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Главная>Киносценарии>Крёстный отец I/ Godfather I

Сценарий фильма Крёстный отец I/ Godfather I на английском языке бесплатно (часть 2)

Здесь вы можете найти продолжение сценария к фильму: Крёстный отец I/ Godfather I.

Крёстный отец I/ Godfather I

EXT NITE: CAMELS SIGN (WINTER 1945)

The enormous "CAMELS" sign, puffing smoke, below it stands MICHAEL, dressed in a warm overcoat, and wearing the hat CLEMENZA had given him. A long black car pulls around the corner and slows before him. The DRIVER, leaning over, open the front door.

DRIVER Get in, Mike.

He does, the car drives off.

EXT NITE: SOLLOZZO'S CAR (WINTER 1945)

Inside the car, SOLLOZZO reaches his hand over the back seat and shakes MIKE's hand.

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

MICHAEL I want to settle things tonight. I want my father left alone.

SOLLOZZO He won't be; I swear to you be my children he won't be. Just keep an open mind when we talk. I hope you're not a hothead like your brother, Sonny. It's impossible to talk business with him.

McCLUSKEY grunts.

MCCLUSKEY He's a good kid. He's all right. Turn around, up on your knees, facing me.

He gives MICHAEL a thorough frisk.

MCCLUSKEY I'm sorry about the other night Mike. I'm getting too old for my job, too grouchy. Can't stand the aggravation. You know how it is. He's clean.

EXT NITE: SOLLOZZO'S CAR - WEST SIDE HIGHWAY (WINTER 1945)

MICHAEL looks at the DRIVER and then ahead to see where they're heading.

The car takes the George Washington Bridge. MICHAEL is concerned.

MICHAEL We're going to New Jersey?

SOLLOZZO (sly) Maybe.

MICHAEL closes his eyes.

EXT NITE: SOLLOZZO'S CAR ON G.W. BRIDGE (WINTER 1945)

The car speeds along the George Washington Bridge on its way to New Jersey. Then suddenly it hits the divider, temporarily lifts into the air, and bounces over into the lanes going back to New York. It then hits it very fast, on the way back to the city.

EXT NITE: SOLLOZZO'S CAR (WINTER 1945)

SOLLOZZO checks to see the cars that had been following, and then leans to the DRIVER.

SOLLOZZO Nice work; I'll remember it.

MICHAEL is relieved.

EXT NITE: LUNA AZURA RESTAURANT (WINTER 1945)

The car pulls up in front of a little family restaurant in the Bronx: The "LUNA AZURA". There is no one on the street. MICHAEL looks to see if the DRIVER is going to get out with them. He gets out, and opens the door. SOLLOZZO, McCLUSKEY and MICHAEL get out; the DRIVER remains leaning against the car. They enter the restaurant.

INT NITE: LUNA AZURA (WINTER 1945)

A very small family restaurant with a mosaic tile floor. SOLLOZZO, MICHAEL and McCLUSKEY sit around a rather small round table near the center of the room. There are empty booths along the side walls; with a handful of CUSTOMERS, and ONE or TWO WAITERS. It is very quiet.

MCCLUSKEY Is the Italian food good here?

SOLLOZZO Try the veal; it's the finest in New York.

The solitary WAITER brings a bottle of wine to the table. They watch him silently as he uncorks it and pours three glasses. Then, when he leaves, SOLLOZZO turns to McCLUSKEY:

SOLLOZZO I am going to talk Italian to Mike.

MCCLUSKEY Sure, you two go right ahead; I'll concentrate on my veal and my spaghetti.

SOLLOZZO now begins in rapid Sicilian. MICHAEL listening carefully and nodding every so often. Then MICHAEL answers in Sicilian, and SOLLOZZO goes on. The WAITER occasionally brings food; and they hesitate while he is there; then go on. Then MICHAEL, having difficulty expressing himself in Italian, accidentally lapses into English.

MICHAEL (using English for emphasis) Most important...I want a sure guarantee that no more attempts will be made on my father's life.

SOLLOZZO What guarantees can I give you? I am the hunted one. I've missed my chance. You think too highly of me, my friend...I am not so clever...all I want if a truce...

MICHAEL looks long and hard at SOLLOZZO, who is smiling holding his open hands up as if to say: "I have no tricks up my sleeve". Then he looks away and makes a distressed look on his face.

SOLLOZZO What is it?

MICHAEL Is it all right if I go to the bathroom?

SOLLOZZO is intuitively suspicious. He studies MICHAEL with his dark eyes. Then he thrusts his hand onto MICHAEL's thigh feeling in and around, searching for a weapon.

MCCLUSKEY I frisked him; I've frisked thousands of young punks; he's clean.

He looks at a MAN sitting at a table opposite them; indicating the bathroom with his eyes. The MAN nods, indicating no one is there.

SOLLOZZO Don't take too long.

MICHAEL gets up and calmly walks to the bathroom, and disappears inside.

INT NITE: LUNA AZURA TOILET (WINTER 1945)

MICHAEL steps into the small bathroom; he is breathing very hard. He actually uses the urinal. Then he washes his hands with the bar of pink soap; and dries them thoroughly. Then he moves to the booth, up to the old-fashioned toilet. Slowly he reaches behind the water tank; he panics when he cannot feel the gun. We see behind the tank his hand is just a few inches from the gun...he gropes searchingly...finally coming to rest on the gun.

CLOSE ON MICHAEL; the feel of it reassures him. Then he breaks it loose from the tape holding it; he takes a deep breath and shoves it under his waistband. For some unexplainable reason he hesitates once again, deliberately washes his hands and dries them. Then he goes out.

INT NITE: LUNA AZURA (WINTER 1945)

He hesitates by the bathroom door; and looks at his table. McCLUSKEY is eating a plate of spaghetti and veal. SOLLOZZO turns around upon hearing the door, and looks directly at MICHAEL. MICHAEL looks back. Then he smiles and continues back to the table. He sits down.

MICHAEL Now I can talk. I feel much better.

The MAN by the far wall had been stiff with attention; now he too relaxes. SOLLOZZO leans toward MICHAEL who sits down comfortably and his hands move under the table and unbutton his jacket. SOLLOZZO begins to speak in Sicilian once again but MICHAEL's heart is pounding so hard he can barely hear him.

The WAITER comes to ask about the order, SOLLOZZO turns to speak, and without warning, MICHAEL shoves the table away from him with his left hand, and with his right hand puts the gun right against SOLLOZZO's head, just touching his temple. He pulls the trigger, and we see part of SOLLOZZO's head blown away, and a spray of fine mist of blood cover the entire area.

The WAITER looks in amazement; suddenly his white jacket is sprayed and stained with blood.

SOLLOZZO seems in a perpetual fall to the floor; through he seems to hang in space suspended.

MICHAEL pivots, and looks:

There is McCLUSKEY, frozen, the fork with a piece of veal suspended in air before his gaping mouth.

MICHAEL fires; catching McCLUSKEY in his thick bulging throat. He makes a horrible, gagging, choking sound. Then coolly, and deliberately, MICHAEL fires again, fires right through McCLUSKEY's white-topped skull.

The air is filled with pink mist. MICHAEL swings toward the MAN standing by the bathroom wall. He does not make a move, seemingly paralyzed. Now he carefully shows his hands to be empty. The WAITER steps backward through the mist of blood, an expression of horror on his face. MICHAEL looks at his two victims: SOLLOZZO still in his chair, side of his body propped up by the table. McCLUSKEY finally falls from the chair to the table. MICHAEL is wildly at a peak. He starts to move out. His hand: is frozen by his side, STILL GRIPPING THE GUN. He moves, not letting the gun go.

MICHAEL's face; frozen in its expression.

His hand: still holding the gun.

His face: finally he closes his eyes.

His hand relaxes, the gun falls to the floor with a dull thud.

He walks quickly out of the restaurant, looks back.

He sees a frozen tableau of the murder; as though it had been recreated in wax.

Then he leaves.

---------------------------------------FADE OUT---------

FADE IN:

INT DAY: MATTRESS (WINTER 1945)

A MAN is his shirtsleeves plays a sentimental tune on an old upright piano, while his cigarette burns on the edge. ANOTHER stands nearby, listening quietly.

A little distance away, TEN MEN sit around a crude table, quietly eating. They talk in low, relaxed voices, and there is an occasional laugh.

ROCCO LAMPONE stands by a window, which has been covered with a heavy-mesh wire grating, gazing out.

A large bowl of pasta is passed, and the MEN eat heartily.

The sentimental tune is continued over the following:

INT DAY: BODIES IN CAR (WINTER 1945)

A MAN and a WOMAN, blood coming out of their noses, lie still together in a bullet-riddled automobile.

INT DAY: BODY IN BARBER SHOP (WINTER 1945)

A MAN is covered by a sheet on the floor of a barber shop.

INT DAY: MATTRESS

Ten mattresses are spread out around the otherwise empty living room of an apartment. THREE or FOUR MEN including CLEMENZA, are taking naps.

An arsenal of hand guns are spread out on a card table.

The MEN at the table continue their dinner; passing and pouring the wine.

Trash is thrown in 2 or 3 garbage cans kept in the apartment.

INT DAY: BODY IN OFFICE (WINTER 1945)

A MAN, his clothes soaked in blood, lies on the floor of an office building, dead, under an enormous portrait of Harry S. Truman.

EXT DAY: BODY ON STOOP (WINTER 1945)

ANOTHER MAN, his trousers soaked in blood, lies spanning three steps of a front stoop.

INT NITE: MATTRESS (WINTER 1945)

TESSIO, sits in a simple straight-backed chair, doing a crossword puzzle.

A thin, boyish BUTTON MAN, writes a letter.

Six or seven empty mattresses, with tossed unmade blankets. Coffee cans beside them serve as ash trays.

A MAN by the table pulls the cork on another bottle of Ruffino, and wine is poured as the MEN eat.

EXT DAY: BODY IN ALLEY (WINTER 1945)

A CORPSE is half out of an overturned garbage can in a quiet alley.

INT DAY: BODY AT TABLE (WINTER 1945)

A MAN in a formal jacket and tie is slumped over a table, in a pool of blood on the tablecloth.

INT DAY: MATTRESS (WINTER 1945)

A neatly stacked pile of newspapers in the corner of an apartment. We catch a glimpse of one headline: "Five Family War..."

The table. The MEN are sitting around cracking nuts. ONE has fallen asleep on his arms at the table.

SEVERAL MEN are taking naps on the Mattresses.

The PIANO PLAYER finishes the tune with finesse. Picks up and takes a drag from his cigarette. The OTHER MAN nods appreciatively.

MAN Nice Augie...nice.

EXT DAY: MANCINI BLDG. (SPRING '46)

Several cars are parked in front of a pleasant New York apartment building. We recognize a couple of SONNY's bodyguards loafing by the cars, pitching playing cards against the curb.

Inside the building, two others wait quietly by the rows of brass mailboxes: they have been there quite awhile.

Up one flight of stairs, a single man sits on the step, smoking a cigarette.

One of the men by the mailboxes checks his pocketwatch, which is attached to a key chain. We HEAR the sound of a door opening; they look up.

The man sitting on the stop stands; and looks.

SONNY backs out of an apartment, the arms of LUCY MANCINI wrapped around him. She doesn't want to let go of him; she draws him back into the apartment for a moment, and then he comes out alone, adjusting his clothes.

He jauntily skips down the steps, trailed by the bodyguard on the first floor, and moves outside toward his car. The men quickly take up their positions. As he gets in his car:

DRIVER Pick up your sister?

SONNY Yeah.

The car drives off; accompanied and escorted by the bodyguards in their cars.

