TOM
           Well that's an accident, but nobody was
           hurt...

                       KAY
           Tom…
                  (after taking a letter from
                  her pocket and handing it to
                  him)
           Will you give this letter to Michael,
           please? Please?

                       TOM
                  (refusing the letter)
           Well, if I accepted that in a court of law
           they could prove that I have knowledge of
           his whereabouts. Now you just be patient,
           Kay he'll get in touch with you, alright.

                       KAY
                  (as Tom touches her
                  shoulder)
           I let my cab go so can I come in to call
           another one, please?

                       TOM
                  (taking Kay's arm)
           Come on, I'm sorry...come on.
                                                                    82

                                                     FADE OUT

                                                     DISSOLVE TO:

CONNIE AND CARLO'S APARTMENT – EVENING

The phone rings, and Connie enters to pick it up.

                       CONNIE
                  (into phone)
           Hello...hello?

                       WOMAN'S VOICE
                  (over the phone)
           Is Carlo there?

                       CONNIE
                  (into phone)
           Who's this?

                       WOMAN'S VOICE
                  (over the phone, giggling)
           This is a friend of Carlo's – would you
           tell him that I can't make it tonight
           until later?

                       CONNIE
                  (hanging up the phone,
                  walking to the bedroom)
           ... bitch!

                                                     CUT TO:

BEDROOM

Carlo is tying his tie in a mirror. Connie comes in.

                       CONNIE
           Dinner's on the table...

                       CARLO
           I'm not hungry yet.

                       CONNIE
           The food is on the table. It's getting
           cold.

                       CARLO
           I'll eat out later.

                       CONNIE
           You just told me to make you dinner!

                       CARLO
           Hey, bafangool, eh? Leave me alone.
                                                                 83

                       CONNIE
           Ah, bafangool, you!

Connie runs out.

                       CARLO
                  (hearing dishes breaking)
           What the hell is she up to now, this
           little guinea brat...

Carlo goes out of the bedroom.

                                                     CUT TO:

KITCHEN

Connie is breaking dishes.

                       CARLO
           That's it, break it all you spoiled guinea
           brat...break it all!

                       CONNIE
                  (running into the dining
                  room as Carlo follows)
           Why don't you bring...
                  (disturbing the set table)
           Why don't you bring your whore home for
           dinner? And get...

                       CARLO
                  (after Connie tosses a
                  pitcher of wine)
           Maybe I will! Why not? Yeah you,
           ga'head...

Connie, screaming and crying, pushes vases and dishes from the
cabinet onto the floor, breaking them.

                       CARLO
                  (yelling)
           Now clean it up!

                       CONNIE
                  (yelling)
           Aw, like hell I will!

                       CARLO
                  (yelling, removing his belt
                  and striking and chasing
                  Connie)
           Clean it up! Clean it up, you guinea
           spoiled brat! Clean it up! Clean it up, I
           said clean it up! Clean that up! Clean it
           up!
                                                                  84

                       CONNIE
                  (yelling)
           You son-of-a-bitch!

                       CARLO
                  (yelling)
           Clean it up! Clean that up you son-of-a-
           bitch! Clean it! Clean it up!
                  (once Connie picks up a
                  butcher knife)
           Yeah yeah...come on now, kill me. Be a
           murderer like your father. Come on, all
           you Corleones are murderers anyway.

                       CONNIE
                  (yelling, after Carlo grabs
                  her arm, the knife falls,
                  and she runs)
           I will! I will! I hate you! I'll kill you!
           I'll kill you!

                       CARLO
                  (yelling)
           Come on, you kill me. Get out here! Get
           out here!

                       CONNIE
                  (yelling, running into the
                  bathroom, closing the door)
           I hate you!

                       CARLO
                  (yelling, kicking the door
                  open, and beating her as she
                  screams)
           Ga'head...now I'll kill you! You guinea
           brat you! Get out here!

                                                      CUT TO:

THE DON'S KITCHEN – DAY

Mama Corleone answers the phone with a Santino Jr. in her arms,
who's crying loudly.

                       MAMA
                  (into phone, as baby cries)
           Connie, what's a' matter. I can't hear
           you, what is it? Connie, talk louder...the
           baby's crying.
                  (as Sonny comes in)
           Santino, I can't understand...I don't know
           ...I don't understand 'er...
                                                                  85




                         SONNY
                    (towards Sandra who's trying
                    to calm the baby)
           Shhhh.
                  (into the phone just before
                  the baby screams)
           Yeah, Connie...

                       CONNIE'S VOICE
                  (on the phone, barely
                  audible)
           Carlo... now don't you come...

                       SONNY
                  (into the phone)
           Listen you wait there.

                         CONNIE
                    (over the phone, barely
                    audible)

                       SONNY
           No no...you just wait there!
                  (irate, hanging up the
                  phone)
           Sonofabitch.

                       MAMA
           What's the matter?

                       SONNY
                  (as he leaves the kitchen)
           Son-of-a-bitch!

                       MAMA
           What's the matter?

                          SONNY (O.S.)
           Son-of-a...

                       SANDRA
                  (going after him)
           Sonny...?

                                                   DISSOLVE TO:

THE CORLEONE MALL – DAY

Sonny runs out to his car.
                                                                     86

                       SONNY
                  (to guard at the gate)
           Open the goddamn gate. Get off your ass.

Tom runs out of the house with a buttonman as Sonny turns his car
around.
                        BUTTONMAN
                   (to another, leaning against
                   the building)
            Come on.

                       TOM
           Sonny! Sonny, come on...

                       SONNY
                  (to Tom, irate, as he drives
                  toward the gate)
           Get out of here!

                       TOM
                  (to some buttonmen)
           Move out. Go on!

Buttonmen rush into the car and go after Sonny.

                                                      CUT TO:

CAUSEWAY TOLLBOOTHS – DAY

We faintly hear a baseball game over a radio. Sonny's car drives
up to the tollbooth. He grabs a bill from his pocket and hands it
to the toll-collector. The car in front of Sonny's seems to be
having a problem moving and Sonny sounds his horn.

                       SONNY
           Son-of-a-bitch! Come on! Come on!

The toll-collector "drops" Sonny's change, and bends to pick it
up, sliding the booth's door shut. Sonny turns his head and
notices a line of armed men pointing their weapons at him. A
fusillade of shots pelt the car, and Sonny, as he stumbles out
screaming. Once fallen and dead, a hitman comes up and shoots him
from very close range, stops, then kicks him in the head. The
assassins flee before the Corleone car shows up.

