THE GODFATHER Part Two Screenplay by Mario Puzo and Francis Ford Coppola

SECOND DRAFT September 24, 1973

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. 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! 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 DISSOLVE


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

they stop. Their names are MOSCA and STROLLO. like a fish peddler. STREETS OF CORLEONE . but the boy is quick. WIDOW (Sicilian) I beg you. Don Francesco. A HOUSE . where she has hidden a kitchen knife. (he turns and shouts in the other direction) Our Friend promises misery to anyone who harbors the boy Vito Andolini. spare my only son. she reaches under her skirt. The father is the local policeman. and sees his Mother flung a distance of five feet from the short range of the terrible blast of the shotgun.S. . go! The boy runs as fast as he can out through the gates. as indicated by his uniform jacket and gun. Every so often. STROLLO (Sicilian. MOSCA (Sicilian) Our Friend promises misery to anyone who harbors the boy Vito Andolini. carrying lupare.NIGHT A family quietly eats their dinner. I swear he will never be a danger to you. hanging nearby. He is all I have. O. and disappears into a grove of olive trees. In the name of the Holy Spirit.has practically thrown herself to her knees before him.. EXT.) Our Friend will be hard with any family who gives help to Vito Andolini. One fires at him. He turns. WIDOW (continuing) But I will kill you myself! (she lunges at the Mafia chieftain) Vitone. Then there is a lupara blast. Suddenly.. almost singsong voice. Then he sees the men turn their attention to him. and one shouts in a loud. INT.NIGHT Two men roam the deserted streets of Corleone.

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 they are conducted in English. From Vito's face, and from the fragmented realize that he doesn't understand a into the small room; the expression on of the English, we 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. Corleone. INT. MEDICAL EXAM - DAY Vito is stripped to the waist, as other immigrants wait. The DOCTOR is just finishing his examination. head, and then writes on the medical form. DOCTOR Can you understand me? Vito stares blankly. You understand? He doesn't understand. Official. DOCTOR Smallpox. Smallpox. He shakes his The name has been entered as Vito

The doctor turns to the Immigration

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. Vito Corleone. OFFICIAL

He is silent for a Then. and performs the Communion Mass in Latin. with a large white silk bow tied to his shoulder. moves on the way to his First Holy Communion more than fifty years later.DAY A nine year old boy. We HEAR only the pure voice of Vito in Sicilian. and Vito enters the room. FULL VIEW The little children move in procession down to the Altar.DAY The VIEW slowly begins to pull back. DISSOLVE TO: INT. and his face is unmistakably similar to young Vito's. not unkindly: GUARD That's you. in a sweet. . as he moves along the row of kneeling children. he sings to himself in Sicilian. as ANTHONY CORLEONE. blessing them.No one responds. The guard moves to the boy. and sits in the corner. Then he turns. CATHOLIC CHURCH . He moves slowly. He has dark black hair. his Grandson. where the PRIEST raises the Host. dressed immaculately in white. ecce qui tollit peccata mundi. CLOSE MOVING VIEW as the innocent faces receive the Host. reads his new name tag. PRIEST Corpus Christi. finally. where Vito stands on his bench. PRIEST Ecce Agnus Dei. EXT. his sad song reaching out from the past. looking out to the statue through the barred window. revealing this to be the view from inside the quarantine cell. pure voice. long time. And then. MOVING VIEW ON THE PRIEST and Altar boys.MOVING CLOSE SHOT . his hands clasped around a golden missal. THE STATUE OF LIBERTY . moving slowly down the aisle of the church with a group of other children dressed in white. the Priest comes to Anthony. He opens the door. and administering their first Communion.

PHOTOGRAPHER All together now.S. looking like a lonely young Prince. He does. VIEW Anthony. Speedboats roar through the water.) . swimming guests. one with the whole family. in his Communion suit sits alone at the table. She smiles as she leaves the photographer. and a flash goes off. and the pool and private harbor are filled with laughing. Two months look like you had a big lunch. Smile. . leading her four year old daughter.but we'll get one with the ladies.) Now. Corleone can't right now. and MAMA CORLEONE to pose with Anthony. Anthony. CHEESE and (flash) Thank you. Michael Corleone..ANTHONY Amen..S. MED.S. A full dance orchestra plays music of the times on a pavilion bandstand built especially for the occasion. KAY CORLEONE enters from the side. EXT. KAY KAY (O.. PHOTOGRAPHER (O. and then lets out a weary sigh to Mama.S. as she touches the slightly protruding belly. pulling youthful waterskiers. MARY. Anthony.. KAY (O.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. and Mrs.) Smile. c'mon.. the son of Mr.. KAY (O. KAY Do you think it'll show in the picture? MAMA Two months never shows. It is Fall of 1958.) Mr. LAKE TAHOE ESTATE .

statuesque woman. EXT. Marshall. A very beautiful. KAY This is our son Anthony Vito Corleone. A slender. Corleone. FREDO Honey! Wait a minute.. our place is just down the lake. BARRETT The place is transformed.S. MRS. Mrs. DEANNA I just had a drive. and keep your Goddamn hands off of me! She is followed by a harried.DAY A confusion of cars. aristocratic WOMAN in her late forties is waving to KAY. dressed with flash in the Hollywood style. The squad of parking attendants are supplemented by a whole team of the local Police. though slightly drunk. besides. let's go for a drive.VOICE (O. Corleone. This is my husband. BARRETT Hello. KAY I'm so happy you could come. arriving and parking. working as high-class parking valets. DEANNA DUNN. MR. I want .but he promised he wouldn't be long. and carrying her shoes in his hands. FREDDIE CORLEONE. DEANNA I will not shut my mouth. Kay puts her arm around little Anthony's shoulder. slams the door of a powder blue Mercedes and hurries barefoot through the great stone gate.) Oh.. BARRETT Where is Mr. Mrs. I'm Fran Barrett. We've been watching workmen come and go all summer. Today he made his First Holy Communion. TAHOE GATE AND KENNELS . Corleone? KAY A business meeting ran late. MRS.

is how you guys could be brothers. giggling. young man. but aren't you.. I had more off than my shoes! Goddamn bitch.. with me. She kicks off the shoes. Disgusted. DEANNA What beats me. .thank you. DEANNA (lifting a glass of champagne) Young man. DEANNA Yes. and yes. allowing Fredo to get her shoes on. Good Humor man.. FREDO DEANNA Relax. you saw me in the movies. young man. How come you're so scared of your own kid brother? FREDO He's the head of the family. Friends of Kay's. You musta been your Mother's rotten egg. and heads toward the music.. Michael's got a lot of nice people here. she turns around. Come dance FREDO Listen. WAITER (impressed) Excuse me. and runs toward a waiter. He'll never forgive me if you ruin his party. DEANNA I hate to see you cringe in front of him. FREDO (trying to get her to put her shoes on) Yeah. Freddie honey. Deanna pauses reflectively a moment. She extends her hand to see my brother-in-law Michael. but I don't want him to see you.

thank you. waving an arm jangling with gold jewelry.DEANNA Don't follow me! EXT. it was chaos. MAMA You go see your children first. CONNIE I know.DAY Rushing through the tables. Where's Michael? I've got things to get straight with him and I can't wait on line. we sent the car to pick you up at the airport last week. Mama. We expected you last week. who returns the affection somewhat reproachfully. TAHOE LAWN AND TABLES . is a hardened and aging CONNIE CORLEONE. (lifting a shiny green package out of Merle's arms) This is for my Mama. thank you.Mama! CONNIE Here I am! She throws her arms around her Mother. You remember Merle? MAMA (not giving him a chance to greet her) Yes.MED. here I am one week late. but anyway. they asked for you all week. CONNIE I got surprises for everybody! MAMA (glancing at the wrapping) Bought at the airport. SHOT . She is followed by a blond. MAMA Constanzia... and carrying several gift-wrapped packages. CONNIE How are the kids? MAMA Well. and wrinkled-handsome escort named MERLE. and . CONNIE (gazing about) This is swell.

Fredo squints in his direction. Hey.' 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. I say. 'Canapes. 'Can a peas. FREDO Who's that? Pentangeli? Frankie "Five-Angels". Some sit. and some pace. and also dressed up for the occasion. where a group of five or six men wait. You look great.then you wait to see your brother like everybody else. some nervously. Forget it. Frankie tries to get the attention of one of the waiters. this morning's shave of his white beard is not perfect. FRANKIE PENTANGELI. and shouts out in a husky voice: Fredo! PENTANGELI Sonuvabitch. Hey. THE BOATHOUSE .thought you were never coming West. a college-groomed young man in white sports jacket and black bow-tie. He's a bit scruffy. thin and dark.. Fredo.. with gray hair (the little of it left). WILLY CICCI. kid! PENTANGELI You got any red wine? WAITER (offering the tray) Only champagne and cocktails. that's a ritz cracker with chopped liver. my ass.DAY A porch-like foyer of the boathouse.. MED. he sees someone he recognizes. CLOSE VIEW on one of these men. approaching his sixties. He is accompanied by an associate-bodyguard. ..' he says. PENTANGELI Finally. PENTANGELI (affectionately) Gotta check up on my boys. and he seems tired. what's with the food? Some kid in a white jacket brings me a ritz cracker with some chopped liver. finally recognizes him. EXT.

. Gardner. Corleone. A professional dance team... this is Gardner Shaw. EXT. her daughter. dance the tango for the excited guests. FRANCESCA CORLEONE. VIEW . Standing to one side is a tired and somewhat uneasy TOM HAGEN. I see what I can do. don't you..) Francie. Frankie. discreetly in the background.uh. TAHOE BOATHOUSE . this is Francie's Uncle Michael. one of the twins. What's with him.DAY A large and very beautiful room overlooking the lake. GARDNER SHAW. Mr.. GARDNER (a little nervous) I've heard a lot about you. Standing before Michael is SANDRA CORLEONE.S. SANDRA Michael. PENTANGELI That's what I'm here to talk to your brother about. Reminds me of old times.MED. it's good to see you. It is dominated by an enormous bar. PENTANGELI You remember Willy Cicci. and a handsome young man of twenty. before. MICHAEL (O. Francesca and he have been seeing each other for six months now. Sit down.DAY The orchestra wears white summer sportcoats and black tuxedo slacks as they play a tango behind monogrammed music stands. probably imported from Vegas. Sonny's widow.FREDO Gee. . behind which stands ALBERT NERI. I got to get a letter of introduction to have a 'sitdown'? FREDO (throwing his arm around him) C'mon.. Freddie? We was all together with the old man Clemenza in Brooklyn. his back to us. INT. MICHAEL CORLEONE sits on a large sofa. TAHOE PAVILION . FREDO We were all upset about that.

and ever since I've felt much more of a father than an uncle. MICHAEL Francesca is my oldest brother's daughter. There is a loud KNOCKING on the door. FREDO Tell Mike Frankie 'Five-Angels' is here.. Freddie.The couple sit themselves on the sofa opposite Michael. calm.. and.guess who's here? Neri goes to answer it. special affection for his niece. sir. It shows me that you're a considerate man.. I love her very much.. One can tell that he has FRANCESCA We love each other. MICHAEL How will Fine Arts support your new wife? .. I came to ask for your blessing. NERI Neri closes the door. MICHAEL Let them speak for themselves. Mike. FREDO (O. I'm pleased and impressed that you had the thought to come to me before going on with your plans. thoughtful. we want to be married. Not now. cracks the door open... And. SANDRA They would like to set an engagement date.. VIEW ON MICHAEL. and will be good to her.) Hey. NERI Not now. He died many years ago. then Fredo's voice.S. What are you studying in college? GARDNER My major is Fine Arts. and Michael looks at the nervous young man. Uncle Michael.

who squeal and embrace at the good news. Uncle Michael. Let's set the wedding soon.DAY Francesca and Gardner are greeted by her twin sister and their young friends. FRANCESCA Uncle Michael is the greatest man ever! VIEW on Kay . TAHOE SWIMMING POOLS AND HARBOR . They all smile.happy for her niece. They all take their leave.GARDNER It's embarrassing to say. Francesca throws her arms around him. and life is good. (warmly) Of course I give you my blessing. Michael turns to Hagen.and take a few courses in Business Administration just to be on the safe side! They laugh. MICHAEL (smiling) Never be embarrassed by your wealth. MICHAEL Make her dowry impressive. The flushed young man shakes his hand heartily. sir. Michael moves toward them. EXT. Someone throws someone in the pool.. MICHAEL (continuing) . CLOSE Francesca kisses her Aunt Kay. FRANCESCA Thank you. will be my pleasure to give the bride away. and rise... and kisses her favorite uncle. This recent contempt for money is still another trick of the rich to keep the poor without it. He comes from a family who still thinks an Italian bride goes barefoot. but I'm a major stockholder in the family corporation. ..

. Michael puts the pictures down. Only younger. then.S. Turnbull's a heavy There is . Sponsored by the Barzini Family. Tom Hagen paces. Fabrizzio.) His name is Fred Vincent.INT. TAHOE BOATHOUSE ..) . He owns a small pizza parlor in Buffalo.came over around 1956. NERI How do you want me to handle it? Michael glances at Hagen. CLOSE ON THE PICTURES Snapshots of a middle-aged man.) (continuing) . something familiar about him..American wife and two small kids. as Michael glances through it: HAGEN I've cleared it through the Senator's chief aide. MICHAEL Later. and dressed in Sicilian shepherd's clothing.. Neri stands over him. Italian. We traced him and found that he's in the country illegally.. a man named Turnbull. from Sicily. NERI (O.. who has been waiting in the room. Michael looks at another picture... handsome. NERI (O. MICHAEL It's him.Michael's traitorous bodyguard in Sicily... NERI (O. Tom? Hagen brings him a folder. The same man.DAY Michael sits in the darkened boathouse.S. (almost to himself) Revenge is a dish that tastes best when it's cold. We remember him as FABRIZZIO. Michael is looking at photographs.S. CLOSE ON MICHAEL studying the pictures.

Hagen exits. Nevada's a funny state. If he gets even the inkling that you think you're buying him.gambler. Michael nods. to prepare Michael a drink. as though that last remark was unnecessary. So it's got to be on terms he can live with: campaign contribution. Just go light on him.. he expects to be introduced around to some of the influential people here today. and Connie steps in impatiently. Michael doesn't want to see her. of course. Michael glances at Hagen. you know that. Neri opens the door. . they like things both ways here. All right. Mikey. and he's been primed. she said it was urgent. he'll freeze up.. but he thinks of himself as a clean politician.. sometimes the biggest crooks don't like to think of themselves as crooks. see my boy. and into us for over a hundred grand. Two-thirty. MICHAEL That gives me time to HAGEN Connie's outside. Neri moves to the bar.. and he knows it's about the Tropicana's license. Turnbull says the Senator will be here at two-thirty. so I figure his information is reliable. All right. things like that. MICHAEL Apologize to Pentangeli. HAGEN The Senator can be set up. and generally treated as an ordinary guest. He knows you'll want to meet with him alone. HAGEN I promised. HAGEN I'm sorry. donation to a charitable cause that he controls. followed by Merle. At any rate.

CONNIE Michael.. MERLE I think this concerns me too. haven't you. do you? Connie steps forward. CONNIE How are you. and moves to the window overlooking the lake. Then he rises. Michael is silent. I want to get passage booked on the Queen.. MICHAEL I saw him with you. was in some trouble with the Reno police over some petty theft that you don't even know about. Michael Francis.. MICHAEL You fly around the world with lazy young men who don't have any love for you. kisses Michael on the cheek. alone. your oldest boy. honey? You've met Merle. CONNIE You're not my father! MICHAEL Then why do you come to me? . CONNIE We're going to Europe next week. (taking a cigarette from the dispenser) You don't. and use you like a whore.. MICHAEL Why do you come to me? Why don't you go to a travel agent? MERLE We're going to get married first. Your children see you on weekends. MICHAEL The ink on your divorce isn't dry.MICHAEL I said I would see my sister. He was with me in Vegas.

quickly. CONNIE It was my father's money... with us. Gardner and their elite young friends roar out of the private harbor. to get up on the water skis. and I'm entitled to what I need. You have a house here. what he lives on. and marry this pimp. shake hands with Lampone . VIEW ON THE HARBOR AREA Francesca and her twin. I want to be reasonable with you. ties off. Merle puts out his cigarette and leaves. and a group of three men step on to the pathway. Then they take whomever is opposite them as their new dance partner. A small covered craft approaches.FULL VIEW . TAHOE PAVILION ." where two concentric circles of young people march in opposite directions. Then out. Why don't you tell him marriage is really out of the question. I don't know much about Merle. EXT. I don't know what he does for a would disappoint me. CLOSE VIEW MERLE MICHAEL . and that you can't see him any more. move along a path leading to a separate and more private boathouse. But if you disobey me. Where is Tom Hagen? She turns angrily. You can live here with your kids. We notice ROCCO LAMPONE.and follow him to the large boathouse where Michael conducts his business.and you won't be deprived of anything.DAY The orchestra has struck up a "Paul Jones. He'll understand.CONNIE Because I need MONEY! MICHAEL (softly) Connie.. until the music stops.. leaving Michael standing face to face with Merle. MICHAEL Are you finished? I think so.

and they follow Lampone. MICHAEL You know my lawyer. THE BOATHOUSE . conducting. as the three men remain silent. the drums uncertainly join in. HAGEN He gathers up some of his papers. MICHAEL Rocco. and his importance. INT. He only handles specific areas of the family business. The man shows respect to Michael. OLA Sure. eating a handful of canapes. not one of you is Italian! (as the musicians laugh) C'mon. Johnny. Mikey. He waves his hands. Disgusted. PENTANGELI I can't believe that out of thirty professional musicians. but I'd like to keep them away from the guests. and singing.DAY Rocco ushers an older Italian. to Michael. See what you can do." and soon the rest of the orchestra is playing that. his friends must be hungry. Tom? Sure. Johnny Ola. remembering him. waiting for him to go before they talk. who quickly indicates that Neri should get him a drink. A clarinet starts to play "Pop Goes the Weasel. and is having some difficulty with the orchestra. The piano starts a vamp. The older man. MICHAEL Tom isn't going to sit in with us. .Pentangeli has led Mama up to the dance floor. They look to Pentangeli for approval. I remember Tom from the old days. It's clear Tom doesn't want to be excluded. give us a tarantella. he goes back to his table. gestures to his bodyguards. Tom Hagen. JOHNNY 'BLUE BOY' OLA. bundled up against the cold and wet of his boatride. Tom shakes hands with Ola.

OLA He always makes money for his partners. you know who I mean.. Michael.. natural or not. MICHAEL How is his health? Not good. that if you move him out. OLA The hotel's registered owners are one Jacob Lawrence. but I've been instructed to tell you. MICHAEL He's very kind. I'm sure it will be profitable all the way around. As soon as the door closes: OLA I just left our friend in Miami. and does all right. Hagen nods and leaves. anything I can send? OLA He appreciates your concern. our friend in Miami will go along with you. and then Rocco quietly enters and takes his place without disturbing the conversation. prison. a moment. OLA MICHAEL Is there anything I can do. One by one. and your respect. because he always made money . MICHAEL Just tell Rocco I'm waiting. Our friend in Miami is the only one left. Meyer Klingman runs the store. In reality it's split between the Old Lakeville Road Group from Cleveland. deported. There's a KNOCK on the door. our old friends are gone. just.HAGEN If you need anything. Death. both Beverly Hills attorneys. He takes care of others outside the country. and our friend in Miami. and Sidney Barclay. tell him it's appreciated.

and takes the boy's hand. Ola's just leaving. THE BOATHOUSE . WHAT SHE SEES: The covered launch. Senator Geary's here. and Ola's three bodyguards. Kay appears. she stands there a moment. She looks up toward the first boathouse. Yes. Pause. and Mrs. heading toward the house. and Mr. and standing there in his white Communion suit. MICHAEL (rising) This is my boy. KAY I'm sorry. Mr. Michael. EXT. Michael. Mr. is Michael's boy Anthony. VIEW Anthony runs away from her. eating while they wait. Kay. KAY .for his partners. where are you going? Moodily. Please tell the Senator I won't be a minute.DAY Kay closes the door. and my wife. MICHAEL (continuing) Kay. KAY Anthony! (she runs after him) Anthony. the boy stops. MED. Barrett wanted to thank you before they left. The door opens suddenly. KAY Anthony. Ola? MICHAEL Mr. turns. Daddy's busy. Won't you join us. and walks back to his table of honor without answering her. It seems as though Michael has violated some sort of promise to her by having this man here today. John Ola of Miami. A moment later.

DAY . in an unmistakably morose mood. TAHOE TABLES AND PAVILION . having a drink. MED. a little down. Sonny's widow. MAESTRO Ladies and gentlemen. The orchestra LEADER raises his hands for silence. Geary. VIEW ON HAGEN sitting by himself. He's waiting for Michael to re-summon him.SANDRA'S HOUSE . Michael was kind to her. VIEW Michael stands with Kay and Mrs.EXT. (pause. VIEW ON THE PAVILION The returned orchestra strikes a big. and walks alone to the back path that leads to her home on the estate. I'm going to my house. sits opposite him. as the smiling SENATOR introduces his WIFE by holding her arm up to the crowd. his beautiful son Anthony sits quietly. INT. putting the baby to sleep. Francesca's very happy.VIEW ON THE PAVILION . SANDRA. Pat Geary of the state of Nevada! A big hand. a most distinguished guest would like to say a few words: Senator and Mrs. HAGEN Where's my wife? SANDRA With Mama. and then proceeds alone to the bandstand. system.DAY The orchestra has taken its break. TAHOE . The Senator's presence seems to be a statement of political and social status. she looks at a despondent Hagen) The children are all out in the speedboat. still an attractive woman.A. now two couples in formal dress are performing the Quartet from Rigoletto. Sandra gets up. show-biz chord. A little distance away. intended to command the guests' attention. She idolizes him. and makes an announcement over the P.

