>> II/ Godfather II

II/ Godfather II. .

: II/ Godfather II.

II/ Godfather II

INT. THE TRAIN - DAY

Inside the corridor, a porter advances, and knocks on the door of a stateroom. A voice tells him to enter. OUR VIEW enters with him as he carries a tray of lunch. From this POV we see Michael Corleone sitting in the compartment.

PORTER Mr. Paul?

MICHAEL Yes.

PORTER You ordered lunch?

MICHAEL Put it right there.

The porter does so; as he places the tray down, he catches a glimpse of a second person in the compartment with Michael.

HIS VIEW

A very fierce, almost maniacal looking man, BUSSETTA. He nods that the porter should leave.

MICHAEL Thank you.

The porter takes his advice and leaves quickly, closing the door behind him.

VIEW THROUGH THE WINDOW

Michael and his mysterious companion have lunch together on the moving train.

EXT. GULFSTREAM RACE TRACK IN MIAMI - HIGH FULL VIEW - DAY

The empty parking lot of the Gulfstream track, on an off- race day.

CLOSER VIEW

Michael sits behind the wheel of a nondescript late model car. Bussetta sits in the rear.

Another car swings into the lot. Michael starts his car, and pulls out of the lot; the second car following.

NEW VIEW

This car pulls out and begins to follow them. Michael glances back by adjusting the rear view mirror, and nods to Bussetta.

Michael's car begins to slow down, allowing the other car to overtake them.

The overtaking car hesitates a moment, moving side by side with them.

Michael glances toward the driver.

MICHAEL'S VIEW

We recognize Johnny Ola, who waves a greeting to Michael, and then continues on to lead him.

EXT. SUBURBAN MIAMI NEIGHBORHOOD - DAY

Ola's car leads Michael's through a middle-class suburban area of $30,000 to $40,000 homes. There are small channels with sporting and fishing boats parked near the houses. Ola's car pulls up in front of a very simple, tract-type home. Michael's car parks nearby.

MICHAEL (Sicilian) (to Bussetta) You'll wait in the car.

Ola has gotten out of his car and walks up the little path to the front door. Michael waits.

Ola rings the bell, and after a moment, a rather pretty, middle-aged WOMAN answers, remaining behind the screen door. Ola says a few things to her and she disappears, leaving the door open.

Ola comes down the steps, looks at Michael, nodding to him. Ola then gets into his car and drives off. Michael walks up the walkway and enters the little house, closing the door behind him.

This woman, TERRI ROTH, is in the kitchen, looking out at Michael.

TERRI I'm just going to make lunch. How about a tuna fish sandwich?

MICHAEL Thank you, Mrs. Roth.

She hurries halfway up the staircase.

TERRI Hyman...HYMAN, your friend is here. (turning to Michael) Why don't you go right upstairs, Mr. Paul?

MICHAEL Fine.

He continues upstairs; she goes into the kitchen.

TERRI I'll give a yell when lunch is ready.

Michael continues up to a small den on the second floor; we can HEAR the sound of a baseball game coming over the television.

INT. HYMAN ROTH'S DEN - DAY

Michael enters the den: it's very comfortable, but somewhat like a senior citizen's retirement home in Florida.

MICHAEL'S VIEW

There, sitting before the television is a small man in his middle sixties, thin, with a wizened face, looking like a small-time retired Jewish businessman. This is HYMAN ROTH.

ROTH Sit down, this is almost over. You follow the baseball games?

MICHAEL Not for a few years.

ROTH I like sporting events -- I really enjoy watching them in the afternoon. One of the things I love about this country. I loved baseball ever since Arnold Rothstein fixed the World Series of 1919...I heard you had some trouble.

MICHAEL Yes.

ROTH What a mistake; people behaving like that, with guns. (he shakes his head) It was my understanding we left all that behind. But, let me tell you, the important thing is that you're all right. Good health is the most important thing; more than success; more than power; more than money.

MICHAEL The incident of the other night is a nuisance that I can take care of. I came to you because I want nothing to affect our agreement; I wanted to clear everything I'm going to do with you, just in case.

ROTH You're a considerate young man.

MICHAEL You're a great man, Mr. Roth, I have much to learn from you.

ROTH (warmly) However I can help you...

MICHAEL The Rosato Brothers have performed services for you in the past; I understand that they are under your protection.

ROTH (simply) We do favors for each other...

MICHAEL Technically, they are still under the Clemenza wing of the Corleone Family, now run by Frankie Pentangeli. After Clemenza died, the Rosatos wanted territory of their own. Pentangeli refused, and came to me, asking for permission to eliminate them. I, of course, knew of their relationship with you, and in gratitude for your help with the Tropicana matter, turned him down. Pentangeli was furious, and paid one hundred and fifty thousand dollars to have me killed. I was lucky and he was stupid. I'll visit him soon. (leaning toward the old man, sincerely) The important thing is that nothing jeopardize our plans, yours and mine. This thing of ours, that we will build.

The old man touches Michael's hand, warmly.

ROTH Nothing is more important.

MICHAEL (quietly) Pentangeli is a dead man; do you object?

ROTH It's always bad for business; but you have no choice.

MICHAEL Then it's done. I must choose his replacement: it cannot be Rosato.

ROTH Of course you must keep control of your family.

He turns to Michael, turning the volume higher on the television, and moving closer to his young partner.

ROTH Michael, these things are unimportant. Who should be the manager of a dime store, Joe or Jack? Unimportant. You do what you think is right. You're a young man, and I'm old and sick. What we do together in the next few months will be history, Michael; it has never been done before. We will do this historical thing together, and even your Father could never dream it would be possible. We are bigger than U.S. Steel, you and me... because in America, anything is possible! (pause) But soon I will be dead, and it will all belong to you.

There is a KNOCK on the door, and Terri Roth pushes the door open with her hip.

TERRI My goodness, you'll rupture your eardrums, Hyman.

She puts the tray down, and turns down the television.

EXT. ROTH'S HOUSE - MED. VIEW - DAY

The sinister Bussetta waits patiently in the rear seat of the car, outside Roth's modest house.

EXT. DOWNTOWN NEW YORK - MOVING VIEW - DAY

A black Cadillac moves down the street, slowed by the Festivities of the Festa that is in progress: people milling around, buying souvenirs at the many stands set up.

Sausage and grilled meats are prepared, just as they were years ago. Electric lights are strung from the street lamps, and brightly colored banners pronounce the "Festa of the Madonna."

MOVING CLOSE VIEW

Willy Cicci drives, frustrated that he cannot go any faster. Next to him, Frankie Pentangeli sits, catching a few seconds' snooze.

MED. VIEW

The black car pulls up; another car that had been following it parks nearby.

One of Pentangeli's button men gets out of the car, and steps into a small Italian restaurant; he exits quickly, and nods affirmatively toward Pentangeli's Cadillac.

The group of them step out quickly, men huddled around Pentangeli, and enter the restaurant.

INT. THE RESTAURANT - DAY

The restaurant is quite empty, despite the excitement out on the street.

Pentangeli immediately sits at a table with a tall, dark, snappily dressed young man, CARMINE ROSATO.

Nearby, on the other side of the room is Rosato's brother, TONY, seated with a group of their men.

At another table in the restaurant is a table of Pentangeli's people: they are joined by bodyguards.

PENTANGELI Rosato, where's your brother?

ROSATO Sitting right behind you.

Pentangeli glances behind himself.

PENTANGELI He don't want to talk?

ROSATO We worked it all out beforehand.

PENTANGELI Are we going to eat or what?

ROSATO Sure, on me. I got Diner's Club.

PENTANGELI (sarcastically) Forget it; I'm suddenly without an appetite. You're making big trouble, Carmine.

ROSATO You weren't straight with us, Frankie, what else could we do?

PENTANGELI We could have talked first, saved a lot of running around.

ROSATO You wasn't listening, you didn't want to talk.

PENTANGELI Don't I look like I'm listening?

ROSATO We want Brooklyn one hundred percent. No more taxes to you. We want to be only loosely connected with your family -- sort of a under-family all of our own. Then we can act on all internal matters without talking. Also we want you to inform Michael Corleone that we can deal directly with him.

PENTANGELI I'm a little hungry, maybe I'll order something. Joe. (one of his men) Get me some bracciole or something. And pay cash. (to Rosato) And in return for these concessions, what do you do for me?

ROSATO We will release the hostages, number one. Number two, we're here for you to count on when you need us. We're independent, but we're here if you need us. In general, we'll cooperate with you and your businesses, and you in turn will cooperate with us. Pari persu.

PENTANGELI Pari Persu; what the fuck is Pari persu...?

ROSATO My lawyer went over this beforehand.

PENTANGELI What assurances do I have that there will be no more kidnapping, no more hits?

ROSATO The same assurance we got from you.

PENTANGELI What if I say shove it?

ROSATO Then Carmine Fucillo and Tony Blue DeRosa will need to be fitted for slabs.

PENTANGELI You want a war?

ROSATO We got no choice.

PENTANGELI You know if there's a way I'll go to the commission and the commission will side with me. That puts me and the other New York families against you.

ROSATO We got friends in the commission.

PENTANGELI (getting angry) I'm talking about Italians!

ROSATO What about Michael Corleone?

PENTANGELI He supports me.

ROSATO Maybe, yes... maybe no.

One of Pentangeli's men approaches with a plate of Italian food.

Pentangeli stands up, angered by this remark of Rosato's; he pushes the dish of food out of the surprised Bodyguard's hands.

PENTANGELI You drove old Pete Clemenza to his grave, Carmine; you and your brother. Turning on him; trouble in his territories -- you and your demands. I hold you responsible, just as though you shot him in the head. And I ain't gonna let that go for long!

Pentangeli walks out of the restaurant; there's a little tension between the bodyguards of the two factions.

ROSATO (O.S.) Hey, Five-Angels...

He gives him the arm.

Frankie's face turns red, like he wants to have it out here and now; but Willy Cicci calms his down, and they all make their move out.

EXT. THE RESTAURANT - DAY

Pentangeli gets into the car.

PENTANGELI Nobody I hate calls me Five-Angels to my face!

He slams the door.

EXT. PENTANGELI'S LONG BEACH ESTATE - DAY

Part of the old estate of Don Corleone. By now, the wall has been torn down, and the other houses sold off.

His car is parked; Pentangeli steps out, still angry over the confrontation. As he approaches the house, he notices something strained about the bodyguards who discreetly guard his house. No one seems to want to tell him.

PENTANGELI What's up?

Pentangeli glances over to the front door foyer.

PENTANGELI'S VIEW

The strange and silent Bussetta, the man who now always travels with Michael.

INT. PENTANGELI'S HOUSE - DAY

Pentangeli enters; he sees his WIFE, standing oddly in the hallway.

PENTANGELI (Sicilian) What's this?

WIFE Michael Corleone.

PENTANGELI One Michael Corleone...Dove?

WIFE (Sicilian) He's in your study.

He knows it is very very serious for Michael to be here in his home.

He automatically moves into his study.

INT. PENTANGELI'S STUDY - DAY

Michael stands quietly in the room. This was once his father's study, although it is totally redecorated. Pentangeli starts sweating, and moves toward the young Don, and kisses his hand.

PENTANGELI Don Corleone, I wish you let me know you was coming. We could have prepared something for you.

MICHAEL I didn't want you to know I was coming. You heard what happened in my home?

PENTANGELI Michael, yes, we was all relieved...

MICHAEL (furious) In my home! In the same room where my wife was sleeping; where my children come in their pajamas, and play with their toys.

He's terrified Pentangeli with his anger; then, just as suddenly, he talks quietly, calmly.

MICHAEL I want you to help me take my revenge.

PENTANGELI Michael, anything. What is it I can do for you?

MICHAEL I want you to settle these troubles with the Rosato Brothers.

PENTANGELI I was just going to contact you, Michael; we just had a 'sit-down' - in fact, I just come from there.

MICHAEL I want you to settle on their terms.

PENTANGELI Mike, I don't understand. Don't ask me to do that.

MICHAEL Trust me; do as I ask.

PENTANGELI It would be the beginning of the end for my family. How can I keep all my other territories in like if I let two wise-guys stand up and demand this and that, and then give it to them?

MICHAEL Frankie...do you respect me? Do I have your loyalty?

PENTANGELI Always... But sometimes I don't understand. I know I'll never have your kind of brains, in big deals. But Mike, this is a street thing. And Hyman Roth in Miami is behind the Rosato Brothers.

MICHAEL I know.

PENTANGELI Then why do you want me to lay down to them?

MICHAEL (coldly, but convincing) Frankie, Roth tried to have me killed. I'm sure it was him, but I don't know yet why.

PENTANGELI Jesus Christ, Michael, then let's hit 'em now, while we still got the muscle.

MICHAEL This was my father's old study. When I was a kid, we had to be quiet when we played near here. When I was older, I learned many things from him here. I was happy that this house never went to strangers; first Clemenza took it over, and then you. My father taught me, in this room, never to act until you know everything that's behind things. Never. If Hyman Roth sees that I interceded with you in the Rosato Brothers' favor, he'll think his relationship with me is still sound. I'm going somewhere to meet him tomorrow. We have friends in some very important business that we're making. Do this for me; you make the peace with the Rosato Brothers on their terms. Let the word out that I forced you; you're not happy wit hit, but acquiesced, just because of me. It will get back to Hyman Roth. Do this, Frankie. You can trust me.

PENTANGELI Sure, Mike. I'll go along.

MICHAEL Good.

They embrace; Michael kisses him. He looks at the young Don, thoughtfully.

INT. TROPICANA HOTEL - CLOSE VIEW - DAY

The money trays are carefully unloaded from the gaming tables, and put on a cart with others.

The cart, preceded and followed by security guards, is then wheeled through the casino, into a private, counting room.

INT. COUNTING ROOM - MED. VIEW - DAY

The guards leave the room; the door is locked after them, leaving only Hagen. Neri and an ACCOUNTANT, a very fat man. The numbered boxes are opened, and cash and checks are spread out on the counting table.

The accountant begins with amazing speed and skill, to count and divide the money.

NERI Fifteen percent skim?

HAGEN Twenty-five this time.

The accountant stops, and looks up to Neri.

NERI It might show.

HAGEN Mike wants it.

Neri nods, and the accountant continues. Neri opens a door, allowing a sandy-haired man, a COURIER, into the room. The cream is placed into his pouch personally by Neri.

NERI We've never sent this much with one courier.

HAGEN (to the courier) Your plans are a little different this time. You skip Miami, and go straight to Geneva. It's to be deposited to this number. (handing him a small envelope) And it's got to be there by Monday morning, no slip-up.

COURIER I think I was 'picked-up' last trip. That hour layover I had at Kennedy. I went over and bought a paper...

Neri has finished putting the 'creamed' money into the pouch.

NERI Those were our people.

COURIER Okay, just thought you should know.

He is just about to close and lock the pouch, when Hagen gestures that he should wait, and adds more stacks of carefully packaged bills into the pouch. Then Neri locks it, and handcuffs it to the courier's arm, looking inquiringly at Hagen.

HAGEN Let them count.

The courier is shown out through a private door, and then the first door is opened. Two accountants come in with the guards, and the trays are opened, and the counting process is begun all over again, this time with the State Tally sheets.

INT. TROPICANA CORRIDOR - MOVING VIEW - DAY

The courier continues on his way; followed by Hagen and Neri.

NERI What's up?

HAGEN No questions.

NERI I got to ask questions, Tom, there's three million dollars cash in that pouch; Mike is gone and I have no word from him.

HAGEN Al, as far as you're concerned, I'm the Don.

NERI How do I know you haven't gone into business for yourself?

This hurts Tom; but he is a reasonable man, and he knows he owes Neri some explanation.

HAGEN You've been through a lot with us so I'm going to give you the truth. Mike knows it was someone within the compound that set him up for that hit. So nobody is to know where he is, not you, not Rocco, not even his brother Fredo. Sorry, Al, I know how you feel about Mike...but he still remembers Tessio.

EXT. KEY WEST - NIGHT

Michael is led to a desolate, night-lit private dock. He is followed by the ever-present Bussetta, and they are helped onto a light-weight, luxury cabin cruiser. The crew cast off various ropes, and the boat sets out into the night.