                                                      DISSOLVE TO:

THE DON'S OFFICE – NIGHT

Tom Hagen is somberly having a drink. A slow, somber version of
the Title Theme is heard. The Don enters.
                                                                   87

                       VITO CORLEONE
                  (holding out his hand for
                  Tom's drink)
           Give me a drop...
                  (after sipping the drink and
                  handing it back to Tom)
           My wife is crying upstairs. I hear cars
           coming to the house. Consiglieri of mine,
           I think you should tell your Don what
           everyone seems to know...
                       TOM
           Ah, I didn't tell Mama anything. I was
           about to come up and wake you just now and
           tell you...

                       VITO CORLEONE
           But you needed a drink first.

                         TOM
                    (shaking his head, then says
                    quietly)
           Yup...

                       VITO CORLEONE
           Well, now you've had your drink.

                       TOM
                  (his voice breaking)
           They shot Sonny on the Causeway. He's
           dead.
                       VITO CORLEONE
                  (exhales, bows his head;
                  physically shaken and
                  weakened)
           I want all inquiries made. I want no acts
           of vengeance. I want you to arrange a
           meeting, with the heads of the Five
           Families. This war stops now.

The Don, weakly standing, goes to embrace Tom. Then he begins to
exit.

                       VITO CORLEONE
           Call Bonasera. We need him now.

The Don exits, as Tom dials the phone.

                                                   CUT TO:

BONASERA

Frightened, waiting by an elevator at his funeral parlor.
                                                                     88

                       TOM (O.S.)
                  (into phone)
           This is Tom Hagen. I'm calling for Vito
           Corleone, at his request. Now you owe your
           Don a service. He has no doubt that you
           will repay it. Now he will be at your
           funeral parlor in one hour. Be there to
           greet him.

                                                    CUT TO:

THE BASEMENT OF BONASERA'S FUNERAL PARLOR

From the elevator, two men carry a stretcher forward. Tom and the
Don follow as Bonasera, frightened, watches.

                       VITO CORLEONE
           Well, my friend are you ready to do me
           this service?

                       BONASERA
                  (nervously)
           Yes. What do you want me to do?

                       VITO CORLEONE
           I want you to use all your powers and all
           your skills. I don't want his mother to
           see him this way...
                  (after the Don uncovers the
                  blanket, revealing Sonny's
                  mangled face, shaken)
           Look how they massacred my boy...

                                                    CUT TO:

TOMMASINO'S VILLA COURTYARD – SICILY – DAY

Apollonia, laughing, is trying to drive the car almost hitting the
short walls. Michael is teaching her how to drive. The car stops,
and Michael gets out. All the while, they are laughing and joking
in Italian.

                       MICHAEL
                  (once the car stops, he gets
                  out)
                  (in Italian)
           It's safer to teach you English!

                       APOLLONIA
                  (in Italian)
           I know English...
                  (in English)
           Monday...Tuesday...Thursday...Wednesday...
           Friday...Sunday...Saturday... Andiamo!
           Andiamo!
                                                                    89

                         MICHAEL
           Aie, bravo!

                       APOLLONIA
                  (in Italian)
           Come on! Let's go! Let's go!

Tommasino's car drives in, sounding its horn. Michael walks over
to it.

                       MICHAEL
           A salute, Don Tommasino.

Tmmasino says something in Italian.

                       MICHAEL
                  (in Italian)
           How are things in Palermo?

Michael helps Tommasino out of the car as Apollonia runs over and
kisses him.

                       APOLLONIA
                  (in Italian)
           Michael is teaching me to drive – watch,
           I'll show you.

Tommasino smiles at her, as she runs back to the car.

                       MICHAEL
           Come va Palermo?

                       TOMMASINO
                  (in Italian)
           Young people don't respect anything
           anymore. Times are changing for the worse.
           This place has become too dangerous for
           you. I don't think you're safe here. I
           want you to move to a villa near Siracusa,
           right now...Subita, eh?

                       MICHAEL
                  (putting his hand on
                  Tommasino's chest; in
                  Italian)
           What's wrong?

                       TOMMASINO
                  (in Italian)
           Bad news from America. Your brother,
           Santino, they killed him.
                                                                    90

                       APOLLONIA
                  (pressing the car horn; in
                  Italian)
           Michele...Michele, Let's go... let's go...
           you promised me.

                                                     DISSOLVE TO:

THE VILLA – DAY

Calo sits under a tree. Fabrizio is on the wall near the gate.
Michael steps out onto the balcony.


                       MICHAEL
           Fabrizio!

                       FABRIZIO
           Yes...

                       MICHAEL
           Prepara la macchina.

                       FABRIZIO
           Are you driving yourself, Boss?

                       MICHAEL
           Yes...

                       FABRIZIO
           Is your wife coming with you?

                       MICHAEL
           No – I want you to take her to her
           father's house til I know things are
           safe...

                       FABRIZIO
           Okay anything you say, Boss.

                                                     CUT TO:

INT. VILLA/KITCHEN

Calo sits at the table, eating, as Michael enters.

                       MICHAEL
           Calo, dové Apollonia?

                       CALO
                  (in Italian)
           She's going to surprise you – she wants to
           drive.

                       MICHAEL
           Ahh...
                                                                     91


                       CALO
                  (in Italian)
           She'll make a good American wife.
                  (after Michael exits)
           Wait, I'll get the baggage...

                                                   CUT TO:

VILLA COURTYARD

Calo carries suitcases to the car and puts them into the trunk.
Apollonia is in the driver's seat.

                       MICHAEL
                  (seeing Fabrizio walking
                  toward the gate)
           Fabrizio! Dove vai?

                       APOLLONIA
                  (sounding the car horn; in
                  Italian)
           Michele, wait there! I'll drive to you...

                       MICHAEL
                  (after seeing Fabrizio hurry
                  through the gate)
           NO! No, Apollonia!

The car that Apollonia is in blows up and Michael is thrown into
the bushes.

                                                   CUT TO:

MICHAEL

In shock, is lying in bed as Apollonia's mother wipes his forehead
with a washcloth. Tommasino is at the side of the bed.

                       MICHAEL
                  (whispering)
           Appolonia...?

                       TOMMASINO
           Morta.

                       MICHAEL
                  (whispering)
           Fabrizio...?
                  (after Tommasino shakes his
                  head not knowing where
                  Fabrizio is)
           Get me – Get me – Fabrizio.
                  (then)
           Find him... Fabrizio.
                                                                   92

                                                   DISSOLVE TO:

BANK BUILDING BOARDROOM – NEW YORK CITY – DAY

There are Dons and aides seated and standing around a conference
table. Barzini sits at the head of the table.

