FADE IN:

The Paramount Pictures logo is presented over a simple black
background, as a single trumpet plays the familiar theme of
a waltz.  White lettering fades in:

     Mario Puzo’s THE GODFATHER

There is a pause, as the trumpet concludes, and there is the
additional title: - Part Two -

INT. DON CORLEONE’S OLD OFFICE - CLOSE VIEW ON MICHAEL
CORLEONE - DAY

standing impassively, like a young Prince, recently crowned
King.

CLOSE VIEW ON Michael’s hand.  ROCCO LAMPONE kisses his hand.
Then it is taken away.  We can SEE only the empty desk and
chair of Michael’s father, Vito Corleone.  We HEAR, over
this, very faintly a funeral dirge played in the distance,
as THE VIEW MOVES SLOWLY CLOSER to the empty desk and chair.

DISSOLVE TO:

EXT. A SICILIAN LANDSCAPE - FULL VIEW - DAY

We can barely make out the funeral procession passing over
the burnt-brown of a dry river bed.  The figures move
slowly, seemingly from out of hundreds of years of the past.

The MUSICIANS walking unsteadily on the rocky bed, their
instruments harsh and blaring.

They are followed by six young peasant men, carrying the
crude wooden coffin on their shoulders.  Then the widow, a
strong large woman, dressed in black, and not accepting the
arms of those walking with her.

Behind her, not more than twenty relatives, few children and
paisani continue alone behind the coffin.

Suddenly, we HEAR the shots of the lupara, and the musicians
stop their playing.  The entire procession scatters in odd
directions along the rocky river bed.

The young men struggle with the burden of the heavy coffin,
throwing it out of balance and nearly crashing to the ground.
We hear a woman SCREAMING:

WOMAN
(Sicilian)
They’ve killed young Paolo!  They’ve
killed the boy Paolo!

EXT. SICILIAN LANDSCAPE - MED. VIEW - DAY

across the slain body of a fourteen year old boy, lying on
the parched ground.  In the distance we see four or five of
the mourning women, the wind blowing their black dresses and
veils, running up to the body of the boy.  They begin to
wail, and cry out in anguished Sicilian, as the widow, the
mother of the murdered boy, holds her child in her arms, his
fresh blood wetting her strong hands.

EXT. BARONIAL ESTATE - TIGHT MOVING VIEW - DAY

A boy, eight or nine, with wide, frightened eyes, being
pulled quickly by the hand.  This is VITO ANDOLINI, who is
to become The Godfather.

The VIEW ALTERS revealing that he is being pulled along by
his Mother, the Widow, across a field leading to the
ornamental gates of a Baronial Estate of some forgotten Noble.

At various positions near the gates are men with shotguns,
or lupara.  The gates are opened; and the Widow and her boy
are shown before DON FRANCESCO, a man in his sixties.  He
wears his trousers with suspenders, and an open white shirt
sloppily tucked in over his enormous belly.  He wears a hat
to protect him from the white-hot sun, and proudly displays
a gold watch and chain over his vest.

He sits in a chair, near a group of his men in the garden,
listening to the Widow, who stands before him with her only
son.

WIDOW
(Sicilian)
Don Francesco.  You murdered my
husband, because he would not bend.
And his oldest son Paolo, because
he swore revenge.  But Vitone is
only nine, and dumb-witted.  He
never speaks.

DON FRANCESCO
(Sicilian)
I’m not afraid of his words.

WIDOW
(Sicilian)
He is weak.

DON FRANCESCO
(Sicilian)
He will grow strong.

WIDOW
(Sicilian)
The child cannot harm you.

DON FRANCESCO
(Sicilian)
He will be a man, and then he will
come for revenge.

As she pleads, the Widow moves closer to the Don, until she
has practically thrown herself to her knees before him.

WIDOW
(Sicilian)
I beg you, Don Francesco, spare my
only son.  He is all I have.  In
the name of the Holy Spirit, I
swear he will never be a danger to
you...

Suddenly, she reaches under her skirt, where she has hidden
a kitchen knife.

WIDOW
(continuing)
But I will kill you myself!
(she lunges at the
Mafia chieftain)
Vitone, go!

The boy runs as fast as he can out through the gates.  Then
there is a lupara blast.  He turns, and sees his Mother
flung a distance of five feet from the short range of the
terrible blast of the shotgun.  Then he sees the men turn
their attention to him.  One fires at him; but the boy is
quick, and disappears into a grove of olive trees.

EXT. STREETS OF CORLEONE - NIGHT

Two men roam the deserted streets of Corleone, carrying
lupare.  Every so often, they stop, and one shouts in a
loud, almost singsong voice, like a fish peddler.  Their
names are MOSCA and STROLLO.

MOSCA
(Sicilian)
Our Friend promises misery to
anyone who harbors the boy Vito
Andolini.
(he turns and shouts
in the other direction)
Our Friend promises misery to
anyone who harbors the boy Vito
Andolini.

INT. A HOUSE - NIGHT

A family quietly eats their dinner.  The father is the local
policeman, as indicated by his uniform jacket and gun,
hanging nearby.

STROLLO
(Sicilian, O.S.)
Our Friend will be hard with any
family who gives help to Vito
Andolini.

One of the children looks up, about to speak.  But the
father sternly indicates that nothing must be said.  They go
on with their dinner.

EXT. THE STREETS OF CORLEONE - FULL VIEW - NIGHT

The men continue walking up and throughout the streets, far
in the distance.

MOSCA
(Sicilian O.S.)
...misery to any family who harbors
the boy, Vito...

INT. A BARN - NIGHT

Four little girls watch with wide eyes as their mother and
father bind Vito tightly in swaddled cloth, and then lift
him up to the side of a mule; counter-balancing a heavy load
of firewood.  The father looks at the boy’s almost stoically
calm little face.

FATHER
(Sicilian)
Vito...We pray for you.

He pulls the fabric over the boy’s face.

MOSCA
(Sicilian O.S.)
...Andolini...

STROLLO
(Sicilian O.S.)
Our Friend promises misery to any
family...

EXT. THE CHURCH PLAZA - NIGHT

The men continue on their night-walk, up to the plaza of the
church.

STROLLO
(Sicilian)
...who harbors the boy Vitone
Andolini.

The figure of a single man on a mule passes them.

MOSCA
(Sicilian)
Let no one give help to the boy
Vito Andolini...

The man on the mule makes his way out of the village and
disappears into the distance.

We begin to hear, very quietly, the Waltz repeated once again.

EXT. STEAMSHIP - CLOSE VIEW ON VITO - DAY

huddled in blankets, on the deck of the ship in Steerage.
He does not say a word.  The Waltz grows louder as the VIEW
ALTERS, revealing the hundreds of immigrant families huddled
together with all their earthly possessions on their way to
America.

Then, suddenly, the Waltz stops.

THE NEW YORK HARBOR - DAY

SILENCE.  We glide past the Statue of Liberty.

VIEW on the IMMIGRANTS standing on shipboard silently;
looking.  Vito is standing with them, his eyes wide.

CAMERA MOVES IN on the statue, then MOVING PAST, on to the
beautiful buildings of Ellis Island.

EXT. ELLIS ISLAND - DAY

A tugboat pulls a barge brimming with immigrants into the
Ellis Island harbor.  Uniformed officials of the Immigration
Service load them up toward the main building.

INT. ELLIS PROCESSING HALL - DAY

The hundreds of immigrant families sit on rows of benches in
the great hall.  Various painted lines lead to the steps and
processing rooms above.

There is the babble of many interviews going on
simultaneously, uncertainly, in different languages.

Vito is bundled in an old coat, with a large tag pinned on
it: "Vitone Andolini -- Corleone, Sicilia."

He stands, moves up in the line, when several other immigrant
boys, older than he, rush up an push him back in the line.
Weak from the trip, he falls to the floor.  The boys laugh,
derisive in a language he cannot understand.  He struggles
to his feet, lifting his makeshift bags; staring at them in
an icy hatred.

INT. PROCESSING ROOM - DAY

Three or four interviews are crowded into the small room;
they are conducted in English.  From the expression on
Vito’s face, and from the fragmented of the English, we
realize that he doesn’t understand a word of it.

OFFICIAL
(English)
What is your name?

The man waits, impatiently.

OFFICIAL
Your name?

Vito doesn’t answer.  The Official pulls the tag pinned onto
his coat and copies to down on his form, using a typewriter.

OFFICIAL
(speaking as he types)
Vito...Corleone.  Step up, over
there.

He hands the form to another official.

CLOSE VIEW on the form.  The name has been entered as Vito
Corleone.

INT. MEDICAL EXAM - DAY

Vito is stripped to the waist, as other immigrants wait.

The DOCTOR is just finishing his examination.  He shakes his
head, and then writes on the medical form.

DOCTOR
Can you understand me?

Vito stares blankly.

DOCTOR
You understand?  Smallpox.  Smallpox.

He doesn’t understand.  The doctor turns to the Immigration
Official.

DOCTOR
Quarantine...six months.

UNDERGROUND PASSAGEWAY - MOVING VIEW - DAY

Officials move a group of immigrant men, including Vito, to
the quarantine section of the Island.

INT. QUARANTINE HALLWAY - DAY

The official stops at each doorway, and reads off a name.

OFFICIAL
Salvatore Ormenta.

The man moves into the room, and the group proceeds.

OFFICIAL
Vito Corleone.

No one responds.  The guard moves to the boy, reads his new
name tag.  And then, not unkindly:

GUARD
That’s you.

He opens the door, and Vito enters the room.

EXT. THE STATUE OF LIBERTY - DAY

The VIEW slowly begins to pull back, revealing this to be
the view from inside the quarantine cell, where Vito stands
on his bench, looking out to the statue through the barred
window.

Then he turns, and sits in the corner.  He is silent for a
long time.

Then, in a sweet, pure voice, he sings to himself in Sicilian.

DISSOLVE TO:

INT. CATHOLIC CHURCH - MOVING CLOSE SHOT - DAY

A nine year old boy, dressed immaculately in white, with a
large white silk bow tied to his shoulder, moving slowly
down the aisle of the church with a group of other children
dressed in white.  He has dark black hair, and his face is
unmistakably similar to young Vito’s.  He moves slowly, his
hands clasped around a golden missal.  We HEAR only the pure
voice of Vito in Sicilian, his sad song reaching out from
the past, as ANTHONY CORLEONE, his Grandson, moves on the
way to his First Holy Communion more than fifty years later.

FULL VIEW

The little children move in procession down to the Altar,
where the PRIEST raises the Host, and performs the Communion
Mass in Latin.

PRIEST
Ecce Agnus Dei, ecce qui tollit
peccata mundi.

MOVING VIEW ON THE PRIEST

and Altar boys, as he moves along the row of kneeling
children, blessing them, and administering their first
Communion.

CLOSE MOVING VIEW

as the innocent faces receive the Host; finally, the Priest
comes to Anthony.

PRIEST
Corpus Christi.

ANTHONY
Amen.