FADE OUT.

FADE IN:

EXT. TAHOE ESTATE - DAY

A seaplane lands nicely by the private Corleone harbor; Hagen disembarks with his inevitable overloaded briefcase. He continues down the ramp, past several Buttonmen, dressed in summer casual attire, and who resemble secret service men rather than thugs.

His wife THERESA lies on a blanket on the great lawn, with her youngest children, who run to their father for a kiss.

THERESA Hungry?

HAGEN Just a little.

THERESA I've invited Mama, Sandra and the kids for barbecue.

HAGEN What about Kay?

THERESA I couldn't find her. She's been so broody, sticks to herself.

EXT. TAHOE LAWN BARBECUE - MED. VIEW - DAY

Hagen and Sonny's boys are throwing a football around on the lawn; the littler kids running after them.

Coals are burning in the old style stone barbecue, and several tables are set for the family.

In the distance, there is always evidence of the bodyguards.

Theresa, Mama and Sandra prepare the steaks.

Hagen relaxes in a sports shirt.

HAGEN Let me try Kay.

He crosses the lawn, to the house on the beach where Michael and his family live. Is about to knock on the door:

HAGEN'S SON Hey, Pop, heads up!

The football is flying in his direction; he catches it and throws it back. Then he cracks the door open, and peeks in.

INT. MICHAEL'S HOUSE - DAY

HAGEN Kay?

He steps in, the beautiful summer living room is neat, but empty.

HAGEN Anyone hungry?

He moves through the house more quickly; into the dining and recreation room areas. A cat jumps off a pile of cushions and runs across the room.

HAGEN Hello?

SANDRA (O.S.) She's gone, Tom.

Sandra has followed him into Michael's house.

HAGEN What do you mean gone?

SANDRA The Barretts from Rubicon Bay came by in a new speedboat. Rocco tried to say she wasn't in, but Kay spotted them and asked if they would take her and the kids for a ride. That was three hours ago.

HAGEN (furious) Why didn't someone tell me!

SANDRA I wanted to tell you alone; your wife doesn't know what's going on.

Hagen rushes out of the house.

EXT. TAHOE LAWN - DAY

Hagen moves quickly out of Michael's house; moving across the lawn to the boathouse.

HAGEN'S SON Hey, Dad!

This time he ignores the thrown ball, and moves directly to Rocco, who is by some men near the boathouse.

HAGEN Rocco!

ROCCO I know. I went down to the Barrett house. But she's gone. They drove her and the kids to North Tahoe airport.

HAGEN Goddamn it, where were you?

ROCCO I was in my house. Willy tried, but it would have taken some strong-arm to stop her, and he figured you wouldn't want that.

INT. THE BOATHOUSE - DAY

They enter the boathouse.

HAGEN (to one of the men) Get me a Scotch and water.

The man hurries behind the bar.

ROCCO She took a flight to San Francisco. We figure she's going to connect to New Hampshire; her parents' place.

HAGEN (almost to himself) I can't let him down.

He swallows the drink down in several gulps. And then looks up to his men watching him. He's embarrassed to have shown such weakness.

HAGEN All right, let me think a minute.

Rocco clears the men out.

ROCCO Me too, Tom?

HAGEN Yeah, give me a minute.

Rocco gone, Hagen moves behind the enormous bar, and pours himself a giant drink. He drinks that, and calms himself.

HAGEN Oh Christ, Pop. It was so good when you were alive. I felt I could handle anything...

EXT. VIEW FROM BOAT - FULL VIEW - DAY

A beautiful coastal view of a tropical Caribbean city. An extraordinary view, high buildings, palm trees, all set right on the bay.

MED. CLOSE VIEW ON MICHAEL

on the cruiser, Bussetta a little distance away, watching, but never speaking. The dark-skinned CAPTAIN of the cruiser keeps pointing repeatedly.

CAPTAIN Habana, Habana.

EXT. HAVANA STREET - MOVING VIEW - DAY

Michael and Bussetta are driven in a Mercury sedan, making its way through the streets of Havana.

CLOSE VIEW ON MICHAEL

looking out the window.

MICHAEL'S POV

Crowded streets, occasional roving bands playing for the tourists; there is much evidence of tourism: Americans walking through the streets with cameras. Occasionally, we see a Cuban with a row of numbers attached to his hat, carrying a big sheet of the daily lottery numbers. From all of these street impressions, the city is booming with activity, but there is also much evidence of whores and pimps and little children begging in the streets.

MED. VIEW

The big American car stops at an intersection. Bussetta is sitting in the forward passenger side; while Michael is in the back. He hears tapping on the window; he turns and sees four Cuban boys tapping on his window and extending their hands, and rubbing their stomachs as though they were hungry. The Cuban driver rolls down his window and shouts them away in Spanish.

INT. HAVANA CASINO LOBBY - MOVING VIEW - NIGHT

Michael is led through a beautiful wooden lobby of the hotel, done in Spanish style, apparently just recently completed. He is approached by a thin, mousy man, SAM ROTH, who ushers him toward the casino entrance.

SAM ROTH Hiya, Mr. Corleone, I'm Sam Roth. Welcome to the Capri; my brother's upstairs. You wanta take a rest before you see him, or can I get you something, anything at all?

MICHAEL No, I'm fine.

He leads Michael into the main casino.

SAM ROTH This is it! We think it makes Vegas look like the corner crap game.

MICHAEL Very impressive.

SAM ROTH Jake, Jake, come over here. Mike, I want you to meet Jake Cohen; he manages the casino for us.

COHEN (appreciating Michael's status) Mr. Corleone.

Sam turns to Bussetta and extends his glad-hand.

SAM ROTH Pleasure to meet you, I'm sure...

He gets no response whatsoever from Bussetta.

INT. PRESIDENTIAL PALACE - NIGHT

An extremely tall, well-built Cuban, tanned and wearing an attractive mustache, LEON, in his middle forties, reads from a prepared paper. His sentences are translated by a smaller man, standing to his rear.

LEON (Spanish) Most respected gentlemen, allow me to welcome you to the City of Havana, the Republic of Cuba on behalf of His Excellency, Fulgencio Batista.

THE VIEW BEGINS TO MOVE along the various men gathered for this meeting.

LEON (O.S.) I'd like to thank this distinguished group of American Industrialists, for continuing to work with Cuba, for the greatest period of prosperity in her entire history. Mr. William Proxmiro, representing the General Fruit Company... Messrs. Corngold and Dant, of the United Telephone and Telegraph Company; Mr. Petty, regional Vice-President of the Pan American Mining Corporation; and, of course, our friend Mr. Robert Allen, of South American Sugar. Mr. Nash of the American State Department. And Mr. Hyman Roth of Miami, and Michael Corleone of Nevada representing our Associates in Tourism and Leisure Activities.

VIEW ON THE ENTIRE GROUP

Leon pauses to take a drink of water. Then proudly, he lifts a shiny yellow telephone for all to see.

LEON The President would like to take this opportunity to thank U T&T for their lovely gift: a solid gold telephone! He thought all you gentlemen would care to take a look at it.

He hands the heavy phone set to one of his aides, and it is passed in turn to each of the men in attendance.

CORNGOLD Your Excellency, perhaps you could discuss the status of rebel activity and how this may affect our businesses.

MED. CLOSE VIEW ON MICHAEL

He receives the telephone, and glances at it before passing it on to Hyman Roth.

LEON (O.S.) Of course. The rebel movement is basically unpopular, and since July of 1958 has been contained in the Oriente Province, in the mountains of the Sierra Muestre.

Michael passes the phone on to Roth.

LEON (continuing) We began a highly successful offensive against them in March, and activities within the city itself are at a minimum. I can assure you we'll tolerate no guerrillas in the casinos or swimming pools!

General subdued laughter.

A CUBAN STREET - LATE DAY

Police are stopping traffic. Michael's Mercury is among the cars; a police officer, seeing that some important person is being driven, walks up to the driver. He leans forward, and says something in Spanish to the driver.

The driver, in turn, leans over to Michael.

DRIVER He says it will just be a short time and they'll let us through.

Michael looks out the window.

MICHAEL'S VIEW

The old building has been totally surrounded by police and military vehicles. Right at this moment, they are waiting lazily, but soldiers are there with automatic weapons ready. There is a momentary commotion inside the building, and the men brace up. A Captain of the Army detachment says something in Spanish over a megaphone; and his men put their weapons at the ready, as other policemen lead a group of civilians out of the building with their hands up.

They are moved over to some military truck, where they are frisked before being loaded.

All of a sudden, one of the civilian rebels breaks loose, and rushes toward the command vehicle. He hurls himself into the vehicle, as two police try to pull him out. A second later, and there is an explosion; the man obviously having hidden a grenade on his body, sacrificing his own life to take the life of the Captain.

There is a commotion, but the military quickly quell it.

CLOSE VIEW ON MICHAEL

watching. The police rush to Michael's car and guide it outside of the trouble area.

MED. VIEW

as they lead and escort the Mercury out of the area.

EXT. HAVANA COUNTRY CLUB - CLOSE VIEW - DAY

Some glasses; rum is poured into them; then Coca Cola. Quarter limes are squeezed.

SAM ROTH (O.S.) Rum... Coca Cola...a squeeze of fresh lime...

Sam prepares the drinks for his brother, Hyman, and a group of men, including Michael.

MAN Cuba Libres.

MICHAEL I was told the Cubans now call this drink: "La Mentira."

ROTH I still don't speak Spanish, Michael.

MICHAEL It means... "The Lie."

A moment's hesitation, then a few of the men laugh. Now two Cubans in white carry a table which has a lovely small cake on it.

SAM ROTH The cake is here.

They all raise their glasses to the old man.

EVERYONE (ad lib) Happy Birthday!

Roth glances at the cake and its inscription, is pleased.

ROTH I hope my age is correct: I am always accurate about my age.

Some laugh. He nods, and they begin to cut it, put a piece on plates, and carry them to the different men.

ROTH Everything we've learned in Vegas is true here; but we can go further. The bigger, the swankier, the plusher the store, the more a sense of legitimacy, and the bigger business we do. (looking at the plate brought to him) A smaller piece. What we've proposed to the Cuban Government is that it put up half the cash on a dollar for dollar basis. (accepting a smaller piece) Thank you. We can find people in the United States who will put up our share for a small piece of the action, yet we will retain control.

ONE OF THE MEN How much?

ROTH A hundred million dollars. But only if this Government relaxes its restrictions on importing building materials; we'll need some new laws, too, but that will be no difficulty.

ANOTHER MAN What are import duties now?

ROTH As much as seventy percent. Also, I'm working out an arrangement with the Minister of Labor so that all our pit bosses, stick-men and Dealers, can be considered specialized technicians eligible for two year visas. As of now they're only allowed in Cuba for six months at a time. In short, we're in a full partnership with the Cuban Government.

VIEW ON MICHAEL

is handed a piece of cake. Roth moves over to a folder of documents.

ROTH (continuing) Here are applications from Friends all over the States. I understand Santo Virgilio in Tampa is trying to make his own deal. Well, the Cuban Government will brush him off. The Lakeville Road Boys are going to take over the Nacionale here. I'm planning a new hotel casino to be known as Riviera. The new Capri will go to the Corleone Family.

MED. VIEW

The cake is sliced and carried to each of the men.

ROTH Then there's the Sevilla Biltmore; the Havana Hilton, which is going to cost twenty-four million -- Cuban banks will put up half, the Teamsters will bankroll the rest. Generally, there will be friends for all our friends including the Lieutenant Governor of Nevada; Eddie Levine of Newport will bring in the Pennino Brothers, Dino and Eddie; they'll handle actual casino operations.

And seeing that all of his friends have been served, Roth raises his fork.

ROTH Enjoy.

MICHAEL I saw an interesting thing today. A man was being arrested by the Military Police; probably an urban guerrilla. Rather than be taken alive, he exploded a grenade hidden in his jacket, taking the command vehicle with him.

The various men look up as Michael eats his cake, wondering what the point of it is.

MICHAEL It occurred to me: the police are paid to fight, and the Rebels are not.

SAM ROTH So?

MICHAEL So, that occurred to me.

VIEW ON ROTH

He understands Michael's point, if the others do not.

ROTH This country has had rebels for the last fifty years; it's part of their blood. Believe me, I know... I've been coming here since the twenties; we were running molasses out of Havana when you were a baby. To trucks owned by your father. (he chuckles warmly over the memory) We'll talk when we're alone.

And he returns his attention to the men who are gathered with him on his birthday.

EXT. ROTH'S PRIVATE TERRACE - DAY

Michael sits alone with the old man, on a terrace that overlooks the city.

ROTH You have to be careful what you say in front of the others... they frighten easy. It's always been that way, most men frighten easy.

MICHAEL We're making a big investment in Cuba. That's my only concern.

ROTH My concern is that the three million never arrived at Batista's numbered account in Switzerland. He thinks it's because you have second thoughts about his ability to stop the rebels.

MICHAEL The money was sent.

ROTH Then you have to trace it. Michael, people here look at me as a reliable man. I can't afford not to be looked on as a reliable man. But you know all that; there's nothing you can learn from me. You shouldn't have to put up with a sick old man as a partner.

MICHAEL I wouldn't consider anyone else.

ROTH Except the President of the United States.

He laughs slyly, as though this is some private joke between them. Then his laughter becomes a cough, which he painfully stifles with a handkerchief.

ROTH If only I could live to see it, kid; to be there with you. How beautifully we've done it, step by step. Here, protected, free to make our profits without the Justice Department, the FBI; ninety miles away in partnership with a friendly government. Ninety miles, just a small step, looking for a man who desperately wants to be President of the United States, and having the cash to make it possible.

MICHAEL You'll be there to see it; you'll be there.

INT. MICHAEL'S SUITE - NIGHT

The telephone has just rung; Michael listens.

OPERATOR We have your call to Tahoe, Nevada, sir.

MICHAEL Thank you. (click, click) Tom? Tom, is that you?

ROCCO (O.S.) No, Tom's out of town. This is Rocco. Who is this?

Michael is openly disturbed that Hagen is not there. He hangs up without answering.

EXT. NEW ENGLAND HOUSE - DAY

Tom Hagen steps out of a taxicab a bit tentatively, and then steps toward the door of a pleasant New England house. He rings the bell and waits, hat in hand. A moment later, the door opens, and Kay is standing there.

KAY I'm not surprised to see you, Tom.

INT. SMALL ROOM - NEW ENGLAND HOUSE - MED. VIEW - DAY

Out to the yard, where we can see glimpses of little Anthony playing by himself.

KAY (O.S.) I can't love a man like that; I can't live with him, I can't let him be father to my children. Look.

The little boy, moodily by himself.

VIEW ON KAY

obviously moved.

KAY He's not like a little boy... he doesn't talk to me; he doesn't want to play; he doesn't like other children, he doesn't like toys. It's as though he's waiting for the time he can take his Father's place. (almost in tears) You know what he told me when he was four years old. He said he had killed his Grandfather...

VIEW ON HAGEN

listening, calmly.

KAY ... He said he had shot his Grandfather with a gun, and then he died in the garden. And he asked me... he asked me, Tom, if that meant now his father would shoot him out of... revenge. (she cries) How does a four year old boy learn the word... 'revenge'?

HAGEN Kay... Kay...

VIEW ON KAY

KAY What kind of a family is this... are we human beings? He knows his Father killed his Uncle Carlo. He heard Connie.

HAGEN You don't know that's true. But Kay, just for the sake of an argument, let's assume it is, I'm not saying it is, remember, but... What if I gave you what might be some justification for what he did... or rather some possible justification for what he possibly did.

KAY That's the first time I've seen the lawyer side of you, Tom. It's not your best side.

HAGEN Okay, just hear me out. What if Carlo had been paid to help get Sonny killed? What if his beating of Connie that time was a deliberate plot to get Sonny out into the open? Then what? And what if the Don, a great man, couldn't bring himself to do what he had to do, avenge his son's death by killing his daughter's husband? What if that, finally, was too much for him, and he made Michael his successor, knowing that Michael would take that load off his shoulders, would take that guilt?

KAY He's not the same as when I met him.