HAGEN I love Michael. closing the door behind him. HAGEN It's as though he blames me for the ground the family lost when I was Consigliere to Sonny. SANDRA We have a little time now.We HEAR the applause and whistles echoing in the distance. HAGEN Just now when Johnny Ola showed up. and also one of their wedding. I was on the inside of ten. comforting. looking at the door. Sandra pulls Hagen to her. . But today Mike asked me to leave. She takes him in her arms. I want to help him. and then Tom Hagen enters. HAGEN I can feel it in the way he talks to me. he never said that. pours himself a drink. He doesn't need it. Talk to him. SANDRA We don't know that's true. Sandra stands in her bedroom. I don't want to end up a third string lawyer making property settlements for the hotels. He moves to the dresser. We begin to HEAR Senator Geary's amplified voice resounding over the lake. and kisses him passionately on the mouth. Sandra knows he needs her. holding his head against her full breast. We SEE a photograph of SONNY. be close to him. HAGEN (quietly) He doesn't want my help any more. A moment goes by. SANDRA Tell him how you feel. Slowly she begins to undress. Hagen moves to Sandra. twenty meetings with him. he asked me to leave them alone. like an outsider. Ola is Hyman Roth's Sicilian contact.

Thank you.DAY SENATOR GEARY . the Nevada Boys' Choir have prepared a special thank you for Mr." VIEW ON SENATOR GEARY shaking hands with Michael. (he holds a check in his hand) .VIEW ON SENATOR GEARY . In the midst of this: SENATOR GEARY Where can we meet alone? Michael indicates the boathouse a distance away. TAHOE BOATHOUSE . for this most impressive endowment. showing the check. and on and on. Senator Geary and Michael's son. MICHAEL It was very kind of you to come to my home on this occasion. Senator Geary returns the microphone to the Maestro who adds: MAESTRO And now. who leads the Boys' Choir in a choral arrangement of "MR. Then Michael leans to Rocco: MICHAEL Find Hagen..made to the University in the name of Anthony Vito Corleone. where Neri seems to be waiting for them.MED.. and the: BOYS' CHOIR sings its lovely arrangement of "Mr. thanks. He turns to a small Choir Master... Mr.. Senator. My wife has been very concerned . VIEW . and the thanks of the young people of the State of Nevada.EXT. Neri and Rocco make a group in the dark. showing a special award of Gratitude from the State. as Press Photographers snap pictures. large room. Applause. WONDERFUL. Mrs. Corleone and Mrs. THE PAVILION . Wonderful. Michael Corleone. the Senator.DAY Michael." INT. Michael Corleone. Michael and his son. as more pictures are taken.. all together. Rocco sets off. and Mrs.

SENATOR GEARY Alright. SENATOR GEARY The Corleone family controls two major hotels in Vegas. SENATOR GEARY I thought we would meet alone. Maybe more frank than any man in my position has ever spoken to you before. But I have the idea from sources. Tom Hagen. SENATOR GEARY Let's forget the bullshit.that you're planning to move in on the Tropicana. one in Reno. In another week or so you'll move Klingman out. (takes the water from Neri and swallows his pills) . MICHAEL Turnbull is a good man. who resentfully goes to fetch the Senator a glass of water.. so you had no difficulties with the Gaming Commission. Michael nods. Corleone. I cannot insult them by sending them away. The license. MICHAEL I trust these men with my life.. The licenses were grandfathered in. The door opens. He arranged this all through your man Turnbull. I don't . you only have to ask. They are my right arms. and your appearance here has made her very happy.. MICHAEL My lawyer.with making a good impression on the people who are our neighbors. I'm going to be very frank with you. and Hagen sheepishly makes his way in. which is now in Klingman's name.. indicating that he should do so. He addresses that to Neri. which leaves you with only one technicality. If I can ever perform a service for you. SENATOR GEARY (taking out some medication) Some water.

VIEW ON MICHAEL makes no outward reaction. because I don't like you. with .of all three Corleone hotels. SENATOR GEARY I'll expect your answer. plan to raise my children here. I despise your masquerade. I speak to you as a businessman who has made a large investment in your state. MICHAEL (quietly) We're all part of the same hypocrisy. I don't like the kind of man you are.want to stay here any longer than I have to. he looks at Hagen. SENATOR GEARY . You can have the license for two hundred and fifty thousand in cash. Corleone. VIEW ON GEARY rising. The license fee from the Gambling Commission costs one thousand dollars.... and the dishonest way you pose yourself and your fucking family. VIEW ON HAGEN glances at Michael. plus a monthly fee equal to five percent of the gross. MICHAEL Senator Geary. Hagen is frustrated. all his information was wrong. why would I ever consider paying more? SENATOR GEARY I'm going to squeeze you. I have made that state my home. then let me say you'll pay me because it's in your interests to pay me. Senator.. SENATOR GEARY All right. Michael is taken aback. But never think it applies to my family.

. MICHAEL Senator.. Geary returns Michael's hard look. The tables are all properly set for dinner. THE PAVILION . all raise their glasses and repeat the toast. Nothing. MAMA This.. Only don't contact me. the table of honor. deal only through Turnbull. then laughs and leaves. with candles on each can have my answer now if you'd like.payment. Tom. and many of the guests have begun to help themselves to the impressive buffet. VIEW ON HAGEN embarrassed at being so off the mark. we'll talk later. Hagen and TERESA. unobtrusive dinner music. He is almost out the door. The orchestra is playing quiet. and Frankie Pentangeli. Mama.. Geary turns back. EXT. and the young waiters have put up the night lights. which I'd appreciate if you would put up personally. (cold and calm) .. his son Anthony. DEANNA . Connie and Merle' Fredo and Deanna..NIGHT Now the light has faltered. Cent' Anne. MED.not even the thousand dollars for the Gaming Commission.. VIEW Michael sits at a large table with Kay. MICHAEL It's all right. by tomorrow morning..from now on. Tell Frankie Pentangeli I'd like him to have dinner at my family table before we do business. under a party tent. MICHAEL My offer is this. Slowly Michael turns to Hagen.

(shaking hands) MAMA (Sicilian) Those two are perfect for each other. PENTANGELI (Sicilian) When do we talk? MICHAEL (Sicilian) After dinner. I didn't come three thousand miles for dinner. Kay. have you met my sister-inlaw Deanna? DEANNA What a pleasure.. MAMA Connie. with Merle and Deanna. to be polite: KAY Anthony.. Pentangeli? . in all respect. The family. CONNIE Merle. the conversation has become exclusively Sicilian. MICHAEL (Sicilian) I's a toast. it'd be true.What's 'cent' Anne?' FREDO A hundred years. By now. CONNIE It means we should all live happily for one hundred years. MERLE What's that mean? Mama! CONNIE PENTANGELI (Sicilian) Michael. If my Father were alive. looking from side to side like in a tennis match. Finally. Merle. you were talking to Mr.

but that wasn't cause to start a war. TAHOE BOATHOUSE . and I wanna keep up Clemenza's loyalty to you. the only way to reason with the Rosato Brothers is to whack 'em and whack 'em fast. and then you took over and welched. MICHAEL You were unfair with them. Pete Clemenza died of a heart attack. PENTANGELI Okay. PENTANGELI Says who? MICHAEL Clemenza promised Rosato three territories in the Bronx after he died. A one-way conversation! INT. now it's my family in Brooklyn. PENTANGELI Sure. PENTANGELI Clemenza promised them nothing. But how can I run my family with you challenging my every move? You're too far from the street. the kid and me talked Sicilian.ANTHONY His name is "Five-Angels. but the Rosato Brothers gave it to him." PENTANGELI Yeah.NIGHT Pentangeli is angry. Mike. you're sitting up here in the Sierra Mountains with champagne cocktails making judgment on the . but because it is Michael he is talking to. he hated the sonsuvbitches. MICHAEL We were all heartbroken at the news. PENTANGELI Michael. MICHAEL They feel cheated. he keeps his voice low and represses his desire to shout.

but he never . PENTANGELI How can you be fair with animals? They recruit niggers and spicks. PENTANGELI He did business. they do violence in their own Grandmother's neighborhoods. 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. That's why I want you to be fair with them... There are things that I have planned with Hyman Roth. I want them taken care I hope you can explain what you mean. I don't want them disturbed. MICHAEL Frankie. PENTANGELI The Rosatos are running crazy. MICHAEL I know. MICHAEL (suddenly in Sicilian) Your family still carries the name Corleone. And everything is dope and whores..way I run my family. because they're backed by the Jew in Miami. spitting in my face. taking hostages. Let me run my family without you on my back. you know my father respected Roth. MICHAEL No. and you've been loyal to my Father for years. PENTANGELI You give your loyalty to a Jew over your own blood. the gambling is left to last. did business with him. you're a good old man.

By now guests are starting to notice the disturbance.FULL VIEW . Beautifully dressed couples dance as the orchestra plays a foxtrot of the late fifties. I've spent so little time at the party. she has gotten drunk and it teasing her husband by flirting with other men on the floor. I'm going to belt you right in the mouth! DEANNA These Eye-ties are really crazy when it comes to their wives. DEANNA I wanta dance. (he checks his watch) It's late. embarrassed by her flashy sister-inlaw. you're falling on the floor. and some friends.S. Let him go back to New York. I've already made my plans. and leaves.trusted him.whatsa matter with that? FREDO Dancing is alright. THE LAWNS AND TABLES . never marry a WOP. Pentangeli takes his hat. Michael is with Kay. . or he'd never talk openly that way.) Jesus. VIEW ON THE DANCE FLOOR Deanna has been dancing with Fredo. they treat their wives like shit. DEANNA Whatsamatter. VIEW on Kay. listening.. you don't want me to dance with him 'cause he's a man! FREDO Deanna.. Rocco catches his eye.NIGHT By now the sun has fallen and the lawns of the Corleone estate are lit by moonlight. DEANNA (O. EXT. Should he go? NERI MICHAEL The old man had too much vino rosso.

MED. EXT. DANCE FLOOR AND PAVILION . or I have to. Gardner and Francie. EXT. sitting arm in arm. FREDO Hey Mike. in his white suit. sitting alone. Rocco grabs firm hold of her and whisks her out of the crowd. MAIN GATE . MICHAEL .. what can I say? MICHAEL Forget it... DEANNA "Shuffle off to Buffa.NIGHT Kay and Michael dancing in the moonlight. VIEW . Merle tips the cop. just go take care of her. EXT.NIGHT Little Anthony. How's the baby? MICHAEL KAY Sleeping inside me. DEANNA He's a friend of your brother! Without another word." Freddie mops his forehead. and moves to Michael. and the cab drives off. Shuffle off to Buffa.VIEW ON FREDO AND DEANNA Rocco passes by Fredo and whispers: ROCCO Freddie. Mike says take care of it. Shuffle off to Buffalooooo. Connie and Merle enter. and is signaled over to the gate by a policeman carrying a torch flashlight.NIGHT A taxi pulls up. EXT.MOVING TWO SHOT ...NIGHT A large group of Tahoe teenagers join the Corleone youngsters sitting around a large fire out by the harbor. THE HARBOR DECK .. TABLE OF HONOR .

others sitting nervously. Las Vegas marriage mill. INT. in the same clothing they wore to the Tahoe party. simple ceremony. where Connie and Merle. THE TROPICANA . all dressed elegantly for the social event of the season. That was seven years ago. KAY It made me think of what you told me once. DISSOLVE TO: EXT.LAS VEGAS .Does it feel like a boy? KAY Yes. MICHAEL I'm sorry about some of the people I had to see today. Albert Neri. as they dance amid their guests.. into the main casino. leaves it to the parking valets. middle-aged . The VIEW LOOSENS to show the entire. CLOSE VIEW .DAY A dark car pulls up to the glitter of the neon facade. the Corleone family will be completely legitimate. except that he loves and values her. alone. and then heads toward the crap table. when she was married all those years ago in Long Island. THE CHAPEL .NIGHT Some quiet. informally dressed couples wait in the rear of the chapel. night-lit party. and moves quickly through the automatic doors.. are being married by a Justice of the Peace. and holds her tight. He has no answer for her. The Justice goes through the bored. it does. In five years. glances around a moment. INT. VIEW .NIGHT A Cadillac limousine waits for some people inside the tacky. LAS VEGAS CHAPEL . It was bad timing. Michael.MED. where a short. THE TROPICANA . EXT.DAY Albert Neri enters the room. but it couldn't be helped. We still hear the CORLEONE WALTZ. A single organ plays some standard wedding music. The VIEW PANS up to the altar. some talking. and we begin to HEAR an echo of the waltz Connie danced with her father.MED.

NERI Are you Klingman? Who's asking? KLINGMAN NERI Where can we talk? Right here. We make the invitation to you to tie up your affairs and be out of the hotel by Monday morning. he looks to his guards. Neri moves toward Klingman. Klingman gets down on his knees to pick them up once. KLINGMAN NERI I represent the interests of the Corleone family. talk to an owner in Las Vegas like that. Redfaced. Quickly. KLINGMAN. KLINGMAN stands by the pit boss. KLINGMAN You don't come in here.. are at their posts. knocking off his glasses. and slaps him hard several times in the face. smiling. past a few interested gamblers. VIEW ON KLINGMAN Humiliated. again. Several security guards of the casino. motionless. Neri stands in front of him. get him out of here. Klingman moves across the casino floor. Neri slowly . KLINGMAN Who do you think you're talking to? NERI You said you were Klingman. KLINGMAN Get out of my hotel. and his own people. NERI You missed my point. Glasses on. WHAT HE SEES They stand. you are no longer an owner..

LONG VIEW The starter turns.NIGHT The waltz continues over the VIEW of the empty. as Klingman backs into the showroom. KLINGMAN All right. INT. VIEW . sits down at a table. but still illuminated pavilion. Neri keeps moving. Lido de Paris type of show is in rehearsal. He turns. which a silent crew of workmen are at work cleaning up. and turns to lock the door of his restaurant. Irish Setters. HIS VIEW Neri keeps coming. VIEW ON KLINGMAN realizes that no one will help him. Gets in. and looks out across the lake. SHOWROOM . CLOSE VIEW FRED VINCENT.MED. MED. The Corleone Waltz continues over this. and the automobile blows in a great explosion. and looks up at the stage. All right! He finally capitulates.follows. after a moment a man in an overcoat steps out. NERI (to the staring performers) Keep it going. There is the debris of the great party spread over the grounds. EXT. He moves toward his parked car.NIGHT The neon lights that spell out "FRED'S PIZZERIA" go out. VIEW Michael walks alone. A STREET IN BUFFALO. DISSOLVE TO: EXT. He walks to the water line. whom we remember as the Sicilian Fabrizzio. followed by two of the family dogs.DAY A typical. then heads past the terrified man. MED. . MED. THE TAHOE ESTATE . NEW YORK . I'll be out.

is weeping as he sings about how he's left his Mother in Italy. and throws it for the dogs. there are bodyguards watching every move he makes. you've got to see her! VIEW ON THE STAGE A tattered melodrama is in progress in Neapolitan. holding his hat in his hand. Italo-Americans. and obviously the object of Genco's affection. The letter brings bad news. begins to segue into the echoed music and laughter of an old Italian Music Hall from the past. The girl is pretty. People shout that they should sit down. being led down the crowded aisle of this Italian Vaudeville theatre by an energetic and fulfilled GENCO ABBANDANDO. stepping on a few shoes in the process. and a young girl enters. There is much on his mind. The sets are two-dimensional. VIEW ON THE STAGE There is a knock on the door. PEPPINO. when an excited Genco nudges Vito. who go scampering after it. CLOSE VIEW ON MICHAEL looking across the lake. and flap whenever there's an entrance or exit. DISSOLVE TO: INT. and sings the final song.1915 .He picks up a stick. This entire sequence is played in Sicilian. The hero. We notice that a respectful distance away. VIEW ON THE AUDIENCE All poor. which most of the audience knows: SENZA MAMMA. . The people in the audience are singing along with Peppino. The SOUND of the waltz. his friend in America. Genco finds a few seats. They have barely come to their seats. VIEW ON THE AUDIENCE Genco is enthralled with the young actress. He weeps. America.NIGHT VITO CORLEONE is a shy young man of 23. GENCO Come on. NEW YORK THEATRE . delivering a letter to Peppino in his tenement in America. Peppino's Mother is dead. while he is in this new country. and leads Vito to them. and points to the stage.

.VIEW ON THE STAGE The actress. object of Genco's affection. VIEW ON THE AUDIENCE Genco pulls on Vito's jacket. not my daughter. This is FANUCCI. watching. Genco stops short. who is sweating nonetheless. hoping to catch a glimpse of the actress. He holds a locked strongbox. At first. indicating that now that his love is offstage. Carla! IMPRESARIO The two men argue in Italian. But Fanucci grabs her easily by her slender wrist. He is discussing a business matter with the theatre IMPRESARIO. and with lightning speed.. strong looking man. they should leave. and frightened. IMPRESARIO (Sicilian) No. and they make their way all the way down the aisle.please. He doesn't seem to be giving in to Fanucci. INT.MOVING VIEW . unaware of the difficulties. The impresario sees her. Suddenly. He is followed by Vito. a large. Genco is enraged. Whereupon he begins to unlock the box which holds the receipts for the night's box-office. GENCO'S VIEW A heavy-set. as though he would rush up to help his enamorata. motions that she should keep away. VIEW The young ACTRESS crosses into the area. VIEW ON VITO watching. MED. BACKSTAGE THEATRE . fierce looking Italian wearing an expensive light-colored suit and a cream colored fedora. produces a knife which he holds against her cheek. GENCO (Sicilian) . Vito rises with him. VIEW ON GENCO AND VITO hiding. makes a dramatic exit.NIGHT Genco hurrying down the backstage corridor. The impresario wrings his hands in agony.

and points. he knows they have no one to protect them. then he pays Fanucci. even my father. Genco shakes his head. EXT. GENCO (Sicilian) (whispered) Let's get out of here. Vitone. VIEW ON FANUCCI has released the girl. there is nothing to be done. Everyone in the neighborhood pays him. Her father pulls her away from him. FANUCCI (Sicilian) Because you protested. breathlessly.The Black Hand. NEW YORK ALLEY .NIGHT Genco and Vito. it will cost a hundred more. (spits) VITO (Sicilian) Why? Why does he bother other Italians? GENCO (Sicilian) Because he knows them. Vito looks at him shocked and disappointed in this cowardly behavior. Genco leans against the wall. Vitone? What do you think of my angel? . but you don't understand yet how things are. Fanucci is of the Black Hand. GENCO (Sicilian) I know what you are thinking. VITO (Sicilian) He's an Italian? GENCO (Sicilian) A pig of a Neaponitan. as though he's had a near escape. Then he backs away. as though to say that where Fanucci is concerned. and slaps her for no reason.

GENCO (Sicilian) Beautiful. VITO For you. there is only my wife! For me. she is beautiful. into the night. but another. smile-like slit in his throat.DAY Vito moves through the street. and then stops. Blood pours from the deep. catching the flowing blood in his hat. holding onto his back. The two friends hold their breath. He turns up an alleyway. until he disappears. NEW YORK STREETS . carrying groceries that he is to deliver. . VIEW ON FANUCCI He takes off his white fedora.MOVING VIEW . a sinister figure in white. It is cold. slits Fanucci's throat from one side to the other. Fanucci groans like some great hurt animal. and they laughingly walk down the alley.VITO (Sicilian) Beautiful. moving down the alley just in front of them. EXT. The stage door opens. He throws the young man off his back. That's why I brought you with me! Genco embraces his good friend. and runs down the alley toward Vito. and Fanucci exits. GENCO I know. and so vendors are huddled around fires they have lit in old cans and drums. VIEW UP THE ALLEY With great strength. Fanucci lifts one of them up into the air and throws him down hard to the concrete. manages to produce a switchblade knife and awkwardly reaching around from behind the moving man. VIEW ON VITO stepping back in the alley.

They wanted to scare him. VITO (Sicilian) Why? . and is busy slicing paper thin prosciutto for a customer. copagole. Make him look bad. Genco moves to his friend. ABBANDANDO GROCERY STORE . Genco works here for his father.The young attackers scurry off in various directions. Is he dead? GENCO (Sicilian) Nah. mortadella lies on the counter covered with netting to keep away the thousands of flies. Olive oil is sold in bulk. Those guys aren't murderers. that's all.DAY A tiny shop featuring imported food: trays of cured meats. as well as wine. INT. I didn't know. GENCO (Sicilian) I wish they had. slit his throat from ear to ear. But you can't kill a man like Fanucci. prosciutto. you had better finish him. GENCO (Sicilian) I bet you can't guess what happened? VITO (Sicilian) What? GENCO (Sicilian) Some guys from Ninth Avenue jumped Fanucci today. Vito works in the back as a stock clerk. Finished with his customer. by hand. when you attack a man. He takes fifty dollars a week from my father's cash drawer. VITO (Sicilian) In Sicily. VITO (Sicilian) No. cheese and bacala.

and Signor Abbandando moves to Fanucci with a sigh. EXT. TINY TENEMENT .MED. He turns and walks ahead.GENCO (Sicilian) Because he's what we say. Carmella waits a respectful distance behind him. showing the gruesome wound that marks his throat. He takes out his pistol and fires point-blank at his attacker. SINGER ABBANDANDO turns to see a smiling Fanucci tipping his hat. one of those who had tried to kill Fanucci. railroad type flat where Vito lives with his new family. INT. breathlessly. like an old customer. Genco works his way closer to his friend. FANUCCI Immediately. He sits and eats quietly. and approach a metal crib. while he goes about his work.DAY The shop bell RINGS. Then the mammoth. Vito reaches down and takes the small hand of the baby between his thick peasant fingers. see what happens to those guys from Ninth Avenue. He grins at the young man.NIGHT A young man. CLOSE VIEW ON VITO recalling what he had seen and thought.. You wait. INT. and he is exhausted. runs down an alleyway.NIGHT Vito and Carmella enter the darkened bedroom. and Genco moves away to serve him. Buon giorno. NEW YORK ALLEYWAY . Then he stops. white-suited figure of Fanucci leaps down before him from the fire-escape. where his young wife. CARMELLA.. VIEW . Whoever was following him is gone. goes through the silent ritual of preparing a simple meal for him. INT.. A customer enters. ABBANDANDO GROCERY . and looks behind himself. Vito turns back to his work. and then raises his neck. Vito notices the two men talking quietly at one side of the store. TENEMENT ROOM .NIGHT The very small.. "connected".FULL VIEW . He returns home. It is late at night. .