EXT. LAKE TAHOE ESTATE - DAY

The lawns of this great estate on the shore of Lake Tahoe
are covered with guests of a wonderful party to honor the
First Holy Communion of Anthony Corleone, the son of Mr. and
Mrs. Michael Corleone.  A full dance orchestra plays music
of the times on a pavilion bandstand built especially for
the occasion.  Speedboats roar through the water, pulling
youthful waterskiers; and the pool and private harbor are
filled with laughing, swimming guests.  It is Fall of 1958.

MED. VIEW

Anthony, in his Communion suit sits alone at the table,
looking like a lonely young Prince.

KAY (O.S.)
Smile, Anthony.  Smile.

He does, and a flash goes off.

PHOTOGRAPHER (O.S.)
Now, one with the whole family.

KAY (O.S.)
Mr. Corleone can’t right now...

KAY CORLEONE enters from the side, leading her four year old
daughter, MARY, and MAMA CORLEONE to pose with Anthony.

KAY (O.S.)
...but we’ll get one with the ladies.

PHOTOGRAPHER
All together now, c’mon, Anthony...
CHEESE and
(flash)

KAY
Thank you.

She smiles as she leaves the photographer, and then lets out
a weary sigh to Mama, as she touches the slightly protruding
belly.

KAY
Do you think it’ll show in the
picture?

MAMA
Two months never shows.  Two months
look like you had a big lunch.

VOICE (O.S.)
Oh, Mrs. Corleone.

A slender, aristocratic WOMAN in her late forties is waving
to KAY.

MRS. BARRETT
Hello, Mrs. Corleone.  I’m Fran
Barrett, our place is just down the
lake.  This is my husband, Marshall.

KAY
I’m so happy you could come.

MR. BARRETT
The place is transformed.  We’ve
been watching workmen come and go
all summer.

MRS. BARRETT
Where is Mr. Corleone?

KAY
A business meeting ran late...but
he promised he wouldn’t be long.

Kay puts her arm around little Anthony’s shoulder.

KAY
This is our son Anthony Vito
Corleone.  Today he made his First
Holy Communion.

EXT. TAHOE GATE AND KENNELS - DAY

A confusion of cars; arriving and parking.  The squad of
parking attendants are supplemented by a whole team of the
local Police, working as high-class parking valets.

A very beautiful, statuesque woman, though slightly drunk,
DEANNA DUNN, slams the door of a powder blue Mercedes and
hurries barefoot through the great stone gate.

DEANNA
I will not shut my mouth, and keep
your Goddamn hands off of me!

She is followed by a harried, FREDDIE CORLEONE, dressed with
flash in the Hollywood style, and carrying her shoes in his
hands.

FREDO
Honey!  Wait a minute; let’s go for
a drive.

DEANNA
I just had a drive; besides, I want
to see my brother-in-law Michael.

FREDO
(trying to get her to
put her shoes on)
Yeah, but I don’t want him to see
you.

Deanna pauses reflectively a moment, allowing Fredo to get
her shoes on.

DEANNA
What beats me, is how you guys
could be brothers.  You musta been
your Mother’s rotten egg.

She kicks off the shoes, giggling, and runs toward a waiter.

DEANNA
(lifting a glass of champagne)
Young man, young man...thank you,
young man.

WAITER
(impressed)
Excuse me, but aren’t you...

DEANNA
Yes, you saw me in the movies, Good
Humor man, and yes, I had more off
than my shoes!

FREDO
Goddamn bitch.

DEANNA
Relax, Freddie honey.  Come dance
with me.

She extends her hand to him.

FREDO
Listen, Michael’s got a lot of nice
people here.  Friends of Kay’s.
He’ll never forgive me if you ruin
his party.

DEANNA
I hate to see you cringe in front
of him.  How come you’re so scared
of your own kid brother?

FREDO
He’s the head of the family.

Disgusted, she turns around, and heads toward the music.

DEANNA
Don’t follow me!

EXT. TAHOE LAWN AND TABLES - MED. SHOT - DAY

Rushing through the tables, waving an arm jangling with gold
jewelry, and carrying several gift-wrapped packages, is a
hardened and aging CONNIE CORLEONE.  She is followed by a
blond, and wrinkled-handsome escort named MERLE.

CONNIE
Mama...Mama!  Here I am!

She throws her arms around her Mother, who returns the
affection somewhat reproachfully.

MAMA
Constanzia.  We expected you last
week; we sent the car to pick you
up at the airport last week.

CONNIE
I know, it was chaos; but anyway,
here I am one week late.
(lifting a shiny
green package out of
Merle’s arms)
This is for my Mama.  You remember
Merle?

MAMA
(not giving him a
chance to greet her)
Yes, thank you.

CONNIE
How are the kids?

MAMA
Well, thank you, they asked for you
all week.

CONNIE
I got surprises for everybody!

MAMA
(glancing at the wrapping)
Bought at the airport.

CONNIE
(gazing about)
This is swell.  Where’s Michael?
I’ve got things to get straight
with him and I can’t wait on line.

MAMA
You go see your children first, and
then you wait to see your brother
like everybody else.

EXT. THE BOATHOUSE - DAY

A porch-like foyer of the boathouse, where a group of five
or six men wait, some nervously.  Some sit, and some pace.

MED. CLOSE VIEW

on one of these men, FRANKIE PENTANGELI, approaching his
sixties, with gray hair (the little of it left).  He’s a bit
scruffy, this morning’s shave of his white beard is not
perfect, and he seems tired.  He is accompanied by an
associate-bodyguard, WILLY CICCI; thin and dark, and also
dressed up for the occasion.  Frankie tries to get the
attention of one of the waiters; a college-groomed young man
in white sports jacket and black bow-tie.

PENTANGELI
Hey, kid!  You got any red wine?

WAITER
(offering the tray)
Only champagne and cocktails.

PENTANGELI
Forget it...

Finally, he sees someone he recognizes, Fredo, and shouts
out in a husky voice:

PENTANGELI
Fredo!  Sonuvabitch.  You look great.

Fredo squints in his direction; finally recognizes him.

FREDO
Who’s that?  Pentangeli?  Frankie
"Five-Angels"...thought you were
never coming West.

PENTANGELI
(affectionately)
Gotta check up on my boys.  Hey,
what’s with the food?  Some kid in
a white jacket brings me a ritz
cracker with some chopped liver.
’Canapes,’ he says.  I say, ’Can a
peas, my ass, that’s a ritz cracker
with chopped liver.’ Go get me a
salami sandwich and a glass of wine
or I’ll send you and your white
jacket to the dry cleaners!

They get a good laugh at this fresh breath of New York.

FREDO
Gee, Frankie, it’s good to see you.
Reminds me of old times.

PENTANGELI
You remember Willy Cicci, don’t
you, Freddie?  We was all together
with the old man Clemenza in
Brooklyn... before...uh...

FREDO
We were all upset about that.

PENTANGELI
That’s what I’m here to talk to
your brother about.  What’s with
him, I got to get a letter of
introduction to have a ’sitdown’?

FREDO
(throwing his arm
around him)
C’mon, I see what I can do.

EXT. TAHOE PAVILION - MED. VIEW - DAY

The orchestra wears white summer sportcoats and black tuxedo
slacks as they play a tango behind monogrammed music stands.
A professional dance team, probably imported from Vegas,
dance the tango for the excited guests.

INT. TAHOE BOATHOUSE - DAY

A large and very beautiful room overlooking the lake.  It is
dominated by an enormous bar, behind which stands ALBERT
NERI, discreetly in the background.

MICHAEL CORLEONE sits on a large sofa, his back to us.
Standing to one side is a tired and somewhat uneasy TOM
HAGEN.  Standing before Michael is SANDRA CORLEONE, Sonny’s
widow; her daughter, one of the twins, FRANCESCA CORLEONE,
and a handsome young man of twenty, GARDNER SHAW.

SANDRA
Michael, this is Gardner Shaw.
Francesca and he have been seeing
each other for six months now.
Gardner, this is Francie’s Uncle
Michael.

GARDNER
(a little nervous)
I’ve heard a lot about you, Mr.
Corleone.

MICHAEL (O.S.)
Sit down.  Francie.

The couple sit themselves on the sofa opposite Michael.

SANDRA
They would like to set an engagement
date, and...

MICHAEL
Let them speak for themselves.

VIEW ON MICHAEL, calm, thoughtful.  One can tell that he has
special affection for his niece.

FRANCESCA
We love each other, Uncle Michael.
And, we want to be married.  I came
to ask for your blessing.

There is a loud KNOCKING on the door; then Fredo’s voice.

FREDO (O.S.)
Hey, Mike...guess who’s here?

Neri goes to answer it, cracks the door open.

NERI
Not now, Freddie...

FREDO
Tell Mike Frankie ’Five-Angels’ is
here.

NERI
Not now...

Neri closes the door, and Michael looks at the nervous young
man.

MICHAEL
Francesca is my oldest brother’s
daughter.  He died many years ago,
and ever since I’ve felt much more
of a father than an uncle.  I love
her very much.  I’m pleased and
impressed that you had the thought
to come to me before going on with
your plans.  It shows me that
you’re a considerate man, and will
be good to her.  What are you
studying in college?

GARDNER
My major is Fine Arts, sir.

MICHAEL
How will Fine Arts support your new
wife?

GARDNER
It’s embarrassing to say, sir, but
I’m a major stockholder in the
family corporation.

MICHAEL
(smiling)
Never be embarrassed by your wealth.
This recent contempt for money is
still another trick of the rich to
keep the poor without it.
(warmly)
Of course I give you my blessing.
Let’s set the wedding soon...it
will be my pleasure to give the
bride away.

They all smile, and rise.

MICHAEL
(continuing)
...and take a few courses in
Business Administration just to be
on the safe side!

They laugh; Michael moves toward them.  Francesca throws her
arms around him, and kisses her favorite uncle.  The flushed
young man shakes his hand heartily.

FRANCESCA
Thank you, Uncle Michael.

They all take their leave; Michael turns to Hagen.

MICHAEL
Make her dowry impressive.  He
comes from a family who still
thinks an Italian bride goes
barefoot.

EXT. TAHOE SWIMMING POOLS AND HARBOR - DAY

Francesca and Gardner are greeted by her twin sister and
their young friends, who squeal and embrace at the good news.
Someone throws someone in the pool, and life is good.

MED. CLOSE

Francesca kisses her Aunt Kay.

FRANCESCA
Uncle Michael is the greatest man
ever!

VIEW on Kay - happy for her niece.

INT. TAHOE BOATHOUSE - DAY

Michael sits in the darkened boathouse.  Tom Hagen paces.
Michael is looking at photographs.  Neri stands over him.

CLOSE ON MICHAEL

studying the pictures.

NERI (O.S.)
His name is Fred Vincent.  He owns
a small pizza parlor in Buffalo...

CLOSE ON THE PICTURES

Snapshots of a middle-aged man, handsome, Italian.  There is
something familiar about him.

NERI (O.S.)
(continuing)
...American wife and two small kids.
We traced him and found that he’s
in the country illegally, from
Sicily...

Michael looks at another picture.  The same man.  Only
younger, and dressed in Sicilian shepherd’s clothing.  We
remember him as FABRIZZIO...Michael’s traitorous bodyguard
in Sicily.