                       VITO CORLEONE
           Don Barzini, I want to thank you for
           helping me organize this meeting here
           today. And also the other heads of the
           Five Families, New York and New Jersey.
           Carmine Corleone from the Bronx and ah...
           Brooklyn...Philip Tattaglia. An' from
           Staten Island, we have with us Victor
           Strachi. And all the other associates that
           came as far as from California, and Kansas
           City, and all the other territories of the
           country...thank you.
                  (sitting down)
           How did things ever get so far? I don't
           know. It was so unfortunate...so
           unnecessary. Tattaglia lost a son and I
           lost a son. We're quits. And if Tattaglia
           agrees, then I'm willing to let things go
           on the way they were before...

                       BARZINI
           We're all grateful to Don Corleone for
           calling this meeting. We all know him as a
           man of his word...a modest man...he'll
           always listen to reason...

                       TATTAGLIA
           Yes, Don Barzini...he's too modest. He had
           all the judges and politicians in his
           pocket. He refused to share them...

                       VITO CORLEONE
           When...when did I ever refuse an
           accommodation? All of you know me here.
           When did I ever refuse? Except one time.
           And why? Because I believe this drug
           business is gonna destroy us in the years
           to come. I mean, it's not like gambling or
           liquor...even women, which is something
           that most people want nowadays, and is ah
           forbidden to them by the pezzonovante of
           the Church. Even the police departments
           that've helped us in the past with
           gambling and other things are gonna refuse
           to help us when in comes to narcotics. And
           I believed that then and I believe that
           now.
                                                        93

                       BARZINI
           Times have changed. It's not like the Old
           Days when we can do anything we want. A
           refusal is not the act of a friend. If Don
           Corleone had all the judges, and the
           politicians in New York, then he must
           share them, or let us others use them. He
           must let us draw the water from the well.
           Certainly he can present a bill for such
           services; after all we are not Communists.

                       ZALUCHI
                  (after some laughter from
                  the group, stands)
           I also don't believe in drugs. For years I
           paid my people extra so they wouldn't do
           that kind of business.

Tattaglia whispers something to his aide.

                       ZALUCHI
                  (continues)
           Somebody comes to them and says, "I have
           powders; if you put up three, four
           thousand dollar investment we can make
           fifty thousand distributing." So they
           can't resist. I want to control it as a
           business, to keep it respectable.
                  (as he slams his hand on the
                  table)
           I don't want it near schools. I don't want
           it sold to children! That's an infamia. In
           my city, we would keep the traffic in the
           dark people – the colored. They're animals
           anyway, so let them lose their souls...

                       VITO CORLEONE
           I hoped that we would come here and reason
           together. And as a reasonable man I'm
           willing to do whatever's necessary to find
           a peaceful solution to these problems...

                       BARZINI
           Then we are agreed. The traffic in drugs
           will be permitted, but controlled and Don
           Corleone will give up protection in the
           East and there will be the peace.

                       TATTAGLIA
           But I must have strict assurance from
           Corleone as time goes by and his position
           becomes stronger, will he attempt any
           individual vendetta?
                                                                     94

                       BARZINI
           Look, we are all reasonable men here; we
           don't have to give assurances as if we
           were lawyers...

                       VITO CORLEONE
                  (holding up his hand to
                  interrupt Barzini)
           You talk about vengeance...is vengeance
           gonna bring your son back to you? Or my
           boy to me? I forgo the vengeance of my son
           But I have selfish reasons. My youngest
           son was forced to leave this country...
                  (as he stands, with Tom's
                  assistance)
           Because of this Sollozzo business. All
           right ... and I have to make arrangements
           to bring him back here safely – cleared of
           all these false charges. But I'm a
           superstitious man and if some unlucky
           accident should befall him...if he should
           get shot in the head by a police officer
           or if he should hang himself in his jail
           cell or if he's struck by a bolt of
           lightning then I'm going to blame some of
           the people in this room. And that, I do
           not forgive.
                  (then)
           But that aside let me say that I swear on
           the souls of my grandchildren that I will
           not be the one to break the peace that we
           have made here today...

The Don and Tom move toward the head of the table where Barzini is
sitting. Tattaglia does the same. The Don and Tattaglia embrace as
the others applaud.

                                                      CUT TO:

THE DON'S CAR DRIVING – NIGHT

Inside the car where the Don and Tom are sitting in the rear.

                       TOM
           When I meet with the Tattaglia people,
           should I insist that all his drug
           middlemen have clean records?

                       VITO CORLEONE
           Mention it. Don't insist. Barzini is a man
           who'll know that without being told.

                       TOM
           You mean Tattaglia...
                                                                     95

                       VITO CORLEONE
           Tattaglia's a pimp...he never'a could've
           outfought Santino. But I didn't know until
           this day that it was Barzini all along...

Michael, who has returned from Sicily, is walking and talking with
the Don in the Don's garden.

                       VITO CORLEONE
           Look at this tomatoes, peppers...all of
           this perfecto...

                       MICHAEL
           Pop, what about Sonny?
                  (then)
           What about Sicily?

                       VITO CORLEONE
           I swore that I would never break the
           peace.

                       MICHAEL
           But won't they take that as a sign of
           weakness?

                       VITO CORLEONE
           It is a sign of weakness...

                       MICHAEL
           Well you gave your word that you wouldn't
           break the peace, I didn't give mine. You
           don't have to have any part. I take all
           responsibility.

                       VITO CORLEONE
           Well, we have a lot of time to talk about
           it now.

                                                     CUT TO:

NEW HAMPSHIRE SCHOOL – DAY

Kay leads a group of children into schoolyard.

                       KAY
                  (to the children)
           Come on, Nancy...keep together, everyone.
           Blanche. Okay, all right...
                  (when Kay notices Michael
                  standing beside his
                  Cadillac)
           How long have you been back?
                                                                     96

                       MICHAEL
           I've been back a year. Longer than that, I
           think.
                  (then)
           It's good to see you, Kay...

                                                      DISSOLVE TO:

COUNTRY ROAD – DAY

Michael and Kay are walking together as Michael's car follows
behind. A boy on his bike passes, followed by his dog.

                       BOY
                  (as he passes)
           Come on, Dano!

                       MICHAEL
           I'm working for my father now, Kay. He's
           been sick...very sick.

                       KAY
           But you're not like him, Michael. I
           thought you weren't going to become a man
           like your father. That's what you told
           me...

                       MICHAEL
           My father's no different than any other
           powerful man.
                  (after Kay laughs)
           Any man who's responsible for other
           people. Like a senator or a president.

                       KAY
           You know how naive you sound?

                       MICHAEL
           Why?

                       KAY
           Senators and presidents don't have men
           killed...