HAGEN If he were, he'd be dead by now. You'd be a widow. You'd have no problem.

KAY What the hell does that mean? Come on, Tom, speak out straight once in your life. I know Michael can't, but you're not Sicilian, you can tell a woman the truth; you can treat her like an equal, a fellow human being.

There is a long silence.

Then Hagen shakes his head; he can tell her no more.

HAGEN If you told Michael what I've told you today, I'm a dead man.

KAY When is it finally over? I want it to be over before my baby is born.

HAGEN I don't know. I hope soon; but it's not over yet, and that's why you and the kids have to come back to me.

He looks at her; it's clear that he has been entrusted with her safety and her children's.

He is a kind, good man, and seems very nervous and overwrought.

VIEW ON THE WINDOW

Little Anthony is pressing his face against the glass pane, as though he senses the adults are discussing something of importance to him.

INT. TROPICANA HOTEL-CASINO - MED. VIEW - NIGHT

The Baccarat table. Busy, hundred dollar bills being played.

LOUDSPEAKER Mr. Corleone; Mr. Freddie Corleone, telephone please.

PIT BOSS Not here.

VIEW ON THE CRAP TABLES

The play is fast; pit boss presiding; but no sign of Fredo.

LOUDSPEAKER Telephone for Mr. Corleone.

ANOTHER PART OF THE CASINO

We see Neri, ominous, presiding over the entire store. He picks up a pit telephone.

NERI He's backstage. (and hangs up disgustedly)

INT. TROPICANA BACKSTAGE AREA - MED. VIEW - NIGHT

Fredo is entertaining two showgirls done up in feathers and what-have-you.

FREDO C'mon, you got fifteen minutes before the finale! I want to show you a trick with feathers.

STAGEHAND Phone for you.

FREDO Don't go away; wait a minute.

He takes the phone; we can catch a VIEW of the show going on from the wings.

FREDO (on the phone) Yeah. Okay. Who? Mikey? But... Si... si, caposco. (in Sicilian) Sure... how much? I understand. Jesus, three million... I won't let you down. Sure.

He hangs up thoughtfully.

ONE OF THE GIRLS Freddie; we still got twelve minutes before the finale!

FREDO Yeah... some other time.

EXT. NEW YORK BAR - DAY

There is a light rain. Pentangeli steps out of his car; points to Willy Cicci.

PENTANGELI Wait in the car.

He walks up the street, to the bar, where he is greeted by the tall, handsome Carmine Rosato. They shake hands. Pentangeli looks in his hand.

CLOSE VIEW

Rosato has put a crisp one hundred dollar bill in his hand, folded sharply in two.

PENTANGELI What's this?

ROSATO That's a lucky C note for our new deal.

He puts his arm around Pentangeli, and they walk into the bar.

INT. THE BAR - DAY

The bar is fairly empty; and very dark. Pentangeli and Rosato step up to the bar; the bartender momentarily stops polishing glasses to pour a couple of drinks.

ROSATO We were all real happy about your decision, Frankie; you're not goin' to regret it.

He holds up the glass.

PENTANGELI I don't like the C-note. I take it like an insult.

Suddenly, a garrote is thrown around Pentangeli's throat; and he is forcefully yanked back into the shadows, all the way into a wooden telephone booth.

CLOSE VIEW

The folded hundred dollar bill resting on the bar.

MED. CLOSE - THE PHONE BOOTH

We see only Pentangeli's feet and legs, struggling. We HEAR the terrible sounds of a man being strangled.

CLOSE ON ROSATO

Calm, and then he sees something that disturbs him.

ROSATO Shit, your friend the cop!

Suddenly, the side door opens, and a shaft of sunlight cuts through the darkness.

COP Everything all right in there, Ritchie? The door was open.

CLOSE ON THE PHONE BOOTH

Pentangeli's feet stop moving.

RITCHIE Just cleaning up. (strained voice) You okay?

COP Is that something on the floor?

ROSATO Take him!

VOICE Okay.

RITCHIE Not here; not a cop, not here!

Two figures race through the shadows and race through the doors.

COP (shouting to his partner, in uniform) Stutz! Watch out, Stutz!

EXT. THE BAR - DAY

We see that a patrol car had stopped for its routine visit. STUTZ, the second patrolman, is just stepping out of his car; Pentangeli's bodyguard, seeing the commotion, leaps out. Three men, including Rosato, rush out. There is gunfire; Cicci is wounded.

MED. CLOSE

The patrolmen is grazed across the face; trying to stop the flow of blood with his hand.

NEW VIEW

The three assailants jump into the car and drive off.

INT. THE BAR - DAY

The stricken Pentangeli comes back to life. He can barely move his lips.

PENTANGELI The bastard. The dirty bastard, he gave me a C-note. He gave me a C- note.

He sees the patrolman leaning over him.

EXT. PATROL CAR - DAY

The Sergeant is on the car radio.

SERGEANT Frankie Pentangeli murder attempt. Patrolman Stutz shot. Sahara Lounge - Utica Avenue and Claredon Road. White Cadillac three or four men took off from scene. Need ambulance; Stutz is bad. Taking Pentangeli into custody...

INT. ROTH'S SUITE IN HAVANA - MED. CLOSE VIEW ON ROTH - DAY

His wizened face, pale. Right now, though, his eyes have a sparkle as he watches three million dollars in cold cash being counted on a card table in front of him.

His brother Sam is present, and the sandy-haired Courier, a little nervous; the one who had left from the Tropicana with the Corleone skim-money. Also Johnny Ola. The money is evidently all there; Roth picks up a packet; probably a hundred thousand dollars, and throws it over to the Courier.

ROTH Make it fast; I don't want to chance him being seen.

COURIER (frightened) What about the arrangements? How can I be sure about the arrangements?

OLA Relax. You're under our protection; the Corleone family will never find you.

Ola leads the Courier to the adjoining room where two smartly dressed Military (Cuban) Police are standing, and a civilian. The Courier sees them, looks back to Ola. One of the police steps forward, placing the Courier under arrest; handcuffing him.

COURIER Hey, what's this?

The other takes the packet of money, and hands it to the civilian, who places it in the briefcase he carries. The other officer kneels down and fastens leg manacles.

COURIER The arrangements... YOU BASTARDS! What...

The Captain strikes him expertly across the side of his head with his pistol.

Ola closes the door on this scene.

EXT. THE HAVANA CAPRI - DAY

Fredo Corleone steps out of a car, squints up at the sunshine and palm trees. He is holding on tightly to a small satchel, which he won't let the bellman carry along with his other things.

INT. MICHAEL'S SUITE - MED. CLOSE VIEW - DAY

Michael and Fredo in a brother's embrace; they kiss each other. Fredo is still in his jacket, holding the satchel.

FREDO Mikey. How are you?

He glances up at Bussetta, who doesn't say a word. Fredo extends his hand.

FREDO Hiya, Freddie Corleone.

MICHAEL Mio fratello.

Then Bussetta offers his hand back to Fredo.

FREDO (taking off his jacket) What a trip, Jesus Christ, the whole time I'm thinking what if someone knew what I got in here.

He undoes the combination of the briefcase starts taking out cash. Then he stops, remembering that there's a stranger in the room.

FREDO Oh, 'scuse me.

MICHAEL It's all right. He stays with me all the time.

FREDO Oh. Mikey, what's up? I'm totally in the dark.

MICHAEL We're making an investment in Havana.

FREDO Great, Havana's great. Lots of activity in Havana! Anybody I know here. Five-Angels? Anybody?

MICHAEL Johnny Ola... Hyman Roth.

FREDO I never met them.

MICHAEL Pentangeli's dead. He was ambushed by the Rosato Brothers. (pause) Didn't you know that?

FREDO No. No, I didn't. Who tells me anything? I been kept in the dark so long, I'm getting used to it.

MICHAEL I want you to help me, Fredo.

FREDO That's what I'm here for.

MICHAEL Tonight I want to relax with you. The Senator from Nevada is here with some people from Washington. I want to show them a good time in Havana.

FREDO Count on me; that's my specialty.

MICHAEL I'd like to come along. There's been a lot of strain, and I've been cooped up in this room for three days.

FREDO Me and you, great! Gimme an hour to wash my face and do my research and we'll have these Washington suckers right where you want 'em. (then a thought strikes him) Poor Frankie Five-Angels. He always wanted to die in bed...with a broad.

INT. ROTH'S SUITE - MED. VIEW - DAY

Michael stands at Roth's door carrying the briefcase that Fredo had brought.

A hotel DOCTOR takes Hyman Roth's blood pressure, while his wife waits nervously.

DOCTOR (Spanish) You must not exert yourself; I will write out a prescription and come back tomorrow.

HOTEL MAN He's going to write a prescription.

ROTH I want my own doctor; fly him in from Miami. I don't trust a doctor who can't speak English.

The doctor is shown out. Roth gestures to the hotel man, who also leaves. Then he looks to his wife.

ROTH Honey, go down to the casino?

TERRI If you feel better...

ROTH I do. Play the Bingo game.

They kiss, and she leaves. Also Bussetta and Ola remain.

ROTH My sixth sense tells me you have a bag full of money in your hand.

Ola locks the door; Michael nods, and opens the bag, spilling its contents on the card table.

MICHAEL This doubles my investment.

ROTH Still no word of your courier? We'll find him. But at least this will satisfy our friends here. You've been invited to the New Year reception at the Presidential Home. I understand your brother is here as well; I hope he'll come.

MICHAEL Six million dollars in cash is a high price for a piece of a country in the middle of a revolution.

Roth looks patiently at Michael, as though he were a child who hadn't minded the lesson that he had been taught over and over again.

ROTH You're a careful kid, and that's good. But look. An international dispatch on the wire service. American journalism, not propaganda. The government troops have all but eliminated the rebels. All but their radio station.

MICHAEL I've read it; I'm pleased that the government is doing so well. As a heavy investor, I'm pleased. How did the doctor find you?

ROTH Terrible. I'd give twice this amount to take a piss without it hurting.

MICHAEL Who had Frankie Pantangeli killed?

ROTH (taken a bit off-balance) Why...the Rosato Brothers.

MICHAEL I know that; but who gave the go ahead.

Roth glances to Ola; he is not a fool; he realizes Michael has begun to suspect him.

MICHAEL I know it wasn't me...so that leaves you.

ROTH There was this kid that I grew up with; he was a couple years younger than me, and sort of looked up to me, you know. We did our first work together, worked our way out of the street. Things were good and we made the most of it. During prohibition, we ran molasses up to Canada and made a fortune; your father too. I guess as much as anyone, I loved him and trusted him. Later on he had an idea to make a city out of a desert stop-over for G.I.'s on the way to the West Coast. That kid's name was Moe Greene, and the city he invented was Las Vegas. This was a great man; a man with vision and guts; and there isn't even a plaque or a signpost or a statue of him in that town. Someone put a bullet through his eye; no one knows who gave the order. When I heard about it I wasn't angry. I knew Moe; I knew he was headstrong, and talking loud, and saying stupid things. So when he turned up dead, I let it go, and said to myself: this is the business we've chosen. I never asked, who gave the go ahead because it had nothing to do with business.

He regards Michael silently a moment.

ROTH (continuing) There's three million dollars on that table. I'm going to lie down, maybe take a nap. When I wake up, if it's still there, I'll know I have a partner. If it's gone, then I'll know I don't.

The old man turns, and moves in his slippers, toward his bedroom.

INT. THE CORRIDOR - DAY

Michael closes the door, and moves down the hallway. He is followed by Bussetta, who had waited in the corridor.

MICHAEL (Sicilian) How sick do you think the old man is?

BUSSETTA (Sicilian) He'll live longer than me.

INT. TROPICOR NIGHT CLUB - VIEW ON THE SHOW - NIGHT

A Havana extravaganza, with tall, beautiful showgirls done up in flamboyant, 'South-of-the-Border' Carmen Miranda costumes; the lead singer is a six foot blonde doing "Rum and Coca Cola" in that style. Her name is YOLANDA.

MED. VIEW

At a large round table, located in an obvious VIP section of the high, tropically draped room with living ferns and other tropical planting with artificial stars.

Michael rises, to be introduced by Fredo to some conservative looking Senatorial types, including Senator Pat Geary of Nevada. We notice Bussetta standing nearby.

FREDO Does everyone know everyone, or nobody knows nobody. Here, my brother, Michael Corleone... well, you know Senator Geary.

Geary warmly shakes Michael's hand.

SENATOR GEARY Good to see you, Mike; I'm glad we can spend this time together.

FREDO This is Senator Payton from Florida; Judge DeMalco from New York... Senator Ream... Mr. Questadt from California, he's a lawyer with the Price-Control Administration. And Fred Corngold of U T&T.

They all make themselves comfortable. A waiter with a tray of drinks appears.

FREDO Gentlemen... your pleasure? Cuba Libres, Pina Coladas, you name it.

SENATOR GEARY I'll take a Yolanda.

Laughter.

FREDO Later, later. All those girls look like they're on stilts!

The various tropical drinks are distributed.

SENATOR GEARY To a night in Havana!

They all join in.

FREDO (aside to Michael) Jeeze, it's great you came along, Mike... You know, we've never spent a night out on the town together. I always thought you looked down on me for liking a good time.

MICHAEL I never looked down on you, Fredo. You don't look down at a brother.

INT. THE CASINO - NIGHT

By now the group has made its way into the casino. Some of them are crowded around the crap table; Senator Geary is with the enormous and beautiful Yolanda, who barely speaks English. There are other girls with some of the men; not with Michael, who gambles dollars while talking to Corngold.

CORNGOLD Our information is that Castro is dead. There are maybe a few hundred die-hards in the Sierra Muestra; but government troops are going to clean them out any day.

Johnny Ola approaches Michael.

OLA Mike, can I talk to you.

Michael follows Ola toward the Baccarat table; a watchful Bussetta moves, a distance away, with them.

OLA Listen, this Senator from Florida already has a hundred grand worth of markers on the table.

We can see Senator Ream at the table, making thousand dollar bets on the Bank.

OLA They asked him to sign paper to take down the markers; but he got mad; told them to wait until he was finished.

MICHAEL Let him gamble.

OLA Okay. You know he doesn't have that kind of money.

FREDO Mike said let him gamble.

Fredo puts his arm around his brother; he is high with the first attention Mike has ever given him, as though finally he is being taken seriously; as though his brother needs him.

FREDO Mike, I got something special up my sleeve for these boys. You ever hear of "Superman?" And I don't mean the comic book.

MICHAEL No.

FREDO Wait'll you see!

INT. HAVANA BAR - NIGHT

Our group are in a large Havana bar; the walls totally covered with hundreds of fifths of different types of rum and other liquor.

A couple of the girls from the show are out with the men; Yolanda herself is giving them a private song and dance.

Fredo is a little loaded, and especially attentive to Michael this night.

FREDO Mikey, why would they ever hit poor old Frankie Five-Angels? I loved that ole sonuvabitch. I remember when he was just a 'button,' when we were kids. We used to put bedsheets on our heads, you know, like we were ghosts. An' ole Frankie come peek into our room, we'd jump up, and he'd always pretend like he was really scared. You remember?

MICHAEL It was hard to have him killed.

FREDO You? What do you mean you, I thought...

MICHAEL It was hard to have him killed.

FREDO You? What do you mean you, I thought...

MICHAEL It was Frankie tried to have me hit.

FREDO No. I mean, are you sure?

MICHAEL You know otherwise, Freddie?

FREDO Me? NO, no, I don't know anything. Fellas! You're all falling asleep. We got to see Superman.

CLOSE ON MICHAEL

A growing feeling about his brother.

EXT. GARISH HAVANA STREET - NIGHT

The street is lit with tons of neon signs; it is alive with people; some roving bands of musicians. Everywhere are little boys running around, begging for money. And in doorways and windows are silent, dark-skinned women.

SENATOR REAM (pushing away from the palm outstretched little hands of the boys) Goddamn beggers. Goddamn city of beggars and pimps and whores. And we bend over backwards to support them with the goddamn sugar quota.

FREDO (to Geary) What's eating him?

SENATOR GEARY He lost a quarter million dollars at the casino.

SENATOR REAM ...goddamn city of whores...

SENATOR GEARY He gave them a bad check.