INT DAY: CONNIE'S HALL (SPRING '46)

He knocks on the door. No answer. Then again.

CONNIE'S VOICE Who is it?

SONNY It's me, Sonny.

We hear the bolt slide back, and see the door open. SONNY enters, but CONNIE has quickly moved into the hallway, her back to him.

SONNY (tenderly) Connie, what is it?

He turns her around in his arms.

Her face is swollen and bruised; and we can tell from her rough, red eyes that she has been crying for a long time. As soon as he realizes what's happened, his face goes red with rage. She sees it coming, and clings to him, preventing him from running out of the apartment.

CONNIE (desperately) It was my fault! I started a fight with him and I tried to hit him so he hit me. He didn't even try to hit me hard Sonny, I walked into it.

Sonny listens, and calms himself. He touches her shoulder, the thin silk robe.

SONNY I'm goin' to have the doctor come over and take a look at you.

He starts to leave.

CONNIE Oh Sonny, please don't do anything. Please don't.

He stops, and then laughs good naturedly.

SONNY Hey. Con. What'm I goin' to do? Make your kid a orphan before he's born.

She laughs with him. He kisses her reassuringly, and leaves.

EXT DAY: CONNIE'S STREET

CARLO settles down on the front steps of the 112th St. "Book" with SALLY RAGS and COACH, who have been drinking beer out of glasses and a pitcher of beer from around the corner. The ball game is blaring from the radio; and the kids on the street are still playing stickball.

CARLO has barely settled down, when the kids in the street suddenly scatter, and a car comes screeching up the block and to a halt in front of the candy store. The tires scream, and before it seems as though it has even stopped, a MAN comes hurtling out of the driver's seat, moving so fast the everyone is paralyzed. It is a moment before we recognize that it is SONNY.

His face is contorted with anger; in a split second he is on the stoop and has CARLO by the throat.

He pulls CARLO away from the others, trying to get him down into the street. But CARLO reaches out for the iron railing, and hangs on, his hand in a lock, cringing away, trying to hide his head and face in the hollow of the his shoulders. His shirt is ripped away in SONNY's hand.

SALLY RAGS and COACH, merely sit, watching, stunned.

SONNY is pounding the cowered CARLO with all his strength, in a continuous monologue of indistinguishable cursing. His blows are powerful; and begin to draw blood.

The kids who have been playing stickball, move up, watching in fascination.

CARLO's hands are clenched tight around the railing.

SONNY beats him mercilessly.

Now SONNY's bodyguards' car pulls up, and they too become spectators.

SONNY's tight fists are going down like hammers, into CARLO's face and body.

CARLO's nose is bleeding profusely; but still he does nothing, other than hang onto the railing.

SONNY grabs hold of CARLO's massive body, and tries to drag him off of the hold on the railing, his teeth clenched in the effort. Then he tries loosening CARLO's locked hands; even biting them. CARLO screams but he does not let go.

It's clear that CARLO is much stronger than he is, and will not be moved. SONNY knees him in the mouth, and beats him more; but he is exhausted. Totally out of breath, he stammers haltingly to the bleeding CARLO.

SONNY You...bastard...You...hurt my sister... again...and I'll kill...you.

He wipes the sweat from his face, and then turns suddenly. and hurries back to the car, in a moment his car is gone, leaving even his bodyguards in confusion. We notice ONE MAN with a sports jacket in the group of spectators especially interested.

CARLO finally relaxes the clenched, locked hands. He slumps onto the stoop.

---------------------------------------FADE OUT---------

FADE IN:

EXT DAY: MALL (SPRING 1946)

HIGH ANGLE on the Corleone Mall. It is a gray, rainy day. Young BUTTON MEN in raincoats stand in quiet groups of various points around the main house and compound. Things have changed; one house has been extensively enlarged; a new and secure gate house has been built. Security measures that had been make-shift and temporarily have now been made a permanent part of the Mall, evolving it into a Medieval Fortress. We notice a huge crater in the courtyard; the result of a recent bomb attempt. The house nearest the crater is damaged by fire.

A taxi arrives; KAY ADAMS steps out, huddled in a bright yellow raincoat; she lets the cab go, and hurries to the shelter of the gate house.

They are not expecting her, and ask her to wait while they call the main house.

KAY looks at the imposing, depressing Mall, while rain still runs down onto her face.

She notices the bomb crater, and the fire damage; and the sullen faces of the BUTTON MEN.

TOM HAGEN exits the Main House, and hurries toward her.

HAGEN Kay, we weren't expecting you. You should call...

KAY I've tried calling and writing. I want to reach Michael.

HAGEN Nobody knows where he is. We know he's all right, but that's all.

KAY looks in the direction of the crater, filling with rainwater.

KAY What was that?

HAGEN An accident. No one was hurt.

KAY Listen Tom, I let my cab go; can I come in to call another one?

TOM is clearly reluctant to involve her any more than he has to.

HAGEN Sure...I'm sorry.

They hurry through the rain and into the Main House.

INT DAY: DON'S LIVING ROOM (SPRING 1946)

In the living room, KAY shakes the water from her coat and takes her rainhat off.

KAY Will you give this to him.

HAGEN If I accept that letter and you told a Court of Law I accepted it, they would interpret it as my having knowledge of his whereabouts. Just wait Kay, he'll contact you.

We hear footsteps descending the staircase; MAMA CORLEONE enters the room; the OLD WOMAN squints at KAY, evaluating her.

MAMA You're Mikey's little girl.

KAY nods yes; there are still tears in her eyes.

MAMA You eat anything?

KAY shakes her head.

MAMA (to HAGEN) Disgrazia, you don't even give the poor girl a cup of coffee?

HAGEN shrugs helplessly; on an impulse, KAY quickly moves toward MAMA, the letter extended.

KAY Will you give this letter to Michael.

HAGEN Mama, no.

MAMA You tell me what to do? Even he don't tell me what to do.

She takes the letter from KAY, who is grateful and relieved.

KAY Why did they blame Michael?

MAMA You listen to me, you go home to your family, and you find a good young man and get married. Forget about Mikey; he's no good for you, anymore.

She looks directly into KAY's eyes; and KAY understands what that means.

EXT DAY: DON'S HOSPITAL (SPRING 1946)

A hospital in New York City. POLICE and teams of PRIVATE DETECTIVES are stationed guarding the area. An ambulance with a team of DETECTIVES and BUTTON-MEN GUARDS exit the hospital with rifles in hand; followed by SEVERAL HOSPITAL ASSISTANTS wheeling a hospital stretcher, presumably carrying the DON.

TESSIO and CLEMENZA emerge, with OTHER BUTTON MEN bringing up the rear. HAGEN walks with the stretcher, and for a moment they disappear behind the ambulance. Then suddenly, siren blasting, it speeds off, accompanied by dark low-slung cars.

EXT DAY: MALL (SPRING 1946)

The Corleone Mall.

Equally impressive security stands ready at the Corleone Mall. EXTRA BUTTON MEN, as well as SOME POLICE, and PRIVATE DETECTIVES.

It all seems to be under the supervision of ROCCO LAMPONE. All is silent. The WOMEN and CHILDREN, dressed in Sunday clothes, wait.

EXT DAY: AMBULANCE (SPRING 1946)

One ambulance, speeding along the Grand Central Parkway, preceded and followed by a dark car, each one carrying a team of BUTTON MEN.

Sitting next to the DRIVER of the ambulance is a GUARD with a rifle on his lap.

INT DAY: DON'S HALL (SPRING 1946)

Inside the Main CORLEONE House:

Hospital ORDERLIES carry the DON on his stretcher carefully under the watchful eyes of CLEMENZA, TESSIO, LAMPONE and various GUARDS and BUTTON MEN.

All the CORLEONE family is here today: MAMA, FREDO, SANDRA, THERESA, CONNIE, CARLO; the various CORLEONE CHILDREN.

INT DAY: DON'S BEDROOM (SPRING 1946)

The DON is made comfortable in his room, which has all but been converted into a hospital room, with complete and extensive equipment. The various CHILDREN get a turn to kiss the OLD MAN, as he is made comfortable... and then SONNY indicates that all the CHILDREN, WOMEN, and CARLO should leave.

They do, the door is closed.

INT DAY: DON'S DINING ROOM (SPRING 1946)

The mood is quite happy downstairs, as the WOMEN prepare the Sunday dinner, and set the table.

CARLO sits alone among them, a frown on his face.

CONNIE What's the matter, Carlo?

CARLO Shut up.

INT DAY: DON'S BEDROOM (SPRING 1946)

All the MEN of the family stand around the hospital bed with grim faces, SONNY and HAGEN closest to the OLD MAN. The DON does not speak, yet he asks questions with his looks and glances, as clearly as if they were verbalized. HAGEN is the spokesman for the family.

HAGEN ...since McCluskey's killing, the police have cracked down on most of our operations...on the other families too. There's been a lot of bad blood.

The OLD MAN glances at SONNY.

SONNY Pop, they hit us and we hit them back.

HAGEN We put out a lot of material through our contacts in the Newspapers...about McCluskey's being tied up with Sollozzo in the Drug Rackets...things are starting to loosen up.

The OLD MAN nods.

SONNY Freddie's gonna go to Las Vegas...under the protection of Don Francesco of L.A. I want him to rest...

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

The DON nods approvingly. Then he searches around the room for a face he does not see. HAGEN knows who he's looking for.

HAGEN Michael... (he takes a breath) It was Michael who killed Sollozzo.

The DON closes his eyes, and then reopens them in anger and rage.

HAGEN He's safe now...we're already working on ways to bring him back.

The DON is very angry, he motions with a weak hand that they leave him alone.

INT. DAY: DON'S STAIRS AND HALL (SPRING 1946)

HAGEN is very upset as he comes down the Stairs; SONNY is expansive and optimistic.

SONNY We'll let the old man take it easy for a couple of weeks. I want to get things going good before he gets better. What's the matter with you?

HAGEN You start operating, the five families will start their raids again. We're at a stalemate Sonny, your war is costing us a lot of money.

SONNY No more stalemate Tom, we got the soldiers, we'll match them gun for gun if that's how they want it. They know me for what I am, Tom-- and they're scared of me.

HAGEN Yes. That's true, you're getting a hell of a reputation.

SONNY Well it's war! We might not be in this shape if we had a real war- time Consiglere, a Sicilian. Pop had Genco, who do I have? (TOM starts to leave) Hey Tom, hey...hey. It's Sunday, we're gonna have dinner. Don't be sore.

INT DAY: DON'S DINING ROOM (SPRING 1946)

The FAMILY, WIVES, CHILDREN and all sit around the table over Sunday dinner. SONNY is at the head of the table.

EXT DAY: MALL (SPRING 1946)

SOME of the CORLEONE GRANDCHILDREN play in the enclosed Mall, in the proximity of the BUTTON MEN stationed liberally by the gate.

ONE CHILD misses a ball, it rolls by the gate house. A young BUTTON MAN scoops it up and throws it back, smiling.

-----------------------------------------FADE OUT-------

INT DAY: CONNIE'S APT. (SPRING 1946)

CONNIE and CARLO's apartment. She's in a slip, on the phone. We HEAR the shower going in the bathroom.

CONNIE Who is this?

GIRL (O.S.) (giggle) I'm a friend of Carlo's. I just wanted to tell him I can't see him tonight; I have to go out of town.

CONNIE's face turns red.

CONNIE You lousy tramp bitch. (click)

She slams the phone down; just as CARLO is coming out of the bathroom drying his golden body.

CARLO What was that?

CONNIE Your girl friend. She says she can't make it tonight. You lousy bastard you have the nerve to give your whores my telephone number. I'll kill you, you bastard!