                       MICHAEL
           Oh who's being naive, Kay?
                  (then)
           Kay, my father's way of doing things is
           over...it's finished. Even he knows that.
           I mean in five years, the Corleone Family
           is going to be completely legitimate.
           Trust me. That's all I can tell you about
           my business
                  (then)
           Kay...
                                                                     97

                       KAY
           Michael, why did you come here? Why? What
           do you want with me after all this time?
           Here I was calling and writing...

                       MICHAEL
           I came here because I need you ... because
           I care for you.

                       KAY
           Please stop it, Michael...

                       MICHAEL
           Because I want you to marry me...

                       KAY
                  (shaking her head)
           It's too late...it's too late...

                       MICHAEL
           Please, Kay I'll do anything you ask ...
           anything to make up for what's happened to
           us...
                  (after Kay shakes her head)
           ... because that's important Kay. Because
           what's important is that we have each
           other. That we have a life together that
           we have children. Our children...
                  (after Kay puts her hands to
                  her face)
           Kay I need you. And I love you.

Michael beckons toward the car. Michael and Kay get in.

                                                      DISSOLVE TO:

THE DON'S OFFICE

The Don is feeding the fish in his aquarium.

                        TESSIO'S VOICE (O.S.)
                   (to Michael)
           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'S VOICE (O.S.)
           Just be patient...

                       TESSIO'S VOICE (O.S.)
           I'm not asking you for help, Mike – just
           take off the handcuffs.

                         MICHAEL'S VOICE (O.S.)
           Be patient.
                                             98


            CLEMENZA'S VOICE (O.S.)
We got to protect ourselves. Give me a
chance to recruit some new men.

            MICHAEL'S VOICE (O.S.)
No I don't want to give Barzini an excuse
to start fighting.
            TESSIO'S VOICE (O.S.)
Mike, you're wrong...

            CLEMENZA
       (to the Don)
Don Corleone you once said that the day
would come when Tessio and me could form
our own Family. Til today, I would never
think of it. I must ask your permission...

            VITO CORLEONE
       (looking away)
Well, Michael is now head of the Family,
and if he gives his permission, then you
have my blessing...

             MICHAEL
        (seated on a chair)
After we make the move to Nevada you can
break off from the Corleone Family and go
on your own. After we make the move to
Nevada.

            CLEMENZA
How long with that be?

              MICHAEL
Six months.

            TESSIO
       (to Don Vito)
Forgive me, Godfather, but with you gone
me and Pete'll come under Barzini's thumb
sooner or later...

            CLEMENZA
And I hate that goddamn Barzini! In six
months' time there won't be nothing left
to build on...

            VITO CORLEONE
Do you have faith in my judgment?

              CLEMENZA
Yes...

            VITO CORLEONE
Do I have your loyalty?
                                                                  99


                       CLEMENZA
           Yes – always, Godfather...

                       VITO CORLEONE
           Then be a friend to Michael, and do as he
           says.

                       MICHAEL
                  (who is now seated behind
                  the desk)
           There are things being negotiated now that
           are gonna solve all your problems and
           answer all your questions. That's all I
           can tell you now...
                  (to Carlo)
           Carlo, you grew up in Nevada. When we make
           our move there, you're gonna be my right-
           hand man.
                  (to the group)
           Tom Hagen's no longer Consiglieri. He's
           gonna be our lawyer in Vegas. That's no
           reflection on Tom, but that's the way I
           want it.
                  (then)
           Besides if I ever need help, who's a
           better Consiglieri than my father? Well,
           that's it.

Rocco opens the door to let everyone leave. Clemenza walks past
Michael, shakes Don Vito's hand, and exits.

                       TESSIO
                  (shaking Michael's hand)
           Alright...

Tessio walks past Don Vito as he exits. As Carlo exits, Vito
pinches Carlo's cheeks.

                       CARLO
           Thank you, Papa...

                       VITO CORLEONE
           I'm happy for you, Carlo.

                       TOM
                  (seated on the couch)
           Mike, uh why am I out?

                       MICHAEL
           You're not a wartime Consiglieri, Tom.
           Things may get rough with the move we're
           trying.
                                                                     100

                       VITO CORLEONE
                  (sitting next to Tom on the
                  couch)
           Tom I advise Michael. I never thought you
           were a bad Consiglieri. I thought Santino
           was a bad Don, rest in peace. Michael has
           all my confidence, as...as you do. But uh
           there are reasons why you must have no
           part in what is going to happen.
                       TOM
                  (to Michael)
           Maybe I could help...

                       MICHAEL
                  (curtly)
           You're out, Tom.

Don Vito pats Tom on the shoulder, gets up, and walks over to
Michael. He pats Michael on the chest, then his face.

                                                   DISSOLVE TO:

A MONTAGE OF LAS VEGAS

The Desert Inn featuring Patti Page, El Rancho Vegas featuring Joe
E. Lewis & Gloria DeHave, and the Sands featuring Dean Martin &
Jerry Lewis. We hear Vegas-style music.

                                                   DISSOLVE TO:

LAS VEGAS HOTEL

A limo drives to the entrance, and Fredo and Michael get out.

                                                   DISSOLVE TO:

Fredo, Michael, Hagen, Neri, Rocco and bellboys walk towards a
hotel room.

                       FREDO
                  (to Michael)
           I can't get over the way your face
           looks... it really looks good. This doctor
           did some job. Who talked you into it, Kay?
                  (to the bellboys carrying
                  the luggage)
           Hey hey hey hey hey, wait! Hey – leave
           them out here we'll deal with them
           later...
                  (after the bellboys stop)
           He's tired – he wants to clean up. But
           right now, let me open the door, alright?

Fredo opens the door. From the room comes music as Fredo waltzes
in. The band, consisting of an accordion, a standup bass, and a
piano, plays "For He's a Jolly Good Fellow." There are four Vegas
                                                                     101

girls sitting around the table as the band then plays "Mona Lisa."
Michael is not pleased. Johnny Fontane is standing behind the
table.

                       JOHNNY
           Hello, Mike. Welcome to Las Vegas!

                       FREDO
           It's all for you, kid – eh
                  (towards Johnny)
           It's all his idea, right? Didn't you?

                       JOHNNY
           Well, your brother Freddy...

                       FREDO
           Well it was – hey, girls here...
           Hah...I'll be right back...

                       JOHNNY
                  (to Fredo)
           All right...okay

                       FREDO
                  (to Johnny)
           You keep 'em occupied...
                  (to Michael)
           Anything you want, kid...anything. Huh?

                       MICHAEL
                  (curtly)
           Who are the girls?

                       FREDO
           That's for you to find out...

                       MICHAEL
           Get rid of them, Fredo.

                       FREDO
           Hey, Mike... uh...