NERI (O.S.)
...came over around 1956.  Sponsored
by the Barzini Family.

Michael puts the pictures down.

MICHAEL
It’s him.  Fabrizzio.
(almost to himself)
Revenge is a dish that tastes best
when it’s cold.

NERI
How do you want me to handle it?

Michael glances at Hagen, who has been waiting in the room.

MICHAEL
Later.  Tom?

Hagen brings him a folder; then, as Michael glances through
it:

HAGEN
I’ve cleared it through the
Senator’s chief aide, a man named
Turnbull.  Turnbull’s a heavy
gambler, and into us for over a
hundred grand, so I figure his
information is reliable.

Neri moves to the bar, to prepare Michael a drink.

HAGEN
The Senator can be set up; but he
thinks of himself as a clean
politician.  So it’s got to be on
terms he can live with: campaign
contribution, donation to a
charitable cause that he controls,
things like that.  If he gets even
the inkling that you think you’re
buying him, he’ll freeze up.
Nevada’s a funny state, they like
things both ways here... All right.
Turnbull says the Senator will be
here at two-thirty, and he’s been
primed.  He knows you’ll want to
meet with him alone, and he knows
it’s about the Tropicana’s license.
At any rate, he expects to be
introduced around to some of the
influential people here today, and
generally treated as an ordinary
guest.  Just go light on him,
Mikey, sometimes the biggest crooks
don’t like to think of themselves
as crooks...

Michael glances at Hagen, as though that last remark was
unnecessary.

HAGEN
I’m sorry; of course, you know that.

MICHAEL
Two-thirty.  That gives me time to
see my boy.

HAGEN
Connie’s outside.

Michael doesn’t want to see her.

HAGEN
I promised; she said it was urgent.

Michael nods.

MICHAEL
All right.  Apologize to Pentangeli.

Neri opens the door; Hagen exits, and Connie steps in
impatiently, followed by Merle.

MICHAEL
I said I would see my sister, alone.

MERLE
I think this concerns me too.
(taking a cigarette
from the dispenser)
You don’t, do you?

Connie steps forward, kisses Michael on the cheek.

CONNIE
How are you, honey?  You’ve met
Merle, haven’t you.  He was with me
in Vegas.

MICHAEL
I saw him with you.

CONNIE
We’re going to Europe next week.  I
want to get passage booked on the
Queen.

MICHAEL
Why do you come to me?  Why don’t
you go to a travel agent?

MERLE
We’re going to get married first.

Michael is silent.  Then he rises, and moves to the window
overlooking the lake.

MICHAEL
The ink on your divorce isn’t dry.
Your children see you on weekends;
your oldest boy, Michael Francis...
was in some trouble with the Reno
police over some petty theft that
you don’t even know about.

CONNIE
Michael...

MICHAEL
You fly around the world with lazy
young men who don’t have any love
for you, and use you like a whore.

CONNIE
You’re not my father!

MICHAEL
Then why do you come to me?

CONNIE
Because I need MONEY!

MICHAEL
(softly)
Connie, I want to be reasonable
with you.  You have a house here,
with us.  You can live here with
your kids...and you won’t be
deprived of anything.  I don’t know
much about Merle; I don’t know what
he does for a living; what he lives
on.  Why don’t you tell him marriage
is really out of the question; and
that you can’t see him any more.
He’ll understand.  But if you
disobey me, and marry this pimp...it
would disappoint me.

CONNIE
It was my father’s money; and I’m
entitled to what I need.  Where is
Tom Hagen?

She turns angrily, leaving Michael standing face to face
with Merle.

MICHAEL
Are you finished?

MERLE
I think so.

MICHAEL
Then out.

Merle puts out his cigarette and leaves, quickly.

EXT. TAHOE PAVILION - FULL VIEW - DAY

The orchestra has struck up a "Paul Jones," where two
concentric circles of young people march in opposite
directions, until the music stops.  Then they take whomever
is opposite them as their new dance partner.

VIEW ON THE HARBOR AREA

Francesca and her twin, Gardner and their elite young
friends roar out of the private harbor, to get up on the
water skis.  We notice ROCCO LAMPONE, move along a path
leading to a separate and more private boathouse.  A small
covered craft approaches, ties off, and a group of three men
step on to the pathway, shake hands with Lampone - and
follow him to the large boathouse where Michael conducts his
business.

CLOSE VIEW

Pentangeli has led Mama up to the dance floor, and is having
some difficulty with the orchestra.

PENTANGELI
I can’t believe that out of thirty
professional musicians, not one of
you is Italian!
(as the musicians laugh)
C’mon, give us a tarantella.

He waves his hands, conducting, and singing.  The piano
starts a vamp, the drums uncertainly join in.  A clarinet
starts to play "Pop Goes the Weasel," and soon the rest of
the orchestra is playing that.  They look to Pentangeli for
approval.  Disgusted, he goes back to his table, eating a
handful of canapes.

INT. THE BOATHOUSE - DAY

Rocco ushers an older Italian, bundled up against the cold
and wet of his boatride, to Michael.

The man shows respect to Michael, who quickly indicates that
Neri should get him a drink.

MICHAEL
Rocco, his friends must be hungry.
See what you can do, but I’d like
to keep them away from the guests.

The older man, JOHNNY ’BLUE BOY’ OLA, gestures to his
bodyguards, and they follow Lampone.

MICHAEL
You know my lawyer, Tom Hagen.
Johnny Ola.

OLA
Sure, I remember Tom from the old
days.

Tom shakes hands with Ola, remembering him, and his
importance.

MICHAEL
Tom isn’t going to sit in with us,
Johnny.  He only handles specific
areas of the family business.  Tom?

HAGEN
Sure, Mikey.

He gathers up some of his papers, as the three men remain
silent, waiting for him to go before they talk.  It’s clear
Tom doesn’t want to be excluded.

HAGEN
If you need anything, just...

MICHAEL
Just tell Rocco I’m waiting.

Hagen nods and leaves.  As soon as the door closes:

OLA
I just left our friend in Miami.

MICHAEL
How is his health?

OLA
Not good.

MICHAEL
Is there anything I can do; anything
I can send?

OLA
He appreciates your concern,
Michael, and your respect.

There’s a KNOCK on the door; a moment, and then Rocco
quietly enters and takes his place without disturbing the
conversation.

OLA
The hotel’s registered owners are
one Jacob Lawrence, and Sidney
Barclay, both Beverly Hills
attorneys.  In reality it’s split
between the Old Lakeville Road
Group from Cleveland, and our
friend in Miami.  He takes care of
others outside the country, you
know who I mean.  Meyer Klingman
runs the store, and does all right,
but I’ve been instructed to tell
you, that if you move him out, our
friend in Miami will go along with
you.

MICHAEL
He’s very kind, tell him it’s
appreciated.  I’m sure it will be
profitable all the way around.

OLA
He always makes money for his
partners.  One by one, our old
friends are gone.  Death, natural
or not, prison, deported.  Our
friend in Miami is the only one
left, because he always made money
for his partners.

The door opens suddenly, and standing there in his white
Communion suit, is Michael’s boy Anthony.  A moment later,
Kay appears, and takes the boy’s hand.

KAY
Anthony, Daddy’s busy.

MICHAEL
(rising)
This is my boy, and my wife.  Mr.
John Ola of Miami.

KAY
I’m sorry, Michael.  Senator
Geary’s here, and Mr. and Mrs.
Barrett wanted to thank you before
they left.  Won’t you join us, Mr.
Ola?

MICHAEL
Mr. Ola’s just leaving, Kay.
Please tell the Senator I won’t be
a minute.

Pause; she stands there a moment.

MICHAEL
(continuing)
Kay.

KAY
Yes, Michael.

EXT. THE BOATHOUSE - DAY

Kay closes the door.  It seems as though Michael has violated
some sort of promise to her by having this man here today.
She looks up toward the first boathouse.

WHAT SHE SEES:

The covered launch, and Ola’s three bodyguards, eating while
they wait.

MED. VIEW

Anthony runs away from her, heading toward the house.

KAY
Anthony!
(she runs after him)
Anthony, where are you going?

Moodily, the boy stops, turns, and walks back to his table
of honor without answering her.

EXT. TAHOE TABLES AND PAVILION - VIEW ON THE PAVILION - DAY

The orchestra has taken its break; now two couples in formal
dress are performing the Quartet from Rigoletto.

VIEW ON HAGEN

sitting by himself, a little down, having a drink.  He’s
waiting for Michael to re-summon him.  SANDRA, Sonny’s
widow, sits opposite him.

HAGEN
Where’s my wife?

SANDRA
With Mama, putting the baby to
sleep.  Francesca’s very happy.
Michael was kind to her.  She
idolizes him.
(pause; she looks at
a despondent Hagen)
The children are all out in the
speedboat.  I’m going to my house.

Sandra gets up, still an attractive woman, and walks alone
to the back path that leads to her home on the estate.

VIEW ON THE PAVILION

The returned orchestra strikes a big, show-biz chord,
intended to command the guests’ attention.

The orchestra LEADER raises his hands for silence, and makes
an announcement over the P.A. system.

MAESTRO
Ladies and gentlemen, a most
distinguished guest would like to
say a few words: Senator and Mrs.
Pat Geary of the state of Nevada!

A big hand, as the smiling SENATOR introduces his WIFE by
holding her arm up to the crowd, and then proceeds alone to
the bandstand.

MED. VIEW

Michael stands with Kay and Mrs. Geary.  The Senator’s
presence seems to be a statement of political and social
status.

A little distance away, his beautiful son Anthony sits
quietly, in an unmistakably morose mood.

INT. TAHOE - SANDRA’S HOUSE - DAY

We HEAR the applause and whistles echoing in the distance.
Sandra stands in her bedroom, looking at the door.  We SEE a
photograph of SONNY, and also one of their wedding.

A moment goes by, and then Tom Hagen enters, closing the
door behind him.

We begin to HEAR Senator Geary’s amplified voice resounding
over the lake.  Hagen moves to Sandra.  She takes him in her
arms, comforting, holding his head against her full breast.

HAGEN
(quietly)
He doesn’t want my help any more.
He doesn’t need it.

SANDRA
We don’t know that’s true, he never
said that.

HAGEN
I can feel it in the way he talks
to me.

He moves to the dresser; pours himself a drink.

HAGEN
Just now when Johnny Ola showed up,
he asked me to leave them alone.
Ola is Hyman Roth’s Sicilian
contact.  I was on the inside of
ten, twenty meetings with him.  But
today Mike asked me to leave, like
an outsider.

SANDRA
Talk to him.  Tell him how you feel.

HAGEN
It’s as though he blames me for the
ground the family lost when I was
Consigliere to Sonny.

Sandra pulls Hagen to her, and kisses him passionately on
the mouth.

HAGEN
I love Michael, I want to help him,
be close to him.  I don’t want to
end up a third string lawyer making
property settlements for the hotels.

Sandra knows he needs her.  Slowly she begins to undress.

SANDRA
We have a little time now.

EXT. THE PAVILION - VIEW ON SENATOR GEARY - DAY

SENATOR GEARY
...my thanks, and the thanks of the
young people of the State of
Nevada, for this most impressive
endowment...
(he holds a check in
his hand)
...made to the University in the
name of Anthony Vito Corleone.
Thank you, Mr. and Mrs. Michael
Corleone.