INT. 'SUPERMAN SHOW' - MED. VIEW - NIGHT

A large room with a succession of platforms arranged step- like around a circular area which becomes a stage.

There are a hundred or so people, practically all men, tourists and business men, standing on the different levels, forming the audience.

In the center of the stage is a thick, telephone type pole, to which is tied a young Cuban girl, in a flimsy white sacrificial slip. A small band, mostly drummers, play some Latin music.

MED. VIEW

Fredo's party standing on the ramp, looking down at the spectacle. They're a little woozy from the drinks and late hour. Michael is with them, but now we sense he is using this time, with all exhausted and drunk, to come to some important conclusions.

QUESTADT Why do we have to stand?

FREDO Everyone stands. But it's worth it, watch!

VIEW ON THE ARENA

Now two high priestesses, scantily clad, bring in a tall and muscular Cuban, done up in chains and loin cloth, as though he were a captured slave. This is SUPERMAN

VIEW ACROSS THE MEN TO THE STAGE

FREDO That's him; that's Superman!

Some preliminary pornographic proceedings go on, as the priestesses lead the slave to the virgin tied to the post. The music is percussive and wild.

MED. VIEW ON THE MEN

SENATOR GEARY Ohmygod. I don't believe it.

QUESTADT It's got to be fake.

FREDO That's why they call him Superman. Johnny Ola told me about this; I didn't believe it.

CLOSE on Michael turning away. Not because of the spectacle which he finds disgusting, but at what his brother is saying.

FREDO (O.S.) ... but seeing is believing. Ole Johnny knows all the places. I tol' you... can you believe it?

If Michael would ever allow himself to cry, it would be now.

FREDO (continuing) The old man Roth, would never come; but Johnny knows these places like the back of his hand...

FADE OUT.

FADE IN:

INT. MICHAEL'S SUITE - MED. VIEW - MORNING

Michael is alone in his bedroom; it seems as though he hasn't slept very much, but sits by his window, looking out at the city. He is troubled and tired.

His radio is on:

RADIO (Spanish) "This is Rebel Radio: Rebel troops of Column Four 'Jose Marti' took the town of Baire yesterday at 8:30 p.m. The enemy has retreated..."

EXT. CUBAN STREET - MORNING

This street in Havana is like a Caribbean tourist city with no indication of the revolution in progress.

Michael walks along the street, alone, past the Cubans on their way to work; past the American ladies who have gotten up early for their shopping spree.

RADIO (Spanish) (continuing) ... An important military action is developing along a 35-kilometer stretch of the Central Highway. Numerous enemy garrisons are left with two alternatives, surrender or annihilation...

One full block away, Bussetta rides in the front seat of the dark Mercury, driving slowly, giving Michael his privacy, but never letting him out of Bussetta's sight.

CLOSE ON MICHAEL

watching.

MICHAEL'S VIEW

Shopkeepers happily luring the tourists into their shops in broken English. Havana is prosperous.

RADIO (continuing) ... Victories in war depend on a minimum on weapons and to a maximum on morale...

VIEW ON MICHAEL

glances back to the dark car following him. In a moment, it pulls up to him, and he gets into the back seat.

EXT. AMERICAN MILITARY MISSION - VIEW ON MICHAEL - DAY

standing by his car, looking through the cyclone fencing that borders this military training camp operated by the American Army near the city.

RADIO ... War is not a simple question of rifles, bullets, guns and planes...

CLOSER VIEW INTO THE CAMP

EXT. HAVANA STREET - DAY

A street singer, followed by a guitarist sings Jose Marti's words of "Guantanamera." It is solemn, as though it is a song of protest, a song of the revolution.

Nearby, in a restaurant, Michael has lunch with Fredo.

MICHAEL How is your wife, Fredo...your marriage?

FREDO (eating) You know her; drives me crazy, one minute she's a popsicle, the next she's all vinegar. Sometimes I think... I think - I should a married someone, like you did. To have kids, to have a family.

Michael turns, distracted for a moment at something the singer has sung.

MICHAEL "Yo soy un hombre sincero..." I am a sincere man, From the land of the palms...

FREDO What's that?

MICHAEL The song. Are you sincere with me, Fredo?

FREDO Sincere. What are you talking about, of course I'm sincere with you, Mike.

MICHAEL Then I'm going to confide in you; trust you with something.

FREDO (Sicilian) Mike, are you crazy, I'm your brother.

MICHAEL Tonight we've been invited to a reception at the Presidential Palace; to bring in the New Year. You and I will go in a special car that's being sent. They'll have cocktails... then dinner, and a reception with the President. When it's over, it will be suggested that you take Questadt and his friends from Washington to spend the night with some women. I'll go home alone in the car; and before I reach the hotel, I'll be assassinated.

FREDO ...Who?

MICHAEL The same man who tried in Nevada... Hyman Roth, not Pentangeli.

FREDO But, you told me yourself...

MICHAEL It was never Pentangeli... I've always known that. It was Roth all along. He talks to me as a son; as his successor, but the old man thinks he'll live forever.

FREDO What do you want me to do?

MICHAEL To go tonight, with me, as though we know nothing. I've already made my move.

FREDO What is it? Can I help?

MICHAEL The old man will never bring in the New Year.

Fredo realizes what he means; looks immediately to Bussetta, who had been sitting near the door and the musicians. He is gone.

INT. HOTEL CORRIDOR - MOVING VIEW ON BUSSETTA - NIGHT

The first time ever away from Michael, moving toward us quickly. He stops, knocks on the door of Roth's suite. Then quickly for a man his size, he moves without noise to the adjoining door, opens it with a key, and disappears inside.

A moment elapses on the empty corridor, and then a roused Johnny Ola, opens the first door. He steps out into the corridor, to see who had knocked. Confused, he is about to return inside, when Bussetta easily breaks his neck in two from behind.

INT. THE SUITE - MED. VIEW - NIGHT

as Bussetta quietly pulls the limp body of Johnny Ola, his head bent at an impossible angle, and lays it at the foot of the couch.

EXT. PRESIDENTIAL PALACE - NIGHT

Guards who are regular troops patrol the Palace in twos, carrying machine weapons.

Now an elite officer, checks the identification of the various cars carrying dignitaries, as they are driven up to the Palace. The one being inspected at the moment contains Fredo and Michael. We can see the beautifully dressed people on their way to the reception, and sense the cheerful mood of this New Year's Eve.

INT. THE SUITE - NIGHT

Bussetta bends over Ola's body, tying the wrists and knees with electrical extensions. He then easily carries the body to the small balcony which all the rooms have.

EXT. THE BALCONY - NIGHT

Bussetta swings the body over the side of the balcony railing; tying the extension cord to the railing, and suspending the body so that it is invisible both from the inside and out during the night.

INT. PRESIDENTIAL PALACE - VIEW ON THE MAIN FOYER - NIGHT

The PRESIDENT, his WIFE and six oldest CHILDREN great formally the many beautifully and affluently dressed guests. He speaks to them in Spanish, as one by one they file to him.

Michael and Fredo are presented in a group with several other Americans, including several of the American businessmen with interests in Cuba.

EXT. STREETS OF HAVANA - MED. VIEW - NIGHT

The excitement of the night is beginning to build; people are out in the streets; poor people, but they are enthusiastic and lively.

NEW VIEW

Traffic stops, as an ambulance speeds its way to a hospital; SIREN going.

INT. THE SUITE - NIGHT

Bussetta delicately picks up a small satin cushion that had fallen from the couch, and replaces it as though nothing had happened. Slowly he cracks the door open which adjoins Roth's bedroom. There is a slight commotion; whispered voices.

BUSSETTA'S VIEW

Terri, Mrs. Roth, is crying. A group of men lift Hyman Roth's frail body onto a stretcher.

CLOSE ON BUSSETTA

realizes that this is the man he is to kill.

CLOSER VIEW ON ROTH

He is alive; breathing hard with his mouth dry and open. The doctor examines him, and then gives instructions to the orderly who carries him out, presumably to the ambulance.

Bussetta closes the door on this VIEW.

INT. PRESIDENTIAL PALACE - NIGHT

An orchestra plays for the guests, as an army of waiters serve champagne and hors d'oeuvres. Michael relaxes with Senator Geary, Major Leon, and several of the Americans.

QUESTADT The embargo on arms shipments from the U.S. to your government, was just a necessary public relations move... Only last month, your air force received a major shipment of rockets...

Michael glances at his watch; Fredo concentrates on this.

SENATOR GEARY We believe in non-intervention... but the agreement stipulates that our forces may be withdrawn... but as you've seen, we have not withdrawn them.

CORNGOLD And my guess is that President Eisenhower won't pull out while we have over three billion invested over here.

MICHAEL Fredo. Where are you going?

FREDO Nowhere, Mike. I wanted to get a refill. How about you?

EXT. HAVANA HOSPITAL - MED. VIEW - NIGHT

The ambulance makes its way up to the emergency section of the hospital. The orderlies quickly carry the old man inside. His wife and the doctor, and several of his men, follow in another car.

THE VIEW ALTERS

and we see Bussetta waiting in the shadows.

EXT. HAVANA STREETS - NIGHT

The growing crowds of Cubans begin their celebration.

NEW VIEW

A Cuban military detachment speeds along in the night, motorcyclists clear a path through the celebrants.

INT. PRESIDENTIAL PALACE - FULL VIEW - NIGHT

A full sitdown dinner is being served the guests. Michael sits at a table at dinner with several of the distinguished Cubans, and some of the American businessmen.

QUESTADT What's kept Mr. Roth?

Fredo looks up at Michael.

In the back of the room, we notice the detachment of military moving quickly through the reception room on their way to the President's private quarters. Michael notices it as well.

INT. THE HOSPITAL CORRIDOR - FULL VIEW - NIGHT

The activity at the end of the hall has come to rest; we can tell that the doctor tells Mrs. Roth that she should go, the old man will be taken to a room where he can rest. Gradually, these people leave him in the care of the hospital staff.

Bussetta watches from the distance of the hallway; after the old man has been moved, he quietly walks down the hallway to the room.

HIS VIEW

A nurse sits in the room in attendance; Hyman Roth is asleep, his mouth wide open, breathing noisily.

VIEW ON BUSSETTA

hears footsteps, quickly steps away from the door, and into another room.

Some nurses and attendants speak to the nurse in the room in Spanish; one has brought a small bottle of wine, and obviously they are inviting the nurse to have a New Year's toast with them. They laugh; and the nurse steps away from the room for a moment.

Bussetta moves slowly back into the room, alone with the helpless Roth.

INT. PRESIDENTIAL PALACE - FULL VIEW ON THE GUESTS - NIGHT

seeing in the New Year; a great banner is hoisted up in Spanish, welcoming 1959.

Hands are shaken; kisses exchanged.

MED. CLOSE VIEW

Michael and Fredo in an embrace; they kiss one another.

MICHAEL I've arranged for a plane; we're going to Miami in an hour. Try not to make a big thing of it.

He kisses his brother once again.

MICHAEL (Sicilian) I know it was you, Fredo. You've broken my heart.

Slowly, understanding, Fredo backs away from his brother, taking the kiss another way.

A little distance away, Major Leon notices an old woman, one of the President's maids, moving across the alcove, carrying her suitcases.

LEON What a pity; she's crying. Must have been fired, and she's been with the President's family for twenty years.

EXT. HAVANA STREETS - NIGHT

The gathered crowd joyously welcomes the New Year. We notice the continual military movement.

MED. VIEW

A family surreptitiously leaves their home, carrying suitcases and belongings.

INT. ROTH'S HOSPITAL ROOM - NIGHT

Bussetta raises a hospital pillow, and easily begins to smother the thin old man, who can barely struggle.

OUT IN THE HALL

A detachment of military move quickly, accompanied by some of Roth's men, as though they have important news that must be dealt with.

They pass the small group of aides and nurses welcoming the New Year.

Seeing them, the nurse assigned to him, puts down her glass and moves quickly to the room.

She opens the door, and lays bare the sight of Bussetta smothering Roth. Bussetta turns quickly; and one of the military takes out his pistol and shoots several times at his head.

INT. PRESIDENTIAL PALACE - NIGHT

The entire reception has been disrupted for an announcement; all the guests in their formal dress and evening gowns, standing with frightened faces like first class passengers on a doomed ship. The President himself, his back to our VIEW, is making an announcement in Spanish. While he speaks, we notice continuous movement of his personal staff, carrying suitcases and possessions.

PRESIDENT ...Because of serious setbacks of our troops in Guantanamo and Santiago, we feel reluctantly, that we must leave the Capital at once. Myself and my family must bid you goodbye, and good fortune. We will go directly to Ciudad Trujillo.

The crowd is stunned; already whispers are moving throughout the guests.

The only one who is not completely taken off guard is Michael, who quietly steps back, and disappears from the room.

PRESIDENT ...My only regret is that there could not have been more warning... As my last official act as President, I hereby appoint a provisional government with Dr. Carlos M. Piedra, as its President.

By now, there is only one thought among the guests: how can they get out, and with what.

EXT. PRESIDENTIAL PALACE - NIGHT

We see evidence of the confusion at this late hour; already cars are beginning to move; people leaving the Palace in haste. Michael moves quickly toward his car. He sees Fredo, watching him in fear.

MICHAEL Come with me. It's your only way of getting out!

VIEW ON FREDO

Terrified of his brother, and what he knows; Fredo backs away into the growing noise and confusion of the crowd.

VIEW ON MICHAEL

Finally, he has to step into the car and it roars off.

EXT. HAVANA STREETS - NIGHT

Rebel cars with loudspeakers have already picked up the news that Batista has conceded...this throws the crowds already gathered for the New Year into cheers of joy.

They harass a wealthy family who are trying to get away in their car.

The people pull them out of the car, opening their suitcases, out of which spill piles of cash and jewelry into street.

Michael's car makes its way as the crowd cheers: "El animale se fue!"

EXT. THE UNITED STATES EMBASSY - MED. VIEW - NIGHT

Crowds of panicked and frightened tourists, and Batistianos are trying to get to the safety of the Embassy with the families and possessions.

We see Geary, and some of the Americans we had met, working their way through the crowds, shouting that they are Americans in order to get preference on the line. Often that declaration brings 'boos' from the crowds.

Sometimes the joyous Cubans will let a family through, but again, taking away the suitcases, rich leather, filled with money and valuables. Money seems to be stuffed everywhere.

EXT. THE YACHT CLUB - NIGHT

All forms of private transportation are jammed with people trying to get out, holding cash in their hands for anyone with a yacht or small boat to get them to Florida.

A car pulls up; and we see Sam Roth, Terri Roth and some of their men, carry the sickly, but still alive Hyman Roth to a private cruiser which is protected by men with machine guns.

Within seconds, they are on their way to Miami.

EXT. THE PRIVATE AIRPORT - NIGHT

Things are no different at the airport; where anything that can fly is being jammed with refugees and their money.

A wealthy family is arguing with the pilot of a fast airplane; trying to force cash on him, and his family into the plane. The PILOT steadfastly refuses, although checking his watch, as though his passengers are late. He speaks only English.

PILOT No, this is a private plane. No, this plane is taken.

Finally Michael's Mercury pulls up, and Michael approaches the Pilot.

MICHAEL He isn't here.

PILOT We've got to leave, they'll take this thing apart.

MICHAEL All right. Go now.

The Pilot lets Michael in, as the Cuban screams curses at them, and begins searching for another plane for his family.

INT. THE PLANE - VIEW ON THE PILOT - NIGHT

as the propeller turns over.

EXT. THE AIRPORT - FULL VIEW - NIGHT

Groups of the cheering, celebrating Cubans sing "Guantanamera," now as a song of triumph.

INT. THE PLANE - MOVING VIEW - MICHAEL - NIGHT

Closer to him, his personal and business life caught in the middle of history.

EXT. NEW YORK STREET - MED. VIEW - DAY (1920)

He stops to pick out some choice oranges and peaches from a fruit stand. Then he reaches into his pocket for change.

VENDOR No, no. It is my pleasure to make this a gift.

CLOSE VIEW ON VITO

VITO You are kind. If ever I can do something for you, in return, please come to me.