She hauls off and punches him knowingly; he laughs, so then she flings herself at him, kicking and scratching; her heavy belly heaving under the thin slip.

CARLO (defending himself) You're crazy. She was kidding around; I don't know, some nut.

He pushes her aside, and moves into the bedroom to continue dressing.

CONNIE You're staying home. You're not going out.

CARLO OK, OK. You gonna make me something to eat at least?

That calms her down; she stands there a moment, breathing heavily; and then she nods, and goes into the kitchen, and starts her wifely duties.

CARLO is dressed; puts on some cologne; CONNIE appears in the doorway.

CONNIE The food is on the table.

CARLO I'm not hungry yet.

CONNIE Eat it, it's on the table.

CARLO Ba Fa Goulle.

CONNIE BA FA GOULE YOU!

She turns deliberately, goes out into the kitchen. A moment later we begin to hear the sound of dishes breaking. CARLO slowly walks out, where we can see CONNIE systematically smashing all the dishes against the sink, sending the greasy veal and peppers all over the apartment floor.

CARLO You filthy guinea spoiled brat. Clean it up or I'll kick your head in.

CONNIE Like hell I will.

She stands there, solid, ready to punch him again. Slowly, he slides his belt out of his trousers, and doubles it in his hand.

CARLO Clean it up!

He swings the belt against her heavy hips. She moves back into the kitchen, and gets a kitchen knife, and holds it ready.

CARLO Even the female Corleones are murderers.

He puts the strap down on a table, and moves after her. She makes a sudden thrust at his groin, which he avoids. He pulls the knife away, cutting his hand in the process. She gets away momentarily, but he pursues her around the table, gets her; and starts to slap her in the face.

She breaks away from him, and rushes into the bedroom.

CONNIE The baby! The baby!

INT DAY: CONNIE'S BEDROOM (SPRING 1946)

She runs into the bedroom; he follows. She moves into a corner, and then like a desperate animal, tries to hide under the bed.

He reaches under, and pulls her out by the hair.

He slaps her in the face until she begins to weep; then he throws her on the bed, contemptuously. He grabs part of her thigh, pinching it very hard.

CARLO You're fat as a pig.

Then he pushes her away, and walks out of the room, leaving her in tears. She is crying; she pulls herself to the bedroom phone, and in a whisper:

CONNIE Mama...mama, it's Connie. Mama, I can't talk any louder. No, I don't want to talk to Sonny.

We can tell that the phone has been passed to SONNY.

INT DAY: DON'S KITCHEN (SPRING 1946)

In the kitchen at the Mall, MAMA cannot understand the whispering and she has given the phone to SONNY.

SONNY Yeah Connie.

CONNIE (O.S.) Sonny, just send a car to bring me home. I'll tell you then, it's nothing Sonny, don't you come. Send TOM, please Sonny, it's nothing; I just want to come home.

SONNY's face is turning red.

SONNY (in a controlled voice) You wait there. You just wait there.

He hangs up the phone; and just stands there for a moment.

SONNY (quietly) That sonofabitch; that sonofabitch...

HAGEN enters the room; he knows what is happening, knows he cannot interfere.

EXT DAY: MALL

SONNY leaves the house. HAGEN moves to the outside mall just as SONNY's car is driving off. He moves to a group of BUTTON MEN.

HAGEN Go after him.

EXT DAY: CAUSEWAY (SPRING 1946)

SONNY's car on the Jones Beach Causeway, speeds quickly by. After a pause, another car, with the CORLEONE BODYGUARDS, is trailing.

SONNY is driving; he is very angry.

EXT NITE: TOLL BOOTHS (SPRING 1946)

SONNY in his car; driving back. Still breathing hard and still furious. Then he thinks it's funny; he enjoyed it. He starts laughing, louder and louder, as he pulls up to a toll booth, stops, and extends his hand with a coin to the COLLECTOR.

---------------------------------------FADE OUT---------

FADE IN:

INT NITE: AMERIGO BONASERA'S APARTMENT

The serious-faced UNDERTAKER is on the telephone.

HAGEN (O.S.) This is Tom Hagen. I'm calling for Don Corleone, at his request.

BONASERA looks at his WIFE, with deep anxiety in his eyes. BONASERA's lips are suddenly dry.

BONASERA Yes, I understand. I'm listening.

HAGEN (O.S.) You owe the Don a service. In one hour, not before, perhaps later, he will be at your funeral parlor to ask for your help. Be there to greet him. If you have any objections speak now, and I'll inform him.

Silence. BONASERA stutters, then speaks in fright.

BONASERA Anything...Anything the Godfather wishes.

HAGEN (O.S.) Good. He never doubted you.

BONASERA The Don himself is coming to me tonight?

HAGEN (O.S.) Yes. (click)

BONASERA is sweating; slowly he lowers the phone; his WIFE sees his pale expression, and follows him into the room.

Silently, he begins the ritual of dressing. His WIFE knows something serious is happening, and never takes her eyes from him. He lights a cigarette.

BONASERA For the last year, they have been killing one another. So now, what? Your Godfather comes to me...Why? (whispering, slyly) They've killed someone so important that they wish to make his body disappear.

MRS. BONASERA (frightened) Amerigo!

BONASERA They could make me an accomplice to their murder. They could send me to jail!

He slips into his trousers. Then he moves to his WIFE to tie his tie, as she has done for years.

BONASERA And if the other families find out...they will make me their enemy. They could come here to our house. I curse the day I ever went to the Godfather.

EXT NITE: FUNERAL PARLOR (SPRING 1946)

With his ring of keys, he opens the funeral parlor, enters.

INT NITE: FUNERAL PARLOR (SPRING 1946)

BONASERA walks through the darkened funeral parlor, without turning on the lights; then into the rear, preparation room, past the tables, and equipment. He operates the chain that lifts a large overhead garage type door. And looks out into the alley.

He sits on a bench, and waits.

EXT NITE: FUNERAL PARLOR ALLEY (SPRING 1946)

The tires of a car roll very quietly along the small alley; we notice a dark car approach the rear of BONASERA's funeral parlor.

CLEMENZA gets out, and moves to the open, rear door. BONASERA greets him, too petrified to speak. He notices TWO OTHER MEN get out of the car, and carry a stretcher with a CORPSE swaddled in a gray blanket, with yellowed feet protruding.

BONASERA closes his eyes in fear, but indicates which way the MEN should carry their sinister burden.

INT NITE: FUNERAL PARLOR EMBALMING ROOM (SPRING 1946)

They carry the CORPSE to one of the tables in the embalming room.

Then BONASERA turns to see ANOTHER MAN step out of the darkness somewhat uncertainly. It is DON CORLEONE.

He walks up to BONASERA, very close, without speaking. His cold eyes looking directly at the frightened UNDERTAKER. Then, after a long gaze:

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

BONASERA nods. The DON moves to the CORPSE on the embalming table; he makes a gesture, and the OTHER MEN leave them alone.

BONASERA What do you wish me to do?

DON CORLEONE (staring at the table) I want you to use all your powers, all your skill, as you love me. I do not want his mother to see him as he is.

He draws down the gray blanket.

BONASERA lets out a gasp of horror at what he sees:

The bullet-smashed face of SONNY CORLEONE.

EXT NITE: TOLL BOOTHS (SPRING 1946)

SONNY extends his hand with a coin at the toll booth.

A car suddenly swerves in front of him, trapping him in the booth, and in incredible rally of machine gun fire greets him, coming through and smashing the windows of the toll booths on both side of him, and from the front window of the car blocking him.

The windows of his car are shot out.

Bullet holes puncture the doors of his car.

His hand, with the coin in it, falls inside the car.

His arms, shoulders are riddled by the fire, and still it continues, as though the ASSASSINS cannot take a chance that he will survive it.

Suddenly, he lets out an enormous ROAR, like a bull, and actually, opens the door, and steps out of the car, UNDER fire.

His face is hit; and finally he falls to the ground.

A FULL SHOT...as the ASSASSINS scramble for their cars and make off in the distance.

SONNY's BODYGUARDS stop a safe distance away, realizing they are too late.

INT NITE: DON'S LIVING ROOM (SPRING 1946)

View on HAGEN's ashen face in the living room. He is silent a moment, and then:

HAGEN (quietly) OK. Go to Clemenza's house and tell him to come here right away. He'll tell you what to do.

The MEN leave him alone. He is quiet, standing in the middle of the living room a moment. He looks in the direction of the kitchen, where he can see fragments of MAMA moving around.

INT NITE: UPSTAIRS (SPRING 1946)

TOM proceeds up stairs, and quietly in the direction of the DON's room. He opens the DON's door. Looks in.

INT NITE: DON'S BEDROOM (SPRING 1946)

The DON in his hospital bed. Asleep under sedation. HAGEN hesitates. He cannot go in; he cannot tell the OLD MAN. He closes the door.

INT NITE: DON'S OFFICE (SPRING 1946)

HAGEN alone in the office. He is drinking. He looks up at the sound of cars; the CAPOREGIMES are arriving. Then he hears footsteps.

The door opens; and in a robe, with slippers, DON CORLEONE slowly enters the room. He walks directly to his stuffed armchair, sits down. His face is stern, as he looks into HAGEN's eyes.

DON CORLEONE Give me a drop of anisette.

HAGEN rises, and pours a glass for the OLD MAN.

DON CORLEONE My wife was weeping before she fell asleep, outside my window I saw my caporegimes to the house, and it is midnight. So, Consigliere of mine, I think you should tell your Don what everyone knows.

HAGEN (quietly) I didn't tell Mama anything. I was about to come up and wake you and tell you. Just now.

DON CORLEONE But you needed a drink first.

HAGEN Yes.

DON CORLEONE Now you've had your drink.

Pause.

HAGEN They shot Sonny on the Causeway. (pause) He's dead.

DON CORLEONE blinks. One feels that just for a second he loses all physical strength; he clasps his hands in front of him on the top of the desk and looks into HAGEN's eyes.

DON CORLEONE I want no inquiries made. No acts of vengeance. (pause) Consigliere, arrange a meeting with the heads of the five families...this war stops now.

He rises and unsteadily leaves the room, turns...

DON CORLEONE Call Bonasera...he will do me a service.

And leaves. HAGEN moves to the phone; dials...

HAGEN This is Tom Hagen; I'm calling for Don Corleone, at his request.

BONASERA (O.S.) Yes, I understand I'm listening.

HAGEN You owe the Don a service. He has no doubt that you will repay it.

EXT DAY: BANK BUILDING (SPRING 1946)

Day in Manhattan. An impressive Bank Building in the financial center of New York. Many limousines are parked, uniforms and plain-clothed CHAUFFEURS waiting quietly.

INT DAY: BOARD ROOM (SPRING 1946)

The Board Room of a bank, daylight shines in the windows.

CARLO TRAMONTI, an impressive, handsome middle-aged man, sits quietly, smoking a Di Napoli cigar, OUR VIEW moves to a MAN sitting to his left, and a little to the rear, and settles on JOSEPH ZALUCHI, a moon-faced amiable-looking man; as the view continues, around the table, we HEAR:

DON CORLEONE (O.S.) I want to thank you all for coming. I consider it a service done to me personally and I am in the debt of each and every one of you. Especially those of you who have traveled from such distances as California, St. Louis, Kansas City; and New Orleans...

The VIEW PASSES to FRANK FALCONE and ANTHONY MOLINARI, both younger than any of the others; then on to DOMENICK PANZA, short and squat sitting in a wheelchair; then around the table to DON VINCENENZO FORLENZA, who is whispering to his JEWISH ASSISTANT; the VIEW PASSES on to ANTHONY STRACCI, an older man, sipping from a drink and smoking a cigar; OTTILIO CUNEO, in his middle sixties with a jolly round face; then DON PHILLIP TATTAGLIA, a delicate older man with dyed hair and a pencil mustache; and finally, EMILIO BARZINI, in his early sixties, a man to 'respect'; whom we had seen at CONNIE's Wedding.