VITO (Sicilian) (surprised) And he agreed? GENCO (Sicilian) He took the money. regretfully. VITO (Sicilian) And you must give him my job. How is your son? VITO (Sicilian) We are all well. as the old man struggles to tell him. and every so often they turn and relate to where Vito is working.. Then Fanucci leaves. SIG.GENCO (Sicilian) What did I tell you.Fanucci has a nephew. but inevitable transaction. . VITO (Sicilian) (almost to himself) A real mafioso doesn't sell his vengeance. Now he wants double from everybody in the neighborhood. VIEW Signor Abbandando seems to be arguing with Fanucci. and Signor Abbandando reluctantly moves to Vito.I. MED. the little bell RINGING. including Papa. Vito watches the heated. Vito looks at him a while. The old man nods. The one who cut him was found in an alley.. ABBANDANDO (Sicilian) Vitone.. It is clear that he has something difficult to tell the young man. And the family of the others paid Fanucci all their savings to make him forswear his vengeance.. SIG. ABBANDANDO Vitone.

taken care of me. EXT. Suddenly.NIGHT Vito and his wife sit quietly at the table. INT. and been as a father.) Vitone! He turns.please understand. Suddenly. and takes the bundle of rags. and leaves.MED. and returns to his wife. Thank you.. he closes the window and there is activity that we cannot see in the other apartment. PETER CLEMENZA..VITO (Sicilian) You have been kind to me since I was a boy.for your family. He sits down back at the table. WHAT HE SEES: Five oily guns. I will always be grateful to you. VITO'S TENEMENT . and carries them to a private closet. passing the youth who loiters by the counter. and she knows . SIG. Vito looks to his wife. He immediately wraps them again. ABBANDANDO Here...I cannot accept. Clemenza's round face is strained and urgent. ABBANDANDO (Sicilian o. and Abbandando has followed him out of the shop. the two are quiet and sad. leaning out of the window on the other side of the air shaft which separates their apartments.s.DAY making his way from the store. SIG.. and hides it. obviously in some kind of trouble. THE STREET . holding a basket of some groceries. and then closes the window and window dressing and takes the bundle into a private part of his kitchen and begins to unwrap it. Hurry up! Automatically Vito reaches over to the empty space at the air shaft. Vito takes off his apron. and Vito is astonished to see a young man.. CLEMENZA Hey Paisan! Hold this for me until I ask for it. VITO No. VIEW . we HEAR a noise.

they've become friends. by contrast. and realizes that Clemenza is walking silently with him.' CLEMENZA (Sicilian) I'm not interested in things that don't concern me. Vito looks to his left. shakes his head 'no. HALLWAY WEALTHY APARTMENT BUILDING . EXT. Vito is impressed with the opulence. Clemenza dresses well. CLEMENZA (Sicilian) No. VITO (Sicilian) She would like it.DAY Vito is walking through the crowded streets with a group of workmen. CLEMENZA (Sicilian) I have a friend who has a fine rug. and paper hats on their heads.DAY Vito and Clemenza drinking wine. I know how to repay a consideration. his face impassive. DOWNTOWN ITALIAN SOCIAL CLUB .not to ask him what has happened. He would give it away. they all wear work clothes. then nods. NEW YORK STREETS . Maybe your wife would like it. CLEMENZA (Sicilian) (casually) Do you have my goods still? Vito nods. Vito thinks.DAY The two men proceed up the hallway. . INT. CLEMENZA (Sicilian) Did you look inside? Vito. VITO (Sicilian) We have no money for a rug. INT.

laughing. carrying the fine rug. Quickly and expertly he takes out a tool and pries open the door. INT. We HEAR a BUZZER RING. and moves to the window. He pulls a gun from his jacket. well.FULL VIEW . then rings. he's not at home. A little help.DAY The two men run up the steps. the buzzer again. Vito realizes that if the Policeman should pursue it any further he is a dead man. The Policeman gives up and leaves. . which features a fabulous rich red wool rug. the very best. and drops to the floor. Clemenza knocks on the door as though he is well known here.DAY He rings He moves so he can see out the window. CLEMENZA (Sicilian) Oh yes. INT. and the two begin rolling the rug.DAY Vito looks in awe at the luxurious apartment. VITO'S TENEMENT . CLEMENZA (Sicilian) Ah. CLEMENZA Vito joins him. Oh. Clemenza immediately moves some of the furniture away. Clemenza puts away his gun. waiting. VITO'S TENEMENT HALLWAY . No answer. VIEW ON CLEMENZA cocking his gun. INT.VITO (Sicilian) Your friend lives in a fine building. THEIR VIEW A Policeman stands at the exterior door. Clemenza immediately drops his side of the roll. VIEW ON Vito watching. WEALTHY APARTMENT . he wouldn't mind.

Carmine. Augustino takes them and expertly begins to clean and prepare them. middle-aged Italian named AUGUSTINO who leads them into a machine shop. holding the baby SANTINO. cutting quickly. CLOSE ON CLEMENZA Like a professional. MACHINE SHOP . MED. VIEW TESSIO (Sicilian) Who is he? AUGUSTINO (Sicilian) My son. TESSIO. DOWNTOWN WAREHOUSE . operating a drill press. AUGUSTINO (Sicilian) . with the proper tools.. including a more sophisticated machine weapon. Clemenza looks up on a higher level. CLEMENZA (Sicilian) (to Vito) Paisan Augustino was a gunsmith in the Italian army.NIGHT CLEMENZA (Sicilian) Good. and another's all right. revealing gun. We do each other favors. The men then quickly open the packages they've brought. you waited for us. holding some packages. Carmella watches. tall and thin and deadly waits with them. HIS VIEW There is a nine year old boy. The door is lifted.. DISSOLVE TO: EXT.They are on their knees cutting the rug to fit the small room. and they are greeted by a bright. MED. INT. He sings as he works.NIGHT Clemenza knocks on the steel door of this downtown building. Vito waits with him.

CLEMENZA (Sicilian) Lady. And begins to play a simple and pure melody. VIEW ON THE BOY wide-eyed.. as he prepares the machine gun.NIGHT Tessio and Clemenza quickly load racks of cheap dresses. Look at them. and a pretty HOUSEWIFE answers. WOMAN (Sicilian) I don't know which one I like best. He holds the dresses up and the woman seems interested. INT. She handles a couple of them and stands aside so Clemenza can enter her apartment. Carmine. He helps me at night so we can buy him a silver flute someday... and takes out a shabby wooden flute. maybe twenty in a for my friends. EXT.. as the boy's father prepares their guns. CLOSE ON VITO listening. Vito sits behind the wheel of the truck. TENEMENT STAIRS . He seems reserved...DAY Clemenza runs up a flight of stairs with an armful of WAREHOUSE AREA . and we get the impression that he is studying every move his two friends are making. I got a bargain on these dresses. Now he has one made of wood. smiling. CLOSE ON AUGUSTINO proudly smiling.(while he works) My boy is studying the flute. . first class. CLOSE ON TESSIO listening. You gotta pay at least fifteen. He plays very well. He knocks on a door. he shuts off the press. FULL VIEW The men listening. Five dollars each.

he sees the formidable figure of Vito drives the truck off. WOMAN (Sicilian) Are you kidding? My husband will kill me if he knows I paid five dollars for one dress. she looks at him smiling. TENEMENT BUILDING . She is torn. . he'll move it to a wholesaler. and then she goes to her purse and takes out five singles and gives them to him. where Vito and Tessio are waiting in the car with some of the stock. The three part. She smiles back. CLEMENZA (Sicilian) You'd look beautiful in all of these. CLEMENZA (Sicilian) Vito. CLEMENZA (Sicilian) You can have two for five. You should buy at least two. Clemenza approving of each one. EXT. Clemenza shakes his head and straightens the dress on her body.DAY Clemenza jumps down the stairs.She holds the dresses against her body. then another. MOVING VIEW Vito drives the truck through the downtown streets. His hand brushes her arm. and out to the middle of the street. Tessio and Clemenza each take more armsful of dresses and divide the neighborhood. he turns a corner and stops for a light. She holds one up. TESSIO (Sicilian) What took so long? CLEMENZA (Sicilian) She couldn't decide. Suddenly. take the rest of the stock over to Dandine's warehouse. to his left.

Of course. revealing the large circular scar. Just a little. if my information as to your gains is incorrect. Yet. Vito says nothing. Fanucci takes a few of the dresses. You know I have three daughters. Fanucci thumbs through the stock. You should let me wet my beak a little. I'll dip my beak just a little. I expect two hundred dollars for my protection and I'll forget the insult. CLOSE VIEW ON FANUCCI frightening. young people don't know the courtesies due a man like myself. FANUCCI (Sicilian) Ahhh. eh paisan? VITO (Sicilian) (quietly) . After all. FANUCCI (Sicilian) Otherwise the police will come to see you and your wife and children will be dishonored and destitute. He grabs young Corleone by the shoulder. You and your friends have to show me a little respect. FANUCCI (Sicilian) I understand each of you cleared around six hundred dollars. now healed.Fanucci. ah? This truck you hijacked was in my neighborhood. FANUCCI (Sicilian) This is my neighborhood. you don't show enough respect to send a few dresses to my home. young fellow. People tell me you're rich. you and your two friends. and don't try to deceive me. but no less than one hundred dollars. Vito smiles at him and nods.

Let yourself be guided by him. Fanucci turns with the dresses draped over his arms. FANUCCI (Sicilian) You tell your friends I expect them to let me wet my beak in the same manner.. he understands these things. eh? Perhaps I can help you make your plans. Next time.MED. Vito throws the truck in gear. this is all new to me.My two friends have my share of the money. FANUCCI (Sicilian) (impressed) You're a good fellow. VIEW . FANUCCI (Sicilian) You have respect.. He takes Vito's hands and clasps them in his own. VITO (Sicilian) (shrugging innocently) You must understand. I'll have to speak to them after we deliver these to the wholesaler.NIGHT . and drives off. FANUCCI (Sicilian) I understand. speak to me first.. INT. A fine thing in the young. Don't be afraid to tell them.. waving to Vito. CLOSE VIEW ON VITO We know that throughout this encounter he has seethed with an icy rage. VITO (Sicilian) But thank you for speaking to me as a Godfather. Clemenza and I know each other well. He has more experience in these matters. VITO'S APARTMENT .

. CLEMENZA (Sicilian) They say Fanucci has a license from Maranzalla himself to work this neighborhood.He wife serves a dinner for her husband and his two friends. You can't talk with him. Then they would owe him a favor. that's how he operates. Three hundred. TESSIO (Sicilian) What if we don't pay? CLEMENZA (Sicilian) (gestures. He won't take a dime less than three hundred dollars. are we agreed? TESSIO (Sicilian) What can we do? Clemenza doesn't even bother checking for Vito's opinion.. TESSIO (Sicilian) When Fanucci says two hundred he means two hundred. VITO (Sicilian) If you like.real animals. And his connections with the police. I guarantee he will accept that amount from me. TESSIO (Sicilian) Do you think he'd be satisfied with the two hundred dollars? I think he would. it's hopeless) You know his friends.. They discuss Fanucci as they eat. We'll have to pay. Sure he'd like us to tell him our plans so he can set us up for the cops and earn their gratitude. CLEMENZA (Sicilian) That scar-faced bastard will find out what we got from the wholesaler. why not give me fifty dollars each to pay Fanucci.

He uses ten sentences when he only needs one. and quarrel with him. don't bargain. VITO (Sicilian) I never lie to people I've accepted as my friends. what? Joe 'Little Knife' Pisani. and washes his food down with wine. Mr. enjoys explaining how things are here. I'll settle this problem to your satisfaction. Willie Bufalino. irritated. Leave everything in my hands. I'll kill him. he is alone. but don't pay it. CLEMENZA (Sicilian) (stern) Then. Clemenza. so while he talks. Maranzalla himself. CLEMENZA (Sicilian) . c'mon! VITO (Sicilian) Fanucci is not connected. maybe. and don't in any way quarrel with him. He likes me. I'll go to his house. Let him understand that you're willing to pay what he asks. Tessio and Clemenza regard him suspiciously. after that. makes a large belch. TESSIO (Sicilian) (laughs at himself) He's going to kill Fanucci. Let him ask you for the money. Speak to Fanucci yourself tomorrow.VITO (Sicilian) I'll reason with him. CLEMENZA (Sicilian) Vitone! (to Tessio) Our driver has drunk too much wine. Tell him you have to get the money and will send me as your messenger.

delighted by the music. He crosses to a church-sponsored booth with a great Wheel of Fortune. he is alone. VIEW . TESSIO (Sicilian) If you're wrong.. No.. this man allows his vengeance to be bought off. MOVING VIEW Clemenza moves along the booths that have been set up along the street: sausage cooking on an open fire. It's important that you let his neighbors see you leave. even the church makes numbers... He stops for a sandwich. Standing next to him is Vito. EXT. People swarm in crowds. Both Clemenza and Tessio are impressed with their young friend. CLEMENZA (Sicilian) (quietly) All three daughters are at church.NIGHT A ten piece Italian street band plays in front of the church to commemorate the first night of the Festa di San Gennaro. as out of the church four men carry the statue of San Gennaro down to the street.MED. VITO (Sicilian) If I'm wrong. CLEMENZA (English) See. his willingness to risk his life on his perception of the situation. he is alone. they embrace. Tessio has broken the latch on the skylight of his building. PRIEST (English) . The wheel stops. they both lose. Brother Carmello.What? (sarcastically) You read it in the papers? VITO (Sicilian) This man informs to the police. pork livers and sweetbeards. and makes an irritated gesture when the vendor expects to be paid. they will kill me. NEW YORK STREET . and slaps a dollar on a number.

the club is empty. FESTA STREET . FESTA STREET .NIGHT By now the musicians have left. INT. but still families are walking the street. Vito enters. EXT. eh? If I can ever do you a service let me know. FANUCCI (Sicilian) I think there's only two hundred dollars under my hat. crossing toward a small and dark club. 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. except for the large white figure sitting alone at a small table. (he peeks) I'm right. EXT.MED. VITO (Sicilian) I'm a little short. You've done a good job for yourself tonight. I've been out of work. Vito counts out two hundred dollars on the table. Without a word. Let me owe you the money for a few weeks. VIEW . I could find some work for you to do that would be very profitable. Vito has left while Clemenza jokes with the Priest. FANUCCI (Sicilian) Ah. SOCIAL CLUB . you're a sharp young fellow. Only two hundred dollars. Fanucci looks. . and stopping at the booths.NIGHT We can still HEAR the crowds and music of the festa. (he rises) No hard feelings. then takes off his fedora and puts it on the table over the money. Fanucci barely acknowledges Vito as he joins him.It's only the way we collect that's different.NIGHT Vito passes the booths of food.

THE ROOFTOP . something of an altar carried out into the streets. EXT.NIGHT walking through the crowded streets. EXT.NIGHT Vito makes the leap that separates two buildings. it is stuck firmly shut. and the crowds below. From the distance.MED. despite Clemenza's instructions. THE MONSTRANCE . paralleling Fanucci's walk.NIGHT Vito silently moves along the rooftop. Then Fanucci begins the walk through the festa. we can HEAR the services in the background. and considers himself highly loved. THE ROOFTOP .NIGHT Fanucci unlocks the door to his building. Vito moves around the skylight. the Choir begins to Latin.MOVING VIEW . EXT. he is known by everyone. attendance. THE STREETS .Fanucci stands there a moment. ROOFTOPS . We HEAR the sounds of the festa.MOVING VIEW ON FANUCCI . THE ROOFTOPS . on his way home. to the rooftops. to an identical trap. EXT. INT. as the crowds in the street kneel down in prayer. then crosses toward the large skylight in the center of the building. The priest begins this nocturnal service. but no luck. and every so often catch a glimpse of the patterned lights. it opens. and the glittering Monstrance. EXT. VIEW ON THE PRIEST .NIGHT performing the services in Latin. The VIEW LIFTS UP. He struggles with it.NIGHT Vito tries the trap door on the roof.NIGHT The procession in the streets is preceded by ten altar boys. tries this one. The statue of San Gennaro is arranged in some midnight religious ceremony. FESTA STREETS . EXT. EXT.NIGHT The ten altar boys are in . FANUCCI'S BUILDING .

Signora? don't say 'good evening'? You WOMAN (Sicilian) 'Good evening. Tessio had said they were out. Fanucci laughs. and immediately moves to her apartment.NIGHT Vito climbs down from the attic. Slowly and quietly he pulls them down. and finds Fanucci's rear door open. and a little religious gift he has bought for each. He steps outside to the alley where he can look into the apartment. The MASS outside is always in evidence. continues up. WHAT HE SEES: Three young women. INT.' Signor Fanucci. An OLD WOMAN on one of the flights sees him. shut. CLOSE VIEW ON VITO He begins to wrap the gun. and makes his way past the open windows.NIGHT Fanucci proceeds up the staircase with loud. laughing and talking. He moves quietly to a glass door. FANUCCI'S HALLWAY . and enters. and pulls out the newly oiled gun that has been left for him. singing to himself. Fanucci's DAUGHTERS. HALLWAY . out of which pour the music and chanting of the Mass. He slips in. He slides down into the building. She quickly disappears behind her door. VIEW ON VITO A slip up. CLOSE ON THE GUN . FANUCCI (Sicilian) What's the matter. INT.DOWN ANGLE . VIEW ON THE DAUGHTERS Their father greets them with a kiss. heavy steps. and peeks out. ANOTHER VIEW Fanucci opens the door of his apartment.Vito reaches down into the trap.

then. quickly fires one last bullet into Fanucci's sweaty cheek.and disappears upward.wrapped in this primitive method of a silencer. gaining its confidence. we can SEE the great spectacle of lights and .. removes the two hundred. as if plunging a needle into this vein. Carefully. lifts it up and carefully lets it into Fanucci's apartment. waiting. Fanucci falls to his knees. and some of the thumping footsteps of Fanucci. trying to stand erect. VIEW ON FANUCCI He holds onto the door frame. we HEAR the conclusion of the Mass down below. literally on Vito's hand. We HEAR some Italian shouted in the house. We begin to hear the VOICES of girls inside the apartment. propping the door open. Then something catches his eye. caught in the dilemma of having to kill all or none of them. THE ROOFTOPS . Vito quickly opens his wallet. speaking softly in Sicilian. quickly he throws it to the ground. WHAT HE SEES: A small gray alley cat is attracted to the young man. VIEW .MED. EXT. Vito rubs the animal. His gun is exposed but so is a spidery vein on the white shirtfront of his stomach. WHAT HE SEES: The white blob of Fanucci opening the door and cursing in Italian as he throws the cat out. He steps back. but still LOUD BLAST resounding in the building. the muffled. The force of his struggle has torn the buttons off his jacket and made it swing loose.NIGHT Vito moves like a cat along the rooftops. The VIEW TILTS to Vito. VIEW ON VITO holding the wrapped gun. stamps it out. Now the towel the gun was wrapped with catches fire. comes up to him and rubs itself against him. a loud sound from the cat. giving a terrible groan. trying to reach for his gun. CLOSE ON VITO Pausing. holding the gun. VIEW ON VITO squeezing the trigger. Vito Corleone fires a second bullet..

VIEW . ANTHONY'S TAHOE ROOM .NIGHT Vito's wife. Quietly. follows as the Monstrance is carried off through the streets. followed by the altar boys. two separate pieces. having completed the ceremony. without a word. and with only a momentary glance from his wife. EXT.MED. dropping the two separate fragments into various air shafts. He empties the gun of bullets and smashes the barrel against the side of the roof ledge. your papa loves you. and the pistol breaks into barrel and handle. moving with agility across the rooftops.candles on the streets below.NIGHT The corpse that was Fanucci. FANUCCI'S VESTIBULE . lit from the outside by a bright evening. He smashes it again. VIEW . we can still HEAR the music and night sounds of the Festa.NIGHT The room is large. as the Choir sings. EXT. EXT. DISSOLVE TO: INT. takes a glass of wine. EXT. hand of his son. Vito joins the little group. He then moves along the rooftop. He reaches out and takes the small VITO (Sicilian) Santino. her baby and several friends and neighbors sit happily on the front stoop of their tenement.NIGHT Vito is a dark figure.MOVING VIEW . THE ROOFTOPS .MOVING VIEW .NIGHT The Priest.NIGHT The statue of San Gennaro. THE STREET PROCESSION . INT. CORLEONE TENEMENT . CLOSE VIEW ON VITO listening to the song.CLOSE VIEW . . He reverses it in his hand.MED. Some of the men drink wine poured out of a pitcher. and listens to the song. PROCESSION . stained with blood. A neighbor is singing a Neapolitan song. and breaks the butt into two separate halves against the chimney.

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? Yes. ANTHONY

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. I know. ANTHONY How long will you be gone?