INT. VITO'S TENEMENT - DAY

Despite his new position of 'respect,' there is little changed about his home. Only that they have lived there a while now, and the rooms are fuller with the inevitable possessions a young family acquires.

He kisses his wife, who seems a big apprehensive. He shows her the fruit; and from her reaction knows she has something on her mind.

VITO (Sicilian) What is it?

CARMELLA (Sicilian) Come...

They step into the tiny parlor, where we see an older woman, waiting nervously.

CARMELLA The Signora is a friend of mine. She has a favor to ask of you.

VITO (Sicilian) Why do you come to me?

SIGNORA COLOMBO (Sicilian) She told me to ask you.

He seems surprised; looks to his wife.

CARMELLA She is having some trouble. Her landlord has received complaints because of her dog. He told her to get rid of it, but her boy loved it, so they tried to hide it. When the landlord found out, he was so angry, he ordered her to leave. Even if she truly will let the dog go.

SIGNORA COLOMBO (Sicilian) He said he would have the police put us out.

VITO (thoughtfully) I can give you some money to help you move, is that what you want?

SIGNORA COLOMBO My friends are all here; how can I move to another neighborhood with strangers? I want you to speak to the landlord to let me stay.

Vito nods to the frightened old woman.

VITO It's done then. You won't have to move; I'll speak to him tomorrow morning.

Carmella breaks into a smile; which her husband des not acknowledge.

The old woman starts to leave the room; but she is not convinced.

SIGNORA COLOMBO You're sure he'll say yes, the landlord?

VITO I'm sure he's a good-hearted fellow. Once I explain how things are with you, I'm sure he'll take pity on your misfortunes. Don't let it trouble you any more. (as he shows her out) Guard your health, for the sake of your children.

EXT. TENEMENT BLOCK - DAY

SIGNOR ROBERTO, a pompous, rather well-dressed Patrone angrily walks down the steps of one of his tenement buildings.

He carries a check list, and makes marks with a pencil concerning the condition of his various buildings; a broken window here, some missing tile there. He bends over to pick up some garbage left by a thoughtless tenant, muttering to himself, when he sees the shoes and legs of a young worker.

VITO (O.S.) Signore Roberto...

He rises to be face to face with a polite Vito Corleone.

VITO The friend of my wife, a poor widow with no man to protect her, tells me that for some reason she has been ordered to move from your building. She is in despair. She has no money, she has no friends except those that live here.

Signor Roberto brusquely answers, and continues on his way.

ROBERTO I have already rented the apartment to another family.

MOVING SHOT ON THE TWO

VITO I told her I would speak to you, that you are a reasonable man who acted out of some misunderstanding. She has gotten rid of the animal that caused all the trouble, so why shouldn't she stay. As one Italian to another, I ask you the favor.

ROBERTO I've already rented it; I cannot disappoint the new tenants. They're paying a higher rent.

VITO How much more a month?

ROBERTO Eh... (we sense he is lying) Five dollars more.

Vito reaches into his pocket, and takes out a roll of bills.

VITO Here is the six month's increase in advance. You needn't speak to her about it, she's a proud woman. See me again in another six months. But of course, you'll let her keep her dog.

ROBERTO Like hell! And who the hell are you to give me orders. Watch your manners or you'll be on your Sicilian ass in the street there.

Vito raises his hands in surprise; his voice is reasonable.

VITO I'm asking you a favor, only that. One never knows when one might need a friend, isn't that true? Here, take this money as a sign of my good-will, and make your own decision. I won't quarrel with it. (he puts the money in Roberto's hand) Do me this little favor, just take it and think carefully. Tomorrow morning if you want to give me the money back, by all means do so. If you want the woman out of your house, how can I stop you? It's your property, after all. If you don't want the dog in there, I can understand. I dislike dogs myself. (he pats Roberto on the shoulder) Do me this service, eh? I won't forget it. Ask your friends in this neighborhood about me, they'll tell you I'm a man who believes in showing his gratitude.

Without a word more, Vito leaves a hypnotized Roberto standing in front of the tenement, his hand clasping the money.

EXT. NEIGHBORHOOD STREET - DAY

A thin young man, almost gawky, walks down the street in this Italian neighborhood, his name is HYMAN SUCHOWSKY.

He carries his tools as he comes home from work. He is pursued and tormented by a couple of Italian youths, about his own age, eighteen.

ITALIAN BOY Kid, where do you live?

ANOTHER Where'd you get those nigger lips?

He tries not to be intimidated; finally one of the boys, steps in front of him and stops him.

ITALIAN BOY Say 'bread' in Italian.

ANOTHER He dunno.

ITALIAN BOY Go on; how do you say 'bread' in Italian? If you're from the neighborhood, you should know how to say 'bread' in Italian.

An amused Peter Clemenza steps forward from a local coffee house, to preside over the fuss. He's a 'big' man in the neighborhood, and loves a fight.

CLEMENZA What's up?

ITALIAN BOY This kid lives around here, but he can't say bread in Italian.

CLEMENZA That's 'cause he's Jew. Look at those pregnant lips!

He giggles at his own joke.

ITALIAN BOY Are you a Jewboy?

The boy doesn't answer, tries to keep going.

ITALIAN BOY Well, if you're not a Jew, say 'bread' in Italian. See, he can't.

And with that, he rounds a blow squarely to the boy's face, sending him sprawling to the cement, his tools flying with a clatter.

The other Italian immediately joins in with a few kicks to the boy's stomach. Hyman tries to fight back; grabs a hold of his tormentor's foot, and brings him down on the cement as well. For a moment, they are rolling around on the sidewalk, two against one, Hyman taking the worst of it.

CLEMENZA Alright, alright, cut it out.

SECOND ITALIAN What for? He killed Jesus Christ!

Clemenza pulls him off, and kicks him in the ass.

CLEMENZA I said cut it out! (to the beaten kid) What's your name?

HYMAN Hyman Suchowsky.

ITALIAN BOY I don't believe it. In our neighborhood, with a name like that!

CLEMENZA What are those tools? You work on cars?

HYMAN Yeah.

CLEMENZA Maybe I know how you can make a couple of extra bucks working as a mechanic.

The boy seems agreeable.

CLEMENZA But you gotta know how to keep your mouth shut, and fer Chrissakes, get rid of that name. I'll call you Johnny Lips. (he giggles at his own humor again) Come on...

He leads the boy down the street, whispering to him, on the side:

CLEMENZA Bread in Italian is pane. P-A-N-E, pane. Don't forget.

INT. NEW GENCO WAREHOUSE - DAY

A newly acquired warehouse, stocked with cases of the new product "GENCO PURA" olive oil. It is the beginning of a new business, in the American tradition. Now they have one rattling old truck, and a few stock boys.

Genco has become the accountant-business manager, based on the experience working with his father. But it is clear, that Vito is the leader, and undisputed 'President' of the new enterprise.

Genco moves through the darkness of the warehouse, to the small divided area that Vito uses as his office.

GENCO (Sicilian) The 'patrone' is here.

VITO Chi?

GENCO Roberto. Who owns the 'rat-holes.'

Vito nods that he will see him; and soon Roberto enters, on tiptoe, his hat in his hand, and in a apologetic voice.

ROBERTO Excuse me, I hope I am not a disturbance, Don Corleone.

VITO Yes.

ROBERTO What a terrible misunderstanding. Of course, Signora Colombo can stay in the flat. Who were those miserable tenants to complain about noise from a poor animal...when they pay such low rent.

Then abruptly, he puts the roll of money on Vito's table, and steps back a respectful distance.

ROBERTO Your good heart in helping the poor widow has shamed me, and I want to show that I, too, have some Christian charity. Her rent will remain what it was.

VITO What was that?

ROBERTO In fact, reduced, bu five dollars!

Vito embraces him warmly.

VITO I accept your generosity...

ROBERTO I won't keep you another minute...

He quickly takes his leave, bowing several times, and then makes it back to the safety of the warehouse; he sighs, deflates his lungs, and mops his brow; his bones have turned too jelly with fear at his narrow escape. He all but runs out of the warehouse.

Genco laughs as he watches.

GENCO We won't see him for weeks! He'll stay in bed in the Bronx!

Clemenza has been waiting with his new mechanic. We notice the subtle difference in the way he treats Vito. He is no longer a junior apprentice in their petty crimes; but an imposing leader.

CLEMENZA This kid is good with cars; he kiijed at the truck, and says he can keep it going.

Vito looks over the lanky young man.

CLEMENZA What's your name?

HYMAN Suchowsky. Hyman Suchowsky.

CLEMENZA He's gonna dump that; I call him Johnny Lips.

VITO Who is the greatest man you can think of?

CLEMENZA Go on, answer him when he talks to you. Tell him: Columbus, Marconi... Garibaldi.

HYMAN Arnold Rothstein.

VITO Then take that as your name: Hyman Rothstein.

Genco is out in the alley; he calls out with glee.

GENCO Vitone! Look at this!

Vito moves out to the smiling Genco; Clemenza and the newly christened Hyman Rothstein follow a distance behind.

EXT. THE ALLEY - DAY

Genco stands beaming, as two workers raise up high, the freshly painted sign: "GENCO OLIVE OIL COMPANY."

GENCO (enthusiastically) God bless America! We're in business!

The young men watch as the sign is hoisted into place. OUR VIEW goes from one to the other: Clemenza, Genco, Vito and Hyman Rothstein.

DISSOLVE TO:

INT. SENATE CAUCUS ROOM - MED. CLOSE VIEW - DAY

Willy Cicci, Pentangeli's associate and bodyguard takes a drink of water.

SENATOR (O.S.) Mr. Cicci. From the year 1927 to the present time, you were an employee of the "Genco Olive Oil Company."

CICCI That's right.

SENATOR (O.S.) But in actuality, you were a member of the Corleone Crime organization.

CICCI The Corleone Family, Senator. We called it, "The Family."

SENATOR (O.S.) What position did you occupy?

CICCI At first, like everybody, I was a soldier.

VIEW ON SENATOR KANE

A thin, angular Baptist with a Mid-Western accent.

SENATOR KANE What is that exactly?

CICCI A button. You know, Senator.

SENATOR KANE No, I don't know, explain that exactly.

CICCI When the boss says push the button on a guy, I push the button, see, Senator?

The Senators treat Cicci with a surface courtesy, as if he were a curious kind of animal, not really human. Cicci reacts to this by being even more brutally forthright than he has to be, to show his contempt for what he considers a hypocrisy.

The VIEW ALTERS from Senator Kane to the Committee's attorney, Mr. Questadt.

QUESTADT You mean you killed people at the behest of your superiors?

CICCI That's right, counsellor.

QUESTADT And the head of your family was Michael Corleone.

CICCI Yeah, counsellor, Michael Corleone.

SENATOR KANE Did you ever get such an order directly from Michael Corleone?

CICCI No, Senator, I never talked to him.

SENATOR SAVOY (very autocratic, deep South, gentlemanly man) There was always a buffer, someone in between you who gave you orders.

CICCI Yeah, a buffer, the Family had a lot of buffers.

EXT. THE TROPICANA IN VEGAS - MED. VIEW - DAY

A limousine pulls up at a private area near the side of the hotel. Michael exits the limousine followed by Hagen and Neri.

MICHAEL Do you think they have somebody to back up Cicci?

HAGEN No. But if they do have somebody, you'll do three years for perjury if you give them so much as a wrong middle name.

Michael smiles to him, but it's a cold, deadly smile.

HAGEN Michael, take the Fifth all the way, that way you can't get into trouble.

EXT. PRIVATE BALCONY OF CORLEONE APARTMENT AT TROPICANA - DAY

A Corleone bodyguard waits outside on the balcony overlooking the pool area. Through the translucent draperies, we see a grouping of me.

INT. CORLEONE APARTMENT AT THE TROPICANA - DAY

Michael, Hagen, Neri and Rocco are seated in this luxury in the hotel. Michael sits in a comfortable chair in his apartment. Neri comes and brings him a drink without asking, but Michael refuses it.

MICHAEL Al, get me a wet towel. Does Kay know I'm back?

Hagen nods.

MICHAEL Did the boy get something from me for Christmas?

HAGEN I took care of it.

MICHAEL What was it, so I'll know.

HAGEN A little care he can ride in with an electric motor.

Neri comes around with a wet face towel, which Michael uses to cool his eyes. He puts the used towel down on the table.

MICHAEL Fellas, can you wait outside a minute?

They know what he means and leave the apartment, going out to the balcony where we can see them but they cannot hear. Only Hagen remains.

MICHAEL Where's my brother?

HAGEN Roth got out on a private boat. He's in a hospital in Miami. Had a stroke but he's recovered okay. Bussetta's dead.

MICHAEL I asked about Fredo?

HAGEN The new government arrested him, held him for a couple of days with a lot of the other casino people, including Roth's brother, Sam. The American Embassy arranged flights for citizens; I'm not sure, but I think he's somewhere in New York.

MICHAEL I want you to reach Fredo. I know he's scared, but have one of our people reach him. Assure him that there will be no reprisals. Tell him that I know Roth misled him.

HAGEN My information is that Fredo thought it was a kidnapping. Roth assured him nothing would happen to you.

MICHAEL (indicating Rocco and Neri on the balcony) They can come in now.

HAGEN Wait... there's something else.

MICHAEL Alright.

Hagen pauses; doesn't know how to begin.

MICHAEL (impatiently) Go on, tell me.

HAGEN Kay had a miscarriage; she lost the baby.

After a moment:

MICHAEL Was it a boy or a girl?

HAGEN Mike, at three and a half...

MICHAEL What is it, can't you give me straight answers anymore!

HAGEN It was a boy.

MICHAEL And Kay...she's all right?

HAGEN She took the Senate Investigation worse.

MICHAEL Does she blame it on me? The baby?

HAGEN I don't know.

EXT. TAHOE ESTATE - DAY

The first snow of the New Year has fallen; the trees are bare, and there is hush all over this part of the Sierras. Michael is driven in his car, looking out at the familiar sight of the home he has been forced to be away from.

VIEW ON MICHAEL

looking out from his window. The last time he had seen the estate it was warm, and the trees were full.

MOVING VIEW

approaching the great stone gates; closed. The bodyguards are not readily visible, but they are there. The iron gates are opened, and one of the men makes a simple nod of respect, as the car pulls in.

NEW VIEW

Inside the estate, the private roads have been freshly plowed, and occasionally a worker will pause to watch the car as it passes.

The Grandchildren are in school now, and so the estate is especially quiet. Although there are signs that children live here; a bicycle, a sled, a swing and gymnastic set, wet and with a rim of snow still on it.

INT. MICHAEL'S HOUSE - VIEW FROM INSIDE THE HOUSE - DAY

to the outside, where Michael walks slowly. He stops and looks at a little Italian red sportscar made for children.

NEW VIEW

The front door opens, and Michael enters his own home. It is very quiet, no one is at home to greet him. He can see the evidence of his family; things his wife and his children have been using, and left on a sofa or a table.

He moves toward his and Kay's bedroom, where we can HEAR the SOUND of a sewing machine running.

Quietly he opens the door.

MICHAEL'S VIEW

into the bedroom. Kay is sitting by the window, lit by the cold afternoon light, at work with her sewing machine. She hasn't noticed that he's in the room yet, and goes on with her work.

VIEW ON MICHAEL

stands there a moment, watching, not making a sound. And then without a word, he steps back, and closes the door, so that she doesn't see him.

VIEW FROM INSIDE THE HOUSE

onto Michael, moving outside, walking through the snow, he moves to the house next to his own.

INT. CONNIE'S HOUSE - DAY

This is the house where Mama lives with Connie's children, Connie so rarely is there.

He steps in; his mother is asleep in a chair in the living room. He moves to her, and bends low, whispers.

MICHAEL Mom... Mom...

She opens her eyes, which are red and small with age.

MICHAEL (Sicilian) It's Michael. How are you, Mom?

MAMA (Sicilian) I'm alright. Will you stay home for awhile?

MICHAEL (Sicilian) There are still things I have to do.

MAMA (Sicilian) Well, we can all have a nice dinner together tonight. How are your eyes?

MICHAEL Alright. They bother me once in awhile. (a pause as he thinks) Tell me, when Pop had troubles... did he ever think, even to himself, that he had gone the wrong way; that maybe by trying to be strong and trying to protect his family, that he could... that he could... lose it instead?