Applause.  Senator Geary returns the microphone to the
Maestro who adds:

MAESTRO
And now, the Nevada Boys’ Choir
have prepared a special thank you
for Mr. Michael Corleone.

He turns to a small Choir Master, who leads the Boys’ Choir
in a choral arrangement of "MR. WONDERFUL."

VIEW ON SENATOR GEARY

shaking hands with Michael, as Press Photographers snap
pictures, showing the check; showing a special award of
Gratitude from the State; Mrs. Corleone and Mrs. Geary; all
together; Michael and his son; Senator Geary and Michael’s
son; and on and on.  In the midst of this:

SENATOR GEARY
Where can we meet alone?

Michael indicates the boathouse a distance away, where Neri
seems to be waiting for them.  Then Michael leans to Rocco:

MICHAEL
Find Hagen.

Rocco sets off; as more pictures are taken, and the:

BOYS’ CHOIR

sings its lovely arrangement of "Mr. Wonderful."

INT. TAHOE BOATHOUSE - MED. VIEW - DAY

Michael, the Senator, Neri and Rocco make a group in the
dark, large room.

MICHAEL
It was very kind of you to come to
my home on this occasion, Senator.
My wife has been very concerned
with making a good impression on
the people who are our neighbors,
and your appearance here has made
her very happy.  If I can ever
perform a service for you, you only
have to ask.

The door opens, and Hagen sheepishly makes his way in.

MICHAEL
My lawyer, Tom Hagen.  He arranged
this all through your man Turnbull.

SENATOR GEARY
I thought we would meet alone.

MICHAEL
I trust these men with my life.
They are my right arms; I cannot
insult them by sending them away.

SENATOR GEARY
(taking out some medication)
Some water.

He addresses that to Neri, who resentfully goes to fetch the
Senator a glass of water.

SENATOR GEARY
Alright, Corleone.  I’m going to be
very frank with you.  Maybe more
frank than any man in my position
has ever spoken to you before.

Michael nods, indicating that he should do so.

SENATOR GEARY
The Corleone family controls two
major hotels in Vegas; one in Reno.
The licenses were grandfathered in,
so you had no difficulties with the
Gaming Commission.  But I have the
idea from sources...
(takes the water from
Neri and swallows his pills)
...that you’re planning to move in
on the Tropicana.  In another week
or so you’ll move Klingman out,
which leaves you with only one
technicality.  The license, which
is now in Klingman’s name.

MICHAEL
Turnbull is a good man.

SENATOR GEARY
Let’s forget the bullshit, I don’t
want to stay here any longer than I
have to.  You can have the license
for two hundred and fifty thousand
in cash, plus a monthly fee equal
to five percent of the gross...

Michael is taken aback; he looks at Hagen.

SENATOR GEARY
...of all three Corleone hotels.

Hagen is frustrated; all his information was wrong.

MICHAEL
Senator Geary, I speak to you as a
businessman who has made a large
investment in your state.  I have
made that state my home; plan to
raise my children here.  The
license fee from the Gambling
Commission costs one thousand
dollars; why would I ever consider
paying more?

SENATOR GEARY
I’m going to squeeze you, Corleone,
because I don’t like you; I don’t
like the kind of man you are.  I
despise your masquerade, and the
dishonest way you pose yourself and
your fucking family.

VIEW ON HAGEN

glances at Michael.

VIEW ON MICHAEL

makes no outward reaction.

MICHAEL
(quietly)
We’re all part of the same
hypocrisy, Senator.  But never
think it applies to my family.

SENATOR GEARY
All right, then let me say you’ll
pay me because it’s in your
interests to pay me.

VIEW ON GEARY

rising.

SENATOR GEARY
I’ll expect your answer, with
payment, by tomorrow morning.  Only
don’t contact me...from now on,
deal only through Turnbull.

He is almost out the door.

MICHAEL
Senator...
(cold and calm)
...you can have my answer now if
you’d like.

Geary turns back.

MICHAEL
My offer is this.  Nothing...not
even the thousand dollars for the
Gaming Commission, which I’d
appreciate if you would put up
personally.

Geary returns Michael’s hard look; then laughs and leaves.
Slowly Michael turns to Hagen.

VIEW ON HAGEN

embarrassed at being so off the mark.

MICHAEL
It’s all right, Tom, we’ll talk
later.  Tell Frankie Pentangeli I’d
like him to have dinner at my
family table before we do business.

EXT. THE PAVILION - NIGHT

Now the light has faltered, and the young waiters have put
up the night lights.  The tables are all properly set for
dinner, with candles on each one.

The orchestra is playing quiet, unobtrusive dinner music,
and many of the guests have begun to help themselves to the
impressive buffet, under a party tent.

MED. VIEW

Michael sits at a large table with Kay, his son Anthony,
Mama, Hagen and TERESA, Connie and Merle’ Fredo and Deanna,
and Frankie Pentangeli.

MAMA
Cent’ Anne.

This, the table of honor, all raise their glasses and repeat
the toast.

DEANNA
What’s ’cent’ Anne?’

FREDO
A hundred years...it’s a toast.

CONNIE
It means we should all live happily
for one hundred years.  The family.
If my Father were alive, it’d be
true.

MAMA
Connie.

CONNIE
Merle, have you met my sister-in-
law Deanna?

DEANNA
What a pleasure, Merle.
(shaking hands)


MAMA
(Sicilian)
Those two are perfect for each other.

MERLE
What’s that mean?

CONNIE
Mama!

PENTANGELI
(Sicilian)
Michael, in all respect, I didn’t
come three thousand miles for dinner.

MICHAEL
(Sicilian)
I know.

PENTANGELI
(Sicilian)
When do we talk?

MICHAEL
(Sicilian)
After dinner.

By now, the conversation has become exclusively Sicilian,
with Merle and Deanna, looking from side to side like in a
tennis match.  Finally, Kay, to be polite:

KAY
Anthony, you were talking to Mr.
Pentangeli?

ANTHONY
His name is "Five-Angels."

PENTANGELI
Yeah, the kid and me talked Sicilian.
A one-way conversation!

INT. TAHOE BOATHOUSE - NIGHT

Pentangeli is angry; but because it is Michael he is talking
to, he keeps his voice low and represses his desire to shout.

PENTANGELI
Sure, Pete Clemenza died of a heart
attack, but the Rosato Brothers
gave it to him.

MICHAEL
We were all heartbroken at the
news; but that wasn’t cause to
start a war.

PENTANGELI
Okay, now it’s my family in
Brooklyn; and I wanna keep up
Clemenza’s loyalty to you.  But how
can I run my family with you
challenging my every move?  You’re
too far from the street, Mike, the
only way to reason with the Rosato
Brothers is to whack ’em and whack
’em fast.

MICHAEL
You were unfair with them.

PENTANGELI
Says who?

MICHAEL
Clemenza promised Rosato three
territories in the Bronx after he
died, and then you took over and
welched.

PENTANGELI
Clemenza promised them nothing, he
hated the sonsuvbitches.

MICHAEL
They feel cheated.

PENTANGELI
Michael, you’re sitting up here in
the Sierra Mountains with champagne
cocktails making judgment on the
way I run my family.

MICHAEL
(suddenly in Sicilian)
Your family still carries the name
Corleone, and you will run it like
a Corleone!

PENTANGELI
(Sicilian)
And while I feed my family in New
York, you put the knife in my back
in Miami.

MICHAEL
(firm)
Frankie, you’re a good old man, and
you’ve been loyal to my Father for
years...so I hope you can explain
what you mean.

PENTANGELI
The Rosatos are running crazy;
taking hostages, spitting in my
face, because they’re backed by the
Jew in Miami.

MICHAEL
I know.  That’s why I want you to
be fair with them.

PENTANGELI
How can you be fair with animals?
They recruit niggers and spicks;
they do violence in their own
Grandmother’s neighborhoods.  And
everything is dope and whores; the
gambling is left to last.  Let me
run my family without you on my
back.  I want them taken care of.

MICHAEL
No.  There are things that I have
planned with Hyman Roth.  I don’t
want them disturbed.

PENTANGELI
You give your loyalty to a Jew over
your own blood.

MICHAEL
Frankie, you know my father
respected Roth, did business with
him.

PENTANGELI
He did business...but he never
trusted him.

Pentangeli takes his hat, and leaves.

NERI
Should he go?

MICHAEL
The old man had too much vino
rosso, or he’d never talk openly
that way.  Let him go back to New
York; I’ve already made my plans.
(he checks his watch)
It’s late; I’ve spent so little
time at the party.

EXT. THE LAWNS AND TABLES - FULL VIEW - NIGHT

By now the sun has fallen and the lawns of the Corleone
estate are lit by moonlight.  Beautifully dressed couples
dance as the orchestra plays a foxtrot of the late fifties.

VIEW ON THE DANCE FLOOR

Deanna has been dancing with Fredo; she has gotten drunk and
it teasing her husband by flirting with other men on the
floor.

DEANNA
I wanta dance...whatsa matter with
that?

FREDO
Dancing is alright; you’re falling
on the floor.

DEANNA
Whatsamatter, you don’t want me to
dance with him ’cause he’s a man!

FREDO
Deanna, I’m going to belt you right
in the mouth!

DEANNA
These Eye-ties are really crazy
when it comes to their wives.

By now guests are starting to notice the disturbance;
Michael is with Kay, and some friends; Rocco catches his eye.

DEANNA (O.S.)
Jesus, never marry a WOP, they
treat their wives like shit.

VIEW on Kay, listening, embarrassed by her flashy sister-in-
law.

VIEW ON FREDO AND DEANNA

Rocco passes by Fredo and whispers:

ROCCO
Freddie, Mike says take care of it,
or I have to.

DEANNA
He’s a friend of your brother!

Without another word, Rocco grabs firm hold of her and
whisks her out of the crowd.

DEANNA
"Shuffle off to Buffa...
Shuffle off to Buffa...
Shuffle off to Buffalooooo..."

Freddie mops his forehead, and moves to Michael.

FREDO
Hey Mike, what can I say?

MICHAEL
Forget it, just go take care of her.

EXT. THE HARBOR DECK - NIGHT

A large group of Tahoe teenagers join the Corleone youngsters
sitting around a large fire out by the harbor.  Gardner and
Francie, sitting arm in arm.

EXT. TABLE OF HONOR - MED. VIEW - NIGHT

Little Anthony, in his white suit, sitting alone.

EXT. MAIN GATE - NIGHT

A taxi pulls up, and is signaled over to the gate by a
policeman carrying a torch flashlight.

Connie and Merle enter; Merle tips the cop, and the cab
drives off.

EXT. DANCE FLOOR AND PAVILION - MOVING TWO SHOT - NIGHT

Kay and Michael dancing in the moonlight.

MICHAEL
How’s the baby?

KAY
Sleeping inside me.

MICHAEL
Does it feel like a boy?

KAY
Yes, Michael, it does.

MICHAEL
I’m sorry about some of the people
I had to see today.  It was bad
timing... but it couldn’t be helped.