MICHAEL Just a few days. ANTHONY

Will you take me? I can't. MICHAEL

ANTHONY Why do you have to go? To do business. 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: Michael? KAY Why are the drapes open? MICHAEL ANTHONY

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. 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. MICHAEL

ROCCO Your family all seem to be okay in the other houses. quietly waiting and watching. and whispers: MICHAEL It will be all right. squeezes her hand. MOVING VIEW Men with flashlights and dogs. with a bright spotlight slowly cruises the boundaries of the estate. We SEE the silhouette of men with guns. they make you think of an immigrant family. EXT. the children. We were lucky. The door opens. with their blankets and frightened faces. He quickly realizes he is holding his gun in plain view in front of the family. Michael moves to him. The little girl is still asleep. your Mother's still sleeping.ROOFTOP One of Rocco's men turns the large floodlight scanning darkened forest areas. MICHAEL'S HOUSE . but her face expresses the anger she feels over the jeopardy Michael has placed his children in. all waiting in a central room. that can be most easily secured. She says nothing. where men could hide. She holds her young daughter in her arms. and they talk a distance away from Kay. and Rocco enters. and puts it away. and some women servants have come down from the various rooms into the central living area. The curtains are drawn from inside. MICHAEL'S HOUSE .NIGHT Some of the bodyguards by the shattered windows of Michael's bedroom. MICHAEL And? ROCCO No sign of them yet. . Moving through the dark areas. Michael goes up to Kay.NIGHT Kay. INT. LOOSE VIEW A small Corleone launch. but they're still on the Estate.

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'S VIEW Through the door. tries to get her back into the house. FREDO Deanna.We HEAR loud shouting from outside. a respectful distance away.. can't you shut that woman up! (to Rocco's men) Get her in here! The bodyguards. DEANNA (whimpering) I don't want to stay here. Deanna. A small group of bodyguards.HIGH ANGLE ... will you get back into the house! DEANNA I'm getting out of here I said. DEANNA (O. while Fredo in his bathrobe. has been frightened by the gunshots. that Rocco opens.. EXT. MICHAEL (to Rocco) Have Tom Hagen meet me in the Harbor House.. . carrying machine guns. she's a hysterical woman.. TAHOE ESTATE .NIGHT Michael walks the short distance from his house. in her nightgown. to the boathouse where he conducts his business away from his family. FREDO Mike. what can I do. make the walk with him from all sides. these guys all have guns! MICHAEL Fredo. gracefully help Fredo bring the hysterical Deanna into the safety of the house.S.) Goddamn you! You're all nuts here. I'm not goin' to calm down.

Neri. hastily wakened from their lodge house. and puts it into his pocket. TAHOE BOATHOUSE . followed by teams of Secret Service men. TAHOE BOATHOUSE .. a disoriented Hagen sits down. with their lights. Sit down. It's precisely that at this moment. He takes out an envelope. Michael says something to Tom. Tom.NIGHT From outside the leaded windows. you are the only one that I can completely trust.. In time. I know that's upset you in the past. you don't think. we can see the teams of men and dogs. MICHAEL . combing every inch of the estate. who rises. obviously about something very serious. and you've felt that it was because of some lack of trust or confidence. a barracks-like structure where reinforcements are lodged just for this kind of emergency.. INT.NIGHT Michael talks intimately to Tom. and has quickly thrown on a robe. The boathouse is already secured by teams of men. HAGEN (nods with this statement) But your people. But it is because I do trust you that I've kept so much secret from you..EMPTY VIEW . and Hagen enters. INT. The patrol securing the boathouse. there's a KNOCK on the door. obscuring OUR VIEW. quickly runs through the combination. MICHAEL There's a lot I can't tell you. walk past the window. Michael starts to talk to him. FULL VIEW In the distance. He had been asleep. THE BOATHOUSE .. you'll understand everything. Rocco. Tom. and pulls the drapes..NIGHT Michael alone in the great room. guns and shouts. He moves to a walk-in safe.It gives the appearance of a lonely President moving in his compound. and opens it. EXT.

their loyalty is based on that.. MICHAEL (continuing) . and I wanted you to know very little of things that would make you an accomplice. I will leave tonight.and on that basis. and Tom.MICHAEL No. What I am saying is that now. I've kept you out of things. I have confidence in their loyalty. and stupid people are the most dangerous of all.. Fredo has a good heart. HAGEN Mikey. solely resting on your judgment and talent. just listen. and the future of this family.But Tom.. Tom.. Hagen in very moved.and stupid. because I've always known that your instincts were legitimate. realizing that total power and responsibility is being placed on him. but this is life and death. I am trusting you with the lives of my wife and children. everyone. I never blamed you for the setbacks the family took under Sonny. All my people are businessmen.. and you did your best to advise and caution him... Fredo. MICHAEL No Tom. And even you are not to try to reach me unless it is absolutely necessary.. anything is possible. you are my brother.. If what I think has happened is true. One thing I learned from my father is to try to think as the people around you think. you must know that I do this only because I believe you are the only one who is capable of . for your own protection. I know you were in a position of limited power.. but he is weak. I hoped. and absolutely no one will know how to contact me. for how long I do not know. VIEW ON HAGEN A man who has steadily declined over the last five years. I give you complete power: over Neri. you will be the Don...

. Pop would have given those to Luca -You knew Pop as well as anyone..they're already dead.taking over for me.. The men who tried to kill me tonight. and moves to talk quietly to a frightened and agitated Rocco.NIGHT A group of men with flashlights and guns lead Michael. That's why I am going to disappear in a few minutes. will never leave the estate.. Tom MICHAEL . after making a knowing glance toward Tom.very frightened that they botched able to get who ordered it out of them? MICHAEL I don't think so. that will be the most difficult. If I'm wrong.. act as though you were him. MICHAEL . (he hands the envelope to Hagen) Also. VIEW ON MICHAEL taking out the envelope.. HAGEN Will we. there are three tasks that must be executed immediately. Unless I'm very wrong. but indicates where I will be. STONE WALL AND STREAM .MOVING VIEW . It discusses Kay as well.. EXT. MICHAEL I've prepared this. There is a KNOCK on the door. It won't explain everything. HAGEN But if you're wrong. have had it for over a month.. The door opens. so in a sense. Killed by someone inside. and leave everything to you. Michael rises...I don't think I'm wrong. it is my life.. it is Rocco. (he indicates the knock) Yes.

STATE SENATE FLOOR . where we see the bodies of three strangers. that some explosives we keep on the property were accidentally ignited. with their throats cut. SENATOR GEARY All right. INT. Light from the many flashlights illuminates the grotesque scene.DAY The Senator steps behind his desk. He flicks the switch of a small tape recorder. but no one says anything. Tomorrow morning I want a report made to the local police. Senator Geary is on the floor during a vote. and then down to the murky water under the bridge. LOW CLOSE VIEW Michael's dispassionate face. They are total strangers. Hagen stands there. which now resembles a prison camp. and even Tom steps down to get a better look at who they were. The men respond.) Several of the men wade down into the stream. FADE IN: INT. you've got ten minutes. Mr. An aide approaches him. Hagen makes the lonely walk back to the lighted section of the compound. Michael is gone. he is the DON. GEARY'S OFFICE . and paper. Hagen. THE VIEW MOVES to Hagen's. . Rocco helps. He realizes that now.and Rocco to the stone bridge spanning the stream which runs through the estate. When they climb back onto the ground. HAGEN Get rid of the bodies. Rocco examines the type of guns they used. lying in the moving water. machine-type guns nearby. MICHAEL (O. Everyone notices it.DAY The Senate is in session. looking down. FADE OUT.S. holding the envelope Michael had given him in his hand. Fish them out. with a slip of paper.

HAGEN The Corleone family has paid them off for you. No strings. we thought it would be unfortunate if they were to trace anything though-provoking to your name. SENATOR GEARY HAGEN You know there's a Senate Investigating Committee recently set up. . No strings. I've come with good news. Hagen leans forward. The Senator immediately shuts the tape recorder off. SENATOR GEARY No one can trace anything to me. the Corleone family has done you a favor. with plenty of enemies -. Geary quickly looks through the paid markers.and the tape will be running. three thousand dollars.SENATOR GEARY .... I pride myself on that. HAGEN Do you gamble? SENATOR GEARY A little.. and we did.we saw the opportunity to do you a an expression of our esteem. what's so thoughtprovoking about that? HAGEN Do you owe markers? SENATOR GEARY Maybe two. SENATOR GEARY What the hell are you talking about? HAGEN We know you're a busy man. and deposits a handful of paper on the Senator's desk. HAGEN Actually.

KAY We're Not . but it's clear that the boundaries are being patrolled. EXT.I never owed that much. she helps them into her station wagon like any housewife. SENATOR GEARY And what's the price of their not finding out. hostile. raising his hand. Corleone. the people who know are trustworthy. it was our money. MAN I'm sorry. She's about to drive through. HAGEN Our mistake.. Mrs. and drives along the path leading to the main gate. Be friendly like us.DAY There are more men on duty than usual.the Committee needn't find out. not to let you through. when one of the men steps in front of her. followed by her children. KAY (graciously) Yes. HAGEN Simple.SENATOR GEARY There's thirty grand worth of paid off markers -. TAHOE ESTATE . But what does it matter...FULL VIEW . VIEW BY MICHAEL'S HOUSE Kay exits her house. not that there are guns apparent..friend. HAGEN We'll keep it quiet. (rising) We don't even expect thanks. SENATOR GEARY You paid off thirty grand I never owed. SENATOR GEARY (he despises Hagen) Thanks.

and what he did tell me.. Michael didn't tell me a lot.. I had business in Carson City. HAGEN Within the compound will be fine. and start to play. . the children run out of the station wagon. Hagen's.. HAGEN Kay. We notice Hagen walking to them in the background. ma'am. VIEW THROUGH THE GATE Hagen approaches the car. HAGEN It's Michael's request. MAN If you could just give us a list. HAGEN Kay. I can't repeat. KAY I'm going to see my parents.. But the responsibility for you and the kids was the most important thing he left me with. We can send out for anything you need. KAY I'm supposed to stay in my house. we'll pick up anything you want. HAGEN I wanted to explain this myself. KAY I was supposed to take the children to New England next week. He walks with her a little way from the others. KAY Whose orders are these? MAN Mr.(disbelieving) I'm going to the market. Kay gets out so they can talk away from the children.for your safety. HAGEN That's off now.

MED. ITALIAN LUXURY LINER . an impressive and beautifully spacious luxury suite... CONNIE MERLE Why don't you wire your bank? PURSER . INT. ITALIAN LUXURY LINER . One is from our office in New York. and walks to her children. MERLE (reluctantly) Well..KAY How long does this go on? HAGEN I don't know.come in. Kay.. What is it? CONNIE PURSER Yes. Angrily. EXT. KAY Am I a prisoner? HAGEN That's not the way we look at it..DAY The luxury liner making its way across the Atlantic. Connie is relaxing. This entourage enters the suite. and a tanned Merle peeks out of the door. The check that you wrote for your passage has been returned. VIEW . PURSER (holding up the telegram) I'm terribly sorry to disturb you but we have received two telegrams. (pause) I'm sorry." He is holding a telegram. without another word.. ignoring the running station wagon. Can't be. The door opens.DAY The PURSER followed by several white uniformed associates knocks on the door of something designated the "Leonardo Suite. Kay turns away from him.

the men in white begin to pack Connie and Merle's luggage. Your account has been closed and the company is warned not to extend any credit. CONNIE That son of a bitch! INT. and knocks on the door of a stateroom. PORTER Mr. HIS VIEW A very fierce. we have orders to change your accommodations.TINY THIRD CLASS CABIN . The little space is crowded with their trunks and luggage. From this POV we see Michael Corleone sitting in the compartment. But for now. nods that the porter should leave. as he places the tray down. MICHAEL PORTER You ordered lunch? MICHAEL Put it right there. PURSER The company hopes so. And with that. ITALIAN LUXURY LINER . VIEW . INT. almost maniacal looking man. OUR VIEW enters with him as he carries a tray of lunch. THE TRAIN . Merle can barely hang onto the bunk. Paul? Yes. the boat pitches so violently below. The porter does so.DAY A train speeds across the countryside. BUSSETTA. He . TRAIN TRACKS .NIGHT Connie and Merle are attempting to sleep in the miniature cabin in bunk beds. A voice tells him to enter. he catches a glimpse of a second person in the compartment with Michael.The other telegram is from your bank.MED. EXT. a porter advances. CONNIE I'll take care of it in Naples.DAY Inside the corridor.

Michael glances back by adjusting the rear view mirror.HIGH FULL VIEW . who waves a greeting to Michael.Thank you. and pulls out of the lot. CLOSER VIEW Michael sits behind the wheel of a nondescript late model car. SUBURBAN MIAMI NEIGHBORHOOD . on an offrace day.000 homes. allowing the other car to overtake them. the second car following. EXT. tract-type home.000 to $40. Michael glances toward the driver. MICHAEL The porter takes his advice and leaves quickly. Bussetta sits in the rear. MICHAEL (Sicilian) (to Bussetta) You'll wait in the car. MICHAEL'S VIEW We recognize Johnny Ola. Another car swings into the lot. Ola has gotten out of his car and walks up the little path . and then continues on to lead him. The overtaking car hesitates a moment. closing the door behind him.DAY Ola's car leads Michael's through a middle-class suburban area of $30. Michael starts his car. VIEW THROUGH THE WINDOW Michael and his mysterious companion have lunch together on the moving train. EXT. Michael's car parks nearby. Ola's car pulls up in front of a very simple. and nods to Bussetta. moving side by side with them. NEW VIEW This car pulls out and begins to follow them. There are small channels with sporting and fishing boats parked near the houses. Michael's car begins to slow down.DAY The empty parking lot of the Gulfstream track. GULFSTREAM RACE TRACK IN MIAMI .

She hurries halfway up the staircase. is in the kitchen. leaving the door open. ROTH Sit down. thin. we can HEAR the sound of a baseball game coming over the television. she goes into the kitchen. closing the door behind him. sitting before the television is a small man in his middle sixties. with a wizened face. looking out at Michael. Ola says a few things to her and she disappears. This woman. remaining behind the screen door. your friend is here. Ola rings the bell. looking like a small-time retired Jewish the front door. MICHAEL'S VIEW There. TERRI Hyman. Mr. (turning to Michael) Why don't you go right upstairs. INT. Mrs. middle-aged WOMAN answers. looks at Michael. HYMAN ROTH'S DEN . Paul? Fine. MICHAEL How He continues upstairs.. Roth. this is almost over. Ola comes down the steps. Ola then gets into his car and drives off. TERRI I'll give a yell when lunch is ready. nodding to him. follow the baseball games? You . about a tuna fish sandwich? MICHAEL Thank you. TERRI ROTH. TERRI I'm just going to make lunch.HYMAN.. and after a moment. Michael waits. This is HYMAN ROTH. but somewhat like a senior citizen's retirement home in Florida. a rather pretty. Michael continues up to a small den on the second floor. Michael walks up the walkway and enters the little house.DAY Michael enters the den: it's very comfortable.

I have much to learn from you. ROTH I like sporting events -. ROTH (warmly) However I can help you. people behaving like that. But. (he shakes his head) It was my understanding we left all that behind.I heard you had some trouble. they are still under . One of the things I love about this country. the important thing is that you're all right. ROTH You're a considerate young man. just in case. ROTH (simply) We do favors for each other. MICHAEL ROTH What a mistake.. Yes. I loved baseball ever since Arnold Rothstein fixed the World Series of 1919.. MICHAEL You're a great man. let me tell you.. MICHAEL The incident of the other night is a nuisance that I can take care of.. Mr. I understand that they are under your protection. MICHAEL The Rosato Brothers have performed services for you in the past..I really enjoy watching them in the afternoon.MICHAEL Not for a few years. more than power. MICHAEL Technically. more than success. Good health is the most important thing. I wanted to clear everything I'm going to do with you. with guns. Roth.. more than money. I came to you because I want nothing to affect our agreement.

He turns to Michael. ROTH Nothing is more important. I must choose his replacement: it cannot be Rosato. MICHAEL (quietly) Pentangeli is a dead man. Pentangeli refused. Pentangeli was furious.the Clemenza wing of the Corleone Family. The old man touches Michael's hand. After Clemenza died. and came to me. Joe or Jack? Unimportant. now run by Frankie Pentangeli. knew of their relationship with you. asking for permission to eliminate them. sincerely) The important thing is that nothing jeopardize our plans. We will do . these things are unimportant. and paid one hundred and fifty thousand dollars to have me killed. I'll visit him soon. turning the volume higher on the television. I. You're a young man. ROTH Of course you must keep control of your family. ROTH Michael. but you have no choice. You do what you think is right. I was lucky and he was stupid. that we will build. it has never been done before. What we do together in the next few months will be history. and I'm old and sick. Who should be the manager of a dime store. MICHAEL Then it's done. and in gratitude for your help with the Tropicana matter. do you object? ROTH It's always bad for business. and moving closer to his young partner. Michael. This thing of ours. yours and mine. warmly. (leaning toward the old man. turned him down. the Rosatos wanted territory of their own. of course.

and enter the restaurant.MOVING VIEW . Sausage and grilled meats are prepared.DAY A black Cadillac moves down the street.. Frankie Pentangeli sits. anything is possible! (pause) But soon I will be dead.DAY The sinister Bussetta waits patiently in the rear seat of the car.S. frustrated that he cannot go any faster. TERRI My goodness. and steps into a small Italian restaurant. THE RESTAURANT . you'll rupture your eardrums. men huddled around Pentangeli.DAY The restaurant is quite empty. EXT. you and me. EXT. buying souvenirs at the many stands set up. he exits quickly.this historical thing together. Next to him. . VIEW . There is a KNOCK on the door.MED. and it will all belong to you. INT. Steel. ROTH'S HOUSE . MED. and turns down the television. and Terri Roth pushes the door open with her hip. and brightly colored banners pronounce the "Festa of the Madonna." MOVING CLOSE VIEW Willy Cicci drives. and nods affirmatively toward Pentangeli's Cadillac. another car that had been following it parks nearby. She puts the tray down.. VIEW The black car pulls up. just as they were years ago. The group of them step out quickly. We are bigger than U. despite the excitement out on the street. and even your Father could never dream it would be possible. catching a few seconds' snooze. outside Roth's modest house. Hyman. One of Pentangeli's button men gets out of the car. slowed by the Festivities of the Festa that is in progress: people milling around. because in America. Electric lights are strung from the street lamps. DOWNTOWN NEW YORK .

I'm suddenly without an appetite. you didn't want to talk. Carmine. Nearby. Pentangeli glances behind himself. We want to be only loosely connected with your family -. CARMINE ROSATO. PENTANGELI Are we going to eat or what? Sure. ROSATO You weren't straight with us. what else could we do? PENTANGELI We could have talked first. ROSATO You wasn't listening. PENTANGELI Don't I look like I'm listening? ROSATO We want Brooklyn one hundred percent. dark. on the other side of the room is Rosato's brother. snappily dressed young man. on me. PENTANGELI (sarcastically) Forget it. TONY. Then . No more taxes to you. saved a lot of running around.sort of a under-family all of our own. You're making big trouble. PENTANGELI He don't want to talk? ROSATO We worked it all out beforehand.Pentangeli immediately sits at a table with a tall. seated with a group of their men. At another table in the restaurant is a table of Pentangeli's people: they are joined by bodyguards. Frankie. where's your brother? ROSATO Sitting right behind you. ROSATO I got Diner's Club. PENTANGELI Rosato.

We're independent. Joe. PENTANGELI Pari Persu. but we're here if you need us. what do you do for me? ROSATO We will release the hostages. maybe I'll order something. we'll cooperate with you and your businesses. PENTANGELI What if I say shove it? ROSATO Then Carmine Fucillo and Tony Blue DeRosa will need to be fitted for slabs. (one of his men) Get me some bracciole or something. Number two. to inform Michael can deal directly internal matters Also we want you Corleone that we with him. PENTANGELI I'm a little hungry. (to Rosato) And in return for these concessions. PENTANGELI What assurances do I have that there will be no more kidnapping.? ROSATO My lawyer went over this beforehand.. You want a war? PENTANGELI ROSATO We got no choice. what the fuck is Pari persu.we can act on all without talking. PENTANGELI You know if there's a way I'll go to the commission and the commission . number one. we're here for you to count on when you need us. and you in turn will cooperate with us.. no more hits? ROSATO The same assurance we got from you. Pari persu. And pay cash. In general.

. PENTANGELI Nobody I hate calls me Five-Angels to my face! . angered by this remark of Rosato's. but Willy Cicci calms his down. ROSATO We got friends in the commission. like he wants to have it out here and now. Carmine. trouble in his territories -. PENTANGELI ROSATO and your demands. there's a little tension between the bodyguards of the two factions.) Hey.. And I ain't gonna let that go for long! Pentangeli walks out of the restaurant. Pentangeli stands up. you and your brother. EXT...S. Five-Angels. and they all make their move out. ROSATO (O. That puts me and the other New York families against you. Turning on him. I hold you responsible. One of Pentangeli's men approaches with a plate of Italian food. yes. He gives him the arm. he pushes the dish of food out of the surprised Bodyguard's hands. Frankie's face turns red. PENTANGELI (getting angry) I'm talking about Italians! ROSATO What about Michael Corleone? He supports me. just as though you shot him in the head.will side with me. THE RESTAURANT . maybe no. PENTANGELI You drove old Pete Clemenza to his grave.DAY Pentangeli gets into the car.

still angry over the confrontation. His car is parked. He knows it is very very serious for Michael to be here in his home. the man who now always travels with Michael. PENTANGELI (Sicilian) What's this? WIFE Michael Corleone. EXT. I wish you let me know you was coming. PENTANGELI One Michael Corleone. By now. INT. This was once his father's study.. and kisses his hand.Dove? WIFE (Sicilian) He's in your study. As he approaches the house. standing oddly in the hallway.DAY Michael stands quietly in the room.DAY Part of the old estate of Don Corleone. PENTANGELI'S HOUSE . We could have prepared something for you. and moves toward the young Don. PENTANGELI Don Corleone.. What's up? PENTANGELI Pentangeli glances over to the front door foyer. Pentangeli starts sweating. He automatically moves into his study. PENTANGELI'S VIEW The strange and silent Bussetta. although it is totally redecorated. . Pentangeli steps out.He slams the door. PENTANGELI'S LONG BEACH ESTATE . he sees his WIFE. the wall has been torn down. he notices something strained about the bodyguards who discreetly guard his house. No one seems to want to tell him. INT.DAY Pentangeli enters. and the other houses sold off. PENTANGELI'S STUDY .