                       MICHAEL
           Fredo, I'm here on business. I leave
           tomorrow, now get rid of them. I'm tired.
                  (exiting the shot)
           Get rid of the band, too.

                       FREDO
                  (to the girls)
           Hey, just take off! Come on, take off!
           Let's go. Hey – Angelo...
                  (then)
           Hey, come on. SCRAM!
                                             102

            JOHNNY
       (to the blonde he kisses)
Come on, honey, let's go

            FREDO
       (to Johnny)
Come on... I don't know, Johnny. I don't
know what the hell's the matter with him.
       (to a girl)
I'm sorry, babe, come on...
       (to the band)
I don't know, he's tired... he's...

            MICHAEL
What happened to Moe Greene?

            FREDO
He said he had some business. He said give
him a call when the party started.

            MICHAEL
Well give him a call.
       (to Johnny, as they shake
       hands)
Johnny, how are you?

            JOHNNY
Hello, Mike nice to see you again.

            MICHAEL
We're all proud of you...

            JOHNNY
Thanks, Mike.

            MICHAEL
Sit down, Johnny – I want to talk to you.
       (then)
The Don's proud of you, too, Johnny.

            JOHNNY
Well I uh, owe it all to him.

            MICHAEL
Well he knows how grateful you are. That's
why he'd like to ask a favor of you...

            JOHNNY
Mike, what can I do?
                                             103

            MICHAEL
The Corleone Family is thinking of giving
up all its interests in the olive oil
business – settling out here.
       (after Johnny hmmms)
Now Moe Greene will sell us his share of
the casino and the hotel so it could be
completely owned by the Family.
       (gesturing towards Tom)
Tom.
            FREDO
Hey, Mike, are you sure about that? Moe
loves the business – he never said nothin'
to me about selling...

             MICHAEL
Yeah well I'll make him an offer he can't
refuse.
        (after Tom hands Michael a
        set of contracts)
See, Johnny...see we figure that
entertainment will be a big factor in
drawing gamblers to the casino. And, we
hope you'll sign a contract to appear five
times a year.
        (then)
Perhaps uh...convince some of your friends
in the movies to do the same. We're
counting on you...

            JOHNNY
Sure, Mike. I'll do anything for my
Godfather...you know that.

             MICHAEL
        (as he and Johnny shake
        hands)
Good.

             MOE GREEN
        (as he enters the room)
Hey, Mike! Hello, fellas...everybody's
here. Freddy. Tom. Good to see you,
Mike...

            MICHAEL
       (shaking Moe's hand)
How are you, Moe?
                                             104

            MOE
       (to Mike, as Johnny exits)
All right you got everything you want? The
chef cooked for you special...the dancers
will kick your tongue out, and your credit
is good.
       (to one of Moe's employees)
Draw chips for everybody in the room so
they can play on the house.

            MICHAEL
       (as Moe sits down)
My credit good enough to buy you out?

            MOE
       (laughs, and so does Fredo
       who massages Moe's back)
Buy me out?

            MICHAEL
The casino...the hotel. Corleone Family
wants to buy you out.

            MOE
       (angry)
The Corleone Family wants to buy me out?
No. I buy you out, you don't buy me out.

            MICHAEL
Your casino loses money. Maybe we can do
better...

            MOE
You think I'm skimmin' off the top, Mike?

            MICHAEL
You're unlucky

            MOE
       (standing, angrily laughs)
You goddamn guineas really make me laugh.
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
Wait a minute. You took Freddie in because
the Corleone Family bankrolled your casino
because the Molinari Family on the Coast
guaranteed his safety. Now we're talking
business. Let's talk business...
                                             105

            MOE
Yeah let's talk business, Mike. First of
all, you're all done. The Corleone Family
don't even have that kind of muscle
anymore. The Godfather's sick, right?
You're getting chased out of New York by
Barzini and the other Families. What do
you think is going on here? You think you
can come to my hotel and take over? I
talked to Barzini. I can make a deal with
him, and still keep my hotel!

            MICHAEL
Is that why you slapped my brother around
in public?

            FREDO
Aw now that...that was nothin', Mike. Now
uh Moe didn't mean nothin' by that. Sure
he flies off the handle once in a while,
but Moe and me we're good friends, right
Moe? Huh?

            MOE
I gotta business to run. I gotta kick
asses sometimes to make it run right. We
had a little argument, Freddy and I, so I
had to straighten him out...

            MICHAEL
You straightened my brother out?

            MOE
He was banging cocktail waitresses two at
a time! Players couldn't get a drink at
the table! What's wrong with you?

            MICHAEL
       (collecting his things from
       the table before he stands)
I leave for New York tomorrow. Think about
a price.

            MOE
       (angry)
Son-of-a-bitch – Do you know who I am? I'm
Moe Greene! I made my bones when you were
going out with cheerleaders!

            FREDO
Wait a minute, Moe...Moe, I got an idea...
       (to Tom)
Tom...Tom, you're the Consiglieri and you
can talk to the Don – you can explain...
                                                                     106

                       TOM
           Just a minute now – the Don is semi-
           retired and Mike is in charge of the
           Family business now. If you have anything
           to say, say it to Michael.

                       FREDO
                  (after Moe storms out)
           Mike! You don't come to Las Vegas and talk
           to a man like Moe Greene like that!

                       MICHAEL
           Fredo – you're my older brother, and I
           love you. But don't ever take sides with
           anyone against the Family again. Ever.

                                                      CUT TO:

CORLEONE MALL

Michael's limo drives through the gate with him, Kay, and Anthony.
Anthony is sitting on Michael's lap.

                       MICHAEL
           I have to see my father and his people, so
           have dinner without me...

                       KAY
           Oh, Michael...

                       MICHAEL
           This weekend we'll go out.
                  (after Kay hmmmms)
           We'll go to the city. We'll see a show and
           we'll have dinner. I promise.

                          KAY
                     (after she and Michael kiss)
           Okay...
                  (then)
           Oh, Michael. Michael, your sister wants to
           ask you something...

                       MICHAEL
           Well let her ask...

                       KAY
           No she's afraid to. Connie and Carlo want
           you to be Godfather to their little boy.

                       MICHAEL
           Oh, well we'll see...

                         KAY
           Will you?
                                                                     107

                       MICHAEL
           Lemme think about it – we'll see. Come on.

                                                      DISSOLVE TO:

THE DON'S GARDEN

The Don, older looking now, sits with Michael.

                       VITO CORLEONE
           So Barzini will move against you first.
           He'll set up a meeting with someone that
           you absolutely trust...guaranteeing your
           safety. And at that meeting, you'll be
           assassinated.
                  (as the Don drinks from a
                  glass of wine as Michael
                  watches him)
           I like to drink wine more than I used to
           anyway, I'm drinking more...