KAY
It made me think of what you told
me once.  In five years, the
Corleone family will be completely
legitimate.  That was seven years
ago.

He has no answer for her; except that he loves and values
her, and holds her tight, as they dance amid their guests,
all dressed elegantly for the social event of the season.

The VIEW LOOSENS to show the entire, night-lit party.

DISSOLVE TO:

EXT. LAS VEGAS CHAPEL - MED. CLOSE VIEW - NIGHT

A Cadillac limousine waits for some people inside the tacky,
Las Vegas marriage mill.

INT. THE CHAPEL - NIGHT

Some quiet, informally dressed couples wait in the rear of
the chapel; some talking, others sitting nervously.

A single organ plays some standard wedding music.

The VIEW PANS up to the altar, where Connie and Merle, in
the same clothing they wore to the Tahoe party, are being
married by a Justice of the Peace.

The Justice goes through the bored, simple ceremony, and we
begin to HEAR an echo of the waltz Connie danced with her
father, when she was married all those years ago in Long
Island.

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

A dark car pulls up to the glitter of the neon facade.
Albert Neri, alone, leaves it to the parking valets, and
moves quickly through the automatic doors, into the main
casino.  We still hear the CORLEONE WALTZ.

INT. THE TROPICANA - DAY

Albert Neri enters the room; glances around a moment, and
then heads toward the crap table, where a short, middle-aged
man, KLINGMAN, stands by the pit boss.  Several security
guards of the casino, are at their posts.

NERI
Are you Klingman?

KLINGMAN
Who’s asking?

NERI
Where can we talk?

KLINGMAN
Right here.

NERI
I represent the interests of the
Corleone family.  We make the
invitation to you to tie up your
affairs and be out of the hotel by
Monday morning.

KLINGMAN
Who do you think you’re talking to?

NERI
You said you were Klingman.

KLINGMAN
You don’t come in here, talk to an
owner in Las Vegas like that.

NERI
You missed my point; you are no
longer an owner.

KLINGMAN
Get out of my hotel.

Neri stands in front of him, smiling.

KLINGMAN
Boys, get him out of here.

Quickly, Neri moves toward Klingman, and slaps him hard
several times in the face, knocking off his glasses... Red-
faced, Klingman gets down on his knees to pick them up once,
again.  Glasses on, he looks to his guards.

WHAT HE SEES

They stand, motionless.

VIEW ON KLINGMAN

Humiliated, Klingman moves across the casino floor, past a
few interested gamblers, and his own people.  Neri slowly
follows.

INT. SHOWROOM - MED. VIEW - DAY

A typical, Lido de Paris type of show is in rehearsal, as
Klingman backs into the showroom.

HIS VIEW

Neri keeps coming.

VIEW ON KLINGMAN

realizes that no one will help him.  He finally capitulates.

KLINGMAN
All right!  All right, I’ll be out.

Neri keeps moving, then heads past the terrified man, sits
down at a table, and looks up at the stage.

NERI
(to the staring performers)
Keep it going.

EXT. A STREET IN BUFFALO, NEW YORK - NIGHT

The neon lights that spell out "FRED’S PIZZERIA" go out;
after a moment a man in an overcoat steps out, and turns to
lock the door of his restaurant.  The Corleone Waltz
continues over this.  He turns.

MED. CLOSE VIEW

FRED VINCENT, whom we remember as the Sicilian Fabrizzio.
He moves toward his parked car.  Gets in.

MED. LONG VIEW

The starter turns, and the automobile blows in a great
explosion.

DISSOLVE TO:

EXT. THE TAHOE ESTATE - NIGHT

The waltz continues over the VIEW of the empty, but still
illuminated pavilion.  There is the debris of the great
party spread over the grounds, which a silent crew of
workmen are at work cleaning up,

MED. VIEW

Michael walks alone, followed by two of the family dogs,
Irish Setters.

He walks to the water line, and looks out across the lake.
He picks up a stick, and throws it for the dogs; who go
scampering after it.

We notice that a respectful distance away, there are
bodyguards watching every move he makes.

CLOSE VIEW ON MICHAEL

looking across the lake.  There is much on his mind.  The
SOUND of the waltz, begins to segue into the echoed music
and laughter of an old Italian Music Hall from the past.

DISSOLVE TO:

INT. NEW YORK THEATRE - 1915 - NIGHT

VITO CORLEONE is a shy young man of 23, holding his hat in
his hand, being led down the crowded aisle of this Italian
Vaudeville theatre by an energetic and fulfilled GENCO
ABBANDANDO, his friend in America.  This entire sequence is
played in Sicilian.

GENCO
Come on, you’ve got to see her!

VIEW ON THE STAGE

A tattered melodrama is in progress in Neapolitan.  The sets
are two-dimensional, and flap whenever there’s an entrance
or exit.

The hero, PEPPINO, is weeping as he sings about how he’s
left his Mother in Italy, while he is in this new country,
America.

VIEW ON THE AUDIENCE

All poor, Italo-Americans.  Genco finds a few seats, and
leads Vito to them, stepping on a few shoes in the process.
They have barely come to their seats, when an excited Genco
nudges Vito, and points to the stage.  People shout that
they should sit down.

VIEW ON THE STAGE

There is a knock on the door, and a young girl enters,
delivering a letter to Peppino in his tenement in America.
The girl is pretty; and obviously the object of Genco’s
affection.  The letter brings bad news.  Peppino’s Mother is
dead.  He weeps, and sings the final song, which most of the
audience knows: SENZA MAMMA.

VIEW ON THE AUDIENCE

Genco is enthralled with the young actress.  The people in
the audience are singing along with Peppino.

VIEW ON THE STAGE

The actress, object of Genco’s affection, makes a dramatic
exit.

VIEW ON THE AUDIENCE

Genco pulls on Vito’s jacket, indicating that now that his
love is offstage, they should leave.  Vito rises with him,
and they make their way all the way down the aisle.

INT. BACKSTAGE THEATRE - MOVING VIEW - NIGHT

Genco hurrying down the backstage corridor, hoping to catch
a glimpse of the actress.  He is followed by Vito.  Suddenly,
Genco stops short.

GENCO’S VIEW

A heavy-set, fierce looking Italian wearing an expensive
light-colored suit and a cream colored fedora.  This is
FANUCCI.  He is discussing a business matter with the
theatre IMPRESARIO; a large, strong looking man, who is
sweating nonetheless.  He doesn’t seem to be giving in to
Fanucci.  He holds a locked strongbox.

VIEW ON VITO

watching.  The two men argue in Italian.

MED. VIEW

The young ACTRESS crosses into the area, unaware of the
difficulties.  The impresario sees her, and frightened,
motions that she should keep away.

IMPRESARIO
Carla!

But Fanucci grabs her easily by her slender wrist, and with
lightning speed, produces a knife which he holds against her
cheek.  The impresario wrings his hands in agony.

IMPRESARIO
(Sicilian)
No...please, not my daughter.

Whereupon he begins to unlock the box which holds the
receipts for the night’s box-office.

VIEW ON GENCO AND VITO

hiding, watching.  At first, Genco is enraged, as though he
would rush up to help his enamorata.

GENCO
(Sicilian)
The Black Hand.

Then he backs away.  Vito looks at him shocked and
disappointed in this cowardly behavior.  Genco shakes his
head, and points, as though to say that where Fanucci is
concerned, there is nothing to be done.

GENCO
(Sicilian)
(whispered)
Let’s get out of here.

VIEW ON FANUCCI

has released the girl.  Her father pulls her away from him,
and slaps her for no reason; then he pays Fanucci.

FANUCCI
(Sicilian)
Because you protested, it will cost
a hundred more.

EXT. NEW YORK ALLEY - NIGHT

Genco and Vito; Genco leans against the wall, breathlessly,
as though he’s had a near escape.

GENCO
(Sicilian)
I know what you are thinking,
Vitone, but you don’t understand
yet how things are.  Fanucci is of
the Black Hand.  Everyone in the
neighborhood pays him, even my
father.

VITO
(Sicilian)
He’s an Italian?

GENCO
(Sicilian)
A pig of a Neaponitan.
(spits)


VITO
(Sicilian)
Why?  Why does he bother other
Italians?

GENCO
(Sicilian)
Because he knows them; he knows
they have no one to protect them.
Vitone?  What do you think of my
angel?

VITO
(Sicilian)
Beautiful.

GENCO
(Sicilian)
Beautiful.

VITO
For you, she is beautiful.  For me,
there is only my wife!

GENCO
I know.  That’s why I brought you
with me!

Genco embraces his good friend, and they laughingly walk
down the alley.

The stage door opens, and Fanucci exits, a sinister figure
in white, moving down the alley just in front of them, into
the night.

The two friends hold their breath, until he disappears.

EXT. NEW YORK STREETS - MOVING VIEW - DAY

Vito moves through the street, carrying groceries that he is
to deliver.

It is cold, and so vendors are huddled around fires they
have lit in old cans and drums.

He turns up an alleyway, and then stops.

VIEW UP THE ALLEY

With great strength, Fanucci lifts one of them up into the
air and throws him down hard to the concrete; but another,
holding onto his back, manages to produce a switchblade
knife and awkwardly reaching around from behind the moving
man, slits Fanucci’s throat from one side to the other.

Fanucci groans like some great hurt animal.  Blood pours
from the deep, smile-like slit in his throat.

He throws the young man off his back.

VIEW ON VITO

stepping back in the alley.

VIEW ON FANUCCI

He takes off his white fedora, and runs down the alley
toward Vito, catching the flowing blood in his hat.

The young attackers scurry off in various directions.

INT. ABBANDANDO GROCERY STORE - DAY

A tiny shop featuring imported food: trays of cured meats,
prosciutto, copagole, mortadella lies on the counter covered
with netting to keep away the thousands of flies.

Olive oil is sold in bulk, as well as wine, cheese and bacala.

Genco works here for his father, and is busy slicing paper
thin prosciutto for a customer, by hand.  Vito works in the
back as a stock clerk.

Finished with his customer, Genco moves to his friend.

GENCO
(Sicilian)
I bet you can’t guess what happened?

VITO
(Sicilian)
What?

GENCO
(Sicilian)
Some guys from Ninth Avenue jumped
Fanucci today; slit his throat from
ear to ear.

VITO
(Sicilian)
No, I didn’t know.  Is he dead?

GENCO
(Sicilian)
Nah.  Those guys aren’t murderers.
They wanted to scare him, that’s
all.  Make him look bad.

VITO
(Sicilian)
In Sicily, when you attack a man,
you had better finish him.

GENCO
(Sicilian)
I wish they had.  He takes fifty
dollars a week from my father’s
cash drawer.  But you can’t kill a
man like Fanucci.

VITO
(Sicilian)
Why?

GENCO
(Sicilian)
Because he’s what we say...
"connected"... You wait, see what
happens to those guys from Ninth
Avenue.

A customer enters; and Genco moves away to serve him.

CLOSE VIEW ON VITO

recalling what he had seen and thought.