MICHAEL I didn't want you to know I was coming.. calmly. and play with their toys. anything. Michael. we was all relieved. MICHAEL (furious) In my home! In the same room where my wife was sleeping. just as suddenly. What is it I can do for you? MICHAEL I want you to settle these troubles with the Rosato Brothers. yes. I don't understand. and then give it to them? MICHAEL Frankie. PENTANGELI Michael. MICHAEL I want you to help me take my revenge. then. MICHAEL Trust me. You heard what happened in my home? PENTANGELI Michael. MICHAEL I want you to settle on their terms... PENTANGELI It would be the beginning of the end for my family. How can I keep all my other territories in like if I let two wise-guys stand up and demand this and that. we just had a 'sit-down' in fact. he talks quietly. do as I ask. PENTANGELI Mike.. He's terrified Pentangeli with his anger. I just come from there. ask me to do that. PENTANGELI I was just going to contact you. where my children come in their you respect me? have your loyalty? Do I Don't .

When I was older. If Hyman Roth sees that I interceded with you in the Rosato Brothers' favor. It will get back to Hyman Roth.PENTANGELI Always. but acquiesced. we had to be quiet when we played near here. first Clemenza took it over. Never. We have friends in some very important business that we're making. PENTANGELI I'll go along. I know I'll never have your kind of brains. he'll think his relationship with me is still sound. MICHAEL I know. My father taught me. But sometimes I don't understand. I was happy that this house never went to strangers. And Hyman Roth in Miami is behind the Rosato Brothers. Do this. I'm going somewhere to meet him tomorrow. When I was a kid. Roth tried to have me killed. then let's hit 'em now. Do this for me. I learned many things from him here. . but I don't know yet why. you're not happy wit hit. Sure. you make the peace with the Rosato Brothers on their terms.. just because of me. and then you. Frankie. Michael. while we still got the muscle. in big deals. never to act until you know everything that's behind things. this is a street thing. I'm sure it was him.. PENTANGELI Jesus Christ. Mike. You can trust me. PENTANGELI Then why do you want me to lay down to them? MICHAEL (coldly. But Mike. Let the word out that I forced you. but convincing) Frankie. in this room. MICHAEL This was my father's old study.

counting room. and go straight to Geneva. into the room. The cream is placed into his pouch personally by Neri. Neri and an ACCOUNTANT. leaving only Hagen. HAGEN Neri nods.MED. Don. INT. He looks at the young INT. HAGEN (to the courier) Your plans are a little different this time. (handing him a small envelope) And it's got to be there by Monday morning. VIEW . to count and divide the money.DAY The money trays are carefully unloaded from the gaming tables. a very fat man. NERI We've never sent this much with one courier. allowing a sandy-haired man. into a private. and cash and checks are spread out on the counting table. Michael kisses him. no slip-up. Neri opens a door.MICHAEL Good.DAY The guards leave the room. The cart. and put on a cart with others. and looks up to Neri. They embrace. preceded and followed by security guards. NERI Fifteen percent skim? HAGEN Twenty-five this time. the door is locked after them. The numbered boxes are opened. NERI It might show. thoughtfully. .CLOSE VIEW . It's to be deposited to this number. and the accountant continues. The accountant stops. is then wheeled through the casino. COUNTING ROOM . Mike wants it. You skip Miami. The accountant begins with amazing speed and skill. a COURIER. TROPICANA HOTEL .

there's three million dollars cash in that pouch. and adds more stacks of carefully packaged bills into the pouch. Then Neri locks it. That hour layover I had at Kennedy. INT. looking inquiringly at Hagen. and the counting process is begun all over again. and the trays are opened. and he knows he owes Neri some explanation. I went over and bought a paper. What's up? No questions. Neri has finished putting the 'creamed' money into the pouch.MOVING VIEW .DAY The courier continues on his way. NERI How do I know you haven't gone into business for yourself? This hurts Tom. followed by Hagen and Neri. HAGEN Al. The courier is shown out through a private door. as far as you're concerned. COURIER Okay. NERI I got to ask questions.COURIER I think I was 'picked-up' last trip. this time with the State Tally sheets. and then the first door is opened. TROPICANA CORRIDOR . just thought you should know.. Two accountants come in with the guards. and handcuffs it to the courier's arm. but he is a reasonable man. NERI Those were our people. when Hagen gestures that he should wait. I'm the Don. He is just about to close and lock the pouch. Tom. HAGEN You've been through a lot with us NERI HAGEN . HAGEN Let them count.. Mike is gone and I have no word from him.

EXT. EXT.. Hagen disembarks with his inevitable overloaded briefcase.NIGHT Michael is led to a desolate. She's been so broody. HAGEN THERESA I've invited Mama.MED. Al.but he still remembers Tessio. and they are helped onto a light-weight. and who resemble secret service men rather than thugs. the littler kids running after them.. TAHOE LAWN BARBECUE . dressed in summer casual attire. there is always evidence of the I'm going to give you the truth. He is followed by the ever-present Bussetta. sticks to herself. FADE OUT. He continues down the ramp. His wife THERESA lies on a blanket on the great lawn. and several tables are set for the family. The crew cast off various ropes. TAHOE ESTATE . KEY WEST . VIEW . Mike knows it was someone within the compound that set him up for that hit. THERESA Hungry? Just a little. In the distance. I know how you feel about Mike.DAY Hagen and Sonny's boys are throwing a football around on the lawn. who run to their father for a kiss. with her youngest children. past several Buttonmen. not even his brother Fredo. night-lit private dock. Sandra and the kids for barbecue. Sorry. So nobody is to know where he is. luxury cabin cruiser. HAGEN What about Kay? THERESA I couldn't find her. Coals are burning in the old style stone barbecue.DAY A seaplane lands nicely by the private Corleone harbor. . and the boat sets out into the night. FADE IN: EXT. not you. not Rocco.

Tom. he catches it and throws it back.Theresa. A cat jumps off a pile of cushions and runs across the room. the beautiful summer living room is neat. He crosses the lawn. Then he cracks the door open. Sandra has followed him into Michael's house. Pop.DAY HAGEN Kay? He steps in. Hagen relaxes in a sports shirt. to the house on the beach where Michael and his family live. but empty.S. Hello? HAGEN SANDRA (O. HAGEN (furious) Why didn't someone tell me! SANDRA I wanted to tell you alone. Rocco tried to say she wasn't in. MICHAEL'S HOUSE . into the dining and recreation room areas. but Kay spotted them and asked if they would take her and the kids for a ride. your . HAGEN Let me try Kay. INT. heads up! The football is flying in his direction. Is about to knock on the door: HAGEN'S SON Hey. and peeks in. That was three hours ago.) She's gone. HAGEN Anyone hungry? He moves through the house more quickly. Mama and Sandra prepare the steaks. HAGEN What do you mean gone? SANDRA The Barretts from Rubicon Bay came by in a new speedboat.

HAGEN (to one of the men) Get me a Scotch and water.DAY They enter the boathouse. THE BOATHOUSE .wife doesn't know what's going on. where were you? ROCCO I was in my house. moving across the lawn to the boathouse. her parents' place. but it would have taken some strong-arm to stop her. and moves directly to Rocco. But she's gone. EXT. INT. HAGEN (almost to himself) I can't let him down. HAGEN Goddamn it. We figure she's going to connect to New Hampshire. HAGEN'S SON Hey. Dad! This time he ignores the thrown ball. He's embarrassed to have shown such weakness. HAGEN Rocco! ROCCO I know. who is by some men near the boathouse. HAGEN . ROCCO She took a flight to San Francisco. Willy tried. I went down to the Barrett house. and he figured you wouldn't want that. He swallows the drink down in several gulps. They drove her and the kids to North Tahoe airport. TAHOE LAWN . The man hurries behind the bar. Hagen rushes out of the house.DAY Hagen moves quickly out of Michael's house. And then looks up to his men watching him.

Occasionally. He drinks that. there is much evidence of tourism: Americans walking through the streets with cameras. Pop. Rocco gone. the city is booming with activity. while Michael is in . VIEW FROM BOAT . give me a minute.DAY Michael and Bussetta are driven in a Mercury sedan. MED. CLOSE VIEW ON MICHAEL looking out the window. VIEW The big American car stops at an intersection. Tom? ROCCO HAGEN Yeah. watching. carrying a big sheet of the daily lottery numbers.All right. Rocco clears the men out. palm trees. let me think a minute.. An extraordinary view. but never speaking. Bussetta a little distance away. we see a Cuban with a row of numbers attached to his hat. MICHAEL'S POV Crowded streets.DAY A beautiful coastal view of a tropical Caribbean city.. Me too. high buildings. MED. Habana. EXT. but there is also much evidence of whores and pimps and little children begging in the streets. It was so good when you were alive. CAPTAIN EXT. CLOSE VIEW ON MICHAEL on the cruiser. all set right on the bay. and calms himself. HAVANA STREET . making its way through the streets of Havana. and pours himself a giant drink. From all of these street impressions. Bussetta is sitting in the forward passenger side. The dark-skinned CAPTAIN of the cruiser keeps pointing repeatedly.MOVING VIEW . HAGEN Oh Christ. Habana. I felt I could handle anything. Hagen moves behind the enormous bar. occasional roving bands playing for the tourists.FULL VIEW .

Mike. he manages the casino for us. Mr. and rubbing their stomachs as though they were hungry. PRESIDENTIAL PALACE . Sam turns to Bussetta and extends his glad-hand. I'm sure. His sentences are translated by a smaller man. I'm Sam Roth. SAM ROTH This is it! We think it makes Vegas look like the corner crap game. SAM ROTH Pleasure to meet you. mousy man. toward the casino entrance. apparently just recently is approached by a thin. I want you to meet Jake Cohen.NIGHT Michael is led hotel.NIGHT An extremely tall. standing to his rear. INT. HAVANA CASINO LOBBY . The Cuban driver rolls down his window and shouts them away in Spanish.MOVING VIEW . SAM ROTH Jake. SAM ROTH. I'm fine. MICHAEL Very impressive. Corleone. he turns and sees four Cuban boys tapping on his window and extending their hands. Jake. anything at all? No. in his middle forties. or can I get you something. reads from a prepared paper. You wanta take a rest before you see him. LEON . LEON. tanned and wearing an attractive mustache. done in completed.the back. SAM ROTH Hiya.. He gets no response whatsoever from Bussetta. INT. Welcome to the Capri. come over here. He hears tapping on the window. MICHAEL He leads Michael into the main casino. COHEN (appreciating Michael's status) Mr.. He who ushers him through a beautiful wooden lobby of the Spanish style. my brother's upstairs. Corleone. well-built Cuban.

S. Mr. Mr. the Republic of Cuba on behalf of His Excellency.) I'd like to thank this distinguished group of American Industrialists. for continuing to work with Cuba. And Mr. He hands the heavy phone set to one of his aides. and it is passed in turn to each of the men in attendance. our friend Mr. and glances at it before passing it on to Hyman Roth.(Spanish) Most respected gentlemen. VIEW ON THE ENTIRE GROUP Leon pauses to take a drink of water. Fulgencio Batista. of course. for the greatest period of prosperity in her entire history. CORNGOLD Your Excellency. William Proxmiro. Then proudly. and Michael Corleone of Nevada representing our Associates in Tourism and Leisure Activities. THE VIEW BEGINS TO MOVE along the various men gathered for this meeting. Hyman Roth of Miami. of South American Sugar. CLOSE VIEW ON MICHAEL He receives the telephone. LEON (O. and. Corngold and Dant. Messrs. Mr. MED. representing the General Fruit Company. of the United Telephone and Telegraph Company. allow me to welcome you to the City of Havana. perhaps you could discuss the status of rebel activity and how this may affect our businesses. Petty. regional Vice-President of the Pan American Mining Corporation. he lifts a shiny yellow telephone for all to see. .. Robert Allen. LEON The President would like to take this opportunity to thank U T&T for their lovely gift: a solid gold telephone! He thought all you gentlemen would care to take a look at it. Nash of the American State Department..

in turn. and since July of 1958 has been contained in the Oriente Province. There is a momentary commotion inside the building. LEON (continuing) We began a highly successful offensive against them in March. and rushes toward the command vehicle. and activities within the city itself are at a minimum. and the men brace up. and his men put their weapons at the ready. Michael's Mercury is among the cars. but soldiers are there with automatic weapons ready. A second later. Right at this moment. and there is an explosion. and says something in Spanish to the driver. MICHAEL'S VIEW The old building has been totally surrounded by police and military vehicles. in the mountains of the Sierra Muestre. as two police try to pull him out.S. A Captain of the Army detachment says something in Spanish over a megaphone. He hurls himself into the vehicle. . I can assure you we'll tolerate no guerrillas in the casinos or swimming pools! General subdued laughter. the man obviously having hidden a grenade on his body. The driver. where they are frisked before being loaded. seeing that some important person is being driven. Michael passes the phone on to Roth. A CUBAN STREET .LATE DAY Police are stopping traffic. they are waiting lazily. They are moved over to some military truck.) Of course. DRIVER He says it will just be a short time and they'll let us through. one of the civilian rebels breaks loose. sacrificing his own life to take the life of the Captain. Michael looks out the window. a police officer. walks up to the driver. He leans forward. The rebel movement is basically unpopular. leans over to Michael. as other policemen lead a group of civilians out of the building with their hands up.LEON (O. All of a sudden.

" ROTH I still don't speak Spanish. Sam prepares the drinks for his brother.. put a piece ..There is a commotion. then Coca Cola. MAN MICHAEL I was told the Cubans now call this drink: "La Mentira. Cuba Libres.. SAM ROTH The cake is here. Some laugh. The police rush to Michael's car and guide it outside of the trouble area. "The Lie. Hyman.) Rum. He nods. MED.. CLOSE VIEW ON MICHAEL watching. Quarter limes are squeezed. They all raise their glasses to the old man. and a group of men. VIEW as they lead and escort the Mercury out of the area.CLOSE VIEW . ROTH I hope my age is correct: I am always accurate about my age.. but the military quickly quell it.. Now two Cubans in white carry a table which has a lovely small cake on it. Coca Cola. MICHAEL It means. EXT. SAM ROTH (O.S. rum is poured into them. and they begin to cut it.DAY Some glasses. EVERYONE (ad lib) Happy Birthday! Roth glances at the cake and its inscription. is pleased.a squeeze of fresh lime." A moment's hesitation. including Michael. Michael... then a few of the men laugh. HAVANA COUNTRY CLUB .

we'll need some new laws. I understand . and the bigger business we do. and carry them to the different men. VIEW ON MICHAEL is handed a piece of cake. can be considered specialized technicians eligible for two year visas. but that will be no difficulty. the plusher the store. stick-men and Dealers. (accepting a smaller piece) Thank you. documents. But only if this Government relaxes its restrictions on importing building materials.on plates. (looking at the plate brought to him) A smaller piece. Roth moves over to a folder of ROTH (continuing) Here are applications from Friends all over the States. What we've proposed to the Cuban Government is that it put up half the cash on a dollar for dollar basis. In short. but we can go further. the more a sense of legitimacy. yet we will retain control. The bigger. ROTH Everything we've learned in Vegas is true here. I'm working out an arrangement with the Minister of Labor so that all our pit bosses. the swankier. ANOTHER MAN What are import duties now? ROTH As much as seventy percent. we're in a full partnership with the Cuban Government. Also. As of now they're only allowed in Cuba for six months at a time. too. We can find people in the United States who will put up our share for a small piece of the action. ONE OF THE MEN How much? ROTH A hundred million dollars.

taking the command vehicle with him. Roth raises his fork. The new Capri will go to the Corleone Family. Eddie Levine of Newport will bring in the Pennino Brothers. VIEW The cake is sliced and carried to each of the men. that occurred to me. there will be friends for all our friends including the Lieutenant Governor of Nevada. the Havana Hilton. the Teamsters will bankroll the rest. And seeing that all of his friends have been served. A man was being arrested by the Military Police. Generally. and the Rebels are not. VIEW ON ROTH . The Lakeville Road Boys are going to take over the Nacionale here. Well. I'm planning a new hotel casino to be known as Riviera. Enjoy.Santo Virgilio in Tampa is trying to make his own deal. the Cuban Government will brush him off. So? SAM ROTH MICHAEL So. ROTH Then there's the Sevilla Biltmore. Dino and Eddie. they'll handle actual casino operations. MICHAEL It occurred to me: the police are paid to fight. probably an urban guerrilla. which is going to cost twenty-four million -Cuban banks will put up half. he exploded a grenade hidden in his jacket. Rather than be taken alive. ROTH MICHAEL I saw an interesting thing today. wondering what the point of it is. The various men look up as Michael eats his cake. MED.

. ROTH'S PRIVATE TERRACE . You shouldn't have to put up with a sick old man as a partner. To trucks owned by your father.He understands Michael's point. if the others do not. MICHAEL We're making a big investment in Cuba. MICHAEL I wouldn't consider anyone else. on a terrace that overlooks the city.. I can't afford not to be looked on as a reliable man. they frighten easy. most men frighten easy. we were running molasses out of Havana when you were a baby. Believe me. ROTH You have to be careful what you say in front of the others.DAY Michael sits alone with the old man. I know. (he chuckles warmly over the memory) We'll talk when we're alone. ROTH This country has had rebels for the last fifty years. ROTH Then you have to trace it. It's always been that way. it's part of their blood. And he returns his attention to the men who are gathered with him on his birthday. EXT. He thinks it's because you have second thoughts about his ability to stop the rebels.. Michael. That's my only concern. MICHAEL The money was sent.. there's nothing you can learn from me. But you know all that. . ROTH My concern is that the three million never arrived at Batista's numbered account in Switzerland. people here look at me as a reliable man. I've been coming here since the twenties.

is that you? ROCCO (O. INT. Michael listens.DAY He . which he painfully stifles with a handkerchief. MICHAEL You'll be there to see it. and then steps toward the door of a pleasant New England house. and Kay is standing there. as though this is some private joke between them.DAY Tom Hagen steps out of a taxicab a bit tentatively. MICHAEL'S SUITE . KAY I'm not surprised to see you. Ninety miles. SMALL ROOM . MICHAEL Thank you. protected. looking for a man who desperately wants to be President of the United States. EXT.S. ninety miles away in partnership with a friendly government. the door opens. He laughs slyly. Tom's out of town. free to make our profits without the Justice Department. click) Tom? Tom. you'll be there. just a small step. This is Rocco.ROTH Except the President of the United States. sir. INT. hangs up without answering. A moment later. VIEW . OPERATOR We have your call to Tahoe. Who is this? Michael is openly disturbed that Hagen is not there. to be there with you.NEW ENGLAND HOUSE . (click. the FBI. Here. kid. Tom.MED. Nevada. and having the cash to make it possible.) No. ROTH If only I could live to see it. He rings the bell and waits. step by step. How beautifully we've done it. hat in hand.NIGHT The telephone has just rung. NEW ENGLAND HOUSE . Then his laughter becomes a cough.

. The little boy. Kay. VIEW ON HAGEN listening. KAY . he doesn't talk to me. I'm HAGEN . calmly. He said he had killed his Grandfather. VIEW ON KAY KAY What kind of a family is this. KAY He's not like a little boy.. just for the sake of an argument.S.Out to the yard.... I can't live with him. (almost in tears) You know what he told me when he was four years old. (she cries) How does a four year old boy learn the word.. It's as though he's waiting for the time he can take his Father's place. VIEW ON KAY obviously moved. He said he had shot his Grandfather with a gun. 'revenge'? Kay. He heard Connie. he doesn't want to play. and then he died in the garden. if that meant now his father would shoot him out of. Look.. HAGEN You don't know that's true... I can't let him be father to my children. KAY (O. moodily by himself. are we human beings? He knows his Father killed his Uncle Carlo..... revenge. Tom. let's assume it is.) I can't love a man like that.. he doesn't like other children. he asked me.... And he asked me. where we can see glimpses of little Anthony playing by himself.. But Kay. he doesn't like toys.

avenge his son's death by killing his daughter's husband? What if that. would take that guilt? KAY He's not the same as when I met him. Then Hagen shakes his head. Tom. a great man. There is a long silence. you can treat her like an equal. a fellow human being. or rather some possible justification for what he possibly did. You'd have no problem. I know Michael can't... KAY When is it finally over? I want it to be over before my baby is born. HAGEN If you told Michael what I've told you today. but you're not Sicilian. but. finally. remember.. HAGEN Okay. What if I gave you what might be some justification for what he did. KAY That's the first time I've seen the lawyer side of you. knowing that Michael would take that load off his shoulders. just hear me out. . I'm a dead man.. he'd be dead by now. What if Carlo had been paid to help get Sonny killed? What if his beating of Connie that time was a deliberate plot to get Sonny out into the open? Then what? And what if the Don. It's not your best side. Tom. speak out straight once in your life. he can tell her no more. KAY What the hell does that mean? Come on. and he made Michael his successor. HAGEN If he were. You'd be a widow. you can tell a woman the truth. was too much for him. couldn't bring himself to do what he had to do.not saying it is.