MAMA (Sicilian) You talk about the baby. She can have another baby.

MICHAEL (Sicilian) No, I meant lose his family.

MAMA (as best she ever understood it) Your family? How can you ever lose your family?

MICHAEL (almost to himself) But times are different...

FULL VIEW IN ROOM - MICHAEL AND HIS MOTHER

Quietly we HEAR the music of a small band playing an Italian march. From the orchestration, we know it is from the past.

DISSOLVE TO:

EXT. TRAIN STATION AT CORLEONE - DAY

Vitone and his young family: Mama, Santino, Fredo and the baby Michael are met at the small station in Sicily by friends, and Mama's relatives. There is a small band, playing for the occasion. A small man has brought a motor car to pick the family up; and there are certain dark men, with shotguns slung over their shoulders to preside over the occasion.

The family is helped into the car; the luggage is packed on the roof, and the car drives off. The second car, with bodyguards following.

EXT. DON TOMASINO'S VILLA OUTSIDE OF CORLEONE - DAY

The villa is bloomed with flowers and DON TOMASINO at this point is a man in his late twenties. He embraces Vitone and pats the heads of his children, and leads them all into the garden.

INT. THE VILLA - SUMPTUOUS MED. VIEW - LATE DAY

A sumptuous table is set for the visiting family from America. There is a warm atmosphere as Vito, his wife and children eat. Tomasino and his family received presents from Carmella and to Tomasino's mother, and gifts are given to all of the children.

All typically American representing some of the prosperity and interests in the consumer goods that followed a great war.

EXT. CORLEONE PLAZA - DAY

The family exits the church on the plaza of the town. Vito shakes hands warmly with the priest.

INT. VILLAGE COTTAGE - NIGHT

The door is open -- the footsteps of a man enter the room. We follow these footsteps without quite knowing to whom they belong. They lead us to a bed, where we see asleep an OLD MAN. He sleeps in his undershirt and is sweating, covered by mosquito netting.

VIEW ALTERS

and we realize that it is young Vito looking at the MAN.

We remember that the man is MOSCA, one of three men, who almost twenty years before had hunted down Vito when he was a boy. With lightning speed, Vito slashes through the mosquito netting with a knife. And with the movement precise as a butcher's he disembowls this man.

EXT. OLIVE OIL WAREHOUSE - FULL VIEW

Vito has brought his wife and children to see the Olive Oil Depot which is the link to his New York importing business. They go inside.

INT. OLIVE OIL WAREHOUSE - DAY

They are led by one of Vito's associates through rows and rows of large vats of olive oil. Vito very proudly shows his associates in Italy the olive oil can that will be used in the United States. They all stand around at the link to their new importing business and share a toast of wine.

EXT. THE BAY - DAY

A team of Sicilian fisherman are at work mending their nets. One sings accompanied by a guitar.

VIEW MOVES TO ONE OF THE OLD FISHERMAN

He is recognized as the second of the men who had hunted Vito down. STROLLO. As he walks we notice there is a figure that is moving through the drying sails and barrels, it is Vito. He moves quietly, stepping up behind the old man. In an instant, he has thrown a garrote around his throat, twisting it tight, so that there is very little sound.

Then, almost silently dragging him through the space hidden by the drying sails.

EXT. THE IMPRESSIVE ESTATE OF DON FRANCESCO - DAY

We see an old car approach. Its driver is the young Tomasino. Sitting in the car with him is Vito.

The car stops at the gates, and an old guard sees and recognizes Tomasino, opens the gates allowing them to enter.

MED. VIEW

on an almost decrepit DON FRANCESCO. He must be in his early nineties, sitting as powerful and as impressive as ever, in his throne-like chair from which he manages the power as the Mafia Chieftan of this village. Young Don Tomasino is speaking.

We notice in a little distance in the rear, there are some younger shepherds with shotguns thrown over their shoulders.

TOMASINO (Sicilian) Don Francesco, if you will honor me, by allowing me to introduce my associate in America, in New York. His name is Vito Corleone.

The old man and his eyes glance up at a notion of a man who has taken the name of this town as his name.

TOMASINO We will supply him with olive oil exclusively in the town of Corleone. His company is called the "Genco Olive Oil Company." Here we have brought you an indication of how he will sell the product.

Tomasino respectfully puts a can of olive oil where the old man can look at it. The old man nods, accepting the notion of this business.

TOMASINO (Sicilian) We have come to ask your blessing and permission to continue this enterprise.

DON FRANCESCO (Sicilian) (in a shrill, high, raspy voice) Where is this young man?

TOMASINO He is right here, standing next to me, Don Francesco.

DON FRANCESCO (Sicilian) Have him come closer, I can't see very well.

Vito takes those several steps, so that he is standing right in front of the old man.

VIEW ON DON FRANCESCO

looking up, squinting against the sun.

DON FRANCESCO'S VIEW

Strangely backlit, almost blurry image of the young man from America.

DON FRANCESCO (Sicilian) What is your name?

VITO (Sicilian) Vito Corleone.

DON FRANCESCO (Sicilian) You took the name of this town, eh? What was your father's name?

VITO (Sicilian) Antonio Andolini.

CLOSE VIEW ON THE OLD MAN

The recognition of the name throws a shudder through him. It is as though he recognizes that this is the boy; the son of his old enemy, whom he had killed, and whose sons he had tried to wipe out. The old man raises his feeble hands signalling his guard, and in his weak voice, he shouts:

DON FRANCESCO (Sicilian) Kill him! Kill him!

But he is too late; Vito steps forward.

VITO (Sicilian) In the name of my Father, and my Brother...

And uses the knife, ritualistically plunging it into the old man's belly, and then up to his throat, which is severed.

VIEW ON TOMASINO

has drawn his pistol and quickly shoots one of the guards, helping Vito to escape back into the motor car.

VIEW ON A GUARD

raising his shotgun.

VIEW ON THE MOTOR CAR

Just as Tomasino is about to get into the car, the shotgun is fired, and he is hit in the legs.

Vito manages to pull him up into the car, and they make their escape.

EXT. RAILROAD STATION IN CORLEONE - DAY

Some of the townspeople have come bringing flowers and gifts for Vito and his family.

His wife is radiant with the flowers given her.

The train has arrived and the crowd shout "Ciao, come back soon."

THE VIEW ALTERS

revealing his good friend Tomasino, waving from his wheelchair.

VIEW ON VITO

and his wife. She holds up the baby Michael, and helps him wave his hand.

INT. SENATE CAUCUS ROOM - MED. CLOSE VIEW ON MICHAEL - DAY

SENATOR KANE (O.S.) Are you the son of Vito Corleone?

MICHAEL Yes.

SENATOR KING Did he use at times an alias? Was this alias in certain circles GODFATHER?

MICHAEL It was not an alias. GODFATHER was a term of affection, used by his friends, one of respect.

SENATOR WEEKLER (Senator from New York, very smooth, partly liberal, Tammany Hall) Let me agree with that. Many of my constituents are Italian and have been honored with that certain friendship by my close Italian friends. Up to this point before I have to leave this hearing to join my own committee, let me say, that this hearing on the Mafia is in no way a slur on the Italians by the Senate; nor is it meant to be; nor will I allow it to be. Italian Americans are the hardest working, most law abiding patriotic Americans of our country. It is a shame and a pity that a few rotten apples give them a bad name. We are here to weed those rotten apples out of the vast healthy barrel of Italian Americans, who are one of the backbones of our country.

There is a pause for a while, while the New York Senator poses for the TV cameras and leaves the hearing so that he will not be associated with hearing the rough stuff.

SENATOR KANE I'm sure we all agree with our esteemed colleague. Now, Mr. Corleone, you have been advised as to your legal rights. We have had testimony from a preceding witness who states you are head of the most powerful Mafia family in this country. Are you?

MICHAEL No.

SENATOR KANE This witness has testified that you are personally responsible for the murder of a New York Police Captain in the year 1947 and with him a man named Virgil Sollozzo. Do you deny this?

MICHAEL I deny his every charge.

SENATOR KANE Is it true that in the year 1950 you devised the murder of the heads of the Five Families in New York, to assume and consolidate your nefarious power?

MICHAEL That is a complete falsehood.

SENATOR KANE Is it true that you own a controlling interest in three of the major hotels in Las Vegas?

MICHAEL That is not true. I own some stock in some of the hotels, but only very small amounts. I also own some American Telephone and IBM stock.

Michael had checked this point with Hagen, before answering, and then once again after the answer.

SENATOR ROGERS Why is it necessary for your counsel to advise you on that question?

MICHAEL Senator, I've observed the head of General Motors before a Senate Committee, and his lawyer whispered in his ear. That was not commented upon in the way you have just done.

SENATOR KANE Mr. Corleone, do you have any hotel interests in the state of Arizona? Or any gambling interests in that state?

MICHAEL I do not.

SENATOR KANE Do you have interests or control over gambling and narcotics in the state of New York.

MICHAEL I do not.

A pause. Silence, as the Chairman whispers something to his assistant.

Tom Hagen takes a paper out of his briefcase, and addresses the Chair.

HAGEN Senator, my client would like to read a statement for the record.

SENATOR KANE I don't think that's necessary.

HAGEN Sir, my client has answered every question asked by this committee with the utmost cooperation and sincerity. He has not taken that Fifth Amendment as it was his right to do, and which because of the extreme legal complexity of this hearing, counsel advised him to do. So, I think in all fairness this committee should hear his statement and put it in the record.

SENATOR KANE Very well.

At this point Senator Rogers contemptuously walks out of the hearing room.

MICHAEL (reading) In the hopes of clearing my family name, in the sincere desire to give my children their fair share of the American way of life without a blemish on their name and background I have appeared before this committee and given it all the cooperation in my power. I consider my being called before this committee an act of prejudice to all Americans of Italian extraction. I consider it a great dishonor to me personally to have to deny that I am a criminal. I wish to have the following noted for the record. That I served my country faithfully and honorably in World War II and was awarded the Distinguished Service Cross for actions in defense of my country. That I have never been arrested or indicted for any crime whatsoever... that no proof linking me to any criminal conspiracy, whether it is called Mafia or Cosa Nostra or whatever other name you wish to give, has ever been made public. Only one man has made charges against me, and that man is known to be a murderer, arsonist and rapist. And yet this committee had used this person to besmirch my name. My personal protest can only be made to the people of this country. I can only thank God that in this country we have a legal system and courts of law to protect innocent people from wild accusation. I thank God for our democratic due process of Law that shields me from the false charges made by this committee's witness. I have not taken refuge behind the Fifth Amendment, though counsel advised me to do so. I challenge this committee to produce any witness or evidence against me, and if they do not, I hope they will have the decency to clear my name with the same publicity with which they have now besmirched it. I ask this without malice, in the interests of fair play.

The television cameras have documented this moment, as Hagen hands the document over to the committee lawyer.

SENATOR ROGERS We are all impressed. The committee will now recess over the weekend. However, it will continue Monday morning, at eleven a.m. At that time, this committee will then produce a witness directly linking Mr. Corleone to the charges we have made. And then, Mr. Corleone may very well by liable for indictments of perjury. However, this document will be made a matter of record.

EXT. ARMY POST - DAY

An army post somewhere in the East. It is safely guarded.

INT. HOUSE ON THE POST - DAY

where Pentangeli is being held by his constant companions, the two FBI MEN.

PENTANGELI Ten to one shot, you said. Ten to one shot in my favor, and I lose.

FBI MAN #1 Get a good night's sleep. We got a new suit, new shirt, new tie, and I'm going to shave you myself. Tomorrow we want you to look respectable for fifty million of your fellow Americans.

PENTANGELI My life won't be worth a nickel after tomorrow.

FBI MAN #1 We have a special home for you for the rest of your life. Nobody gets near you. You're not going any place.

PENTANGELI Yeah, some deal I made.

FBI MAN #2 You live like a king. You'll be a hero. You'll live better in here than most people on the outside.

PENTANGELI Some deal. (pause) I just wish Mike had took the Fifth.

FBI MAN #1 Why'd you do it, Frankie? After all these years, why'd you turn against him?

PENTANGELI I didn't turn against nobody; he turned against me.

EXT. THE BOATHOUSE ALCOVE - DAY

A somewhat frightened Fredo Corleone sits in the easy chair overlooking the lake in this canopied section of the boathouse. Rocco sits with him.

INT. BOATHOUSE - DAY

Michael is in the dark room with Hagen and Neri.

MICHAEL How did they get their hands on Pentangeli?

HAGEN Roth engineered it, Michael. He made Pentangeli think you hit him. Deliberately letting him get off alive. Then the New York detectives turned Frankie over to the FBI. My informants say he was half dead and scared stiff -- talking out loud that you had turned on him and tried to kill him. Anyway, they had him on possession, dealing in heroin, murder one and a lot more. There's no way we can get to him and you've opened yourself to five points of perjury.

NERI They've got him airtight. He's in a military base, twenty-four hour guards. Trying to kill him is like trying to like the President -- it's impossible.

MICHAEL What does Fredo know?

HAGEN He says he doesn't know anything, and I believe him. Roth played this one beautifully.

MICHAEL Alright. I'm going to go outside and talk to Fredo.

EXT. BOATHOUSE FOYER - DAY

Fredo sits on the couch. When Rocco sees Michael, he automatically takes his leave. Michael sits in the chair opposite Fredo.

FREDO (after a pause) I don't have a lot to say, Michael.

MICHAEL We have time.

FREDO I was kept pretty much in the dark. I didn't know all that much.

MICHAEL What about now, is there anything you can help me out with?

FREDO I know they get Pentangeli, that's all I know.

Fredo gets up, walks to the glass panel that separates the terrace from the lake.

FREDO I didn't know it was a hit. I swear to you I didn't know. Johnny Ola contacted me in Beverly Hills -- said he wanted to talk. He said you and Roth were in on some big deal, and there was a place for me in it if I could help them out. They said you were being tough on the negotiation, and if they had a little bit of help, they could close it fast and it would be good for you.

MICHAEL And you believed that story.

FREDO He said there was something good in it for me...me on my own.

MICHAEL I've always taken care of you.

FREDO Taken care of me. Mike, you're my kid brother, and you take care of my. Did you ever think of that. Ever once? Send Fredo off to do this, send Fredo to take care of that... take care of some little unimportant night club here, and there; pick somebody up at the airport. Mike, I'm your older brother; I was stepped over!

MICHAEL It's the way Pop wanted it.

FREDO It wasn't the way I wanted it! I can handle things. I'm not dumb Christ, not like everyone says. I'm smart; and I want respect.

MICHAEL There's nothing more you can tell me about this investigation?

FREDO The lawyer; Questadt, he belongs to Roth.

MICHAEL You're nothing to me now, Fredo; not a brother, not a friend, I don't want to know you, or what happens to you. I don't want to see you at the hotels, or near my home. When you visit our Mother, I want to know a day in advance, so I won't be there. Do you understand?

Michael turns, and starts to leave. A frightened voice behind him:

FREDO Mikey?

Michael doesn't stop, doesn't turn back. He continues off through the veranda, and out the summer doors.

Neri stops by him.

MICHAEL I don't want anything to happen to him while my Mother's alive.

Michael leaves.

EXT. ARMY POST - DAY

Five cars brimming with Army guards and Agents are waiting to move Pentangeli. There is one empty car.

INT. GUARDED HOUSE - DAY

The two FBI Agents are helping Pentangeli get dressed. He's in brightly colored striped shorts and bare-chested. The Agents help him with the shirt and tie. One holds out the trousers but Pentangeli ignores it and looks at himself in the mirror.

FBI MAN #1 Ready, Frankie.

PENTANGELI Let's go.

The Agents open the door, and precede him, surveying the area. They check the cars waiting, each with two Agents. They check the gate and note the military sentries. Then they stand aside, and let Pentangeli come out. They get close to his side, and it is obvious they will protect his life with their own.

EXT. ARMY POST - DAY

The Agents put him in the front seat of the empty car, and get in with him, one at each side. Another Agent drives. Now, the first cars start out; the Sentries opening the gates, and letting the caravan pass.