EXT. NEW YORK ALLEYWAY - MED. VIEW - NIGHT

A young man, one of those who had tried to kill Fanucci,
runs down an alleyway, breathlessly.  Then he stops, and
looks behind himself.  Whoever was following him is gone.
He turns and walks ahead.  Then the mammoth, white-suited
figure of Fanucci leaps down before him from the fire-escape.
He grins at the young man, and then raises his neck, showing
the gruesome wound that marks his throat.

He takes out his pistol and fires point-blank at his attacker.

INT. TINY TENEMENT - FULL VIEW - NIGHT

The very small, railroad type flat where Vito lives with his
new family.

It is late at night, and he is exhausted.

He returns home; where his young wife, CARMELLA, goes
through the silent ritual of preparing a simple meal for him.
He sits and eats quietly.

INT. TENEMENT ROOM - NIGHT

Vito and Carmella enter the darkened bedroom, and approach a
metal crib.  Vito reaches down and takes the small hand of
the baby between his thick peasant fingers.  Carmella waits
a respectful distance behind him.

INT. ABBANDANDO GROCERY - DAY

The shop bell RINGS; SINGER ABBANDANDO turns to see a
smiling Fanucci tipping his hat, like an old customer.

FANUCCI
Buon giorno.

Immediately, Vito turns back to his work, and Signor
Abbandando moves to Fanucci with a sigh.

Vito notices the two men talking quietly at one side of the
store, while he goes about his work.  Genco works his way
closer to his friend.

GENCO
(Sicilian)
What did I tell you.  The one who
cut him was found in an alley.  And
the family of the others paid
Fanucci all their savings to make
him forswear his vengeance.

VITO
(Sicilian)
(surprised)
And he agreed?

GENCO
(Sicilian)
He took the money.  Now he wants
double from everybody in the
neighborhood, including Papa.

Vito watches the heated, but inevitable transaction.

VITO
(Sicilian)
(almost to himself)
A real mafioso doesn’t sell his
vengeance.

MED. VIEW

Signor Abbandando seems to be arguing with Fanucci, and
every so often they turn and relate to where Vito is working.
Then Fanucci leaves, the little bell RINGING; and Signor
Abbandando reluctantly moves to Vito.

SIG. ABBANDANDO
(Sicilian)
Vitone.  How is your son?

VITO
(Sicilian)
We are all well.

It is clear that he has something difficult to tell the
young man.

SIG. ABBANDANDO
Vitone...I...Fanucci has a nephew.

Vito looks at him a while, as the old man struggles to tell
him.

VITO
(Sicilian)
And you must give him my job.

The old man nods, regretfully.

VITO
(Sicilian)
You have been kind to me since I
was a boy; taken care of me, and
been as a father.  I will always be
grateful to you.  Thank you.

Vito takes off his apron, and leaves, passing the youth who
loiters by the counter.

EXT. THE STREET - DAY

making his way from the store.

SIG. ABBANDANDO
(Sicilian o.s.)
Vitone!

He turns, and Abbandando has followed him out of the shop,
holding a basket of some groceries.

SIG. ABBANDANDO
Here...for your family.

VITO
No...please understand...I cannot
accept.

INT. VITO’S TENEMENT - MED. VIEW - NIGHT

Vito and his wife sit quietly at the table; the two are
quiet and sad.

Suddenly, we HEAR a noise, and Vito is astonished to see a
young man, PETER CLEMENZA, leaning out of the window on the
other side of the air shaft which separates their apartments.

CLEMENZA
Hey Paisan!  Hold this for me until
I ask for it.  Hurry up!

Automatically Vito reaches over to the empty space at the
air shaft, and takes the bundle of rags.  Clemenza’s round
face is strained and urgent, obviously in some kind of
trouble.  Suddenly, he closes the window and there is
activity that we cannot see in the other apartment.

Vito looks to his wife, and then closes the window and
window dressing and takes the bundle into a private part of
his kitchen and begins to unwrap it.

WHAT HE SEES:

Five oily guns.  He immediately wraps them again, and
carries them to a private closet, and hides it, and returns
to his wife.  He sits down back at the table; and she knows
not to ask him what has happened.

EXT. NEW YORK STREETS - DAY

Vito is walking through the crowded streets with a group of
workmen; they all wear work clothes, and paper hats on their
heads.

Vito looks to his left, and realizes that Clemenza is
walking silently with him; by contrast, Clemenza dresses well.

CLEMENZA
(Sicilian)
(casually)
Do you have my goods still?

Vito nods.

CLEMENZA
(Sicilian)
Did you look inside?

Vito, his face impassive, shakes his head ’no.’

CLEMENZA
(Sicilian)
I’m not interested in things that
don’t concern me.

INT. DOWNTOWN ITALIAN SOCIAL CLUB - DAY

Vito and Clemenza drinking wine; they’ve become friends.

CLEMENZA
(Sicilian)
I have a friend who has a fine rug.
Maybe your wife would like it.

VITO
(Sicilian)
We have no money for a rug.

CLEMENZA
(Sicilian)
No.  He would give it away.  I know
how to repay a consideration.

Vito thinks, then nods.

VITO
(Sicilian)
She would like it.

INT. HALLWAY WEALTHY APARTMENT BUILDING - DAY

The two men proceed up the hallway; Vito is impressed with
the opulence.

VITO
(Sicilian)
Your friend lives in a fine building.

CLEMENZA
(Sicilian)
Oh yes, the very best.

Clemenza knocks on the door as though he is well known here;
then rings.  No answer.

CLEMENZA
(Sicilian)
Ah, he’s not at home.  Oh, well, he
wouldn’t mind.

Quickly and expertly he takes out a tool and pries open the
door.

INT. WEALTHY APARTMENT - FULL VIEW - DAY

Vito looks in awe at the luxurious apartment, which features
a fabulous rich red wool rug.

Clemenza immediately moves some of the furniture away, and
drops to the floor.

CLEMENZA
A little help.

Vito joins him, and the two begin rolling the rug.  We HEAR
a BUZZER RING.  Clemenza immediately drops his side of the
roll, and moves to the window.  He pulls a gun from his
jacket.

VIEW ON Vito watching.  He moves so he can see out the window.

THEIR VIEW

A Policeman stands at the exterior door, waiting.  He rings
the buzzer again.

VIEW ON CLEMENZA

cocking his gun.  Vito realizes that if the Policeman should
pursue it any further he is a dead man.  The Policeman gives
up and leaves.

Clemenza puts away his gun.

INT. VITO’S TENEMENT HALLWAY - DAY

The two men run up the steps, laughing, carrying the fine rug.

INT. VITO’S TENEMENT - DAY

They are on their knees cutting the rug to fit the small
room.  Carmella watches, holding the baby SANTINO.

MED. CLOSE ON CLEMENZA

Like a professional, cutting quickly, with the proper tools.
He sings as he works.

DISSOLVE TO:

EXT. DOWNTOWN WAREHOUSE - NIGHT

Clemenza knocks on the steel door of this downtown building.
Vito waits with him, holding some packages; and another
youth, TESSIO, tall and thin and deadly waits with them.

The door is lifted, and they are greeted by a bright,
middle-aged Italian named AUGUSTINO who leads them into a
machine shop.

INT. MACHINE SHOP - NIGHT

CLEMENZA
(Sicilian)
Good, you waited for us.

Clemenza looks up on a higher level.

HIS VIEW

There is a nine year old boy, operating a drill press.

MED. VIEW

TESSIO
(Sicilian)
Who is he?

AUGUSTINO
(Sicilian)
My son, Carmine...it’s all right.

The men then quickly open the packages they’ve brought;
revealing gun, including a more sophisticated machine weapon.

Augustino takes them and expertly begins to clean and
prepare them.

CLEMENZA
(Sicilian)
(to Vito)
Paisan Augustino was a gunsmith in
the Italian army.  We do each other
favors.

AUGUSTINO
(Sicilian)
(while he works)
My boy is studying the flute.  He
plays very well.  He helps me at
night so we can buy him a silver
flute someday.  Now he has one made
of wood.  Carmine...play...play for
my friends.

VIEW ON THE BOY

wide-eyed... he shuts off the press; and takes out a shabby
wooden flute.  And begins to play a simple and pure melody.

CLOSE ON VITO

listening.

CLOSE ON AUGUSTINO

proudly smiling, as he prepares the machine gun.

CLOSE ON TESSIO

listening, smiling.

FULL VIEW

The men listening, as the boy’s father prepares their guns.

EXT. WAREHOUSE AREA - NIGHT

Tessio and Clemenza quickly load racks of cheap dresses.

Vito sits behind the wheel of the truck.  He seems reserved,
and we get the impression that he is studying every move his
two friends are making.

INT. TENEMENT STAIRS - DAY

Clemenza runs up a flight of stairs with an armful of
dresses.  He knocks on a door, and a pretty HOUSEWIFE answers.

CLEMENZA
(Sicilian)
Lady, I got a bargain on these
dresses.  Five dollars each.  You
gotta pay at least fifteen, maybe
twenty in a store.  Look at them,
first class.

He holds the dresses up and the woman seems interested.  She
handles a couple of them and stands aside so Clemenza can
enter her apartment.

WOMAN
(Sicilian)
I don’t know which one I like best.

She holds the dresses against her body, Clemenza approving
of each one; and then she goes to her purse and takes out
five singles and gives them to him.

CLEMENZA
(Sicilian)
You’d look beautiful in all of
these.  You should buy at least two.

WOMAN
(Sicilian)
Are you kidding?  My husband will
kill me if he knows I paid five
dollars for one dress.

She holds one up, then another.  She is torn.  Clemenza
shakes his head and straightens the dress on her body.  His
hand brushes her arm; she looks at him smiling.

CLEMENZA
(Sicilian)
You can have two for five.

She smiles back.

EXT. TENEMENT BUILDING - DAY

Clemenza jumps down the stairs, and out to the middle of the
street, where Vito and Tessio are waiting in the car with
some of the stock.

TESSIO
(Sicilian)
What took so long?

CLEMENZA
(Sicilian)
She couldn’t decide.

Tessio and Clemenza each take more armsful of dresses and
divide the neighborhood.

CLEMENZA
(Sicilian)
Vito, take the rest of the stock
over to Dandine’s warehouse; he’ll
move it to a wholesaler.

The three part.  Vito drives the truck off.

MOVING VIEW

Vito drives the truck through the downtown streets; he turns
a corner and stops for a light.

Suddenly, to his left, he sees the formidable figure of
Fanucci.

He grabs young Corleone by the shoulder.

CLOSE VIEW ON FANUCCI

frightening, revealing the large circular scar, now healed.

FANUCCI
(Sicilian)
Ahhh, young fellow.  People tell me
you’re rich, you and your two
friends.  Yet, you don’t show
enough respect to send a few
dresses to my home.  You know I
have three daughters.

Vito says nothing.  Fanucci thumbs through the stock.

FANUCCI
(Sicilian)
This is my neighborhood.  You and
your friends have to show me a
little respect, ah?  This truck you
hijacked was in my neighborhood.
You should let me wet my beak a
little.

Fanucci takes a few of the dresses.

FANUCCI
(Sicilian)
I understand each of you cleared
around six hundred dollars.  I
expect two hundred dollars for my
protection and I’ll forget the
insult.  After all, young people
don’t know the courtesies due a man
like myself.