TROPICANA BACKSTAGE AREA .NIGHT The Baccarat table. hundred dollar bills being played. picks up a pit telephone. VIEW . it's clear that he has been entrusted with her safety and her children's. He looks at her. as though he senses the adults are discussing something of importance to him. presiding over the entire store. He is a kind. VIEW ON THE WINDOW Little Anthony is pressing his face against the glass pane. and seems very nervous and overwrought. Busy. ominous. Freddie Corleone. telephone please.MED. Corleone. but no sign of Fredo. you got fifteen minutes before the finale! I want to show you a trick with feathers. Mr. NERI He's backstage. STAGEHAND He . PIT BOSS Not here.HAGEN I don't know. Corleone. TROPICANA HOTEL-CASINO . ANOTHER PART OF THE CASINO We see Neri. pit boss presiding. good man. and that's why you and the kids have to come back to me. LOUDSPEAKER Mr. LOUDSPEAKER Telephone for Mr. I hope soon. INT.MED. FREDO C'mon. (and hangs up disgustedly) INT. but it's not over yet. VIEW . VIEW ON THE CRAP TABLES The play is fast.NIGHT Fredo is entertaining two showgirls done up in feathers and what-have-you.

.Phone for you. to the bar. EXT. Pentangeli looks in his hand. si. wait a minute. caposco. and they walk into the bar.. folded sharply in two.DAY There is a light rain. PENTANGELI What's this? ROSATO That's a lucky C note for our new deal. I won't let you down. the bartender momentarily stops polishing glasses to pour a couple of drinks. Si. Okay. FREDO Don't go away. Pentangeli and Rosato step up to the bar. He hangs up thoughtfully. They shake hands. and very dark.DAY The bar is fairly empty. THE BAR . Who? Mikey? But. PENTANGELI Wait in the car.. points to Willy Cicci. Pentangeli steps out of his car. CLOSE VIEW Rosato has put a crisp one hundred dollar bill in his hand. how much? I understand. three million.. ONE OF THE GIRLS Freddie. He puts his arm around Pentangeli. Jesus. . He walks up the street.. (in Sicilian) Sure. we can catch a VIEW of the show going on from the wings.. we still got twelve minutes before the finale! FREDO Yeah.. handsome Carmine Rosato. FREDO (on the phone) Yeah. some other time. NEW YORK BAR . INT.. Sure.. He takes the phone. where he is greeted by the tall..

(strained voice) You okay? COP Is that something on the floor? ROSATO Take him! Okay. RITCHIE Just cleaning up.THE PHONE BOOTH We see only Pentangeli's feet and legs. and then he sees something that disturbs him. CLOSE VIEW The folded hundred dollar bill resting on the bar. CLOSE . struggling. a garrote is thrown around Pentangeli's throat. the side door opens. CLOSE ON ROSATO Calm. COP Everything all right in there. the terrible sounds of a man being strangled. your friend the cop! Suddenly. Frankie. PENTANGELI I don't like the C-note. you're not goin' to regret it. Ritchie? The door was open. ROSATO Shit. and a shaft of sunlight cuts through the darkness.ROSATO We were all real happy about your decision. Suddenly. I take it like an insult. CLOSE ON THE PHONE BOOTH Pentangeli's feet stop moving. MED. and he is forcefully yanked back into the shadows. VOICE We HEAR . He holds up the glass. all the way into a wooden telephone booth.

rush out. car. Taking Pentangeli into custody. THE BAR . He sees the patrolman leaning over him. including Rosato. leaps out. ROTH'S SUITE IN HAVANA .. Three men. CLOSE VIEW ON ROTH . COP (shouting to his partner. Sahara Lounge . Stutz! EXT. Need ambulance. PENTANGELI The bastard.RITCHIE Not here. CLOSE The patrolmen is grazed across the face. not here! Two figures race through the shadows and race through the doors. he gave me a C-note. THE BAR . MED. He can barely stopped for its routine visit. in uniform) Stutz! Watch out.DAY The Sergeant is on the car radio. The dirty bastard. INT. PATROL CAR . his eyes have a sparkle as he watches three million dollars in cold cash . Right now. move his lips. INT. White Cadillac three or four men took off from scene. is just stepping out of his seeing the commotion.MED.. There is gunfire. trying to stop the flow of blood with his hand. Cicci is wounded. pale. though. Patrolman Stutz shot. not a cop. He gave me a Cnote. Pentangeli's bodyguard. Stutz is bad.DAY His wizened face.DAY We see that a patrol car had STUTZ. SERGEANT Frankie Pentangeli murder attempt. EXT.DAY The stricken Pentangeli comes back to life. NEW VIEW The three assailants jump into the car and drive off.Utica Avenue and Claredon Road. the second patrolman.

being counted on a card table in front of him. His brother Sam is present, and the sandy-haired Courier, a little nervous; the one who had left from the Tropicana with the Corleone skim-money. Also Johnny Ola. The money is evidently all there; Roth picks up a packet; probably a hundred thousand dollars, and throws it over to the Courier. ROTH Make it fast; I don't want to chance him being seen. COURIER (frightened) What about the arrangements? How can I be sure about the arrangements? OLA Relax. You're under our protection; the Corleone family will never find you. Ola leads the Courier to the adjoining room where two smartly dressed Military (Cuban) Police are standing, and a civilian. The Courier sees them, looks back to Ola. One of the police steps forward, placing the Courier under arrest; handcuffing him. COURIER Hey, what's this? The other takes the packet of money, and hands it to the civilian, who places it in the briefcase he carries. The other officer kneels down and fastens leg manacles. COURIER The arrangements... YOU BASTARDS! What... The Captain strikes him expertly across the side of his head with his pistol. Ola closes the door on this scene. EXT. THE HAVANA CAPRI - DAY Fredo Corleone steps out of a car, squints up at the sunshine and palm trees. He is holding on tightly to a small satchel, which he won't let the bellman carry along with his other things. INT. MICHAEL'S SUITE - MED. CLOSE VIEW - DAY Michael and Fredo in a brother's embrace; they kiss each other. Fredo is still in his jacket, holding the satchel. FREDO


How are you? Fredo

He glances up at Bussetta, who doesn't say a word. extends his hand. FREDO Hiya, Freddie Corleone. Mio fratello. MICHAEL

Then Bussetta offers his hand back to Fredo. FREDO (taking off his jacket) What a trip, Jesus Christ, the whole time I'm thinking what if someone knew what I got in here. He undoes the combination of the briefcase starts taking out cash. Then he stops, remembering that there's a stranger in the room. FREDO Oh, 'scuse me. It's all right. all the time. MICHAEL He stays with me

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

I'm totally

MICHAEL We're making an investment in Havana. FREDO Great, Havana's great. Lots of activity in Havana! Anybody I know here. Five-Angels? Anybody? MICHAEL Johnny Ola... Hyman Roth. FREDO I never met them. MICHAEL Pentangeli's dead. He was ambushed by the Rosato Brothers. (pause) Didn't you know that? FREDO No. No, I didn't. Who tells me anything? I been kept in the dark

so long, I'm getting used to it. MICHAEL I want you to help me, Fredo. FREDO That's what I'm here for. MICHAEL Tonight I want to relax with you. The Senator from Nevada is here with some people from Washington. I want to show them a good time in Havana. FREDO Count on me; that's my specialty. MICHAEL I'd like to come along. There's been a lot of strain, and I've been cooped up in this room for three days. FREDO Me and you, great! Gimme an hour to wash my face and do my research and we'll have these Washington suckers right where you want 'em. (then a thought strikes him) Poor Frankie Five-Angels. He always wanted to die in bed...with a broad. INT. ROTH'S SUITE - MED. VIEW - DAY Michael stands at Roth's door carrying the briefcase that Fredo had brought. A hotel DOCTOR takes Hyman Roth's blood pressure, while his wife waits nervously. DOCTOR (Spanish) You must not exert yourself; I will write out a prescription and come back tomorrow. HOTEL MAN He's going to write a prescription. ROTH I want my own doctor; fly him in from Miami. I don't trust a doctor who can't speak English.

The doctor is shown out. Roth gestures to the hotel man, who also leaves. Then he looks to his wife. ROTH Honey, go down to the casino? TERRI If you feel better... I do. ROTH Play the Bingo game. Also Bussetta and Ola remain.

They kiss, and she leaves.

ROTH My sixth sense tells me you have a bag full of money in your hand. Ola locks the door; Michael nods, and opens the bag, spilling its contents on the card table. MICHAEL This doubles my investment. ROTH Still no word of your courier? We'll find him. But at least this will satisfy our friends here. You've been invited to the New Year reception at the Presidential Home. I understand your brother is here as well; I hope he'll come. MICHAEL Six million dollars in cash is a high price for a piece of a country in the middle of a revolution. Roth looks patiently at Michael, as though he were a child who hadn't minded the lesson that he had been taught over and over again. ROTH You're a careful kid, and that's good. But look. An international dispatch on the wire service. American journalism, not propaganda. The government troops have all but eliminated the rebels. All but their radio station. MICHAEL I've read it; I'm pleased that the government is doing so well. As a heavy investor, I'm pleased. How did the doctor find you?

he was a couple years younger than me. and said to myself: this is the business we've chosen. I guess as much as anyone. MICHAEL Who had Frankie Pantangeli killed? ROTH (taken a bit off-balance) Why. Later on he had an idea to make a city out of a desert stop-over for G. you know. your father too. and sort of looked up to me. So when he turned up dead. he realizes Michael has begun to suspect that leaves you. and there isn't even a plaque or a signpost or a statue of him in that town. no one knows who gave the order. and the city he invented was Las Vegas. he is not a fool. We did our first work together. I loved him and trusted him.. and saying stupid things. Things were good and we made the most of it. When I heard about it I wasn't angry. During prohibition. Roth glances to Ola. . I'd give twice this amount to take a piss without it hurting. ROTH There was this kid that I grew up with. That kid's name was Moe Greene.. He regards Michael silently a moment.the Rosato Brothers.. I let it go. and talking loud. MICHAEL I know that. Someone put a bullet through his eye.'s on the way to the West Coast.. we ran molasses up to Canada and made a fortune. but who gave the go ahead. This was a great man.I. I knew Moe. I knew he was headstrong. a man with vision and guts. who gave the go ahead because it had nothing to do with business. I never asked. MICHAEL I know it wasn't me. worked our way out of the street.ROTH Terrible.

He is followed by Bussetta. MICHAEL (Sicilian) How sick do you think the old man is? BUSSETTA (Sicilian) He'll live longer than me.. INT.. the lead singer is a six foot blonde doing "Rum and Coca Cola" in that style. who had waited in the corridor. tropically draped room with living ferns and other tropical planting with artificial stars. 'South-of-the-Border' Carmen Miranda costumes. maybe take a nap. toward his bedroom. VIEW At a large round table. well. if it's still there. When I wake up. I'll know I have a partner. Her name is YOLANDA. INT. FREDO Does everyone know everyone. then I'll know I don't. you know Senator Geary. The old man turns.DAY Michael closes the door. I'm glad we can spend this time together. If it's gone. including Senator Pat Geary of Nevada. with tall. Michael Corleone. Mike. located in an obvious VIP section of the high. MED. Here. TROPICOR NIGHT CLUB . Michael rises.VIEW ON THE SHOW . or nobody knows nobody. my brother.ROTH (continuing) There's three million dollars on that table. I'm going to lie down.NIGHT A Havana extravaganza. beautiful showgirls done up in flamboyant. . and moves in his slippers. We notice Bussetta standing nearby. THE CORRIDOR . to be introduced by Fredo to some conservative looking Senatorial types. FREDO This is Senator Payton from Florida. SENATOR GEARY Good to see you. and moves down the hallway. Geary warmly shakes Michael's hand.

SENATOR GEARY I'll take a Yolanda. Fredo. Senator Ream.. And Fred Corngold of U T&T. he's a lawyer with the Price-Control Administration. of drinks appears. Questadt from California. There are maybe a few hundred die-hards in the Sierra Muestra. You don't look down at a brother. FREDO Later..NIGHT By now the group has made its way into the casino. Mike. INT.Judge DeMalco from New York. but government troops are going to clean them out any day. I always thought you looked down on me for liking a good time. A waiter with a tray FREDO Gentlemen. who gambles dollars while talking to Corngold. Mr. we've never spent a night out on the town together. There are other girls with some of the men.. You know. Some of them are crowded around the crap table. SENATOR GEARY To a night in Havana! They all join in.. Johnny Ola approaches Michael. you name it. not with Michael. your pleasure? Cuba Libres. .. CORNGOLD Our information is that Castro is dead. it's great you came along. Pina Coladas. They all make themselves comfortable.. FREDO (aside to Michael) Jeeze. All those girls look like they're on stilts! The various tropical drinks are distributed. Laughter. later.. Senator Geary is with the enormous and beautiful Yolanda.. MICHAEL I never looked down on you. THE CASINO . who barely speaks English.

NIGHT Our group are in a large Havana bar. as though his brother needs him. Yolanda herself is giving them a private song and dance. he is high with the first attention Mike has ever given him. but he got mad. HAVANA BAR . FREDO Mike said let him gamble. FREDO Wait'll you see! INT. a watchful Bussetta moves. told them to wait until he was finished. Fredo puts his arm around his brother. a distance away.OLA Mike. I got something special up my sleeve for these boys. can I talk to you. this Senator from Florida already has a hundred grand worth of markers on the table. Michael follows Ola toward the Baccarat table. OLA Okay. MICHAEL Let him gamble. You ever hear of "Superman?" And I don't mean the comic book. We can see Senator Ream at the table. MICHAEL No. OLA They asked him to sign paper to take down the markers. the walls totally covered with hundreds of fifths of different types of rum and other liquor. FREDO Mike. Fredo is a little loaded. with them. making thousand dollar bets on the Bank. and especially attentive to . OLA Listen. A couple of the girls from the show are out with the men. You know he doesn't have that kind of money. as though finally he is being taken seriously.

. we'd jump up. No. Freddie? FREDO Me? NO.' when we were kids. I remember when he was just a 'button.. An' ole Frankie come peek into our room. why would they ever hit poor old Frankie Five-Angels? I loved that ole sonuvabitch. GARISH HAVANA STREET .. FREDO I mean. FREDO You? What do you mean you.. I don't know anything. some roving bands of musicians. We used to put bedsheets on our heads. SENATOR REAM (pushing away from the palm outstretched . are you sure? MICHAEL You know otherwise. We got to see Superman. I thought. dark-skinned women. you know. MICHAEL It was hard to have him killed. EXT. FREDO Mikey. FREDO You? What do you mean you. Everywhere are little boys running around.Michael this night. CLOSE ON MICHAEL A growing feeling about his brother. You remember? MICHAEL It was hard to have him killed. no. it is alive with people. And in doorways and windows are silent. and he'd always pretend like he was really scared.NIGHT The street is lit with tons of neon signs. I thought. like we were ghosts. begging for money. MICHAEL It was Frankie tried to have me hit. Fellas! You're all falling asleep.

Michael is with them. VIEW Fredo's party standing on the ramp. FREDO (to Geary) What's eating him? SENATOR GEARY He lost a quarter million dollars at the casino. QUESTADT Why do we have to stand? FREDO Everyone stands. to which is tied a young Cuban girl. In the center of the stage is a thick. And we bend over backwards to support them with the goddamn sugar quota. telephone type pole. done up in chains and loin cloth. MED.MED.NIGHT A large room with a succession of platforms arranged steplike around a circular area which becomes a stage. There are a hundred or so people. A small band. but now we sense he is using this time. practically all men. in a flimsy white sacrificial slip.. watch! VIEW ON THE ARENA Now two high priestesses. SENATOR GEARY He gave them a bad check. with all exhausted and drunk. They're a little woozy from the drinks and late hour. SENATOR REAM . play some Latin music.goddamn city of whores. tourists and business men. But it's worth it. standing on the different levels. VIEW . mostly drummers.. 'SUPERMAN SHOW' . as though he were a captured slave. bring in a tall and muscular Cuban. INT.. to come to some important conclusions. forming the audience.little hands of the boys) Goddamn beggers. This is SUPERMAN VIEW ACROSS THE MEN TO THE STAGE .. scantily clad. Goddamn city of beggars and pimps and whores. looking down at the spectacle.

can you believe it? If Michael would ever allow himself to cry. but sits by his window. FREDO (continuing) The old man Roth. SENATOR GEARY I don't believe it.S. looking out at the city. but Johnny knows these places like the back of his hand... His radio is on: RADIO (Spanish) "This is Rebel Radio: Rebel troops of Column Four 'Jose Marti' took the town of Baire yesterday at 8:30 p. it would be now. FREDO That's why they call him Superman." EXT. it seems as though he hasn't slept very much. QUESTADT It's got to be fake. I tol' you. FADE OUT.MED.FREDO That's him. but seeing is believing. VIEW . that's Superman! Some preliminary pornographic proceedings go on.MORNING . Ole Johnny knows all the places.. FREDO (O. MICHAEL'S SUITE . CUBAN STREET . I didn't believe it..) .... CLOSE on Michael turning away.MORNING Michael is alone in his bedroom. but at what his brother is saying. VIEW ON THE MEN Ohmygod. He is troubled and tired. FADE IN: INT.m. The enemy has retreated. MED.. Johnny Ola told me about this. The music is percussive and wild. would never come. Not because of the spectacle which he finds disgusting. as the priestesses lead the slave to the virgin tied to the post.

giving Michael his privacy. CLOSE ON MICHAEL watching.. followed by a guitarist sings Jose Marti's words of "Guantanamera.. Bussetta rides in the front seat of the dark Mercury. CLOSER VIEW INTO THE CAMP EXT... looking through the cyclone fencing that borders this military training camp operated by the American Army near the city. HAVANA STREET . AMERICAN MILITARY MISSION .." It is solemn. MICHAEL'S VIEW Shopkeepers happily luring the tourists into their shops in broken English. past the Cubans on their way to work. as though it is a .. An important military action is developing along a 35-kilometer stretch of the Central Highway.. War is not a simple question of rifles. Havana is prosperous. guns and planes. In a moment.. RADIO (continuing) .VIEW ON MICHAEL . Numerous enemy garrisons are left with two alternatives. surrender or annihilation. and he gets into the back seat.This street in Havana is like a Caribbean tourist city with no indication of the revolution in progress. past the American ladies who have gotten up early for their shopping spree. bullets. alone. Victories in war depend on a minimum on weapons and to a maximum on morale. One full block away.DAY A street singer. VIEW ON MICHAEL glances back to the dark car following him. RADIO (Spanish) (continuing) . it pulls up to him. driving slowly..DAY standing by his car. EXT.. Michael walks along the street. but never letting him out of Bussetta's sight... RADIO .

MICHAEL Then I'm going to confide in you. I'm your brother. distracted for a moment at something the singer has sung.. MICHAEL "Yo soy un hombre sincero. Michael turns. of course I'm sincere with you.. to have a family. drives me crazy.. and a reception with the President. MICHAEL Tonight we've been invited to a reception at the Presidential Palace. Nearby. it will be suggested that you take Questadt and his friends from Washington to spend . To have kids.I should a married someone.your marriage? FREDO (eating) You know her. You and I will go in a special car that's being sent. FREDO What's that? The of protest.. I think . MICHAEL How is your wife.. to bring in the New Year. Sometimes I think. like you did. in a restaurant.." I am a sincere man.. FREDO (Sicilian) Mike. Fredo? MICHAEL Are you sincere with me. Fredo. a song of the revolution. Mike. the next she's all vinegar.. What are you talking about. From the land of the palms. They'll have cocktails. Michael has lunch with Fredo. When it's over. one minute she's a popsicle.. then dinner. are you crazy.. trust you with something. FREDO Sincere.

FREDO But. opens the first door..MOVING VIEW ON BUSSETTA . as his successor.. I've already made my move. He is gone. A moment elapses on the empty corridor. opens it with a key. moving toward us quickly. THE SUITE . INT. but the old man thinks he'll live forever. to see who had knocked. you told me yourself. I've always known that..MED. It was Roth all along. knocks on the door of Roth's suite. FREDO What do you want me to do? MICHAEL To go tonight. Fredo realizes what he means..the night with some women. as though we know nothing. Hyman Roth. He talks to me as a son. He steps out into the corridor.NIGHT .. he is about to return inside. who had been sitting near the door and the musicians. Then quickly for a man his size. I'll be assassinated. I'll go home alone in the car. he moves without noise to the adjoining door. with me. and then a roused Johnny Ola. MICHAEL It was never Pentangeli. HOTEL CORRIDOR . and disappears inside. INT.. FREDO .NIGHT The first time ever away from Michael. not Pentangeli. looks immediately to Bussetta.Who? MICHAEL The same man who tried in Nevada. What is it? FREDO Can I help? MICHAEL The old man will never bring in the New Year.. VIEW . when Bussetta easily breaks his neck in two from behind. and before I reach the hotel.. Confused. He stops.