DON CORLEONE Ah well, let's get down to business. We are all honorable men here, we don't have to give assurances as if we were lawyers. (he sits, gazes out at them, and sighs) How did things ever go so far? Well, no matter. A lot of foolishness has come to pass. It was so unfortunate, so unnecessary.

The VIEW examines the room once again, as the DON speaks. A large, clicking board is changing numbers at various times, and two tapes, showing the fluctuations of the Market during the day's trading, and projected above.

DON CORLEONE pauses; and TOM HAGEN hands him a cold drink.

DON CORLEONE Tattaglia has lost a son; I have lost a son. We are quits. Let there be a peace... (he gestures expressively, submissively, with his hands) That is all I want...

BARZINI Don Corleone is too modest. He had the judges and politicians in his pocket and he refused to share them. His refusal is not the act of a friend. He takes the bread out of the mouths of our families. Times have changed, it's not like the old days where everyone can go his own way. If Don Corleone had all the judges and politicians in New York, then he must share them or let others use them. Certainly he can present a bill for such services, we're not Communists, after all. But he has to let us draw water from the well. It's that simple.

DON CORLEONE My friends, I didn't refuse out of malice. You all know me. When have I ever refused an accommodation? But why, this time? Because I think this drug business will destroy us in the years to come. It's not like whiskey or gambling or even women which most people want and is forbidden them by the pezzonovante of the Church and the Government. But drugs? No. Even policemen, who help us in gambling and other things would refuse to help us in drugs. But...I am willing to do whatever all of you think is necessary.

DON ZALUCHI I don't believe in drugs. For years I paid my people extra so they wouldn't do that kind of business...$200 a week. But it didn't matter. Somebody comes to them and says, "I have powders, if you put up three, four thousand dollar investment, we can make fifty thousand distributing." Who can resist such a profit? There's no way to control it, as a business...to keep it respectable. (rapping the table) I don't want it near schools! I don't want it sold to children. That is an infamita. (thinking) In my city I would try to keep the traffic in the dark people, the colored. They are the best customers, the least troublesome, and they are animals anyway. They have no respect for their wives or their families or themselves. Let them lose their souls with drugs. But something has to be done, we can't have everybody running around doing just what they please, like a bunch of anarchists.

BARZINI Then, are we agreed; the traffic in drugs will be permitted, but controlled; and Don Corleone agrees to give it protection in the East.

DON CORLEONE nods.

BARZINI That's the whole matter then, we have the peace, and let me pay my respects to Don Corleone, whom we have all known over the years as a man of his word. (noticing TATTAGLIA is uneasy) Don Philip?

TATTAGLIA I agree to everything here, I'm willing to forget my own misfortune. But I must hear strict assurance from Corleone. When time goes by and his position becomes stronger, will he attempt any individual vengeance?

They all look at the DON; especially HAGEN, who feels that DON CORLEONE has given a great deal, and must have something else in mind. Slowly the DON rises.

DON CORLEONE I forego my vengeance for my dead son, for the common good. But I have selfish reasons. My youngest son had to flee, accused of Sollozzo's murder, and I must now make arrangements so that he can come home with safety, cleared of all those false charges. That is my affair, and I will make those arrangements. (with strength) But I am a superstitious man...and so if some unlucky accident should befall my youngest son, if some police officer should accidentally shoot him, or if he should hang himself in his cell, or if my son is struck by a bolt of lightning, then I will blame some of the people here. That, I could never forgive, but...aside from that, let me swear by the souls of my Grandchildren that I will never be the one to break the peace we have made.

EXT NITE: DON'S LIMO (SPRING 1946)

The DON's black limousine. He sits quietly in the padded rear seat; TOM HAGEN next to him.

It is night. Lights flash by them every so often.

HAGEN When I meet with Tattaglia's people; should I insist that all his drug middle-men be clean?

DON CORLEONE Mention it, don't insist. Barzini is a man who will know that without being told.

HAGEN You mean Tattaglia.

DON CORLEONE (shaking his head) Barzini.

HAGEN (a revelation) He was the one behind Sollozzo?

DON CORLEONE Tattaglia is a pimp. He could never have outfought Santino. But I wasn't sure until this day. No, it was Barzini all along.

The black limousine speeds away from us in the night.

------------------------------------------FADE OUT------

FADE IN:

EXT DAY: ESTABLISHING SICILY SHOT

A CLOSE VIEW OF MICHAEL, moving as he walks, sullen and downcast, the left side of his face healed, but left grotesque and misshapen.

GRADUALLY, THE VIEW LOOSENS, he wears a warm navy Pea jacket, and walks with his hands in his pockets.

THE VIEW LOOSENS FURTHER, revealing a Sicilian SHEPHERD on either side of him, each carrying a shotgun slung over his shoulder, CALO, a squat and husky young man with a simple honest quality, and FABRIZZIO, slender and handsome, likable, and with a pleasing build. Each of the SHEPHERDS carry knapsacks.

The THREE YOUNG MEN continue over the Sicilian landscape, overlooking an impressive view of land and sea.

EXT DAY: SICILY ROAD

The THREE move through a flock of wind-blown sheep, and make their way to a dusty rural road. We HEAR a rinky horn sound, as a pre-war Italian automobile makes its way to them. An OLD MAN peeks from the window, waving to MICHAEL. The car pulls in front of them and stops. MICHAEL nods respectfully.

MICHAEL Don Tommassino.

DON TOMMASSINO Michael, why must you do this. We have been lucky so far, all these months you've been here we've kept your name a secret. It is from love for your father that I've asked you never to more than an hour from the Villa.

MICHAEL Calo and Fabrizzio are with me; nothing will happen.

DON TOMMASSINO You must understand that your Father's enemies have friends in Palermo.

MICHAEL I know.

DON TOMMASSINO Where are you going?

MICHAEL Corleone.

DON TOMMASSINO There is nothing there. Not anymore.

MICHAEL I was told that my Grandfather was murdered on its main street; and his murderers came to kill my father there when he was twelve years old.

DON TOMMASSINO Long ago. Now there is nothing: the men killed each other in family vendettas...the others escaped to America.

MICHAEL Don Tommassino...I should see this place.

DON TOMMASSINO thinks a moment, then concedes.

DON TOMMASSINO That is your birthright...but Michael, use this car.

MICHAEL No...I would like to walk to Corleone.

The OLD MAN sighs, and then returns to his car.

DON TOMMASSINO Be careful Michael, don't let them know your name.

The old car sputters off; MICHAEL watches, and then continues on his journey.

EXT DAY: COUNTRYSIDE

The THREE pass through abundant areas of flowers and fruit trees, in bloom and bursting with life.

EXT DAY: VILLAGE

They continue in the empty streets of a little town; the post-war poverty is evident in the skinny dogs; and the empty streets. Occasionally, a military vehicle, the only gasoline-powered vehicles on the road, will pass. And there are many POLICE evident, most of them carrying machine guns.

The THREE pass under an enormous banner slung over the main road "VOTA COMMUNISTA".

EXT DAY: COUNTRY ROAD

They continue through dusty country roads, where occasionally a donkey pulling a cart, or a lone horseman will pass them.

EXT DAY: FIELD

Out in a field, in the distance, they come upon a procession of peasants and activists, perhaps two hundred strong, marching, and singing, and in the lead, are five or six men carrying billowing red banners.

EXT DAY: GROVE

They are in an orange grove; on the other side of the trees is a deep, tall field of wild flowers.

The Shepherds unsling their guns and knapsacks, and take out loaves of bread, some wine, sausage and cheese.

MICHAEL rests against a tree, and uses his handkerchief.

FABRIZZIO You tell us about America.

MICHAEL How do you know I come from America?

FABRIZZIO We hear. We were told you were a Pezzonovanta...big shot.

MICHAEL Only the son of a Pezzonovanta.

FABRIZZIO Hey America! Is she as rich as they say?

MICHAEL Yes.

FABRIZZIO Take me to America! You need a good lupara in America? (pats his shotgun) You take me, I'll be the best man you got. "Oh say, can you seeee...By da star early light..."

MICHAEL laughs.

EXT DAY: ANOTHER ROAD

The TRIO continues down a dirt road, as an American Military convoy speeds by; FABRIZZIO waves, and calls out to each of the U.S. drivers, as they move by.

FABRIZZIO America. Hey America! Take me with you! Hey, take me to America G.I.!

EXT DAY: CORLEONE HILL

They continue their long hike, high on a promentory; until they hesitate, and look down.

CALO Corleone.

They can see a grim Sicilian village, almost devoid of people.

EXT DAY: CORLEONE STREET

MICHAEL and his bodyguards move through the empty streets of the village. They walk behind him, and spread to either side about fifteen feet away from him.

They move down ancient steps, past an old stone fountain. MICHAEL hesitates, cups his hands and drinks some water. They go on.

They move up a very narrow old street. MICHAEL looks at the doorways that they pass.

MOVING VIEW: Each door has a plaque, with a ribbon or flower.

CALO sees MICHAEL looking.

CALO The names of the dead.

MICHAEL hesitates in the center of the main street. He looks.

The street is empty, barren. Occasionally, an old woman will pass.

MICHAEL turns his head.

The other side of the street: empty and deathly.

A HIGH VIEW of MICHAEL standing in the center of the old street, the shepherds a respectful distance away.

-------------------------------------FADE OUT-----------

EXT DAY: BARONIAL ESTATE

A green ribboned field of a baronial Estate. Further ahead is a villa so Roman it looks as though it had just been discovered in the ruins of Pompeii. There is a group of young village GIRLS accompanied by two stocky MATRONS, dressed in black. They have been gathering the pink sulla, purple wisteria, and mixing them with orange and lemon blossoms. They are singing, off in the distance as they work.

MICHAEL, CALO and FABRIZZIO are silent as they watch this Fantasy-like scene.

FABRIZZIO (calling out to them) Hey, beautiful girls!

MICHAEL (sternly) Shhhhh.

He settles down to watch.

The GIRLS are dressed in cheap gaily painted frocks that cling to their bodies. They are still in their teens, but developed and womanly.

They are moving along the fields, picking blossoms, not aware of the three men watching them from the orange grove. Three or four of the girls begin chasing one of them playfully, in the direction of the grove.

The GIRL being chased holds a bunch of purple grapes in her left hand and with the right, picks more grapes, and throws them back at her pursuers laughing.

They come closer and closer. Just short of the grove, she poses, startled, her large, oval shaped eyes catching the view of the THREE MEN. She stands there on her toes about to run.

MICHAEL sees her; now face to face. He looks.

Her face. Incredibly beautiful with olive skin, black hair and a rich mouth.

FABRIZZIO (murmuring) Jesus Christ, take my soul. I'm dying.

Quickly, she turns, and runs away.

MICHAEL stands up never taking his eyes from her. We hold on him for a long while; and eventually hear the SHEPHERDS laughing. Then he turns to them.

FABRIZZIO You got hit by the thunderbolt, eh?

CALO pats him on the shoulder.

CALO Easy man.

MICHAEL What are you talking about?

FABRIZZIO You can't hide it when you're hit by the thunderbolt.

EXT DAY: BARONIAL VILLAGE

The little village built attendant to the Baronial Estate, is decked with the flowers the girls had been picking.

MICHAEL, followed by the bodyguards, moves into the central square, and onto the balcony of a little cafe.

The proprietor of the cafe, VITELLI, is a short burly man; he greets them cheerfully, and sets a dish of chickpeas at their table.