Vito smiles at him and nods.

FANUCCI
(Sicilian)
Otherwise the police will come to
see you and your wife and children
will be dishonored and destitute.
Of course, if my information as to
your gains is incorrect, I’ll dip
my beak just a little.  Just a
little, but no less than one
hundred dollars, and don’t try to
deceive me, eh paisan?

VITO
(Sicilian)
(quietly)
My two friends have my share of the
money.  I’ll have to speak to them
after we deliver these to the
wholesaler.

FANUCCI
(Sicilian)
You tell your friends I expect them
to let me wet my beak in the same
manner.  Don’t be afraid to tell
them.  Clemenza and I know each
other well, he understands these
things.  Let yourself be guided by
him.  He has more experience in
these matters.

VITO
(Sicilian)
(shrugging innocently)
You must understand, this is all
new to me...

FANUCCI
(Sicilian)
I understand...

VITO
(Sicilian)
But thank you for speaking to me as
a Godfather.

FANUCCI
(Sicilian)
(impressed)
You’re a good fellow.

He takes Vito’s hands and clasps them in his own.

FANUCCI
(Sicilian)
You have respect.  A fine thing in
the young.  Next time, speak to me
first, eh?  Perhaps I can help you
make your plans.

Fanucci turns with the dresses draped over his arms, waving
to Vito.

Vito throws the truck in gear, and drives off.

CLOSE VIEW ON VITO

We know that throughout this encounter he has seethed with
an icy rage.

INT. VITO’S APARTMENT - MED. VIEW - NIGHT

He wife serves a dinner for her husband and his two friends.
They discuss Fanucci as they eat.

TESSIO
(Sicilian)
Do you think he’d be satisfied with
the two hundred dollars?  I think
he would.

CLEMENZA
(Sicilian)
That scar-faced bastard will find
out what we got from the wholesaler.
He won’t take a dime less than
three hundred dollars.

TESSIO
(Sicilian)
What if we don’t pay?

CLEMENZA
(Sicilian)
(gestures, it’s hopeless)
You know his friends...real animals.
And his connections with the police.
Sure he’d like us to tell him our
plans so he can set us up for the
cops and earn their gratitude.
Then they would owe him a favor;
that’s how he operates.  We’ll have
to pay.  Three hundred, are we
agreed?

TESSIO
(Sicilian)
What can we do?

Clemenza doesn’t even bother checking for Vito’s opinion.

CLEMENZA
(Sicilian)
They say Fanucci has a license from
Maranzalla himself to work this
neighborhood.

VITO
(Sicilian)
If you like, why not give me fifty
dollars each to pay Fanucci.  I
guarantee he will accept that
amount from me.

TESSIO
(Sicilian)
When Fanucci says two hundred he
means two hundred.  You can’t talk
with him.

VITO
(Sicilian)
I’ll reason with him.  Leave
everything in my hands.  I’ll
settle this problem to your
satisfaction.

Tessio and Clemenza regard him suspiciously.

VITO
(Sicilian)
I never lie to people I’ve accepted
as my friends.  Speak to Fanucci
yourself tomorrow.  Let him ask you
for the money, but don’t pay it,
and don’t in any way quarrel with
him.  Tell him you have to get the
money and will send me as your
messenger.  Let him understand that
you’re willing to pay what he asks,
don’t bargain.  I’ll go to his
house, and quarrel with him.  He
likes me; enjoys explaining how
things are here.  He uses ten
sentences when he only needs one,
so while he talks, I’ll kill him.

Clemenza, irritated, makes a large belch, and washes his
food down with wine.

CLEMENZA
(Sicilian)
Vitone!
(to Tessio)
Our driver has drunk too much wine.

TESSIO
(Sicilian)
(laughs at himself)
He’s going to kill Fanucci.

CLEMENZA
(Sicilian)
(stern)
Then, after that, what?  Joe
’Little Knife’ Pisani; Willie
Bufalino, maybe, Mr. Maranzalla
himself, c’mon!

VITO
(Sicilian)
Fanucci is not connected; he is
alone.

CLEMENZA
(Sicilian)
(sarcastically)
What?  You read it in the papers?

VITO
(Sicilian)
This man informs to the police;
this man allows his vengeance to be
bought off... No, he is alone.

TESSIO
(Sicilian)
If you’re wrong...

VITO
(Sicilian)
If I’m wrong, they will kill me.

Both Clemenza and Tessio are impressed with their young
friend; his willingness to risk his life on his perception
of the situation.

EXT. NEW YORK STREET - MED. VIEW - NIGHT

A ten piece Italian street band plays in front of the church
to commemorate the first night of the Festa di San Gennaro.
People swarm in crowds, delighted by the music, as out of
the church four men carry the statue of San Gennaro down to
the street.

MOVING VIEW

Clemenza moves along the booths that have been set up along
the street: sausage cooking on an open fire; pork livers and
sweetbeards.  He stops for a sandwich, and makes an irritated
gesture when the vendor expects to be paid.  He crosses to a
church-sponsored booth with a great Wheel of Fortune, and
slaps a dollar on a number.  Standing next to him is Vito;
they embrace.

CLEMENZA
(Sicilian)
(quietly)
All three daughters are at church;
he is alone.  It’s important that
you let his neighbors see you leave.
Tessio has broken the latch on the
skylight of his building.

The wheel stops; they both lose.

CLEMENZA
(English)
See, Brother Carmello, even the
church makes numbers.

PRIEST
(English)
It’s only the way we collect that’s
different.

Vito has left while Clemenza jokes with the Priest.

EXT. FESTA STREET - NIGHT

Vito passes the booths of food, crossing toward a small and
dark club.

INT. SOCIAL CLUB - NIGHT

We can still HEAR the crowds and music of the festa.  Vito
enters; the club is empty, except for the large white figure
sitting alone at a small table.  Fanucci barely acknowledges
Vito as he joins him.

Without a word, Vito counts out two hundred dollars on the
table.  Fanucci looks, then takes off his fedora and puts it
on the table over the money.

FANUCCI
(Sicilian)
I think there’s only two hundred
dollars under my hat.
(he peeks)
I’m right.  Only two hundred dollars.

VITO
(Sicilian)
I’m a little short.  I’ve been out
of work.  Let me owe you the money
for a few weeks.

FANUCCI
(Sicilian)
Ah, you’re a sharp young fellow.
How is it I’ve never noticed you
before
(he takes the two
hundred and pours
some wine for Vito)
You’re too quiet for your own
interest.  I could find some work
for you to do that would be very
profitable.
(he rises)
No hard feelings, eh?  If I can
ever do you a service let me know.
You’ve done a good job for yourself
tonight.

EXT. FESTA STREET - MED. VIEW - NIGHT

By now the musicians have left, but still families are
walking the street, and stopping at the booths.

Fanucci stands there a moment; he is known by everyone, and
considers himself highly loved.

Then Fanucci begins the walk through the festa, on his way
home.

EXT. ROOFTOPS - MOVING VIEW - NIGHT

Vito silently moves along the rooftop; paralleling Fanucci’s
walk.

We HEAR the sounds of the festa, and every so often catch a
glimpse of the patterned lights, and the crowds below.

EXT. FESTA STREETS - MOVING VIEW ON FANUCCI - NIGHT

walking through the crowded streets.  The statue of San
Gennaro is arranged in some midnight religious ceremony.

The VIEW LIFTS UP, to the rooftops.

EXT. THE ROOFTOPS - NIGHT

Vito makes the leap that separates two buildings; then
crosses toward the large skylight in the center of the
building.

EXT. THE STREETS - NIGHT

The procession in the streets is preceded by ten altar boys;
and the glittering Monstrance, something of an altar carried
out into the streets.

The priest begins this nocturnal service, as the crowds in
the street kneel down in prayer.

INT. FANUCCI’S BUILDING - NIGHT

Fanucci unlocks the door to his building; we can HEAR the
services in the background.

EXT. THE ROOFTOP - NIGHT

Vito tries the trap door on the roof; it is stuck firmly
shut; despite Clemenza’s instructions.  He struggles with
it, but no luck.

From the distance, the Choir begins to Latin.  Vito moves
around the skylight, to an identical trap, tries this one;
it opens.

EXT. THE MONSTRANCE - MED. VIEW ON THE PRIEST - NIGHT

performing the services in Latin.  The ten altar boys are in
attendance.

EXT. THE ROOFTOP - NIGHT

Vito reaches down into the trap, and pulls out the newly
oiled gun that has been left for him.  He slides down into
the building.

INT. FANUCCI’S HALLWAY - DOWN ANGLE - NIGHT

Fanucci proceeds up the staircase with loud, heavy steps.
An OLD WOMAN on one of the flights sees him, and immediately
moves to her apartment.

FANUCCI
(Sicilian)
What’s the matter, Signora?  You
don’t say ’good evening’?

WOMAN
(Sicilian)
’Good evening,’ Signor Fanucci.

She quickly disappears behind her door.  Fanucci laughs,
continues up, singing to himself.  The MASS outside is
always in evidence.

INT. HALLWAY - NIGHT

Vito climbs down from the attic, and finds Fanucci’s rear
door open.  He slips in, and makes his way past the open
windows, out of which pour the music and chanting of the
Mass.  Slowly and quietly he pulls them down, shut.

He moves quietly to a glass door, and peeks out.

WHAT HE SEES:

Three young women, Fanucci’s DAUGHTERS, laughing and talking.

VIEW ON VITO

A slip up.  Tessio had said they were out.  He steps outside
to the alley where he can look into the apartment.

ANOTHER VIEW

Fanucci opens the door of his apartment, and enters.

CLOSE VIEW ON VITO

He begins to wrap the gun.

VIEW ON THE DAUGHTERS

Their father greets them with a kiss; and a little religious
gift he has bought for each.

CLOSE ON THE GUN

wrapped in this primitive method of a silencer.  The VIEW
TILTS to Vito, caught in the dilemma of having to kill all
or none of them.  Then something catches his eye.

WHAT HE SEES:

A small gray alley cat is attracted to the young man, comes
up to him and rubs itself against him.  Vito rubs the
animal, speaking softly in Sicilian, then, gaining its
confidence, lifts it up and carefully lets it into Fanucci’s
apartment.

He steps back, holding the gun.  We HEAR some Italian
shouted in the house; a loud sound from the cat, and some of
the thumping footsteps of Fanucci.

VIEW ON VITO

holding the wrapped gun, waiting.

WHAT HE SEES:

The white blob of Fanucci opening the door and cursing in
Italian as he throws the cat out.

VIEW ON VITO

squeezing the trigger; the muffled, but still LOUD BLAST
resounding in the building.

VIEW ON FANUCCI

He holds onto the door frame, trying to stand erect, trying
to reach for his gun.  The force of his struggle has torn
the buttons off his jacket and made it swing loose.  His gun
is exposed but so is a spidery vein on the white shirtfront
of his stomach.  Carefully, as if plunging a needle into
this vein, Vito Corleone fires a second bullet.

Fanucci falls to his knees, propping the door open, giving a
terrible groan.  We begin to hear the VOICES of girls inside
the apartment.