                       MICHAEL
           It's good for you, Pop.

                       VITO CORLEONE
                  (after a long pause)
           I don't know your wife and children. Are
           you happy with them?

                       MICHAEL
           Very happy...

                       VITO CORLEONE
           That's good.
                  (then)
           I hope you don't mind the way I...I keep
           going over this Barzini business...

                       MICHAEL
           No, not at all...

                       VITO CORLEONE
           It's an old habit. I spent my life trying
           not to be careless. Women and children can
           be careless, but not men.
                  (then)
           How's your boy?

                        MICHAEL
           He's good.

                       VITO CORLEONE
           You know he looks more like you every day.
                                             108

            MICHAEL
       (smiling)
He's smarter than I am. Three years old,
he can read the funny papers

            VITO CORLEONE
       (laughs)
Read the funny papers.
       (then)
Oh...well...eh, I want you to arrange to
have a telephone man check all the calls
that go in and out of here because...

            MICHAEL
I did it already, Pop.

            VITO CORLEONE
Ya know, cuz it could be anyone...

            MICHAEL
Pop, I took care of that.

            VITO CORLEONE
Oh, that's right. I forgot.

            MICHAEL
       (reaching over, touching his
       father)
What's the matter? What's bothering you?
       (after the Don doesn't
       answer)
I'll handle it. I told you I can handle
it, I'll handle it.

            VITO CORLEONE
       (as he stands)
I knew that Santino was going to have to
go through all this. And Fredo...well...
       (after he sits besides
       Michael)
Fredo was...well. But I never...I never
wanted this for you. I work my whole life,
I don't apologize, to take care of my
family. And I refused to be a fool dancing
on the string, held by all those bigshots.
I don't apologize that's my life but I
thought that...that when it was your time
that...that you would be the one to hold
the strings. Senator Corleone. Governor
Corleone, or something...

            MICHAEL
Another pezzonovante...
                                                                     109

                       VITO CORLEONE
           Well this wasn't enough time, Michael.
           Wasn't enough time...

                       MICHAEL
           We'll get there, Pop. We'll get there...

                       VITO CORLEONE
           Uh...
                  (after kissing Michael on
                  the cheek)
           Now listen. Whoever comes to you with this
           Barzini meeting – he's the traitor. Don't
           forget that.
                                                   DISSOLVE TO:

THE DON'S TOMATO GARDEN – DAY

The Don is with Michael's son, Anthony.

                       ANTHONY
           Can I hold it, please?
                  (taking the spray can from
                  the Don)
           Yeah, I will take care...

                       VITO CORLEONE
           Come're...come're...come're

The Don shows Anthony how to use the spray can.

                       ANTHONY
           Can I water these?

                       VITO CORLEONE
           Yeah over here...over here. Be careful,
           you're spilling it. You're spilling it...
                  (after Anthony sprays a
                  tomato plant)
           Anthony...com'ere...com'ere...com'ere...
           com'ere. There, that's right. We'll put it
           right there. Aie watch this. Come here.
           I'll show you something, come here. Now
           you stand there...

The Don cuts a piece of orange.

                       ANTHONY
           Give me orange...

The Don turns away and puts the piece of orange over his teeth. He
turns toward Anthony, grunting and holding his arms up like a
monster. Anthony is startled, and starts to cry. The Don rises,
grabbing the boy.
                                                                     110

                         VITO CORLEONE
                    (laughing)
           Oh no?
                  (after picking up Anthony
                  then setting him down again)
           That's a new trick.
                  (pointing to the tomato
                  garden)
           You run in there...run in there...

Anthony runs through the tomato garden, laughing, with the spray
can. He and the Don are chasing each other.

                       ANTHONY
                  (laughing)
           See where are you?
                  (then)
           Get down!

The Don takes the orange peel out of his mouth, laughs, then
coughs. He starts to fall, grabs for a plant, then falls to the
ground. Anthony is still laughing and running around.

                       ANTHONY
           I love you...
                  (as he runs up to the Don
                  with the spray can)
           Uh...uh...uh...uh...uh...uh...ouch!

Anthony, seeing the Don's lifeless body, runs to the house.

                                                   DISSOLVE TO:

CEMETERY – DAY

We hear church bells as a procession of cars drives in. Chauffeurs
open car doors to let mourners out, including that old man who
sang Luna Mezz'o Mare at Connie's wedding reception. Michael, Tom,
Mama, Connie and others are sitting in chairs in front of the
Don's flower-covered casket. They watch as mourners place single
red roses on top. We see Johnny, Clemenza, and his wife toss
roses. Barzini tosses a rose, and glances at Michael and nods. We
see Tessio walking from Barzini, towards Michael.

                       TESSIO
                  (into Michael's ear)
           Mike, could I have a minute?
                  (after Michael and Tessio
                  move away from the others)
           Barzini wants to arrange a meeting. He
           says we can straighten any of our problems
           out...

                       MICHAEL
           You talked to him?
                                                                  111

                         TESSIO
             Yeah – I can arrange security. On my
             territory. Alright?

                          MICHAEL
             Alright...

                          TESSIO
             Alright.

                         TOM
                    (after Michael sits besides
                    him again)
             Do you know how they're gonna come at'cha?

                         MICHAEL
             They're arranging a meeting in Brooklyn.
             Tessio's ground, where I'll be "safe".

                         TOM
             I always thought it would've been
             Clemenza, not Tessio...

                         MICHAEL
             It's a smart move – Tessio was always
             smarter. But I'm gonna wait – after the
             baptism. I've decided to be Godfather to
             Connie's baby. And then I'll meet with Don
             Barzini – and Tattaglia – all of the heads
             of the Five Families...

                                                        CUT TO:

FULL SHOT OF THE INTERIOR OF A CHURCH

Organ music is heard, and the baby is crying.

Kay carries Carlo & Connie's baby toward the altar, followed my
Michael.

                         PRIEST
                    (something in Latin;
                    continues after breathing on
                    baby three times; in Latin)
             "Let us pray..."
                    (after Michael and Kay untie
                    the baby's bonnet; something
                    in Latin)

While the priest continues off screen:

                                                        CUT TO:

HOTEL ROOM

Rocco is preparing his machine gun.
                                                                     112

                                                      CUT TO:

Clemenza walks to his car carrying a large package. He pauses to
wipe his car.

                                                      CUT TO:


THE CHURCH

Priest dips his hand into oil jar, and sprinkle's the baby's lip
and chin.

                         PRIEST
             Something in Latin .

While the priest continues off screen:

                                                      CUT TO:

BARBERSHOP

Barber is patting lather on a Willie Cicci's face for a shave.