FABRIZZIO You know all the girls in this town, eh? We saw some beauties coming down the road. One in particular got our friend hit with the Thunderbolt... (he indicates MICHAEL)

VITELLI gives a big knowing laugh, and looks at MICHAEL with new interest.

VITELLI You had better bring a few bottles home with you, my friend; you'll need help sleeping tonight. (he laughs)

FABRIZZIO This one could seduce the devil. A body! and eyes as big and black as olives.

VITELLI (laughing with them...pouring more wine) I know about what you mean!

FABRIZZIO This was a beauty. Right, Calo?

VITELLI (laughing) Beautiful all over, eh?

FABRIZZIO And hair. Black and curly, like a doll. And such a mouth.

VITELLI does not laugh quite so much.

VITELLI Yes, we have beautiful girls here... but virtuous.

VITELLI is no longer drinking with them.

MICHAEL She wore a red dress, and a red ribbon in her hair. She looks more Greek than Italian. Do you know a beauty like that?

As MICHAEL describes her, VITELLI laughed less and less, until he wears a scowl.

VITELLI No.

Then he curtly leaves him, and walks into the back room.

FABRIZZIO God in Heaven, I think I understand...

He goes into the back room after the innkeeper. Then he returns.

FABRIZZIO Let's get out of here; he's boiling up his blood to do us mischief. It's his daughter.

They start to leave; but MICHAEL doesn't move.

CALO Come quickly.

MICHAEL Innkeeper. More wine!

FABRIZZIO (whispered) The old bastard mentioned two sons he only has to whistle up.

MICHAEL turns to FABRIZZIO with his cold authority.

MICHAEL Tell him to come to me.

The two BODYGUARDS shoulder their luparas, and disappear in a moment they return with the red-faced angry VITELLI between them.

MICHAEL (quietly) I understand I've offended you by talking about your daughter. I offer you my apologies, I'm a stranger in this country, I don't know the customs very well. Let me say this, I meant no disrespect to you or her...

CALO and FABRIZZIO are impressed.

VITELLI (shrugs) Who are you and what do you want from my daughter?

MICHAEL I am an American hiding in Sicily from the police of my country. My name is Michael. You can inform the police and make your fortune but then your daughter would lose a father rather than gain a husband. In any case, I want to meet your daughter. With your permission and under the supervision of your family. With all decorum. With all respect. I am an honorable man.

CALO and FABRIZZIO are stupefied; VITELLI pauses, and then asks:

VITELLI Are you a friend of the friends?

MICHAEL When the proper time comes, I'll tell you everything that a wife's father should know.

FABRIZZIO It's the real Thunderbolt, then.

VITELLI (formally) Come Sunday morning: My name is Vitelli and my house is up there on the hill, above the village.

MICHAEL Your daughter's name?

VITELLI Appolonia.

-------------------------------------FADE OUT-----------

EXT DAY: TOMMASSINO COURTYARD

MUSIC comes up; as MICHAEL, dressed in new clothes from Palermo, and carrying a stack of wrapped gifts, gets into an Alfa Romeo. CALO and FABRIZZIO each dressed in their Sunday best, are in the rear seat, huddled together, with their luparas on their shoulders.

DON TOMMASSINO waves them off, as the little car drives off, rocky and bouncing on the dirt road.

The Sunday churchbells ring.

--------------------------------------DISSOLVE----------

EXT DAY: VITELLI HOUSE

MICHAEL is presented to each of the Vitelli relatives, by the yard of their little hilltop house; the BROTHERS; the MOTHER, who is given a gift; several UNCLES and AUNTS. Finally APPOLONIA enters, dressed beautifully in appropriate Sunday clothing. Now he presents the wrapped gift to APPOLONIA. She looks at her MOTHER, who with a nod gives her permission to open it. She unwraps it. Her eyes light at the sight of a heavy gold chain; to be worn as a necklace.

She looks at him.

APPOLONIA Grazia.

--------------------------------------DISSOLVE----------

EXT DAY: VITELLI CAFE

Now the little Alpha drives into the village near VITELLI's cafe.

MICHAEL is, as ever, accompanied with his two BODYGUARDS, though they are all dressed differently.

They go up to the cafe...and sit with VITELLI, who is talking and talking.

MICHAEL looks at APPOLONIA; who sits, respectfully quiet. She wears the gold necklace around her neck.

--------------------------------------DISSOLVE----------

EXT DAY: HILLTOP NEAR VITELLI HOME

MICHAEL and APPOLONIA are walking through a hilltop path, seemingly alone, although a respectful distance apart.

As the VIEW PANS with them, we notice that her MOTHER and a half dozen AUNTS are twenty paces behind them, and ten paces further behind are CALO and FABRIZZIO, their luparas on their shoulders.

Further up the hill, APPOLONIA stumbles on a loose stone, and falls briefly onto MICHAEL's arm. She modestly regains her balance, and they continue walking.

Behind them, her MOTHER giggles to herself.

--------------------------------------DISSOLVE----------

EXT DAY: VITELLI VILLAGE CHURCH

Church bells in an ancient belfry ring out. Music, old and dissonant, plays.

There is a bridal procession in the street of the village; the same in feeling and texture as it might have been five hundred years ago.

Donkeys and other animals have been decorated with abundant flowers; children carrying candles and wearing white confirmation gowns walk in the procession, followed by countless townspeople, members of the clergy, even the police.

We present the entire bridal procession and ceremony with all the ritual and pageantry, as it has always been, in Sicily.

APPOLONIA is radiant as the Bride; MICHAEL is handsome despite the grotesque jaw and occasional white handkerchief.

--------------------------------------DISSOLVE----------

EXT NITE: VITELLI VILLAGE SQUARE

CALO and FABRIZZIO dance wildly through the night of the great wedding celebration. It is held in the Village Square; under the watchful eyes of SHEPHERDS above on the tops of buildings, carrying luparas.

--------------------------------------DISSOLVE----------

INT NITE: MICHAEL'S ROOM IN VILLA

MICHAEL opens the shutters in his darkened room; moonlight fills the room.

He turns, and there, in her wedding slip, is APPOLONIA. A little frightened; but lovely.

He moves to her; and for a moment just stands before her, looking at her incredible face; her lovely hair and body.

Slowly and tenderly he kisses her. Her tiny hands come up to his face; touch his cheek and embrace him.

She lets her bridal slip fall to the floor.

--------------------------------------FADE OUT----------

INT DAY: MICHAEL'S ROOM AT VILLA

Morning. MICHAEL sits on the window ledge, gazing into the room.

APPOLONIA is asleep; she is naked, and only partially covered by the bedsheets.

He looks at her for a long time in the early morning light.

EXT DAY: TOMMASSINO COURTYARD

HIGH ANGLE ON DON TOMMASSINO'S VILLA

We HEAR girlish laughter; the little Alpha is driving erratically, knocking down an occasional wall, and almost hitting th inner court wall.

APPOLONIA is laughing, driving. MICHAEL pretends to be frightened, as he teaches her to drive.

Outside the walls, we notice SHEPHERDS with luparas, walking guard duty.

The car stops and a laughing MICHAEL gets out.

MICHAEL It's safer to teach you English.

APPOLONIA Monday, Tuesday, Wednesday, Thursday, Friday...See, I learned it. Now teach me to drive!

DON TOMMASSINO enters the Courtyard. He seems tired and concerned.

MICHAEL Ciao, Don Tommassino.

APPOLONIA kisses him.

MICHAEL Things went badly in Palermo?

DON TOMMASSINO The younger men have no respect. Things are changing; I don't know what will happen. Michael, because of the wedding, people now know your name.

MICHAEL Is that why there are more men on the walls?

DON TOMMASSINO Even so, I don't think it is safe here anymore. I've made plans to move you to a villa near Siracuse. You must go right away.

MICHAEL What is it?

DON TOMMASSINO Bad news from America. Your brother, Santino. He has been killed.

For a moment, the whole world of New York, Sollozzo, the Five Family War, all comes back to MICHAEL.

EXT DAY: VILLA COURTYARD

Morning. MICHAEL leans out of the bedroom window.

Below, FABRIZZIO is sitting in one of the garden chairs, combing his thick hair.

MICHAEL whistles and FABRIZZIO looks up to his window.

MICHAEL Get the car. I'll be leaving in ten minutes. Where's Calo?

FABRIZZIO Calo is having a cup of coffee in the kitchen. Is your wife coming with you?

MICHAEL No, she's going home to her family. She'll join me in a few weeks...

INT DAY: VILLA KITCHEN

MICHAEL, dressed, crosses from the hallway, and into the kitchen. CALO is just finishing a bite. He rises when he sees MICHAEL.

CALO Should I get your bag?

MICHAEL No, I'll get it. Where's Appolonia?

CALO (smiling) She is sitting in the driver's seat of the car, dying to step on the gas. She'll be a real American woman before she gets to America.

MICHAEL smiles.

MICHAEL Tell Fabrizzio and wait for me in the car.

He leaves the kitchen, after a quick sip of coffee.

He looks out from the opening in the doorway.

EXT DAY: VILLA COURTYARD

There is the car, with APPOLONIA sitting in the driver's seat, playing with the wheel like a child.

CALO moves to the car, and puts a lunch basket in the rear seat.

Then MICHAEL seems disturbed.

Over, on the other side of the courtyard, he sees FABRIZZIO disappear through the gate.

MICHAEL (muttering to himself) Where the hell is he going?

MICHAEL goes down the hallway, and outside.

MICHAEL steps out into the bright sunlight of the outer courtyard, causing him to shade his eyes.

APPOLONIA sees him, and waves, motioning that he should stay where he is.

APPOLONIA (calling out) I'll drive to you.

He smiles affectionately.

CALO stands beside the car, smiling, with his lupara dangling by his side. There is no sight of FABRIZZIO. Suddenly the smile fades from MICHAEL's face. He steps forward and holds out his hand.

MICHAEL No. No!

His shout is drowned in the roar of a tremendous EXPLOSION, as she switched on the ignition.

Part of the wall is caved in, the kitchen door is blown off; and there is nothing left of the Alpha, or of Appolonia.

MICHAEL is thrown against the wall, and knocked unconscious.

INT DAY: VILLA BEDROOM

MICHAEL is unconscious in a darkened room. We hear whispering around him, but can't make any of it out. A soft cloth is applied to his face; gradually his eyes open. DON TOMMASSINO is there, close to him. He looks at them and from their grave expressions, he knows his wife is dead.

MICHAEL Fabrizzio. Let your shepherds know that the one who gives me Fabrizzio will own the finest pastures in Sicily.

--------------------------------------FADE OUT----------

FADE IN:

EXT DAY: MALL (SPRING 1951)

Easter.

A HIGH VIEW ON THE CORLEONE MALL in the springtime. Hordes of little CHILDREN including many of the Corleone Children and Grandchilren, rush about carrying little Easter baskets, searching here and there for candy treasures and hidden Easter eggs.

The DON himself, much older, much smaller in size, wearing baggy pants and a plaid shirt and an old hat, moves around his garden, tending rows and rows of rich tomato plants.

Suddenly, he stops and looks.

MICHAEL stands there, still holding his suitcase.

Great emotion comes over the DON, who takes a few steps in MICHAEL's direction.

MICHAEL leaves his suitcase and walks to his favorite son and embraces him.

DON CORLEONE Be my son...

INT DAY: THE OLIVE OIL FACTORY

DON CORLEONE leads MICHAEL through the corridors of the building.

DON CORLEONE This old building has seen its day. No way to do business...too small, too old.

They enter the DON's glass-panelled office.

DON CORLEONE Have you thought about a wife? A family?

MICHAEL (pained) No.

DON CORLEONE I understand, Michael. But you must make a family, you know.