Vito quickly opens his wallet, removes the two hundred,
quickly fires one last bullet into Fanucci’s sweaty cheek.
Now the towel the gun was wrapped with catches fire,
literally on Vito’s hand; quickly he throws it to the
ground, stamps it out...and disappears upward.

EXT. THE ROOFTOPS - MED. VIEW - NIGHT

Vito moves like a cat along the rooftops; we HEAR the
conclusion of the Mass down below.

CLOSE ON VITO

Pausing; we can SEE the great spectacle of lights and
candles on the streets below.

He empties the gun of bullets and smashes the barrel against
the side of the roof ledge.  He reverses it in his hand, and
breaks the butt into two separate halves against the chimney.
He smashes it again, and the pistol breaks into barrel and
handle, two separate pieces.

He then moves along the rooftop, dropping the two separate
fragments into various air shafts.

EXT. THE STREET PROCESSION - MOVING VIEW - NIGHT

The Priest, having completed the ceremony, follows as the
Monstrance is carried off through the streets, as the Choir
sings.

EXT. THE ROOFTOPS - MOVING VIEW - NIGHT

Vito is a dark figure, moving with agility across the
rooftops.

INT. FANUCCI’S VESTIBULE - MED. VIEW - NIGHT

The corpse that was Fanucci, stained with blood.

EXT. PROCESSION - CLOSE VIEW - NIGHT

The statue of San Gennaro, followed by the altar boys.

EXT. CORLEONE TENEMENT - MED. VIEW - NIGHT

Vito’s wife; her baby and several friends and neighbors sit
happily on the front stoop of their tenement.  Some of the
men drink wine poured out of a pitcher; we can still HEAR
the music and night sounds of the Festa.

A neighbor is singing a Neapolitan song.

Quietly, without a word, and with only a momentary glance
from his wife, Vito joins the little group; takes a glass of
wine, and listens to the song.

CLOSE VIEW ON VITO

listening to the song.  He reaches out and takes the small
hand of his son.

VITO
(Sicilian)
Santino, your papa loves you.

DISSOLVE TO:

INT. ANTHONY’S TAHOE ROOM - NIGHT

The room is large, lit from the outside by a bright evening.
We can see the outline of many toys on the shelves built
along the wall.  We see the dark figure of Michael Corleone
enter the room and approach the bed where his son Anthony
lies curled in messy blankets.  Michael quietly arranges his
small hands and feet and covers the little boy.  Suddenly,
Anthony turns, his eyes open.  He is staring, perfectly
awake, at his father.

MICHAEL
Can’t you sleep?

No answer.

MICHAEL
Are you alright?

ANTHONY
Yes.

MICHAEL
Did you like your party?

ANTHONY
I got lots of presents.

MICHAEL
Do you like them?

ANTHONY
I didn’t know the people who gave
them to me.

MICHAEL
They were friends.

He kisses his boy, and then turns.

ANTHONY
Did you see my present for you?

MICHAEL
No, where is it?

ANTHONY
On your pillow.

MICHAEL
I’m leaving very early tomorrow,
before you wake up.

ANTHONY
I know.  How long will you be gone?

MICHAEL
Just a few days.

ANTHONY
Will you take me?

MICHAEL
I can’t.

ANTHONY
Why do you have to go?

MICHAEL
To do business.

ANTHONY
I can help you.

MICHAEL
Some day you will.

Michael kisses him again.

INT. MICHAEL-KAY’S BEDROOM - NIGHT

The room is lit from a small night lamp on Michael’s side of
the large bed.

Kay is huddled in blankets, asleep.  Michael closes the door
to his room, moves to his side of the bed, and glances down
to the pillow.

VIEW ON THE PILLOW

is a child’s drawing of a long limousine, with a man in a
hat sitting in the back seat.

An arrow pointing to him is marked "DAD." Under it, a nine
year old’s handwriting says: "Do you like it?  Check YES __
I liked it or NO __ I didn’t like it." Michael turns,
looking for a pencil, and moves to the dresser, where he
places a check next to "YES."

He starts to cross back toward his side of the bed, when Kay
turns, almost in her sleep:

KAY
Michael?  Why are the drapes open?

His eyes dart back to the curved, beautifully leaded windows
of the room.  The DRAPES are opened.  Then, without a
second’s hesitation, he leaps to the floor, still holding
his son’s drawing, as a spray of machine gun bullets sweep
across the windows; glass shattering all over the room.

Kay screams out; rising, still half-asleep.  Michael crawls
toward her, and pulls her down to the floor to him.

Then, for a moment, there is silence, soon filled by the
shouts of men; as flashes of light sweep by the window, as
guards with flashlights come running.

Michael holds Kay to him, knowing they have both survived,
and then gently:

MICHAEL
Go with the kids.

EXT. THE TAHOE ESTATE - NIGHT

Suddenly, the great floodlights are turned on, bathing lawns
in an intense blue light.

Groups of ordinarily dressed security men drawn in from all
directions; a state of confusion prevails.  There is no sign
of the attackers.

VIEW BY MICHAEL’S HOUSE

Michael is joined by Rocco Lampone, his gun drawn.

ROCCO
They’re still on the property.
Maybe you better stay inside.

MICHAEL
Keep them alive.

Six men take up posts by Michael’s house.

ROCCO
We’ll try.

MICHAEL
It’s important.

He returns inside.

EXT. MAIN GATE AND KENNELS - NIGHT

The character of the summer estate has changed: bright
floodlights illuminate the main points of entry: the main
gate; the waterway; the stone wall that encompasses the
estate on all sides.

Several men with flashlights reinforce the guard at the main
gate.

FULL VIEW

Off in the distance, we see another group of men with
flashlights combing the waterline.  We hear indistinguishable
shouts.

VIEW ON THE KENNELS

The wire gates are opened, and the trained dogs go out
yelping into the outer edge of the estate.

ROOFTOP

One of Rocco’s men turns the large floodlight scanning
darkened forest areas, where men could hide.

MOVING VIEW

Men with flashlights and dogs.  Moving through the dark areas.

LOOSE VIEW

A small Corleone launch, with a bright spotlight slowly
cruises the boundaries of the estate.  We SEE the silhouette
of men with guns, quietly waiting and watching.

EXT. MICHAEL’S HOUSE - NIGHT

Some of the bodyguards by the shattered windows of Michael’s
bedroom.

The curtains are drawn from inside.

INT. MICHAEL’S HOUSE - NIGHT

Kay, the children, and some women servants have come down
from the various rooms into the central living area, that
can be most easily secured.  The little girl is still
asleep; they make you think of an immigrant family, with
their blankets and frightened faces, all waiting in a
central room.

Michael goes up to Kay, squeezes her hand, and whispers:

MICHAEL
It will be all right.  We were lucky.

She says nothing; but her face expresses the anger she feels
over the jeopardy Michael has placed his children in.  She
holds her young daughter in her arms.

The door opens, and Rocco enters.  He quickly realizes he is
holding his gun in plain view in front of the family, and
puts it away.  Michael moves to him, and they talk a distance
away from Kay.

ROCCO
Your family all seem to be okay in
the other houses; your Mother’s
still sleeping.

MICHAEL
And?

ROCCO
No sign of them yet; but they’re
still on the Estate.

We HEAR loud shouting from outside.

DEANNA (O.S.)
Goddamn you!  You’re all nuts here,
I’m not goin’ to calm down...

MICHAEL’S VIEW

Through the door, that Rocco opens.

Deanna, in her nightgown, has been frightened by the
gunshots; while Fredo in his bathrobe, tries to get her back
into the house.

FREDO
Deanna, will you get back into the
house!

DEANNA
I’m getting out of here I said;
these guys all have guns!

MICHAEL
Fredo, can’t you shut that woman up!
(to Rocco’s men)
Get her in here!

The bodyguards, gracefully help Fredo bring the hysterical
Deanna into the safety of the house.

DEANNA
(whimpering)
I don’t want to stay here...

FREDO
Mike, what can I do, she’s a
hysterical woman...

KAY
Leave her alone!  You’re talking as
though she has no right to be
frightened when there are machine
guns going off in her backyard.

MICHAEL
(to Rocco)
Have Tom Hagen meet me in the
Harbor House.

EXT. TAHOE ESTATE - HIGH ANGLE - NIGHT

Michael walks the short distance from his house, to the
boathouse where he conducts his business away from his family.

A small group of bodyguards, carrying machine guns, make the
walk with him from all sides, a respectful distance away.
It gives the appearance of a lonely President moving in his
compound, followed by teams of Secret Service men.

The boathouse is already secured by teams of men, hastily
wakened from their lodge house; a barracks-like structure
where reinforcements are lodged just for this kind of
emergency.

FULL VIEW

In the distance, we can see the teams of men and dogs, with
their lights, guns and shouts, combing every inch of the
estate.

INT. THE BOATHOUSE - EMPTY VIEW - NIGHT

Michael alone in the great room.  He moves to a walk-in
safe, quickly runs through the combination, and opens it.
He takes out an envelope, and puts it into his pocket;
there’s a KNOCK on the door, and Hagen enters.  He had been
asleep, and has quickly thrown on a robe.

MICHAEL
Sit down, Tom.

EXT. TAHOE BOATHOUSE - NIGHT

From outside the leaded windows, a disoriented Hagen sits
down; Michael starts to talk to him; obviously about
something very serious.

The patrol securing the boathouse, walk past the window.
Michael says something to Tom, who rises, and pulls the
drapes, obscuring OUR VIEW.

INT. TAHOE BOATHOUSE - NIGHT

Michael talks intimately to Tom.

MICHAEL
There’s a lot I can’t tell you, Tom.
I know that’s upset you in the
past; and you’ve felt that it was
because of some lack of trust or
confidence.  But it is because I do
trust you that I’ve kept so much
secret from you.  It’s precisely
that at this moment, you are the
only one that I can completely
trust.  In time, you’ll understand
everything.

HAGEN
(nods with this statement)
But your people... Neri... Rocco;
you don’t think...

MICHAEL
No, I have confidence in their
loyalty... but this is life and
death, and Tom, you are my brother.

Hagen in very moved.

HAGEN
Mikey, I hoped...

MICHAEL
No Tom, just listen.  All my people
are businessmen; their loyalty is
based on that.  One thing I learned
from my father is to try to think
as the people around you think...and
on that basis, anything is possible.
Fredo has a good heart, but he is
weak...and stupid, and stupid
people are the most dangerous of
all.  I’ve kept you out of things,
Tom, because I’ve always known that
your instincts were legitimate, and
I wanted you to know very little of
things that would make you an
accomplice, for your own protection.
I never blamed you for the setbacks
the family took under Sonny; I know
you were in a position of limited
power, and you did your best to
advise and caution him.  What I am
saying is that now, for how long I
do not know, you will be the Don.
If what I think has happened is
true; I will leave tonight, and
absolutely no one will know how to
contact me.  And even you are not
to try to reach me unless it is
absolutely necessary.  I give you
complete power: over Neri... Fredo,
everyone.  I am trusting you with
the lives of my wife and children,
and the future of this family,
solely resting on your judgment and
talent.

VIEW ON HAGEN
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