                                                      CUT TO:

HOTEL ROOM

Neri takes his old policeman uniform out of a suitcase.

                                                      CUT TO:

CHURCH

Priest dips his hand in more oil, signs the cross on the baby's
forehead.

                                                      CUT TO:

HOTEL ROOM

Neri, dressed in uniform, dumps a bag containing badges and a gun.

                                                      CUT TO:

HOTEL

Clemenza, carrying his package, ascends the stairs.

                                                      CUT TO:


CHURCH

Priest makes the sign of the cross over the baby. The ceremony
continues.
                                                                     113

                         PRIEST
                    (something in Latin)
                    (in English)
             Michael, do you believe in God, the Father
             Almighty. Creator of Heaven and Earth?


                        MICHAEL
             I do.

                                                        CUT TO:

BUILDING LOBBY

Barzini walking, stepping out a cigarette.

                         PRIEST'S VOICE
             Do you believe in Jesus Christ, His only
             Son our Lord?

                        MICHAEL
             I do.

                         PRIEST'S VOICE
             Do you believe in the Holy Ghost...the
             Holy Catholic Church?

                        MICHAEL
             I do.

While the priest continues off screen:

                                                        CUT TO:

COURTHOUSE

Barzini's car is parked. Neri motions to the chauffeur to move the
car.

                                                        CUT TO:
HOTEL STAIRWAY

Clemenza continues to ascend the stairs with his package.

                                                        CUT TO:

HOTEL ROOM

Rocco is greeted by a man who gets a gun. They descend steps.

                                                        CUT TO:

BARBERSHOP

Cicci exits.
                                                                    114

                                                     CUT TO:

CHURCH

The ceremony continues.

                                                     CUT TO:
COURTHOUSE

Barzini and bodyguards descend the steps as Neri writes a ticket.

                                                     CUT TO:

HOTEL

Cicci is ascending the steps. Pauses to lean on railing as he
smokes.

Clemenza makes it to the 5th floor elevator, and presses the
button.

                                                     CUT TO:

MASSAGE ROOM

Moe Greene is lying on his stomach getting a massage.

                                                     CUT TO:

CHURCH

The ceremony continues.

                         PRIEST'S VOICE
             Michael Francis Rizzi do you renounce
             Satan?

While the church music continues:

                                                     CUT TO:

HOTEL ELEVATOR

Revealing Strachi, a Don, and the elevator operator. The door
opens and Clemenza fires two shots.

                                                     CUT TO:

CHURCH

                         MICHAEL CORLEONE
             I do renounce him.

While the church music continues:

                                                     CUT TO:
                                                                     115


MASSAGE ROOM

Gunman opens the door, Moe puts glasses on, gets shot in one eye.

                                                   CUT TO:

CHURCH

                         PRIEST'S VOICE
             And all his works?

                                                   CUT TO:

HOTEL

Cicci ascending steps. Then follows Don Cuneo into a revolving
door, locks it, then shoots four times through the glass.

                                                   CUT TO:

CHURCH

                         MICHAEL
             I do renounce them.

                                                   CUT TO:

MOTEL ROOM

Rocco kicks open the door and he and another gunman fire. The girl
screams "Oh God! Oh God!" as she and Tattaglia are riddled by
bullets while in bed.

                                                   CUT TO:

CHURCH

                         PRIEST'S VOICE
             And all his pomps?

                         MICHAEL
                    (nodding)
             I do renounce them.

                                                   CUT TO:

COURTHOUSE

Neri shoots Barzini's bodyguard twice, and his chauffeur once, as
Barzini turns to run. Neri drops to one knee and carefully fires
at Barzini, who topples after two shots. Neri gets picked up.

                                                   CUT TO:
                                                                    116

CHURCH

                         PRIEST'S VOICE
             Michael Rizzi will you be baptized?

                         MICHAEL CORLEONE
             I will.

                         PRIEST'S VOICE
                    (as he pours holy water on
                    baby's forehead)
             In nomine Patris... et Fili...

                                                     CUT TO:

MOTEL ROOM

Tattaglia's dead body on the bed.

                                                     CUT TO:

REVOLVING DOOR

Don Cuneo's dead body.

                         PRIEST'S VOICE (V.O.)
             ... et Spiritus Sancti...

                                                     CUT TO:

COURTHOUSE

Dead bodies of Barzini, bodyguard, and chauffeur.

                         PRIEST'S VOICE
             Michael Rizzi...

                                                     CUT TO

CHURCH

A candle is held before Michael.

                         PRIEST'S VOICE
             Go in peace, and may the Lord be with you.
             Amen.

                                                     DISSOLVE TO:


EXT. CHURCH – DAY

The family is outside, congratulating Connie and Carlo.

                         MICHAEL
             Kay...
                                                                     117


                       CONNIE
                  (to the infant Michael
                  Francis, holding the baby
                  towards Michael)
           Come on, kiss your Godfather...

Michael kisses the baby. Kay carries Anthony out. Rocco drives up
and goes to Michael, whispering in his ear. Michael responds
inaudibly. Rocco pats him then exits.

                       MICHAEL
           Carlo can't go to Vegas. Something's come
           up. Everybody's going to leave without us.

                       CONNIE
           Oh, Mike it's our first vacation together.

                       CARLO
           Hey Connie, please.
                  (to Michael)
           What do you want?

                       MICHAEL
           Go back to the house. Wait for my call.
           It's important.

                       CARLO
                  (nodding and exiting)
           All right.

                       MICHAEL
                  (to Kay)
           I'll only be a couple of days...

Michael kisses Kay, pats Anthony's head, and kisses Mama.

                       MAMA
           Statta bene... statta bene

The family and guests dissipate as the priest and monsignor ascend
the steps.

                                                     CUT TO:

THE DON'S KITCHEN – DAY

                       TESSIO
                  (into the phone)
           We're on our way to Brooklyn
                  (to Tom, after hanging up)
           I hope Mike can get us a good deal
           tonight.

                       TOM
           I'm sure he will...
                                                                     118

                                                      DISSOLVE TO:



CORLEONE GATE

Tessio and Tom leave the house. Willie Cicci stops them.

                       CICCI
           Sal...Tom...the Boss says he'll come in a
           separate car. He says for you two to go on
           ahead...

                       TESSIO
           Hell, he can't do that. It screws up all
           my arrangements!

                       CICCI
           Well, that's what he said.

                       TOM
                  (as another buttonman steps
                  up)
           I can't go either, Sal.

                       TESSIO
                  (as he sees a third
                  buttonman step up)
           Tell Mike it was only business. I always
           liked him.

                       TOM
           He understands that.