MICHAEL I want children, I want a family. But I don't know when.

DON CORLEONE Accept what's happened, Michael.

MICHAEL I could accept everything that's happened; I could accept it, but that I never had a choice. From the time I was born, you had laid this all out for me.

DON CORLEONE No, I wanted other things for you.

MICHAEL You wanted me to be your son.

DON CORLEONE Yes, but sons who would be professors, scientists, musicians...and grandchildren who could be, who knows, a Governor, a President even, nothing's impossible here in America.

MICHAEL Then why have I become a man like you?

DON CORLEONE You are like me, we refuse to be fools, to be puppets dancing on a string pulled by other men. I hoped the time for guns and killing and massacres was over. That was my misfortune. That was your misfortune. I was hunted on the streets of Corleone when I was twelve years old because of who my father was. I had no choice.

MICHAEL A man has to choose what he will be. I believe that.

DON CORLEONE What else do you believe in?

MICHAEL doesn't answer.

DON CORLEONE Believe in a family. Can you believe in your country? Those Pezzonovante of the State who decide what we shall do with our lives? Who declare wars they wish us to fight in to protect what they own. Do you put your fate in the hands of men whose only talent is that they tricked a bloc of people to vote for them? Michael, in five years the Corleone family can be completely legitimate. Very difficult things have to happen to make that possible. I can't do them anymore, but you can, if you choose to.

MICHAEL listens.

DON CORLEONE Believe in a family; believe in a Code of Honor, older and higher, believe in Roots that go back thousands of years into your Race. Make a family, Michael, and protect it. These are our affairs, sono cosa nostra, Governments only protect men who have their own individual power. Be one of those men...you have the choice.

--------------------------------------FADE OUT----------

EXT DAY: STOCK FOOTAGE LAS VEGAS (1955)

A MOVING VIEW, driving up the Las Vegas Strip of 1955.

FREDO (O.S.) There's a new one. Construction going on everywhere.

MORE VIEWS, showing new hotels and casinos being built; the bill marquees read: "MARTIN AND LEWIS", "PATTI PAGE", etc.

FREDO (O.S.) That's one of the family's new ones. Not bad, eh?

EXT DAY: FLAMINGO (1955)

The car pulls up at the Flamingo Hotel.

Inside the car: MICHAEL, FREDO, TOM HAGEN and a new man, NERI, quiet and sinister.

MICHAEL Why didn't Moe Green meet us at the airport?

FREDO He had business at the hotel, but he'll drop in for dinner.

From the expression on MICHAEL's face we know this is a discourtesy.

INT DAY: FLAMINGO HOTEL SUITE (1955)

A whole entourage precedes FREDO and his V.I.P. party of MICHAEL, HAGEN and NERI. Great fuss is made. They are being shown into the hotel's 'special' suite.

FREDO You look wonderful, kid; really wonderful. That doctor did some job on your face.

MICHAEL You look good, too.

They enter the suite.

FREDO Nice, eh?

FREDO is as excited as a kid, snapping orders at the bellboys, waiters and maids.

FREDO (hurrying into the bedroom) Kid, take a look-see.

MICHAEL gives a look to HAGEN, and continues into the bedroom.

There is an enormous circular bed on a huge platform, mirrors to each side. FREDO points upward.

A VIEW into a large CEILING mirror.

FREDO Ever seen anything like that before?

MICHAEL (dryly) No.

INT NITE: FLAMINGO SUITE BEDROOM (1955)

MICHAEL is alone in the bedroom. He is just finishing dressing; he puts on his jacket. From the window, with the lights blinking, we can tell it's late at night. MICHAEL passes into the other room.

He stops, looks. He is disturbed.

INT NITE: FLAMINGO SUITE (1955)

A magnificent, circular table has been set up in his suite; a lavish table setting for eight. Standing by the table are HAGEN, JOHNNY FONTANE, looking wonderful, a little heavier, beautifully dressed; FREDO, a dandy, and TWO LAS VEGAS GIRLS. NERI stands quietly by the door.

FREDO Mike! The party starting!

MICHAEL Come here a minute, Fredo.

FREDO goes to him, a big smile all over his face.

MICHAEL Who are those girls?

FREDO (jokingly) That's for you to find out.

MICHAEL Give them some money and send them home.

FREDO Mike!

MICHAEL Get rid of them...

INT NITE: FLAMINGO SUITE (1955)

They are seated around the lavish table in Michael's suite. MICHAEL is speaking to JOHNNY.

MICHAEL Johnny, the Corleone family is thinking of selling out all our interests in the Olive Oil business and settling here. Moe Greene will sell us his interest so it can be wholly owned by friends of the family.

FREDDIE seems anxious.

FREDO Mike, you sure about Moe selling. He never mentioned it to me and he loves the business.

MICHAEL I'll make him an offer he can't refuse.

MICHAEL turns to JOHNNY.

MICHAEL Johnny, the Don wants you to help us get started. We figure entertainment will be the big factor in drawing gamblers. We hope you'll sign a contract to appear five times a year for maybe a week long engagement. We hope your friends in the movies will do the same. We count on you to convince them.

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

There is knock on the door. NERI rises, looks at MICHAEL, who nods. NERI opens the door, and MOE GREENE enters, followed by TWO BODYGUARDS. He is a handsome hood, dressed in the Hollywood style. His BODYGUARDS are more West Coast style.

MOE Mike, good to see you. Got everything you want?

MICHAEL Thanks.

MOE The chef cooked for you special; the dancers will kick your tongue out and you credit is good! (to his BODYGUARDS) Draw chips for all these people so they can play on the house.

MICHAEL Is my credit good enough to buy you out?

MOE laughs.

MOE Buy me out?...

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

GREENE stops laughing; the room becomes tense. NERI eyes the BODYGUARDS.

MOE (furious) The Corleone family wants to buy me out. I buy you out. You don't buy me out.

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

MOE You think I scam?

MICHAEL (the worst insult) You're unlucky.

MOE You goddamn dagos. I do you a favor and take Freddie in when you're having a bad time, and then you try to push me out.

MICHAEL You took Freddie in because the Corleone family bankrolled your casino. You and the Corleone family are evened out. This is for business; name your price.

MOE The Corleone family don't have that kind of muscle anymore. The Godfather is sick. You're getting chased out of New York by Barzini and the other families, and you think you can find easier pickings here. I've talked to Barzini; I can make a deal with him and keep my hotel!

MICHAEL (quietly, deadly) Is that why you thought you could slap Freddie around in public?

FREDO (his face turns red) Ah Mike, that was nothing. Moe didn't mean anything. He flies off the handle sometimes; but me and him are good friends. Right, Moe?

MOE Yeah sure. Sometimes I gotta kick asses to make this place run right. Freddie and I had a little argument and I had to straighten him out.

MICHAEL You straightened my brother out?

MOE Hell, he was banging cocktail waitresses two at a time. Players couldn't get a drink.

MICHAEL rises from his chair, and says in a tone of dismissal:

MICHAEL I have to go back to New York tomorrow. Think of your price.

MOE You son of a bitch, you think you can brush me off like that? I made my bones when you were going out with cheerleaders.

FREDO (frightened) Tom, you're the Consigliere; you can talk to the Don and advise him.

MICHAEL The Don has semi-retired. I'm running the Family business now. So anything you have to say, say it to me.

Nobody answers. MICHAEL nods to NERI, who opens the door. MOE exits angrily.

MICHAEL Freddie, you're my older brother. I love you. But don't ever take sides with anybody against the Family again.

EXT DAY: N.Y. AIRPORT (1955)

KAY sits in the back of a limousine parked by the Newark AIRPORT. ROCCO LAMPONE is leaning against it.

She has a little three year old boy; MICHAEL's son, who plays with a cardboard bird on a string.

Two other cars are stationed discreetly, with men we have learned to tell are bodyguards.

MICHAEL, HAGEN and NERI exit the airport with TWO NEGRO PORTERS carrying luggage.

NERI sees something, and taps MICHAEL on the shoulder.

MICHAEL turns, and sees KAY.

LAMPONE opens the car door; KAY steps out with the BOY, and MICHAEL embraces her, and kisses his son. Automatically, the luggage is put in. NERI replaces LAMPONE as the driver; and LAMPONE joins the other men. HAGEN gets into one of the other cars.

And the limo drives off, preceded and followed by the other sedans.

INT DAY: LIMO (1955)

The little BOY looks out the window as they drive.

MICHAEL I have to see my father and his people when we get back to the Mall.

KAY Oh Michael.

MICHAEL We'll go to the show tomorrow night--we can change the tickets.

KAY Don't you want dinner first?

MICHAEL No, you eat...don't wait up for me.

KAY Wake me up when you come to bed?

The little BOY flies his cardboard bird out of the speeding limousine window.

EXT DAY: MALL (1955)

The limousine arrives at the Mall. We are inside.

KAY Your sister wants to ask you something.

MICHAEL Let HER ask.

NERI opens the door. KAY wants to talk just a little more.

KAY She's afraid to. Michael...

MICHAEL nods to NERI; who gives them their privacy a moment longer.

KAY Why are you so cold to her and Carlo? They live with us on the Mall now, but you never get close to them.

MICHAEL I'm busy.

KAY Connie and Carlo want you to be godfather to their little boy.

NERI opens the door; MICHAEL starts to get out; KAY too.

He smiles at her, tired, and a little sad.

KAY Will you?

MICHAEL Let me think about it, O.K.?

She smiles; MICHAEL goes with NERI to the Main House; KAY and the little BOY move to the house that was Sonny's.

INT DAY: DON'S OFFICE (1955)

VIEW ON DON CORLEONE, much older, much smaller in size. He wears baggy pants, and a warm plaid shirt. He sits in a chair, gazing out through the window, into the garden.

TESSIO (O.S.) Barzini's people chisel my territory and we do nothing about it. Pretty soon there won't be one place in Brooklyn I can hang my hat.

MICHAEL (O.S.) Just be patient.

TESSIO I'm not asking you for help, Mike. Just take off the handcuffs.

MICHAEL (O.S.) Be patient.

CLEMENZA (O.S.) We gotta fight sometime. Let us at least recruit our regimes to full strength.

MICHAEL (O.S.) No, I don't want to give Barzini an excuse to start fighting.

TESSIO (O.S.) Mike, you're wrong.

CLEMENZA (O.S.) Don Corleone...Don Corleone.

The OLD MAN looks up. CLEMENZA stand before him in the Den. Beside him is an anxious TESSIO. NERI stands by the door; HAGEN is seated; MICHAEL sits behind the big desk.

CLEMENZA You said there would come a day when Tessio and me could form our own Families. Only with your benediction, of course. I ask permission...

DON CORLEONE My son is head of the Family now. If you have his permission, you have my good will.

MICHAEL In six months you can break off from the Corleone Family and go on your own. Carlo, I'm counting on you to make the move to Nevada; you'll be my right-hand man out there. Tom Hagen is no longer the Consigliere.

Everyone is a bit surprised; look to see HAGEN's reaction. He remains inexpressive.

MICHAEL He's going to be our lawyer in Vegas. Nobody goes to him with any other business as of now, this minute. No reflection on Tom; that's the way I want it. Besides, if I ever need any advice, who's a better Consigliere than my father.

CLEMENZA Then in a six month time we're on our own; is that it?

MICHAEL Maybe less...

TESSIO Let us fill up our Regimes.

MICHAEL No. I want things very calm for another six months.

TESSIO Forgive me, Godfather, let our years of friendship be my excuse. How can you hope for success there without your strength here to back you up? The two go hand in hand. And with you gone from here the Barzini and the Tattaglias will be too strong for us.