An Army supply truck comes very close to them, and the Agents next to Pentangeli become very tense. Pentangeli grins. Then the truck passes on, and they relax.

INT. SENATE CAUCUS ROOM - DAY

The room is crowded with TV journalists, cameras, etc. We pick Pentangeli up, closely guarded, being led to witness chair.

Pentangeli is seated, and made to take his oath. FBI Agents are all around him.

MED. VIEW

Anyone given entrance to the caucus room is being frisked. The five Senators take their places.

VIEW ON HAGEN

waiting at his long table, very nervous. He seems startled by the appearance of Pentangeli.

VIEW ON PENTANGELI

catching Hagen's eye. It's as though he is pleading for some kind of understanding of the fact that he has become a traitor.

VIEW ON HAGEN

cold; then he turns away.

VIEW ON THE ENTRANCE

The bustle is settling down; then Michael Corleone enters, and with him is someone very peculiar and out of keeping for this setting. A burly-chested imposing man of middle age. Very powerful-looking with frightening magnetic eyes. His dress is odd: boots, rough tie, and shirt. He could be the tenor out of a Sicilian opera. He is clearly a country Don, direct from Sicily, and he dominates the room.

VIEW ON PENTANGELI

At first his view is blocked. Then he sees Michael and is a bit shamefaced, but still defiant.

PENTANGELI'S POV

Michael returns his glances without emotion. Then the VIEW ALTERS, revealing the Sicilian.

VIEW ON PENTANGELI

He is terror stricken; obviously he recognizes the man.

VIEW ON HAGEN'S TABLE

Michael and the Sicilian sit by Hagen, where they can stare directly at Pentangeli; he is frozen with fear.

VIEW ON THE SENATOR

Notices the tension in the room. The Chairman commences:

SENATOR KANE We have here a witness who will testify further on Michael Corleone's rule of the criminal empire that controls gambling in this country and perhaps in other countries. This witness had no buffer between himself and Michael Corleone. He can corroborate our charges on enough counts for this committee to consider a charge of perjury against Michael Corleone. (then he turns to Pentangeli) Your name please, for the record.

PENTANGELI Frank Pentangeli.

SENATOR KANE Were you a member of the Corleone Family? Were you under the Caporegime Peter Clemenza, under Vito Corleone, known as the Godfather?

There is a long silence.

VIEW ON PENTANGELI

He seems unable to speak.

VIEW ON THE SICILIAN

gazing at him.

VIEW ON PENTANGELI

PENTANGELI I never knew no Godfather. I got my own family.

Senator Kane is stunned. The two FBI men are alert, their eyes searching the room for what has intimidated their witness at the last moment.

SENATOR KANE Mr. Pentangeli, you are contradicting your confessions to our investigators; I ask you again, were you a member of a crime organization headed by Michael Corleone?

PENTANGELI No. I never heard of it. I never heard of nothing like that. I was in the olive oil business with his father a long time ago. That's all.

SENATOR KANE We have your confession that you murdered on the orders of Michael Corleone. Do you deny that confession and do you know what denying that confession will mean to you?

The die is cast and like a good soldier, Pentangeli will go all the way now. So he is brazen in his defiance of the Senator.

PENTANGELI The FBI guys promised me a deal. So I made up a lot of stuff about Michael Corleone. Because then, that's what they wanted. But it was all lies. Everything. They said Michael Corleone did this, Michael Corleone did that. So I said, "Yeah, sure."

He makes a big grin to show how he has made fools of everybody.

VIEW ON THE FBI AGENTS

glancing around the room; their eyes have settled on the Sicilian. One of them scribbles a note on a piece of paper, and passes it to the Committee lawyer. Then in turn it goes to Senator Kane.

SENATOR KANE Mr. Hagen, would you kindly identify to this committee that gentleman sitting on your right hand?

HAGEN (coolly) Yes, sir. His name is Vincenzo Pentangeli.

SENATOR KANE Is he related to the witness?

HAGEN He is, I believe, a brother.

VIEW ON MICHAEL AND VINCENZO PENTANGELI

They wait with no expression.

SENATOR KANE (to Vincenzo Pentangeli) Sir, I would like you to take the stand.

Vincenzo stares at him, uncomprehending. There may just be a shadow of contempt. He doesn't answer.

HAGEN Sir, the gentleman does not understand English. He would not in any case, take the stand. He came, at his own expense, to aid his brother in his trouble. He is not under any jurisdiction of our government and his reputation in his own country is impeccable.

SENATOR KANE (furious) The witness is excused; take him out.

The guards and FBI Agents quickly remove Pentangeli, as everybody else in the room is required to sit still.

HAGEN Senator Kane.

SENATOR KANE This meeting is adjourned.

HAGEN (rising and shouting) This committee owes an apology!

SENATOR KANE The committee is adjourned until further notice.

For the first time, in the midst of the confusion, Hagen smiles. A bitter, contemptuous smile.

VIEW ON MICHAEL

The modest champion. He rises and they take their leave.

VIEW ON THE TWO FBI AGENTS

They watch the Corleone party as they exit.

INT. WASHINGTON HOTEL CORRIDOR - DAY

The Corleone nurse is waiting, playing with the little girl MARY. A distance away, the boy, Anthony, is standing by himself.

INT. MICHAEL'S SUITE - WASHINGTON HOTEL - DAY

The door to Michael's suite opens; Rocco leans in.

ROCCO It's Kay.

Michael is sitting in an easy chair; he seems to have difficulty with his eyes.

MICHAEL On the phone?

ROCCO No, she's here.

Michael rises, surprised. Rocco steps back, and Kay enters.

MICHAEL I had no idea...

KAY I wanted to see you before you went back to Nevada. Also, the children - Michael, they're here.

MICHAEL Where?

KAY In a minute. They're outside with Esther. I'm very happy for you... I suppose I knew that you're simply too smart for anyone ever to beat you.

MICHAEL Why don't you sit down?

KAY I'm not going to stay long; I can't.

MICHAEL There are a lot of things I want to talk to you about. Things I've been thinking about -- changes I want to make.

KAY I think it's too late for changes, Michael. I promised myself I wouldn't talk about it and I've gone and spoiled it.

MICHAEL Why too late?

KAY Tell me, Michael. What really happened with Pentangeli?

MICHAEL His brother came to help him.

KAY I didn't even know he had a brother. And where is he now?

MICHAEL On a plane back to Sicily.

KAY And that's all he had to do. Just show his face.

MICHAEL That's all. You see, in Sicily, in the old days... there was only one legitimate reason to kill a blood relative... only one. IF he was a traitor.

KAY You would have killed his brother?

MICHAEL Kay, you've got it wrong. That kind of thing's all over, I promised you. This was between the two brothers. Years ago Frankie had a young girlfriend; he called her his co-wife. That was his joke, but he meant it. He wouldn't divorce his wife... because she was a great cook. He said he girlfriend made a spaghetti sauce once and it was so terrible he knew he could never marry her. He set her up in a house in Jersey. She had to be faithful... and she had to have kids. And she did, two, a boy and a girl. He had her checked out and watched so she couldn't cheat... but the girl couldn't stand that kind of life. She begged him to let her go. He did. He gave her money and made her give up the kids. Then Frankie took them to Italy, and had them brought up by his brother Vincenzo. Where he knew they'd by safe.

Kay begins to realize.

MICHAEL When he saw his brother in the hearing room, he knew what was at stake. (pause) I don't think Vincenzo would have done it. He loves the kids, too. Omerta, Kay. Honor, silence. It had nothing to do with me. It was between those brothers.

KAY I'll bring the children up now; they want to say goodbye.

MICHAEL Kay, I told you...

KAY Goodbye, Michael.

MICHAEL I won't let you leave! Christ, do you think I'm going to let you leave.

KAY (meekly) Michael.

MICHAEL No, I don't want to hear anything. There are things between men and women that will not change; things that have been the same for thousands of years. You are my wife, and they are my children... and I love you and I will not let you leave, because you are MINE!

KAY Oh, I do feel things for you, Michael; but now, I think it's pity. For the first time since I've known you, you seem so helpless. You held me a prisoner once; will you try again?

MICHAEL If that's what it takes; then yes, I will.

KAY At this moment, I feel no love for you at all. I never thought that could happen, but it has.

MICHAEL We'll go back tonight. Bring the children.

KAY You haven't heard me.

He moves to her; he does love her, and is tender with her.

MICHAEL How can I let you leave; how can I let you take my children away? Don't you know me? You understand, it's an impossibility. I would never let it happen; no, never, not if it took all my strength, all my cunning. But in time, soon, you'll feel differently. You see, you'll be happy that I stopped you. I know you. You'll forget about this; you'll forget about the baby we lost... and we'll go on, you and I.

KAY The baby I lost...

MICHAEL I know what it meant... and I'm prepared to make it up to you. I will make changes; I can. (he clenches his fist tightly) I CAN change; that I have learned, that I have the strength to change... And we have another child, a boy... and you'll forget the miscarriage.

KAY It wasn't a miscarriage. And you with your cunning, couldn't you figure it out! It was an abortion; an abortion, like our marriage is an abortion, something unholy and evil. I don't want your son; I wouldn't bring another of your sons into this world. An abortion, Michael... it was a son, and I had it killed, but this must all end!

VIEW ON MICHAEL

He had no hint, not in his wildest imagination could he have guessed that she would do such a thing.

KAY And I know that now it's over; I knew it then, there would be no way you could ever forgive me, not with this Sicilian thing that goes back two thousand years.

He is silent, though raging -- then, with all his passion, and his strength, he raises his arms, and strikes her across her neck, literally knocking her down to the floor, and hurting her badly.

MICHAEL (coldly) You won't take my children.

FADE OUT.

FADE IN:

EXT. THE CORLEONE ESTATE AT TAHOE - FULL VIEW - DAY

A collection of dark cars and black limousines are gathered to one side. A few drivers wait quietly.

And then, to the other extreme of the estate, is a small grouping of about twenty to thirty people, gathered near Michael's house.

MED. CLOSE SHOT

Connie Corleone, dressed simply and now showing her age without the carefully applied makeup which we have been used to, kneels down before the shrine of Santa Theresa, and puts down a bouquet of flowers, along with others that have been placed there. We see that some have the simple silk ribbon with the word "Mama" hand-lettered upon it.

Her two children stand close behind her; they had been raised by their Grandmother.

Connie steps back, and moves through the small group of friends and relatives, into Michael's house.

INT. MICHAEL'S HOUSE - CONNIE'S VIEW - DAY

Fredo, kneeling by the coffin of his mother in a portion of the house that has been set aside for the wake. Fredo concludes his prayer, wipes away the tears in his eyes and steps away from the coffin.

He stops when he notices Neri, a little distance away, looking at him.

VIEW ON NERI

After a moment, he nods respectfully to Fredo, and steps forward, moving to the old woman's coffin. Fredo moves to Hagen, who is there with his wife and children.

FREDO Tom. Where's Mike?

HAGEN (difficult to tell him) He's waiting for you to leave.

FREDO Can I talk to him?

HAGEN No chance. I'm sorry, Freddie.

CONNIE (who has heard this) Can I see him?

HAGEN He's in the boathouse.

INT. THE BOATHOUSE - MED. VIEW - DAY

Michael sits quietly in the darkened room in one of the big sofas, dressed immaculately in suit and tie. His two children, also dressed for the wake sit opposite him in the other oversized sofa, their shoes not touching the floor. We regard this tableau for a long moment.

CONNIE (O.S.) (quietly) Michael? It's Connie.

She comes in, and sits down by his knees.

CONNIE I want to stay close to home now, is that alright?

Michael nods.

CONNIE Is Kay coming?

MICHAEL No.

CONNIE Michael, Fredo's in the house with Mama. He asked for you, and Tom said he couldn't see you.

MICHAEL Tom is right.

CONNIE Kids, why don't you go outside for a while?

The children don't move; Connie realizes they will only listen to Michael.

CONNIE I want to talk to you, Michael.

MICHAEL The children can stay.

CONNIE I hated you for so long, Michael; for so many years. I think I did things to myself, to hurt myself, so that you would know -- and you would be hurt too. But I understand you now; I think I do. You were being strong for all of us, like Papa was. And I forgive you, and want to be close to you now. Can't you forgive Fredo; he's so sweet, and helpless without you.

Slowly, Michael puts his hand on her hair, and touches her gently.

CONNIE You need me, Michael. I want to be with you now.

INT. MICHAEL'S HOUSE - DAY

Friends, relatives; Francesca and her new husband, Gardner and their baby; Sandra Corleone; Teresa, her children; all the familiar faces of the family are present, quietly paying their respects to Mama.

Some of the men can be seen in the kitchen, drinking wine, and talking in low voices.

Fredo is there, broken-hearted over the loss of his Mother; like some lost child with no friends.

MED. VIEW

Michael enters the room, followed by Connie, who tends little Mary and Anthony.

He approaches his brother, and then embraces. Fredo breaks into tears.

FREDO Christ, Mike. Jesus Christ, Mike.

VIEW ON MICHAEL

embracing his brother, he glances up.

VIEW ON NERI

quiet, and deadly.

EXT. THE TAHOE ESTATE - MED. VIEW - DAY

Tom Hagen is talking in the distance to his wife, and one of his older sons; he kisses, and moves toward the boathouse. After crossing the lawn, he stops.

VIEW ON SANDRA CORLEONE

waiting there; obviously wanting to talk to him. He continues, and she walks with him.

MOVING VIEW ON THE TWO

as they cross toward the boathouse.

SANDRA You're going to talk to him now.

HAGEN Yes.

SANDRA Will you tell him?

HAGEN I don't know.

She stops him.

SANDRA Tom, think of yourself for once. Don't let this opportunity slip through your fingers; don't do it. We're all trapped here, don't you see?

He continues past her, without answering her. Continues up to the boathouse. He stops before he enters.

HAGEN'S VIEW

Fredo is sitting by the edge of the harbor with Michael's son Anthony; he is helping him with some fishing rig.

INT. THE BOATHOUSE - VIEW ON MICHAEL - DAY

looking through the window at his son and brother. Neri sits in the room, dressed informally.

MICHAEL (without looking back) Sit down, Tom. Have you heard about our friend and partner, Mr. Hyman Roth?

HAGEN I know he's in Israel.

NERI (hands Hagen the paper) The High Court of Israel turned down his request to live as a 'returned Jew.' His passport's been invalidated except for return to the U.S. He landed in Buenos Aires yesterday, offered a gift of one million dollars if they would give him citizenship. They turned him down.

HAGEN (reading) He's going to try Panama...

MICHAEL They won't take him; not for a million, not for ten million.

HAGEN His medical condition is reported as... "terminal."

MICHAEL He's been dying of the same heart attack for twenty years.

HAGEN That plane goes to Miami...

MICHAEL I want it met.

HAGEN (understanding) Mike, it's impossible. He'll be met by the Internal Revenue; the Customs Service, and half the FBI.

MICHAEL I don't like it when you use the word impossible; nothing is impossible...

HAGEN Mike, it would be like trying to kill the President; there's no way we can get to him.

MICHAEL I'm surprised at you, Tom. If there's anything certain; certain in life; if history has taught us anything, it's that you can kill... (he stops, then coldly) ANYBODY. But perhaps your relucatance is because you've come to tell me that you're moving your family to Vegas, that you've been offered the Vice-Presidency of the Houstan Hotels there. Or weren't you going to tell me at all?

HAGEN Are you so hungry for traitors; do you want to find them everywhere?

MICHAEL They are everywhere!

HAGEN I turned Houstan down; I didn't see why I should tell you about an offer I turned down. (Michael begins to confuse him) Are you sure, Mikey? Are you sure of what we're doing; what we'll gain; what does the family gain? Forget that, Mike; I already know the answer.

MICHAEL I know you do, Tom. Then I can count on you to help me do the things I have to do. If not, call Houstan, and become a Vice-President. Take your family and your mistress and move them to Las Vegas.

HAGEN Why do you hurt me, Michael? I've always been loyal to you.

MICHAEL Good. Then you're staying.

HAGEN I'm staying. (he pauses...then, without being asked) Don't ever enjoy the cruel part of all this; Sonny never listened to me about that. (then he sits down, and opens his briefcase) Now, explain everything to me.