STREETS OF HAVANA . poor people. tying the wrists and knees with electrical extensions. We can see the beautifully dressed people on their way to the reception.MED. Slowly he cracks the door open which adjoins Roth's bedroom. VIEW . INT.NIGHT The excitement of the night is beginning to build. including several of the American businessmen with interests in Cuba. NEW VIEW Traffic stops. There is a slight commotion.NIGHT Bussetta bends over Ola's body.VIEW ON THE MAIN FOYER . as an ambulance speeds its way to a hospital.NIGHT Bussetta delicately picks up a small satin cushion that had fallen from the couch.NIGHT Bussetta swings the body over the side of the balcony railing. INT. EXT. and lays it at the foot of the couch. EXT. but they are enthusiastic and lively.NIGHT The PRESIDENT. . Michael and Fredo are presented in a group with several other Americans. THE SUITE . as one by one they file to him.NIGHT Guards who are regular troops patrol the Palace in twos. and replaces it as though nothing had Bussetta quietly pulls the limp body of Johnny Ola. He then easily carries the body to the small balcony which all the rooms have. PRESIDENTIAL PALACE . his WIFE and six oldest CHILDREN great formally the many beautifully and affluently dressed guests. THE SUITE . his head bent at an impossible angle. tying the extension cord to the railing. THE BALCONY . checks the identification of the various cars carrying dignitaries. The one being inspected at the moment contains Fredo and Michael. Now an elite officer. INT. whispered voices. EXT. and suspending the body so that it is invisible both from the inside and out during the night. carrying machine weapons. and sense the cheerful mood of this New Year's Eve. He speaks to them in Spanish. SIREN going. people are out in the streets. as they are driven up to the Palace. PRESIDENTIAL PALACE .

MED. INT.. Fredo concentrates on this. CLOSER VIEW ON ROTH He is alive.. The doctor examines him. and several of the Americans. SENATOR GEARY We believe in non-intervention.. HAVANA HOSPITAL .. as an army of waiters serve champagne and hors d'oeuvres.. but the agreement stipulates that our forces may be withdrawn. is crying. breathing hard with his mouth dry and open. VIEW .S. and then gives instructions to the orderly who carries him out. Roth.. Mrs. CLOSE ON BUSSETTA realizes that this is the man he is to kill. Michael relaxes with Senator Geary. presumably to the ambulance. Bussetta closes the door on this VIEW. to your government. Fredo.BUSSETTA'S VIEW Terri. CORNGOLD And my guess is that President Eisenhower won't pull out while we have over three billion invested over here. PRESIDENTIAL PALACE . A group of men lift Hyman Roth's frail body onto a stretcher.. was just a necessary public relations move. QUESTADT The embargo on arms shipments from the U.NIGHT The ambulance makes its way up to the emergency section of . How about you? EXT. I wanted to get a refill.NIGHT An orchestra plays for the guests. Mike. Major Leon. your air force received a major shipment of rockets. Only last month. we have not withdrawn them. Michael glances at his watch. MICHAEL Where are you going? FREDO Nowhere. but as you've seen..

Michael notices it as well.NIGHT The activity at the end of the hall has come to rest. and obviously they are inviting the nurse to have a New Year's . breathing noisily. HAVANA STREETS . after the old man has been moved. THE VIEW ALTERS and we see Bussetta waiting in the shadows. Roth that she should go. and into another room. follow in another car. NEW VIEW A Cuban military detachment speeds along in the night. motorcyclists clear a path through the celebrants. THE HOSPITAL CORRIDOR . HIS VIEW A nurse sits in the room in attendance. QUESTADT What's kept Mr. PRESIDENTIAL PALACE . Michael sits at a table at dinner with several of the distinguished Cubans. these people leave him in the care of the hospital staff.NIGHT A full sitdown dinner is being served the guests. Some nurses and attendants speak to the nurse in the room in Spanish. VIEW ON BUSSETTA hears footsteps. EXT. Gradually. INT. In the back of the room. Bussetta watches from the distance of the hallway. we notice the detachment of military moving quickly through the reception room on their way to the President's private quarters. and some of the American businessmen.the hospital. his mouth wide open.FULL VIEW . one has brought a small bottle of wine. quickly steps away from the door. he quietly walks down the hallway to the room. Roth? Fredo looks up at Michael. Hyman Roth is asleep. the old man will be taken to a room where he can rest.NIGHT The growing crowds of Cubans begin their celebration.FULL VIEW . The orderlies quickly carry the old man inside. His wife and the doctor. INT. we can tell that the doctor tells Mrs. and several of his men.

a great banner is hoisted up in Spanish. we're going to Miami in an hour. Fredo. she's crying. They laugh. CLOSE VIEW Michael and Fredo in an embrace. You've Slowly. who can barely struggle. understanding.NIGHT The gathered crowd joyously welcomes the New Year. MED.NIGHT seeing in the New Year. kisses exchanged. broken my heart. and she's been with the President's family for twenty years. notice the continual military movement. LEON What a pity. MED. welcoming 1959. HAVANA STREETS . they kiss one another. A little distance away.NIGHT Bussetta raises a hospital pillow. Major Leon notices an old woman. Fredo backs away from his brother. VIEW A family surreptitiously leaves their home. and the nurse steps away from the room for a moment. PRESIDENTIAL PALACE . INT. Bussetta moves slowly back into the room.FULL VIEW ON THE GUESTS . EXT. taking the kiss another way. MICHAEL (Sicilian) I know it was you. moving across the alcove. Hands are shaken. INT. ROTH'S HOSPITAL ROOM . one of the President's maids. carrying her suitcases. and easily begins to smother the thin old man. MICHAEL I've arranged for a plane. carrying suitcases and belongings.toast with them. alone with the helpless Roth. Try not to make a big thing of it. Must have been fired. He kisses his brother once again. We .

already cars are beginning to move.NIGHT The entire reception has been disrupted for an announcement. and good fortune. The crowd is stunned. that we must leave the Capital at once. is making an announcement in Spanish. She opens the door..OUT IN THE HALL A detachment of military move quickly. we notice continuous movement of his personal staff.Because of serious setbacks of our troops in Guantanamo and Santiago.. While he speaks. I hereby appoint a provisional government with Dr. PRESIDENTIAL PALACE . and with what. carrying suitcases and possessions. and lays bare the sight of Bussetta smothering Roth. standing with frightened faces like first class passengers on a doomed ship. Bussetta turns quickly. puts down her glass and moves quickly to the room. as though they have important news that must be dealt with.NIGHT We see evidence of the confusion at this late hour. By now. all the guests in their formal dress and evening gowns. and disappears from the room. already whispers are moving throughout the guests. we feel reluctantly. people leaving the Palace in .. PRESIDENT . PRESIDENT . the nurse assigned to him. and one of the military takes out his pistol and shoots several times at his head. his back to our VIEW. Piedra. The only one who is not completely taken off guard is Michael. The President himself. They pass the small group of aides and nurses welcoming the New Year.. as its President.My only regret is that there could not have been more warning. Carlos M. there is only one thought among the guests: how can they get out. PRESIDENTIAL PALACE . Seeing them.. INT. As my last official act as President. Myself and my family must bid you goodbye. who quietly steps back. accompanied by some of Roth's men.. We will go directly to Ciudad Trujillo. EXT.

They harass a wealthy family who are trying to get away in their car. filled with money and valuables. and Batistianos are trying to get to the safety of the Embassy with the families and possessions.NIGHT Crowds of panicked and frightened tourists. Fredo.NIGHT Rebel cars with loudspeakers have already picked up the news that Batista has conceded. Money seems to be stuffed everywhere. A car pulls up. opening their suitcases. and what he knows. and some of the Americans we had met.. EXT. Within seconds. out of which spill piles of cash and jewelry into street. It's your only way of getting out! VIEW ON FREDO Terrified of his brother.haste. Michael moves quickly toward his car. rich leather. . carry the sickly. THE UNITED STATES EMBASSY . working their way through the crowds. Michael's car makes its way as the crowd cheers: "El animale se fue!" EXT. Terri Roth and some of their men. he has to step into the car and it roars off. Often that declaration brings 'boos' from the crowds. He sees MICHAEL Come with me. EXT. and we see Sam Roth. THE YACHT CLUB . but still alive Hyman Roth to a private cruiser which is protected by men with machine guns.NIGHT All forms of private transportation are jammed with people trying to get out. shouting that they are Americans in order to get preference on the line. holding cash in their hands for anyone with a yacht or small boat to get them to Florida. they are on their way to Miami. VIEW . We see Geary. but again. watching him in fear. Sometimes the joyous Cubans will let a family through. Fredo backs away into the growing noise and confusion of the crowd..MED. taking away the suitcases.this throws the crowds already gathered for the New Year into cheers of joy. The people pull them out of the car. VIEW ON MICHAEL Finally. HAVANA STREETS .

VIEW ON THE PILOT . PILOT We've got to leave. CLOSE VIEW ON VITO .EXT. where anything that can fly is being jammed with refugees and their money.NIGHT Groups of the cheering. NEW YORK STREET .FULL VIEW . trying to force cash on him. and Michael approaches the Pilot." now as a song of triumph.DAY (1920) He stops to pick out some choice oranges and peaches from a fruit stand. VIEW . The Pilot lets Michael in. INT.NIGHT Things are no different at the airport. as the Cuban screams curses at them.MED. and his family into the plane. and begins searching for another plane for his family. All right. THE AIRPORT .NIGHT Closer to him. It is my pleasure to make this a gift. He speaks only English. his personal and business life caught in the middle of history. celebrating Cubans sing "Guantanamera. as though his passengers are late. EXT. although checking his watch.MOVING VIEW . they'll take this thing apart. No. Then he reaches into his pocket for change. VENDOR No. this is a private plane. THE PRIVATE AIRPORT . PILOT No. The PILOT steadfastly refuses.MICHAEL . MICHAEL He isn't here. INT. Finally Michael's Mercury pulls up.NIGHT as the propeller turns over. THE PLANE . MICHAEL Go now. THE PLANE . EXT. this plane is taken. A wealthy family is arguing with the pilot of a fast airplane. no.

VITO (Sicilian) Why do you come to me? SIGNORA COLOMBO (Sicilian) She told me to ask you. and the rooms are fuller with the inevitable possessions a young family acquires. where we see an older woman. he was so angry. so they tried to hide it. Even if she truly will let the dog go..DAY Despite his new position of 'respect. looks to his wife. Only that they have lived there a while now. They step into the tiny parlor. When the landlord found out. He told her to get rid of it. . CARMELLA She is having some trouble. SIGNORA COLOMBO (Sicilian) He said he would have the police put us out. VITO (Sicilian) What is it? CARMELLA (Sicilian) Come. He kisses his wife. and from her reaction knows she has something on her mind.VITO You are kind. he ordered her to leave.' there is little changed about his home. Her landlord has received complaints because of her dog. CARMELLA The Signora is a friend of mine. If ever I can do something for you. INT. waiting nervously. who seems a big apprehensive. please come to me. VITO'S TENEMENT . but her boy loved it. He seems surprised. He shows her the fruit. in return.. She has a favor to ask of you.

The old woman starts to leave the room. You won't have to move. but she is not convinced... Vito nods to the frightened old woman. Once I explain how things are with you. some missing tile there. a poor widow with no man to protect her. TENEMENT BLOCK . rather well-dressed Patrone angrily walks down the steps of one of his tenement buildings. for the sake of your children. when he sees the shoes and legs of a young worker. I'm sure he'll take pity on your misfortunes. I'll speak to him tomorrow morning.S. muttering to himself.DAY SIGNOR ROBERTO. He bends over to pick up some garbage left by a thoughtless tenant. He carries a check list. Don't let it trouble you any more. which her husband des not acknowledge. a broken window here. VITO (O. a pompous. Carmella breaks into a smile.) Signore Roberto. VITO The friend of my wife.VITO (thoughtfully) I can give you some money to help you move. VITO It's done then. SIGNORA COLOMBO You're sure he'll say yes. how can I move to another neighborhood with strangers? I want you to speak to the landlord to let me stay. (as he shows her out) Guard your health. He rises to be face to face with a polite Vito Corleone. the landlord? VITO I'm sure he's a good-hearted fellow. and makes marks with a pencil concerning the condition of his various buildings. EXT. is that what you want? SIGNORA COLOMBO My friends are all here. tells .

Vito raises his hands in surprise. Watch your manners or you'll be on your Sicilian ass in the street there. One never knows when one might need .. and continues on his way. But of course. I ask you the favor. that you are a reasonable man who acted out of some misunderstanding. she has no friends except those that live here. You needn't speak to her about it. I cannot disappoint the new tenants. MOVING SHOT ON THE TWO VITO I told her I would speak to you. you'll let her keep her dog. VITO How much more a month? ROBERTO Eh. Signor Roberto brusquely answers. only that. and takes out a roll of bills. She has gotten rid of the animal that caused all the trouble. ROBERTO I've already rented it. Vito reaches into his pocket. See me again in another six months. ROBERTO I have already rented the apartment to another family. They're paying a higher rent. VITO I'm asking you a favor.. She is in that for some reason she has been ordered to move from your building. his voice is reasonable. ROBERTO Like hell! And who the hell are you to give me orders. She has no money. As one Italian to another. she's a proud woman. (we sense he is lying) Five dollars more. VITO Here is the six month's increase in advance. so why shouldn't she stay.

his hand clasping the money. EXT. NEIGHBORHOOD STREET . Without a word more. his name is HYMAN SUCHOWSKY. where do you live? ANOTHER Where'd you get those nigger lips? He tries not to be intimidated. walks down the street in this Italian neighborhood. He carries his tools as he comes home from work. take this money as a sign of my good-will. If you want the woman out of your house. Vito leaves a hypnotized Roberto standing in front of the tenement. by all means do so.DAY A thin young man. how can I stop you? It's your property. Ask your friends in this neighborhood about me. just take it and think carefully. (he pats Roberto on the shoulder) Do me this service. He is pursued and tormented by a couple of Italian youths. finally one of the boys. eighteen. after all. ITALIAN BOY Say 'bread' in Italian. steps in front of him and stops him. you should know how to say 'bread' in Italian. about his own age. and make your own decision. they'll tell you I'm a man who believes in showing his gratitude. He dunno.a friend. Tomorrow morning if you want to give me the money back. ANOTHER ITALIAN BOY Go on. isn't that true? Here. ITALIAN BOY Kid. I can understand. almost gawky. . how do you say 'bread' in Italian? If you're from the neighborhood. I dislike dogs myself. (he puts the money in Roberto's hand) Do me this little favor. eh? I won't forget it. I won't quarrel with it. If you don't want the dog in there.

Hyman tries to fight back. but he can't say bread in Italian. those pregnant lips! He giggles at his own joke. Hyman taking the worst of it. to preside over the fuss. he rounds a blow squarely to the boy's face. He's a 'big' man in the neighborhood. CLEMENZA I said cut it out! (to the beaten kid) What's your name? HYMAN Hyman Suchowsky. and loves a fight. two against one. say 'bread' in Italian. sending him sprawling to the cement. What for? SECOND ITALIAN He killed Jesus Christ! Look at Clemenza pulls him off. And with that. CLEMENZA Alright. his tools flying with a clatter. and kicks him in the ass. See. grabs a hold of his tormentor's foot. with a name like that! CLEMENZA . For a moment. ITALIAN BOY Are you a Jewboy? The boy doesn't answer. In our neighborhood. What's up? CLEMENZA ITALIAN BOY This kid lives around here.An amused Peter Clemenza steps forward from a local coffee house. cut it out. alright. The other Italian immediately joins in with a few kicks to the boy's stomach. they are rolling around on the sidewalk. ITALIAN BOY Well. and brings him down on the cement as well. tries to keep going. he can't. ITALIAN BOY I don't believe it. if you're not a Jew. CLEMENZA That's 'cause he's Jew.

Genco moves through the darkness of the warehouse. and undisputed 'President' of the new enterprise. that Vito is the leader. VITO GENCO Who owns the 'rat-holes.DAY A newly acquired warehouse. CLEMENZA But you gotta know how to keep your mouth shut. Now they have one rattling old truck. (he giggles at his own humor again) Come on. his hat in his hand. You work on CLEMENZA Maybe I know how you can make a couple of extra bucks working as a mechanic. NEW GENCO WAREHOUSE .. based on the experience working with his father.. The boy seems agreeable.What are those tools? cars? HYMAN Yeah. get rid of that name. Chi? Roberto.' P-A-N-E. I'll call you Johnny Lips. INT. pane. on the side: CLEMENZA Bread in Italian is pane. Genco has become the accountant-business manager. whispering to him. . Vito nods that he will see him. and fer Chrissakes. stocked with cases of the new product "GENCO PURA" olive oil. It is the beginning of a new business. Don't forget. in the American tradition. GENCO (Sicilian) The 'patrone' is here. and a few stock boys. But it is clear. on tiptoe. to the small divided area that Vito uses as his office. He leads the boy down the street. and in a apologetic voice. and soon Roberto enters.

and mops his brow. and then makes it back to the safety of the warehouse. but an imposing leader. he sighs. and I want to show that I. his bones have turned too jelly with fear at his narrow escape. GENCO We won't see him for weeks! stay in bed in the Bronx! He'll Clemenza has been waiting with his new mechanic. too. reduced. ROBERTO I won't keep you another minute. He all but runs out of the warehouse.. deflates his lungs. We notice the subtle difference in the way he treats Vito. CLEMENZA . bu five dollars! Vito embraces him warmly. He quickly takes his leave. Don Corleone.. Then abruptly. Yes. VITO I accept your generosity. ROBERTO Your good heart in helping the poor widow has shamed me.when they pay such low rent.ROBERTO Excuse me. He is no longer a junior apprentice in their petty crimes. Signora Colombo can stay in the flat. Genco laughs as he watches. bowing several times. VITO ROBERTO What a terrible misunderstanding. have some Christian charity.... Of course. he puts the roll of money on Vito's table. and steps back a respectful distance. Her rent will remain what it was. Who were those miserable tenants to complain about noise from a poor animal.. I hope I am not a disturbance. VITO What was that? ROBERTO In fact.

Marconi. SENATE CAUCUS ROOM . EXT. DISSOLVE TO: INT. CLEMENZA What's your name? Suchowsky. answer him when he talks to you. Genco. Vito looks over the lanky young man. OUR VIEW goes from one to the other: Clemenza. VITO Then take that as your name: Hyman Rothstein.MED. Vito and Hyman Rothstein. he kiijed at the truck.. VITO Who is the greatest man you can think of? CLEMENZA Go on.DAY . Vitone! GENCO Look at this! Vito moves out to the smiling Genco. CLEMENZA He's gonna dump that. and says he can keep it going. he calls out with glee. I call him Johnny Lips. Genco is out in the alley. Clemenza and the newly christened Hyman Rothstein follow a distance behind." GENCO (enthusiastically) God bless America! We're in business! The young men watch as the sign is hoisted into place.DAY Genco stands beaming. Garibaldi. HYMAN Hyman Suchowsky. the freshly painted sign: "GENCO OLIVE OIL COMPANY. HYMAN Arnold Rothstein. as two workers raise up high.This kid is good with cars. Tell him: Columbus. CLOSE VIEW . THE ALLEY ..

angular Baptist with a Mid-Western accent.) But in actuality. to show his contempt for what he considers a hypocrisy. like everybody. CICCI The Corleone Family.S. The VIEW ALTERS from Senator Kane to the Committee's attorney." That's right. explain that exactly. Pentangeli's associate and bodyguard takes a drink of water. VIEW ON SENATOR KANE A thin. I was a soldier. Senator? The Senators treat Cicci with a surface courtesy. CICCI You know. see. I push the button. Cicci.S. Cicci reacts to this by being even more brutally forthright than he has to be. CICCI When the boss says push the button on a guy. SENATOR (O. SENATOR KANE What is that exactly? A button. Senator. you were an employee of the "Genco Olive Oil Company." SENATOR (O. We SENATOR KANE No.) What position did you occupy? CICCI At first. QUESTADT . not really human. Senator. as if he were a curious kind of animal. "The Family.) Mr. I don't know. From the year 1927 to the present time. you were a member of the Corleone Crime organization. Questadt. CICCI SENATOR (O. called it.Willy Cicci. Mr.S.

THE TROPICANA IN VEGAS . Michael exits the limousine followed by Hagen and Neri. Michael smiles to him. Michael Corleone. deep South. EXT. CICCI Yeah. MICHAEL Do you think they have somebody to back up Cicci? HAGEN No. QUESTADT And the head of your family was Michael Corleone. PRIVATE BALCONY OF CORLEONE APARTMENT AT TROPICANA . you'll do three years for perjury if you give them so much as a wrong middle name. take the Fifth all the way. but it's a cold. VIEW . counsellor.DAY A limousine pulls up at a private area near the side of the hotel. the Family had a lot of buffers. someone in between you who gave you orders.MED. SENATOR KANE Did you ever get such an order directly from Michael Corleone? CICCI No. a buffer. CICCI Yeah. that way you can't get into trouble. EXT. But if they do have somebody. HAGEN Michael. deadly smile. I never talked to him. SENATOR SAVOY (very autocratic.You mean you killed people at the behest of your superiors? CICCI That's right. counsellor. gentlemanly man) There was always a buffer.DAY A Corleone bodyguard waits outside on the balcony overlooking . Senator.

MICHAEL Al. know I'm back? Hagen nods. but Michael refuses it. going out to the balcony where we can see them but they cannot hear.the pool area. Had a stroke but he's recovered okay. He's in a hospital in Miami. Neri comes and brings him a drink without asking. Bussetta's dead. get me a wet towel. Neri and Rocco are seated in this luxury in the hotel. can you wait outside a minute? They know what he means and leave the apartment. MICHAEL Did the boy get something from me for Christmas? HAGEN I took care of it. MICHAEL Fellas. Hagen. Does Kay .DAY Michael. Neri comes around with a wet face towel. Only Hagen remains. CORLEONE APARTMENT AT THE TROPICANA . held him for a couple of days with a lot of the other casino people. Michael sits in a comfortable chair in his apartment. MICHAEL Where's my brother? HAGEN Roth got out on a private boat. we see a grouping of me. He puts the used towel down on the table. HAGEN A little care he can ride in with an electric motor. so I'll know. MICHAEL I asked about Fredo? HAGEN The new government arrested him. INT. Through the translucent draperies. MICHAEL What was it. which Michael uses to cool his eyes.

there's something else. but I think he's somewhere in New York. Alright. she lost the baby. The American Embassy arranged flights for citizens. Sam.. I know he's scared. MICHAEL I want you to reach Fredo. MICHAEL What is it. I'm not sure. tell me.. can't you give me straight answers anymore! HAGEN It was a boy.. doesn't know how to begin. MICHAEL (indicating Rocco and Neri on the balcony) They can come in now.. Roth assured him nothing would happen to you. at three and a half. HAGEN My information is that Fredo thought it was a kidnapping. MICHAEL Hagen pauses.including Roth's brother.. HAGEN Wait. Tell him that I know Roth misled him. Assure him that there will be no reprisals. but have one of our people reach him. HAGEN Kay had a miscarriage.. MICHAEL (impatiently) Go on.she's all right? . MICHAEL And Kay. After a moment: MICHAEL Was it a boy or a girl? HAGEN Mike.