CLEMENZA And I don't like Barzini. I say the Corleone Family has to move from strength, not weakness. We should build our Regimes and take back our lost territories in Staten Island, at least.

DON CORLEONE Do you have faith in my judgement?

CLEMENZA Yes, Godfather...

DON CORLEONE Then do what Michael says...

MICHAEL All I can say is that things are being resolved that are more effective than a thousand buttonmen on the streets. Understood?

There are uneasy looks all around.

CARLO Understood. I just wish I was doing more to help out.

MICHAEL I'll come to you when I need you.

He looks at CLEMENZA, TESSIO and HAGEN. They all nod, reluctantly.

MICHAEL All right, then it's resolved.

NERI knows the meeting is over, he opens the Den's door.

CLEMENZA and TESSIO pay their respects to the DON and leave, then CARLO. NERI watches CARLO as he walks down the corridor, casting a nervous look back at the sinister man.

Then NERI closes the door.

MICHAEL relaxes.

HAGEN Mike, why are you cutting me out of the action?

MICHAEL Tom, we're going to be legitimate all the way, and you're the legal man. What could be more important than that.

HAGEN I'm not talking about that. I'm talking about Rocco Lampone building a secret regime. Why does Neri report directly to you, rather than through me or a caporegime?

DON CORLEONE I told you that it wouldn't escape his eye.

MICHAEL How did you find out?

HAGEN Bookkeepers know everything. Rocco's men are all a little too good for the jobs they're supposed to be doing. They get a little more money than the job's worth. (pause) Lampone's a good man; he's operating perfectly.

MICHAEL Not so perfectly if you noticed.

HAGEN Mike, why am I out?

MICHAEL You're not a wartime Consigliere. Things may get tough with the move we're trying.

HAGEN OK, but then I agree with Tessio. You're going about it all wrong; you're making the move out of weakness... Barzini's a wolf, and if he tears you apart, the other families won't come running to help the Corleones...

DON CORLEONE Tom, I never thought you were a bad Consigliere, I thought Santino a bad Don, rest in peace. He had a good heart but he wasn't the right man to head the family when I had my misfortune. Michael has all my confidence, as you do. For reasons which you can't know, you must have no part in what will happen.

HAGEN Maybe I can help.

MICHAEL (coldly) You're out, Tom.

TOM pauses, thinks...and then he nods in acquiescence. TOM leaves.

MICHAEL looks at NERI.

MICHAEL I'm going to talk to my father.

NERI nods, and then leaves. The DON opens the doors, breathes in the air, and steps outside.

EXT DAY: THE GARDEN (1955)

DON CORLEONE I see you have your Luca Brasi.

MICHAEL I'll need him.

DON CORLEONE There are men in this world who demand to be killed. They argue in gambling games; they jump out of their cars in a rage if someone so much as scratches their fender. These people wander through the streets calling out "Kill me, kill me." Luca Brasi was like that. And since he wasn't scared of death, and in fact, looked for it...I made him my weapon. Because I was the only person in the world that he truly hoped would not kill him. I think you have done the same with this man.

They walk through the DON's vegetable garden. Tomatoes, peppers, carefully tended, and covered with a silky netting. MICHAEL follows; the DON turns and looks at him. Then stoops over to right a tomato plant that had been pushed over.

DON CORLEONE Barzini will move against you first.

MICHAEL How?

DON CORLEONE He will get in touch with you through someone you absolutely trust. That person will arrange a meeting, guarantee your safety...

He rises, and looks at Michael...

DON CORLEONE ...and at that meeting you will be assassinated.

The DON walks on further.

DON CORLEONE Your wife and children...you're happy with them?

MICHAEL Yes.

DON CORLEONE Good.

MICHAEL wants to express something...hesitates, then:

MICHAEL I've always respected you...

A long silence. The DON smiles at MICHAEL.

DON CORLEONE And I...you.

EXT DAY: CHURCH (1955)

KAY and MAMA walking from the black car that has just left them off.

KAY How is your husband feeling?

MAMA He's not the same since they shot him. He lets Michael do all the work. He just plays the fool with his garden, his peppers, his tomatoes, as if he was some peasant still. But men are like that...

She stops toward the Church.

MAMA You come in, too.

KAY shakes her head.

MAMA The Priest ain't gonna bite you cause you're not Catholic. (whispered) He's in the back drinkin' his wine.

KAY laughs and follows MAMA up the steps of the Church. They enter.

INT DAY: CHURCH (1955)

Inside the Church, KAY watches as MAMA blesses herself from the holy water.

MAMA You can.

Tentatively, KAY dips her fingers into the water, and blesses herself. Then SHE follows MAMA down the aisle, in awe at the high ceiling, the art, the windows, and finally the Altar.

MAMA stops by the impressive tiers of candles. There is a large coin box for those who wish to pay for lighting candles. MAMA fumbles in her purse for change; KAY gives her some.

MAMA drops the coins in the box, one by one; then takes the taper, and in a pattern known only to her, and with great dignity, she closes her eyes, says a prayer, and then lights twenty candles.

She finishes, and bows her head.

EXT DAY: BONASERA'S FUNERAL HOME

Very few people in the streets. TOTAL SILENCE. But black flower cars as far as the eye can see, for blocks and blocks. An expression of respect, of honor and fear that is enormous. Certainly no more could be done for a President or a King.

Each car carries an elaborate floral decoration. We show these in detail; and the flowered messages: "A Benefactor to Mankind", "He Knew and Pitied"..."Our Don Our Leader"..."The Sacred Heart"...

EXT DAY: MALL (1955)

HIGH ANGLE ON THE CORLEONE MALL

Silence.

The flower cars, funeral limousines, and private cars fill all the areas attendant to the Corleone residence.

Hundreds of people fill the Mall, reminiscent in size of the wedding of Connie and Carlo; of course, now the mood is somber and respectful.

MICHAEL, MAMA, FREDO and HAGEN stand by the flowered platform which holds the ornate coffin. We cannot see the remains of Don Corleone.

BONASERA is nearby, ready to do service to the bereaved family. One by one the mourners come by, weeping, or merely with grave expressions; pay their respects and continue on.

The VIEW ALTERS,

and we see that the line is endless. JOHNNY FONTANE, tears openly falling, takes his turn.

Children are taken by the hand, and lifted for their last look at the great man.

CLEMENZA whispers into the ear of LAMPONE. LAMPONE immediately arranges for the members of the Five New York Families to pay their respects.

First CUNEO, then STRACHI and then ZALUCHI. Then PHILIP TATTAGLIA, who merely passes by the Coffin.

Then BARZINI in a black homburg, standing a long time.

MICHAEL watches the scene.

BARZINI crosses himself and passes on, immediately rejoined by his men.

As BARZINI leaves, it seems as though everyone is fawning on him; perhaps asking for favors: But at any rate, it is clear from the doors opened for him, the cigars lit for him, that he is the new Capo di Capi--the place formerly held by Don Corleone.

MICHAEL watches silently.

BARZINI is searching for somebody with his eyes. First CLEMENZA. Then TESSIO.

CONNIE rushes into MICHAEL's arms, tears in her eyes. He embraces and comforts her.

Everywhere MICHAEL goes, NERI is a few feet away--watching all who come close to him.

EXT DAY: MALL (LATER)

Later on the Mall; some people have left, although there are still hundreds of mourners.

A young GIRL approaches TESSIO. She's about 18.

GIRL Do you remember me?

TESSIO No...

GIRL We danced together at Connie's wedding.

TESSIO makes a gesture, which is to say 'How you've grown', and they move though the crowd, looking for Michael. He finds him.

TESSIO Mike, could I have a minute?

MIKE; nods; and they move to a private place. NERI is close by.

TESSIO Barzini wants to arrange a meeting. Says we can straighten any of our problems out.

MICHAEL He talked to you?

TESSIO (nods) I can arrange security.

MICHAEL looks at him.

EXT DAY: CEMETERY (1955)

The Cemetery. Late day.

The hundreds of cars, limousines and flower cars line the stone wall that surrounds this Italian-Catholic cemetary in Queens Village.

Hundreds of people stand in a cluster; others watch; take pictures, etc.

MICHAEL stands with his family, his MOTHER...and TOM HAGEN.

MICHAEL (softly) Christ, Tom; I needed more time with him. I really needed him.

HAGEN Did he give you his politicians?

MICHAEL Not all...I needed another four months and I would have had them all. (he looks at TOM) I guess you've figured it all out?

HAGEN How will they come at you?

MICHAEL I know now. (a passion wells up inside of MICHAEL) I'll make them call me Don.

HAGEN Have you agreed on a meeting?

MICHAEL (nods) A week from tonight. In Brooklyn on Tessio's ground, where I'll be safe.

HAGEN looks at him; understands.

MICHAEL But after the Baptism. I've decided to stand as godfather to Connie's baby.

They look up.

The coffin is lowered into an excavation, behind which stands an enormous stone monument; it is of a weeping angel, with the bold inscription: CORLEONE.

---------------------------------------FADE OUT---------

FADE IN:

INT DAY: NERI'S APT. (1955)

ALBERT NERI moves around in his small Corona Apartment; he pulls a small trunk from under his bed. He opens it, and we see in it, nearly folded, a New York City Policeman's uniform. He takes it out piece by piece, almost reverently. Then the badge, and the identification card; with his picture on it. Slowly, in the solitude of his room, he begins to dress.

INT DAY: MICHAEL'S BEDROOM (1955)

MICHAEL and KAY are getting dressed for the christening in their room. MICHAEL looks very well; very calm; KAY is beginning to take on a matronly look.

INT DAY: MOTEL ROOM (1955)

In a Long Island motel.

ROCCO LAMPONE carefully disassembles a revolver; oils it, checks it, and puts it back together.

EXT DAY: CLEMENZA'S HOUSE (1955)

PETER CLEMENZA about to get in his Lincoln. He hesitates, takes a rag and cleans some dirt off of the fender, and then gets in, drives off.

EXT DAY: CHURCH (1955)

The Church.

Various relatives and friends are beginning to gather at the Church. They laugh and talk. A MONSIGNOR is officiating. Not all of the participants have arrived yet.

CONNIE is there, with a beaming CARLO. She holds the infant; showing him off to interested people.

EXT DAY: U.N. PLAZA (1955)

NERI walks down the sidewalk in the neighborhood of the UN Building. He is dressed as, and has the bearing of, a policeman. He carries a huge flashlight.

EXT DAY: MOTEL BALCONY (1955)

LAMPONE steps out onto the little balcony of a Sea-Resort Motel; We can see the bright, neon lit sign advertising "ROOMS FACING THE SEA--VACANY".

INT DAY: CHURCH

The Church.

CONNIE holds the baby; the MONSIGNOR is speaking; KAY and MICHAEL stand side by side around the urn.

PRIEST (to MICHAEL) Do you pledge to guide and protect this child if he is left fatherless? Do you promise to shield him against the wickedness of the world?

MICHAEL Yes, I promise.

EXT DAY: FIFTH AVE.

NERI continues up the 55th St. and Fifth Avenue area. He continues until he is in front of Rockefeller Center. On his side of the street, he spots a limousine waiting directly across from the main entrance of the building. Slowly he approaches the limo, and taps on its fender with his nightstick.

The DRIVER looks up in surprise.

NERI points to the "No Parking" sign.

The DRIVER turns his head away.

NERI OK, wise guy, you wanna summons, or you wanna move?

DRIVER (obviously a hood) You better check with your precinct.

NERI Move it!

The DRIVER takes a ten dollar bill, folds it deliberately, and hands it out the window, trying to put it under NERI's jacket.

NERI backs up, letting the bill fall onto the street. Then he crooks a finger at the DRIVER.

NERI Let me see you license and registration.