EXT. THE HARBOR - DAY

Fredo sits with Anthony, with a silly-looking fishing hat on his head, covered with lure and flies.

FREDO Anthony, ole buddy, your Uncle Fredo's gonna teach you how to catch the big fish. You know, when I was a kid, I did this amazing thing. I went out on a fishing trip; me and my brothers and my Pop, and no one could catch a fish except me. And this was my secret: (confidentially) Every time I would put the line down I would say a "Hail Mary" and every time I said a "Hail Mary" I would catch a fish. Now, when it's sunset, we're gonna go out on the lake, and we're gonna try it.

INT. GUARDED HOUSE - DAY

The guards step aside as Tom Hagen enters the foyer of the house. He shows a court order to them and they lead him up the stairs where he knocks on the door.

INT. GUARDED HOUSE - DAY

There is a KNOCK at the door. The two guards show Hagen in and Hagen presents the court order to one of the FBI men.

HAGEN I think I prefer to see my client privately.

PENTANGELI The room has a bug in it.

HAGEN (to the FBI men) I'd like to go outside with him, in the open air.

FBI MAN #1 This room is not bugged.

HAGEN You have guards outside and the electric fence. There's no security reason for not letting us talk in the yard.

FBI MAN #1 Okay.

They pass out of the room.

EXT. THE ARMY POST - DAY

Hagen and Pentangeli outside, by the electric fence. They cannot be overheard. Pentangeli takes out some cigars and offers Hagen one. Hagen takes it and Pentangeli lights both their cigars. They puff on them contentedly. They are comfortable together, almost.

HAGEN Everything is going to be okay, Frankie, don't worry.

PENTANGELI Did my brother go back?

HAGEN Yeah, but don't worry.

PENTANGELI He's ten times tougher than me, my brother. He's old-fashioned.

HAGEN Yeah. He wouldn't even go out to dinner. Just wanted to go home.

PENTANGELI That's my brother. Nothing could get him away from that two mule town. He coulda been big over here -- he could of had his own Family.

HAGEN You're right.

PENTANGELI Tom, what do I do now?

The light is beginning to turn reddish as the sun falls.

HAGEN Frankie, you were always interested in politics, in history. I remember you talking about Hitler back in '43. We were young then.

PENTANGELI Yeah, I still read a lot. They bring me stuff.

HAGEN You were around the old timers who dreamed up how the Families should be organized, how they based it on the old Roman Legions, and called them 'Regimes'... with the 'Capos' and 'Soldiers,' and it worked.

PENTANGELI Yeah, it worked. Those were great old days. We was like the Roman Empire. The Corleone family was like the Roman Empire.

HAGEN (sadly) Yeah, it was once.

They both puff on their cigars. Pentangeli lets himself be carried away by thoughts of old days of glory; Hagen thinks of other days too.

HAGEN (very gently) The Roman Empire... when a plot against the Emperor failed, the plotters were always given a chance to let their families keep their fortunes.

PENTANGELI Yeah, but only the rich guys. The little guys got knocked off. If they got arrested and executed, all their estate went to the Emperor. If they just went home and killed themselves, up front, nothing happened.

HAGEN Yeah, that was a good break. A nice deal.

Pentangeli looks at Hagen; he understands.

PENTANGELI They went home and sat in a hot bath and opened their veins, and bled to death. Sometimes they gave a little party before they did it.

Hagen throws away his cigar. Pentangeli puffs on his.

HAGEN Don't worry about anything, Frankie Five-Angels.

PENTANGELI Thanks, Tom. Thanks.

They shake hands. The FBI Agents come out to let Hagen out the gate. Pentangeli is led back to the house.

FBI MAN #1 Your lawyer tell you he can get that 600 years reduced to 500?

Pentangeli puffs on his cigar and reflects.

PENTANGELI You boys sure you can't get me a broad for tonight? Give me a little party?

FBI MAN #2 We got some nice books.

Pentangeli puffs on his cigar and gives the Agent a smile an old man gives a child. He starts upstairs.

PENTANGELI I guess I'll just take a hot bath.

EXT. THE ARMY POST - DAY

Hagen walks away; glances back. Then gets into his waiting car and drives off.

INT. THE BOATHOUSE - FULL VIEW - SUNSET

Michael sits alone in the empty boathouse; in the shadows.

INT. BOAT DOCK - SUNSET

Neri stands by the dock area under the boathouse. He pushes the button which lowers a boat by winch and tackle. He wears a fishing cap.

He steps into the boat, and pulls the small outboard, which glides the boat out into the harbor.

MED. VIEW

The boat pulls up alongside Fredo and Anthony.

FREDO Here we go; and remember the secret.

He lifts Anthony into the boat.

CONNIE (O.S.) Anthony.

THEIR VIEW

Connie, in houseclothes, is calling Anthony.

FREDO He's here; we're goin' fishing.

CONNIE He can't go; Michael wants to take him into Reno.

FREDO Ah. Okay, kid, you got to go to Reno with your Pop.

He lifts the boy out of the boat, and puts him on the shore.

FREDO I'll catch one for you, with the secret.

CONNIE Hurry, Anthony.

Neri stands the motor; and the boat with the two fisherman glides off.

VIEW ON MICHAEL

watching, from the dark window of the boathouse.

INT. HIGH SECURITY HOUSE IN ARMY POST - NIGHT

The FBI man knocks on the bathroom door in the house where they have kept Pentangeli.

FBI MAN #1 Frankie, open up. You okay?

No answer; he hammers on the door. Using his elbow, and then a kick he breaks into the bathroom.

HIS VIEW

Pentangeli lying in a tub of water. His stomach shows above it. His wrists are cut and covered with blood. The bath water has a purplish tone.

DISSOLVE TO:

EXT. LAKE TAHOE - MED. VIEW - SUNSET

Fredo and Neri are fishing, each with lines out. The VIEW MOVES CLOSER, and we can hear Fredo as he holds the pole.

FREDO ... the Lord is with thee. Blessed art thou amongst women, and blessed is the fruit of thy womb, Jesus.

LONG SHOT

The boat on the shimmery lake.

FREDO ... Holy Mary, Mother of God, pray for us...

We hear a quiet, echoing GUNSHOT; and then silence.

DISSOLVE TO:

INT. MIAMI AIRPORT - NIGHT

An exhausted Hyman Roth, ill-shaven, and in shirt-sleeves in taken into custody by a swarm of Customs, and FBI men. They allow him to be photographed by press people; and television cameramen.

FBI MAN Mr. Roth, we have to take you into custody.

ROTH Yes, I know.

Some flashbulbs go off.

REPORTER Can you give us your reaction to the High Court of Israel's ruling.

ROTH I am a retired investor on a pension, and I wished to live there as a Jew in the twilight of my life...

LAWYER Mr. Roth is not a well man; he's tired of running.

ROTH I'm an old man; at my age, it's too late to start worrying.

REPORTER Is it true you are worth over three hundred million dollars, Mr. Roth?

ROTH I'm a retired investor, living on a pension... I came home to vote in the Presidential election, because they wouldn't give me an absentee ballot...

The newsmen and photographers all laugh, as the FBI men move him away.

CLOSE VIEW

One of the newspapermen laughing we recognize to be Rocco Lampone.

He moves closer to Roth, and shoves his revolver right against his head, and in a second, on camera, assassinates Roth. People scream, as Rocco attempts to run down the airport corridor, limping as he does.

FBI men easily pick him off.

FADE OUT.

EXT. THE DRIVEWAY BY MICHAEL'S HOUSE - DAY

A taxi cab waits by the house; its driver sleeping with a newspaper over his face.

INT. MICHAEL'S HOUSE - DAY

The cleaning woman, Esther, who had been with Kay for years, sits by the dining room table, weeping profusely. Behind her, in the recreation room, we can see the tableau of Kay sitting on the couch, her little daughter Mary, between her knees, talking quietly about things we cannot hear. Her son Anthony sits by himself, in another chair by the side of the room.

MED. VIEW

Connie comes into the house quickly, and moves toward them.

CONNIE Kay, you have to go.

This prompts Esther to weep all the more. Kay hugs her daughter, and kisses her many times.

CONNIE You have to hurry; he's coming.

Kay puts her coat on; then stands, and reaches out for her son.

KAY Anthony, kiss Mama goodbye.

He doesn't move.

CONNIE (angrily) Anthony, you kiss your Mother goodbye!

He rises, and walks to her. Hugs her lifelessly.

MED. CLOSE VIEW

on Kay, kissing her boy.

KAY Anthony, say goodbye; your Mama loves you.

ANTHONY Goodbye.

She restrains any tears; she has become too strong for tears. Kay starts to go; picks up Mary, kisses her, and starts to go.

NEW VIEW

She steps out the kitchen door; then she cannot help herself. Crouches down, outside, and calls to her son.

KAY Anthony, kiss me once.

Then she looks up, and slowly rises.

HER VIEW

Michael has stepped into the dining room. He seems older somehow; as though some sickness has taken more years away from him.

VIEW ON KAY

looks at him; instinctively, she takes a step back.

VIEW ON MICHAEL

slowly steps toward her.

VIEW ON KAY

Another step back; the door is still open.

VIEW ON MICHAEL

He moves closer to the door; stops, looks at her. And then closes it obscuring any view of her.

DISSOLVE TO:

EXT. TAHOE ESTATE - DAY

It is late fall -- most of the leaves have fallen on the grounds and there is quite a wind.

MED. VIEW

The water is whipped up by the wind, and the waves are high as they break against the pavilion. We HEAR the MUSIC of time passing, of Michael, of the Godfather over these images.

VIEW ON THE SWIMMING POOLS

They have not been used in several months; they are drained and the bottoms are mossy and dark.

VIEW ON THE MAIN GATE

Leaves blowing past it; we don't see the button men; only a hint of someone in the gatehouse.

VIEW ON THE HOUSES

Some of the houses have had the summer awnings taken down, and put away. Some of the windows have been boarded up.

VIEW ON THE KENNELS

There are still the guard dogs; some sleeping, some moving impatiently.

As the MUSIC concludes its statement.

MED. VIEW

The peninsula of the private Corleone Harbor. We see the figures of two people, seated at a table.

MED. VIEW

Michael sits at a table having a sparse lunch. He is attended by his sister Connie, who seems to be the closest person now living on the estate with him. We see from the way she pampers him with his lunch, that she has fallen into the role of a surrogate Mother-Wife. He seems older than his years, as though his illness, diabetes, has taken its toll.

CONNIE Don't worry; I'm sure he got here on time. The roads from the airport are so windy, it takes forever; I've driven them myself.

She picks up some of the serving plates that he has left untouched.

CONNIE I'll bring him out to you as soon as he comes.

She moves back to the main house.

MED. CLOSE VIEW ON MICHAEL

He turns and looks at the rough water of the lake for a moment. He slowly takes a sip of wine.

EXT. A PLACE IN THE GARDEN - DAY

There are a few chairs.

MED. VIEW ON ANTHONY CORLEONE

He is eighteen years old.

ANTHONY Hello, Dad.

VIEW ON MICHAEL

squinting up at his son.

MICHAEL Anthony.

He rises, and reaches up to his son, who is now taller than he; he embraces him.

MICHAEL You've grown so tall... so tall in the last year. You're much taller than me.

ANTHONY I was taller than you when I was fourteen.

MICHAEL Sit down. Your Aunt Connie and I waited for you to have some lunch, but now it's all dried out.

ANTHONY I'm not hungry.

MICHAEL Well, that's alright... alright. Good. You'll graduate in another year, isn't that right? You know... I never finished college. I was a good student, but I never finished. Of course, there was a war then.

Connie approaches them.

CONNIE Don't let me interrupt anything, this will just take a second. Here. (she takes out a small needle, and begins to prepare it) Your father has to have his insulin shot. Why don't you go to your room and put your things away, Anthony.

She begins to give Michael the shot.

MICHAEL Hurry back; we'll talk. We'll talk.

Anthony goes on his way to the house with his things. Connie gives Michael the shot.

CONNIE Whenever I see that lake so cold, I think of poor Fredo, drowned. Lake Tahoe is very cold. They say if a person drowns in it, that the body will remain mid-suspended -- perfectly preserved. Some say it will remain forever.

She finishes the shot, puts her things away.

CONNIE Your boy will be right back.

She leaves.

VIEW ON MICHAEL

Alone in the garden.

OUR VIEW begins to MOVE CLOSER to him. We begin to HEAR MUSIC of the forties; happy music, swing music, as we move CLOSER to Michael.

DISSOLVE TO:

INT. OLD CORLEONE HOUSE - MED. VIEW - NIGHT

SONNY CORLEONE, his arm wrapped around a smiling red-faced Carlo Rizzi, pulls him into the Corleone dining room.

SONNY Hey, who knows my buddy Carlo Rizzi. Here... my brother Fredo, here's my Mom. Mom, whatcha got cooking? And Carlo, this is my kid sister Connie. Here, pull up a chair, Carol is sitting next to Connie. Oh, the droopy kid over there is Mike. The college boy.

An older, lanky man enters the room, his arms laden with presents. This is TESSIO.

TESSIO Buon Natale, everybody. Buon Natale... (he smiles at Tom Hagen) Hi, Tom, how's every little thing?

HAGEN (helping him with the presents) Wonderful, Sal.

Now the study door opens, and DON CORLEONE enters.

DON CORLEONE Is dinner ready?

MOM Two minutes.

The Don happily regards his family; his sons and daughters and even some Grandchildren. He raises a glass.

DON CORLEONE A good life, a long life to all my children, and friends. To my grandchildren, and those that will be. To our family.

They all drink.

They refill glasses; then Tessio proposes a toast.

TESSIO To our Godfather.

They all drink.

INT. THE DINING ROOM - MED. VIEW - NIGHT

The family is happily at Christmas dinner. Don Corleone seated at the head of the table.

SONNY What'd you think of those Japs, eh? The nerve of those Japs, coming right here in our own backyard dropping bombs!

HAGEN Well, we could have expected it after the embargo.

SONNY Hey! Expect it or not, those Japs don't have a right to drop bombs in our backyard. Whose side you on?

MAMA Please, do we have to talk about the war at the table? On Christmas, much less.

VIEW ON MICHAEL

He has been listening to this discussion.

MICHAEL Pop, I've decided I'm going to enlist.

A quiet hush descends over the table, as though everyone knows the effect this will have on the old man. Sonny tries to make light of it.

SONNY Kid, stay in college. The girls are cuter, if you know what I mean.

HAGEN Pop had to pull a lot of strings to get you your deferment.

MICHAEL I never asked for it; I don't want it.

VIEW ON DON CORLEONE

Disturbed; but wise and prudent.

DON CORLEONE My son wants to talk about this, and so we'll talk, but not at the dinner table.

He rises, and starts across the room toward his study. Then he looks back.

DON CORLEONE Michael.

He disappears into his study. Michael rises, glances around. People are generally tense over the situation. Michael follows his father into the study.

INT. DON CORLEONE'S OLD STUDY - NIGHT

The Don closes the door behind his son, and then moves across the room. He stops at the little bar there, and pours himself a brandy.

DON CORLEONE Would you like some?

MICHAEL No, Dad.

DON CORLEONE Now what is this talk about joining the army? Eh?

MICHAEL It's not talk; I'm doing it.

DON CORLEONE You would risk your life for strangers?

MICHAEL Not for strangers; for my country.

DON CORLEONE Anyone not in your family, is a stranger. Believe me, when trouble comes, your country won't take care of you.

MICHAEL That's how it was in the old world, Pop, but this is not Sicily.

DON CORLEONE I know. I know, Michael. It's Christmas, your brothers and sister are all here -- we are happy. Let's not spoil this. Go your own way, but when you are ready, come to me the way a son should. I have hopes for you...

CLOSE VIEW ON MICHAEL

looking at his father with a mixture of great love, and also fear, and confusion.

MICHAEL I won't be a man like you.

DISSOLVE TO:

EXT. THE TAHOE ESTATE - HIGH FULL VIEW - DAY

The leaves are blowing. MUSIC comes up.

Michael and his young son, Anthony, walk through the grounds of the estate, talking about things we cannot hear.

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II/ Godfather II.
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