                       CICCI
                  (frisking Sal, taking his
                  gun)
           Excuse me, Sal...
                       TESSIO
           Huh?
                    (then)
           Tom can you get me off the hook? For Ol'
           Times' sake?

                       TOM
           Can't do it, Sally.

Tom nods to buttonmen who take Sal to the car. Tom walks inside
and pauses to look out the window.

                                                      CUT TO:

CONNIE AND CARLO'S HOUSE – DAY

Tom, Michael, Neri and Rocco enter. Carlo hangs up the phone that
he was dialing.
                                             119


            MICHAEL
You have to answer for Santino, Carlo.

            CARLO
Mike, you got it all wrong...

            MICHAEL
You fingered Sonny for the Barzini people.
Ahhh that little farce you played with my
sister. You think that could fool a
Corleone?

            CARLO
Mike, I'm innocent. I swear on the kids,
Mike. Please, Mike, don't do this to me.

            MICHAEL
       (as he pulls up his own
       chair)
Sit down.

            CARLO
       (sitting)
Mike, don't do this to me, please...

            MICHAEL
Barzini's dead. So is Phillip Tattaglia,
Moe Greene, Strachi, Cuneo. Today I settle
all Family business, so don't tell me
you're innocent, Carlo. Admit what you
did.
       (to Neri)
Get him a drink.
       (to Carlo, as Michael shifts
       in his chair)
Come on. Don't be afraid, Carlo. Come on,
you think I'd make my sister a widow? I'm
Godfather to your son, Carlo.
       (after Neri hands Carlo a
       glass of wine)
Go ahead, drink it...drink
       (after Carlo drinks)
No Carlo you're out of the Family
business, that's your punishment. You're
finished. I'm putting you on a plane to
Vegas.
       (to Tom, as he reaches out
       his hand)
Tom?
       (more)
                                                                    120

                       MICHAEL (Cont'd)
                  (after Tom hands Michael a
                  plane ticket, which he hands
                  to Carlo)
           I want you to stay there. Understand?
                  (quietly, after Carlo nods
                  and hmmms)
           Only don't tell me you're innocent.
           Because it insults my intelligence and
           makes me very angry...
                  (then)
           Now who approached you? Tattaglia or
           Barzini?

                       CARLO
                  (after hesitating)
           It was Barzini

                       MICHAEL
           Good.
                  (after standing)
           There's a car waiting for you outside to
           take you to the airport. I'll call your
           wife, to tell her what flight you're on.

                       CARLO
                  (as he rises, starts to
                  protest)
           Mike, please...

                       MICHAEL
           Come on. Get outta my sight.

Carlo turns. Rocco helps him put on his coat.

                                                      CUT TO:

CORLEONE GATE – DAY

Buttonman is putting luggage into the rear of the car. Carlo gets
into the front seat.

                                                      CUT TO:

INT. CAR – DAY

Clemenza is seen behind Carlo, in the back seat.

                       CLEMENZA
           Hello, Carlo...

                                                      CUT TO:
                                                                     121


CARLO'S HOUSE – DAY

Michael, Neri and Hagen emerge as Rocco locks the door.

                                                   CUT TO:

INT. CAR – DAY

Clemenza garrotes Carlo, who gets pulled back and kicks his feet
at the windshield, which breaks as the car takes off. Michael,
Tom, and Rocco watch. After the car pulls away, we hear the Title
Theme music as they walk through the mall.

                                                   DISSOLVE TO:

THE CORLEONE MALL

Moving men load a truck labeled "John J. Bartek Moving." We see a
sign on the wall that says "Future Commercial Development - Genco
Land Co. – 5.6 Acres" with a small "sold" sign underneath it. A
limousine drives through the gate stopping besides the moving
truck. Connie gets out, arguing with her mother who's seated in
the car.

                       CONNIE
                  (yelling from car)
           Whattaya tryin' to tell me!

                       MAMA
                  (yelling from car)
           Look I'm trying to tell you you're wrong!

                       CONNIE
                  (yelling, while getting out
                  of the car)
           Aw Mama, please!
                  (running into the house
                  crying)
           Michael! Michael!
                       KAY
           What is it?

                       CONNIE
           Where is he? Michael!

Connie and Kay run out. Connie opens the door to the Don's office.
Michael's sitting at his desk with Neri behind him. Kay follows
                                                                  122

                       CONNIE
           Michael! You lousy bastard you killed my
           husband! You waited until Papa died so
           nobody could stop you, and then you killed
           him. You blamed him for Sonny. You always
           did. Everybody did. But you never thought
           about me. You never gave a damn about me.
           Now what am I going to do?

                       KAY
           Connie...

                       CONNIE
                  (to Kay, after Kay puts her
                  arms around her)
           Why do you think he kept Carlo at the
           mall? All the time he knew he was gonna
           kill'im.
                  (to Michael)
           And you stood Godfather to our baby you
           lousy cold-hearted bastard. Want to know
           how many men he had killed with Carlo?
           Read the papers – read the papers!
                  (after she picks up and
                  slams down a newspaper)
           That's your husband! That's your husband!

Connie goes toward Michael. Neri holds her back until Michael
motions it's okay.

                       MICHAEL
                  (taking Connie's arms as she
                  cries)
           Come on...

                       CONNIE
                  (struggling out of Michael's
                  arms)
           No! No! No!

                       MICHAEL
                  (to Neri)
           Get her upstairs. Get her a doctor.

Neri takes Connie out of the room. Michael sighs, then lights a
cigarette.

                       MICHAEL
                  (to Kay)
           She's hysterical. Hysterical.

                       KAY
           Michael, is it true?

                       MICHAEL
           Don't ask me about my business, Kay...
                                                                    123


                         KAY
           Is it true?

                       MICHAEL
           Don't ask me about my business...

                         KAY
           No.

                          MICHAEL
                     (as he slams his hand on the
                     desk)
           Enough!
                  (then)
           Alright. This one time Michael points his
           finger...this one time I'll let you ask me
           about my affairs...

                       KAY
                  (whispering)
           Is it true? Is it?

                          MICHAEL
                     (quietly, shaking his head)
           No.

                       KAY
                  (after a sigh of relief and
                  Michael kisses and hugs her)
           I guess we both need a drink, huh?

Kay leaves the room to fix Michael a drink. At the same time,
Rocco, Clemenza, and Neri enter the office. Clemenza shakes
Michael's hand. Kay turns her head to watch them. They embrace
Michael, then kiss his hand.

                       CLEMENZA
                  (kissing Michael's hand)
           Don Corleone...

Rocco kisses Michael's hand as Neri shuts the door blocking Kay's
view.

                                                    FADE OUT



THE END