EXT DAY: MOTEL BALCONY

LAMPONE on the motel balcony spots a Cadillac pulling up. It parks. A young, pretty GIRL gets out. Quickly, he returns into the room.

INT DAY: HOTEL STAIRS (1955)

CLEMENZA is climbing the back stairs of a large hotel. He rounds the corner, puffs a little, and then continues upward.

INT DAY: CHURCH

The Church. Close on the PRIEST's fingers as he gently applies oil to the infant's ears and nostrils.

PRIEST Ephetha...be opened...So you may perceive the fragrance of God's sweetness.

EXT DAY: ROCKEFELLER CENTER (1955)

The DRIVER of the limousine in front of Rockefeller Center is arguing with NERI.

Now the DRIVER looks up.

WHAT HE SEES:

TWO MEN in topcoats exit the building, through the revolving glass doors.

NERI opens up fire, trapping BARZINI in the shattering glass doors. The doors still rotate, moving the dead body of BARZINI within them.

INT DAY: CHURCH

In the Church--the VIEW on MICHAEL. The PRIEST hands him the infant.

PRIEST Do you renounce Satan.

MICHAEL I do renounce him.

PRIEST And all his works?

MICHAEL I do renounce them.

INT DAY: MOTEL MURDER (1955)

LAMPONE, backed up by two other MEN in his regime, runs down the iron-rail steps, and kicks in the door on Room 7F. PHILIP TATTAGLIA, old and wizened and naked, leaps up; a semi-nude young GIRL leans up.

They are riddled with gunfire.

INT DAY: HOTEL STAIRS (1955)

CLEMENZA, huffing and puffing, climbs the back stairs, with his package.

INT DAY: CHURCH

The PRIEST pours water over the forehead of the infant MICHAEL holds.

PRIEST Do you wish to be baptized?

MICHAEL I do wish to be baptized.

INT DAY: HOTEL ELEVATOR MURDER (1955)

CLEMENZA, out of breath, climbs the final few steps.

He walks through some glass doors, and moves to an ornate elevator waiting shaft.

The lights indicate the elevator has arrived.

The doors open, and we see a surprised CUNEO standing with the dapper MOE GREENE.

CLEMENZA fires into the small elevator with a shotgun.

The PRIEST hands a lighted candle to MICHAEL.

PRIEST I christen you Michael Francis Rizzi.

Flash bulbs go off. Everyone is smiles, and crowds around MICHAEL, KAY, CONNIE...and CARLO.

--------------------------------------FADE OUT----------

EXT DAY: CHURCH (1955)

The christening party outside the Church.

Four or five limousines have been waiting; now pull up to receive MAMA, CONNIE and the baby; and the others.

Everyone is very happy; only MICHAEL seems aloof and grave.

As the fuss is going on, a car pulls up. LAMPONE gets out and works his way to MICHAEL. He whispers in his ear. This is the news MICHAEL has been waiting for.

CONNIE holds the baby up to MICHAEL.

CONNIE Kiss your Godfather.

The infant turns its head, and MICHAEL uses that as an excuse to back away.

MICHAEL Carlo...we've had a change in the plans. Mama, Connie, Kay and the kids will have to take the trip out to Vegas without us.

CONNIE Oh Mike, it's our first vacation together.

CARLO (anxious to please) Jesus, Connie...Sure, Mike...

MICHAEL Go back to your house and wait for me...

He kisses KAY.

MICHAEL (to KAY) I'll just be a couple of days...

People are guided to the correct limousines; they start to drive off.

INT DAY: DON'S KITCHEN

TESSIO sits in the Kitchen of the Main House on the Mall.

HAGEN enters.

HAGEN You'd better make your call to Barzini; Michael's ready.

TESSIO nods; moves to the telephone and dials a number.

TESSIO We're on our way to Brooklyn.

He hangs up and smiles.

TESSIO I hope Mike can get us a good deal tonight.

HAGEN (gravely) I'm sure he will.

EXT DAY: MALL (1955)

The TWO MEN walk out onto the Mall, toward a car. On their way they are stopped by TWO BODYGUARDS.

BUTTON MAN The boss says he'll come in a separate car. He says for you two to go on ahead.

TESSIO (frowning) Hell, he can't do that. It screws up all my arrangements.

THREE MORE BODYGUARDS appear around him.

HAGEN (gently) I can't go with you either, Tessio.

He flashes at the men surrounding him; for a moment he panics, and then he accepts it.

TESSIO (after the pause) Tell Mike it was business...I always liked him.

HAGEN He understands that.

TESSIO looks at the men, and then pauses.

TESSIO (softly) Tom, can you get me off the hook? For old times' sake?

HAGEN I can't.

HAGEN turns, and walks away from the group. Then about twenty paces away, he stops, and looks back.

TESSIO is led into a waiting car.

HAGEN looks away, and walks off.

INT DAY: CARLO'S LIVING ROOM (1955)

CARLO RIZZI is alone in his house, smoking, waiting rather nervously. He moves to the window and looks out.

WHAT HE SEES:

EXT DAY: MALL (1955)

MICHAEL, still dressed in a dark suit; followed by NERI, LAMPONE and CLEMENZA, then HAGEN.

They move toward us.

Excitedly, CARLO moves to the front door; opens it.

He wears a broad smile.

CARLO Godfather!

MICHAEL You have to answer for Santino.

The smile on CARLO's face slowly fades, then, in a foolish attempt for safety, he slams the door in their faces and backs into the living room.

INT DAY: CARLO'S LIVING ROOM (1955)

The door opens, and the grim party enters.

MICHAEL You fingered Sonny for the Barzini people. That little farce you played out with my sister. Did Barzini kid you that would fool a Corleone?

CARLO (dignity) I swear I'm innocent. I swear on the head of my children, I'm innocent. Mike, don't do this to me, please Mike, don't do this to me!

MICHAEL (quietly) Barzini is dead. So is Philip Tattaglia, so are Strachi, Cuneo and Moe Greene...I want to square all the family accounts tonight. So don't tell me you're innocent; admit what you did.

CARLO is silent; he wants to talk but is terrified.

MICHAEL (almost kindly) Don't be frightened. Do you think I'd make my sister a widow? Do you think I'd make your children fatherless? After all, I'm Godfather to your son. No, your punishment is that you're out of the family business. I'm putting you on a plane to Vegas--and I want you to stay there. I'll send Connie an allowance, that's all. But don't keep saying you're innocent; it insults my intelligence and makes me angry. Who approached you, Tattaglia or Barzini?

CARLO (sees his way out) Barzini.

MICHAEL (softly) Good, good. Leave now; there's a car waiting to take you to the airport.

CARLO moves to the door; opens it. There is a car waiting; with a group of MEN around it.

He looks back at MICHAEL, who reassures him.

MICHAEL I'll call your wife and tell her what flight you're on.

EXT DAY: MALL

CARLO moves out to the Mall; the BUTTONMEN are putting his things in the trunk.

ONE opens the front door for him.

SOMEONE is sitting in the rear seat, though we cannot see who.

CARLO gets into the car; out of nervousness, he looks back to see the other man.

It is CLEMENZA, who nods cordially.

The motor starts, and as the car pulls away, CLEMENZA suddenly throws the garrote around CARLO's neck. He chokes and leaps up like a fish on a line, kicking his feet.

The garrote is pulled tighter; CARLO's face turns color.

His thrashing feet kick right through the front windshield.

Then the body goes slack.

CLEMENZA makes a foul face, and opens the window as the car drives off.

EXT DAY: CARLO'S STEPS (1955)

MICHAEL and his party. They watch.

Then he turns and walks off, and they follow.

---------------------------------------FADE OUT---------

FADE IN:

INT NITE: MICHAEL'S LIMO EN ROUTE (1955)

MICHAEL sits alone in the back of his car; NERI is driving.

They do not speak for a long time; it is night--car lights flash by.

NERI turns back.

NERI You know I would never question anything you say.

MICHAEL (smiles) Speak your mind.

NERI I'll do this for you; you know I should.

MICHAEL No. This I have to do.

EXT NITE: PIZZA STREET (1955)

MICHAEL's car pulls up in a quiet neighborhood, near an Italian Pizzeria. NERI opens the door.

MICHAEL Sit in the car.

INT NITE: PIZZA PLACE (1955)

He walks alone into the restaurant. A MAN is tossing pizza dough in the air.

MICHAEL Where's the boss?

MAN In the back. Hey Frank, someone wants you.

A MAN comes out of the shadows, with a strong Italian accent.

MAN What is it?

He stops, frozen in fear. It is FABRIZZIO.

VIEW ON MICHAEL. Gunfire from under his coat. FABRIZZIO is cut down. MICHAEL throws the gun down; turns and exits.

EXT DAY: MALL (1955)

HIGH ANGLE ON THE CORLEONE MALL

Several moving vans are parked in the Mall; one feels that these are the final days; the families are moving out; signs indicating that the property is for sale are evident.

A black limousine pulls up, and before it has even stopped, the rear door flies open, and CONNIE attempts to run out, restrained by MAMA. She manages to break free and runs across the Mall into Michael's house.

INT DAY: DON'S LIVING ROOM (1955)

Inside the Corleone house. Big boxes have been packed; furniture prepared for shipping.

CONNIE Michael!

She hurries into the living room, where she comes upon MICHAEL and KAY.

KAY (comforting) Connie...

But CONNIE avoids her, and moves directly to MICHAEL. NERI is watchful.

CONNIE You lousy bastard; you killed my husband...

KAY Connie...

CONNIE You waited until our father died and nobody could stop you and you killed him, you killed him! You blamed him about Sonny, you always did, everybody did. But you never thought about me, never gave a damn about me. (crying) What am I going to do now, what am I going to do.

TWO of Michael's BODYGUARDS move closer, ready for orders from him. But he stands there, waiting for his sister to finish.

KAY Connie, how could you say such things?

CONNIE Why do you think he kept Carlo on the Mall? All the time he knew he was going to kill my husband. But he didn't dare while my father was alive. And then he stood Godfather to our child. That coldhearted bastard. (to KAY) And do you know how many men he had killed with Carlo? Just read the papers. That's your husband.

She tries to spit into MICHAEL's face; but in her hysteria she has no saliva.

MICHAEL Get her home and get a doctor.

The TWO BODYGUARDS immediately take her arms and move her, gently but firmly.

KAY is shocked; never taking her look of amazement from MICHAEL. He feels her look.

MICHAEL She's hysterical.

But KAY won't let him avoid her eyes.

KAY Michael, it's not true. Please tell me.

MICHAEL Don't ask me.

KAY Tell me!

MICHAEL All right, this one time I'll let you ask about my affairs, one last time.

KAY Is it true?

She looks directly into his eyes, he returns the look, so directly that we know he will tell the truth.

MICHAEL (after a very long pause) No.

KAY is relieved; she throws her arms around him, and hugs him. Then she kisses him.

KAY (through her tears) We both need a drink.

INT DAY: DON'S KITCHEN (1955)

She moves back into the kitchen and begins to prepare the drinks. From her vantage point, as she smilingly makes the drinks, she sees CLEMENZA, NERI and ROCCO LAMPONE enter the house with their BODYGUARDS.

She watches with curiosity, as MICHAEL stands to receive them. He stands arrogantly at ease, weight resting on one foot slightly behind the other. One hand on his hip, like a Roman Emperor. The CAPOREGIMES stand before him.

CLEMENZA takes MICHAEL's hand, kissing it.

CLEMENZA Don Corleone...

The smile fades from KAY's face, as she looks at what her husband has become.

INT DAY: CHURCH (1955)

KAY wears a shawl over her hand. She drops many coins in the coin box, and lifts a burning taper, and one by one, in a pattern known only to herself, lights thirty candles.

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