Quietly he opens the door. NEW VIEW The front door opens.DAY to the outside. VIEW ON MICHAEL looking out from his window. and there is hush all over this part of the Sierras. The iron gates are opened. wet and with a rim of snow still on it. The Grandchildren are in school now. He moves toward his and Kay's bedroom. EXT. where we can HEAR the SOUND of a sewing machine running. no one is at home to greet him. and so the estate is especially quiet. MICHAEL Does she blame it on me? HAGEN I don't know. a swing and gymnastic set. Although there are signs that children live here. and left on a sofa or a table. a bicycle. closed. It is very quiet. He stops and looks at a little Italian red sportscar made for children. a sled.DAY The first snow of the New Year has fallen. looking out at the familiar sight of the home he has been forced to be away from. He can see the evidence of his family. but they are there. and Michael enters his own home. as the car pulls in. Michael is driven in his car. MOVING VIEW approaching the great stone gates. INT. where Michael walks slowly. TAHOE ESTATE . the trees are bare. NEW VIEW Inside the estate. things his wife and his children have been using. The bodyguards are not readily visible. the private roads have been freshly plowed.HAGEN She took the Senate Investigation worse.VIEW FROM INSIDE THE HOUSE . The baby? . MICHAEL'S HOUSE . and occasionally a worker will pause to watch the car as it passes. The last time he had seen the estate it was warm. and one of the men makes a simple nod of respect. and the trees were full.

She hasn't noticed that he's in the room yet. Connie so rarely is there. did he ever think. that he had gone the wrong way. Kay is sitting by the window. How are you. when Pop had troubles. and goes on with her work. watching. CONNIE'S HOUSE . he steps back.DAY This is the house where Mama lives with Connie's children. whispers. Will you stay home for awhile? MICHAEL (Sicilian) There are still things I have to do. Mom. which are red and small with age. he moves to the house next to his own. MAMA (Sicilian) Well. And then without a word... at work with her sewing machine. and closes the door. VIEW ON MICHAEL stands there a moment. even to himself. INT. moving outside. we can all have a nice dinner together tonight.. MICHAEL She opens her eyes. He moves to her.. lit by the cold afternoon light. MICHAEL (Sicilian) It's Michael.MICHAEL'S VIEW into the bedroom. VIEW FROM INSIDE THE HOUSE onto Michael.. He steps in. How are your eyes? MICHAEL Alright. Mom? MAMA (Sicilian) I'm alright. (a pause as he thinks) Tell me. his mother is asleep in a chair in the living room. so that she doesn't see him. Mom. walking through the snow. that maybe by trying to be strong .. They bother me once in awhile. not making a sound. and bends low.

The family is helped into the car. She can MICHAEL (Sicilian) No. DON TOMASINO'S VILLA OUTSIDE OF CORLEONE .. and there are certain dark men. The second car. playing for the occasion. DISSOLVE TO: EXT. There is a small band. the luggage is packed on the roof. Tomasino and his family received presents from Carmella and to Tomasino's mother.SUMPTUOUS MED.. his wife and children eat. From the orchestration. that he could. and gifts are given . have another baby. INT. Santino. that he could. and Mama's relatives.DAY Vitone and his young family: Mama. and the car drives off. with bodyguards following.MICHAEL AND HIS MOTHER Quietly we HEAR the music of a small band playing an Italian march. FULL VIEW IN ROOM . He embraces Vitone and pats the heads of his children. There is a warm atmosphere as Vito. VIEW .. A small man has brought a motor car to pick the family up. lose it instead? MAMA (Sicilian) You talk about the baby. TRAIN STATION AT CORLEONE . EXT. we know it is from the past.and trying to protect his family. with shotguns slung over their shoulders to preside over the occasion. and leads them all into the garden. Fredo and the baby Michael are met at the small station in Sicily by friends.LATE DAY A sumptuous table is set for the visiting family from America. THE VILLA . MAMA (as best she ever understood it) Your family? How can you ever lose your family? MICHAEL (almost to himself) But times are different..DAY The villa is bloomed with flowers and DON TOMASINO at this point is a man in his late twenties. I meant lose his family...

Vito .NIGHT The door is open -. In an instant. EXT. VIEW MOVES TO ONE OF THE OLD FISHERMAN He is recognized as the second of the men who had hunted Vito down. We follow these footsteps without quite knowing to whom they belong. covered by mosquito netting. twisting it tight. We remember that the man is MOSCA. EXT. VILLAGE COTTAGE . EXT. shakes hands warmly with the priest. STROLLO. They all stand around at the link to their new importing business and share a toast of wine. stepping up behind the old man. Vito very proudly shows his associates in Italy the olive oil can that will be used in the United States. As he walks we notice there is a figure that is moving through the drying sails and barrels. VIEW ALTERS and we realize that it is young Vito looking at the MAN. THE BAY . He moves quietly. Vito slashes through the mosquito netting with a knife. All typically American representing some of the prosperity and interests in the consumer goods that followed a great war. INT. They go inside. it is Vito. He sleeps in his undershirt and is sweating. With lightning speed. One sings accompanied by a guitar.FULL VIEW Vito has brought his wife and children to see the Olive Oil Depot which is the link to his New York importing business. OLIVE OIL WAREHOUSE . And with the movement precise as a butcher's he disembowls this man. where we see asleep an OLD MAN.DAY A team of Sicilian fisherman are at work mending their nets. INT. one of three all of the children. They lead us to a bed. OLIVE OIL WAREHOUSE .the footsteps of a man enter the room. who almost twenty years before had hunted down Vito when he was a boy. he has thrown a garrote around his throat.DAY The family exits the church on the plaza of the town. so that there is very little sound.DAY They are led by one of Vito's associates through rows and rows of large vats of olive oil. CORLEONE PLAZA .

Young Don Tomasino is speaking. raspy voice) Where is this young man? TOMASINO . high. He must be in his early nineties.DAY We see an old car approach. there are some younger shepherds with shotguns thrown over their shoulders. by allowing me to introduce my associate in America. The old man nods. We notice in a little distance in the rear.Then. TOMASINO (Sicilian) Don Francesco. Tomasino respectfully puts a can of olive oil where the old man can look at it. THE IMPRESSIVE ESTATE OF DON FRANCESCO ." Here we have brought you an indication of how he will sell the product. EXT. almost silently dragging him through the space hidden by the drying sails. DON FRANCESCO (Sicilian) (in a shrill. Its driver is the young Tomasino. TOMASINO (Sicilian) We have come to ask your blessing and permission to continue this enterprise. opens the gates allowing them to enter. VIEW on an almost decrepit DON FRANCESCO. Sitting in the car with him is Vito. His name is Vito Corleone. sitting as powerful and as impressive as ever. TOMASINO We will supply him with olive oil exclusively in the town of Corleone. accepting the notion of this business. His company is called the "Genco Olive Oil Company. MED. The car stops at the gates. if you will honor me. and an old guard sees and recognizes Tomasino. in his throne-like chair from which he manages the power as the Mafia Chieftan of this village. The old man and his eyes glance up at a notion of a man who has taken the name of this town as his name. in New York.

the son of his old enemy. DON FRANCESCO (Sicilian) You took the name of this town. eh? What was your father's name? VITO (Sicilian) Antonio Andolini. And uses the knife. Vito takes those several steps. ritualistically plunging it into the old . Don Francesco. Vito steps forward. so that he is standing right in front of the old man. and in his weak voice. and whose sons he had tried to wipe out. DON FRANCESCO (Sicilian) What is your name? VITO (Sicilian) Vito Corleone.He is right here. DON FRANCESCO'S VIEW Strangely backlit. and my Brother. VITO (Sicilian) In the name of my Father.. It is as though he recognizes that this is the boy. whom he had killed. squinting against the sun. VIEW ON DON FRANCESCO looking up. The old man raises his feeble hands signalling his guard. he shouts: DON FRANCESCO (Sicilian) Kill him! Kill him! But he is too late. I can't see very well. standing next to me. almost blurry image of the young man from America. CLOSE VIEW ON THE OLD MAN The recognition of the name throws a shudder through him. DON FRANCESCO (Sicilian) Have him come closer..

DAY Some of the townspeople have come bringing flowers and gifts for Vito and his family. MICHAEL SENATOR KING Did he use at times an alias? this alias in certain circles GODFATHER? Was MICHAEL It was not an alias. EXT.MED. VIEW ON TOMASINO has drawn his pistol and quickly shoots one of the guards. and helps him wave his hand. waving from his wheelchair. the shotgun is fired. used by his friends. which is severed. She holds up the baby Michael. helping Vito to escape back into the motor car. CLOSE VIEW ON MICHAEL . VIEW ON VITO and his wife. come back soon. RAILROAD STATION IN CORLEONE . GODFATHER was a term of affection.DAY SENATOR KANE (O.) Are you the son of Vito Corleone? Yes.S. Vito manages to pull him up into the car. and he is hit in the's belly. VIEW ON THE MOTOR CAR Just as Tomasino is about to get into the car. INT. one of respect. SENATE CAUCUS ROOM . VIEW ON A GUARD raising his shotgun. The train has arrived and the crowd shout "Ciao. and they make their escape." THE VIEW ALTERS revealing his good friend Tomasino. His wife is radiant with the flowers given her. . and then up to his throat.

Many of my constituents are Italian and have been honored with that certain friendship by my close Italian friends. Do you deny this? MICHAEL I deny his every charge. Mr. while the New York Senator poses for the TV cameras and leaves the hearing so that he will not be associated with hearing the rough stuff. that this hearing on the Mafia is in no way a slur on the Italians by the Senate. most law abiding patriotic Americans of our country. Corleone. We have had testimony from a preceding witness who states you are head of the most powerful Mafia family in this country. let me say. partly liberal. It is a shame and a pity that a few rotten apples give them a bad name. SENATOR KANE Is it true that in the year 1950 you devised the murder of the heads . Are you? No.SENATOR WEEKLER (Senator from New York. MICHAEL SENATOR KANE This witness has testified that you are personally responsible for the murder of a New York Police Captain in the year 1947 and with him a man named Virgil Sollozzo. Up to this point before I have to leave this hearing to join my own committee. Italian Americans are the hardest working. nor is it meant to be. nor will I allow it to be. We are here to weed those rotten apples out of the vast healthy barrel of Italian Americans. There is a pause for a while. you have been advised as to your legal rights. very smooth. Now. Tammany Hall) Let me agree with that. SENATOR KANE I'm sure we all agree with our esteemed colleague. who are one of the backbones of our country.

as the Chairman whispers something to his assistant. Corleone. . and then once again after the answer. I own some stock in some of the hotels. but only very small amounts. I also own some American Telephone and IBM stock. MICHAEL SENATOR KANE Do you have interests or control over gambling and narcotics in the state of New York. SENATOR ROGERS Why is it necessary for your counsel to advise you on that question? MICHAEL Senator. That was not commented upon in the way you have just done. SENATOR KANE Mr. and addresses the Chair. Michael had checked this point with Hagen. Silence. to assume and consolidate your nefarious power? MICHAEL That is a complete falsehood. I've observed the head of General Motors before a Senate Committee. SENATOR KANE Is it true that you own a controlling interest in three of the major hotels in Las Vegas? MICHAEL That is not true. before answering. do you have any hotel interests in the state of Arizona? Or any gambling interests in that state? I do not. I do not. MICHAEL A pause.of the Five Families in New York. Tom Hagen takes a paper out of his briefcase. and his lawyer whispered in his ear.

SENATOR KANE I don't think that's necessary. I consider it a great dishonor to me personally to have to deny that I am a criminal.. my client has answered every question asked by this committee with the utmost cooperation and sincerity. That I served my country faithfully and honorably in World War II and was awarded the Distinguished Service Cross for actions in defense of my country.. HAGEN Sir. I think in all fairness this committee should hear his statement and put it in the record. has ever been made public. Only one man has made charges against me. He has not taken that Fifth Amendment as it was his right to do. and that man is known to be a . That I have never been arrested or indicted for any crime whatsoever. So. MICHAEL (reading) In the hopes of clearing my family name.HAGEN Senator. whether it is called Mafia or Cosa Nostra or whatever other name you wish to give. Very well. SENATOR KANE At this point Senator Rogers contemptuously walks out of the hearing room. I wish to have the following noted for the record. and which because of the extreme legal complexity of this hearing. counsel advised him to do. my client would like to read a statement for the record. I consider my being called before this committee an act of prejudice to all Americans of Italian extraction. that no proof linking me to any criminal conspiracy. in the sincere desire to give my children their fair share of the American way of life without a blemish on their name and background I have appeared before this committee and given it all the cooperation in my power.

and I lose. We got a new suit. in the interests of fair play. I ask this without malice. I can only thank God that in this country we have a legal system and courts of law to protect innocent people from wild accusation. this committee will then produce a witness directly linking Mr. as Hagen hands the document over to the committee lawyer. Mr. new shirt. you said.DAY where Pentangeli is being held by his constant companions. The television cameras have documented this moment. at eleven a. SENATOR ROGERS We are all impressed. However. and It is safely guarded. HOUSE ON THE POST . this document will be made a matter of record. My personal protest can only be made to the people of this country. . ARMY POST . Corleone may very well by liable for indictments of perjury. Corleone to the charges we have made. However.m. I thank God for our democratic due process of Law that shields me from the false charges made by this committee's witness.DAY An army post somewhere in the East. And then. I challenge this committee to produce any witness or evidence against me. EXT.murderer. I hope they will have the decency to clear my name with the same publicity with which they have now besmirched it. Ten to one shot in my favor. PENTANGELI Ten to one shot. the two FBI MEN. though counsel advised me to do so. FBI MAN #1 Get a good night's sleep. I have not taken refuge behind the Fifth Amendment. new tie. and if they do not. And yet this committee had used this person to besmirch my name. At that time. it will continue Monday morning. The committee will now recess over the weekend. arsonist and rapist. INT.

Nobody gets near you. FBI MAN #2 You live like a king. Frankie? After all these years. INT. Michael. FBI MAN #1 Why'd you do it.I'm going to shave you myself. Deliberately letting him get off alive. EXT. He made Pentangeli think you hit him. PENTANGELI Some deal.DAY A somewhat frightened Fredo Corleone sits in the easy chair overlooking the lake in this canopied section of the boathouse. You'll live better in here than most people on the outside.DAY Michael is in the dark room with Hagen and Neri. he turned against me. why'd you turn against him? PENTANGELI I didn't turn against nobody. PENTANGELI Yeah. MICHAEL How did they get their hands on Pentangeli? HAGEN Roth engineered it. Rocco sits with him. some deal I made. (pause) I just wish Mike had took the Fifth. PENTANGELI My life won't be worth a nickel after tomorrow. My . You'll be a hero. Then the New York detectives turned Frankie over to the FBI. You're not going any place. Tomorrow we want you to look respectable for fifty million of your fellow Americans. FBI MAN #1 We have a special home for you for the rest of your life. THE BOATHOUSE ALCOVE . BOATHOUSE .

is there anything you can help me out with? FREDO I know they get Pentangeli. he automatically takes his leave. MICHAEL What about now. murder one and a lot more. Roth played this one beautifully. and I believe him. There's no way we can get to him and you've opened yourself to five points of perjury. I'm going to go outside and talk to Fredo. Michael sits in the chair opposite Fredo. Anyway. BOATHOUSE FOYER . MICHAEL We have time. dealing in heroin. FREDO I was kept pretty much in the dark. FREDO (after a pause) I don't have a lot to say. When Rocco sees Michael. walks to the glass panel that separates the terrace from the lake. . He's in a military base. Trying to kill him is like trying to like the President -it's impossible.DAY Fredo sits on the couch. EXT. that's all I know. they had him on possession. Fredo gets up. NERI They've got him airtight. Michael. I didn't know all that much. MICHAEL Alright. MICHAEL What does Fredo know? HAGEN He says he doesn't know anything.talking out loud that you had turned on him and tried to kill him.informants say he was half dead and scared stiff -. twenty-four hour guards.

he belongs to Roth. and if they had a little bit of help. not a brother. MICHAEL There's nothing more you can tell me about this investigation? FREDO The lawyer. I'm not dumb Christ.. you're my kid brother.. He said you and Roth were in on some big deal. and I want respect. I was stepped over! MICHAEL It's the way Pop wanted it. take care of some little unimportant night club here. Mike... Did you ever think of that. I'm your older brother. MICHAEL I've always taken care of you. Johnny Ola contacted me in Beverly Hills -said he wanted to talk. Fredo. not a friend. FREDO It wasn't the way I wanted it! I can handle things. pick somebody up at the airport. MICHAEL And you believed that story. Questadt. and there. and you take care of my. send Fredo to take care of that. on my own. I don't want to know you. MICHAEL You're nothing to me now. FREDO Taken care of me. Ever once? Send Fredo off to do this. FREDO He said there was something good in it for me. They said you were being tough on the negotiation. they could close it fast and it would be good for you.FREDO I didn't know it was a hit. not like everyone says. I swear to you I didn't know. or what . and there was a place for me in it if I could help them out. I'm smart.

and out the summer doors. Then they stand aside. the Sentries opening the gates. ARMY POST . Another Agent drives. They check the gate and note the military sentries.happens to you. and get in with him. Michael leaves. ARMY POST . An Army supply truck comes very close to them. and precede him. They check the cars waiting.DAY The two FBI Agents are helping Pentangeli get dressed.DAY Five cars brimming with Army guards and Agents are waiting to move Pentangeli. and let Pentangeli come out. When you visit our Mother. EXT. There is one empty car.DAY The Agents put him in the front seat of the empty car. I want to know a day in advance. Let's go. surveying the area. GUARDED HOUSE . Ready. and the FBI MAN #1 PENTANGELI A frightened voice . behind him: FREDO Mikey? Michael doesn't stop. and it is obvious they will protect his life with their own. each with two Agents. The Agents help him with the shirt and tie. They get close to his side. Neri stops by him. doesn't turn back. He continues off through the veranda. and letting the caravan pass. I don't want to see you at the hotels. MICHAEL I don't want anything to happen to him while my Mother's alive. Frankie. the first cars start out. and starts to leave. Do you understand? Michael turns. EXT. one at each side. so I won't be there. The Agents open the door. He's in brightly colored striped shorts and bare-chested. One holds out the trousers but Pentangeli ignores it and looks at himself in the mirror. Now. INT. or near my home.

Pentangeli is seated. MED. VIEW ON THE ENTRANCE The bustle is settling down. SENATE CAUCUS ROOM . revealing the Sicilian. by the appearance of Pentangeli. VIEW ON HAGEN waiting at his long table. VIEW ON PENTANGELI At first his view is blocked. INT. VIEW Anyone given entrance to the caucus room is being frisked. etc. His dress is odd: boots. A burly-chested imposing man of middle age. Pentangeli grins. PENTANGELI'S POV Michael returns his glances without emotion. It's as though he is pleading for some kind of understanding of the fact that he has become a traitor. and he dominates the room. Very powerful-looking with frightening magnetic eyes. then Michael Corleone enters.DAY The room is crowded with TV journalists. rough tie. Then the truck passes on. very nervous. VIEW ON HAGEN'S TABLE Then the VIEW He seems startled FBI Agents . and they relax. are all around him. VIEW ON HAGEN cold. and made to take his oath. being led to witness chair. He could be the tenor out of a Sicilian opera. then he turns away.Agents next to Pentangeli become very tense. ALTERS. and with him is someone very peculiar and out of keeping for this setting. closely guarded. VIEW ON PENTANGELI catching Hagen's eye. He is clearly a country Don. direct from Sicily. VIEW ON PENTANGELI He is terror stricken. and shirt. We pick Pentangeli up. The five Senators take their places. but still defiant. cameras. Then he sees Michael and is a bit shamefaced. obviously he recognizes the man.

PENTANGELI Frank Pentangeli. (then he turns to Pentangeli) Your name please. This witness had no buffer between himself and Michael Corleone. VIEW ON THE SICILIAN gazing at him. known as the Godfather? There is a long silence. SENATOR KANE Were you a member of the Corleone Family? Were you under the Caporegime Peter Clemenza. for the record. The Chairman commences: SENATOR KANE We have here a witness who will testify further on Michael Corleone's rule of the criminal empire that controls gambling in this country and perhaps in other countries. Pentangeli. SENATOR KANE Mr. He can corroborate our charges on enough counts for this committee to consider a charge of perjury against Michael Corleone. I got Senator Kane is stunned. my own family. where they can stare directly at Pentangeli. VIEW ON THE SENATOR Notices the tension in the room.Michael and the Sicilian sit by Hagen. The two FBI men are alert. under Vito Corleone. . VIEW ON PENTANGELI He seems unable to speak. you are contradicting your confessions to our investigators. VIEW ON PENTANGELI PENTANGELI I never knew no Godfather. he is frozen with fear. their eyes searching the room for what has intimidated their witness at the last moment. I ask you again.

VIEW ON THE FBI AGENTS glancing around the room. So he is brazen in his defiance of the Senator. Then in turn it goes to Senator Kane. Pentangeli will go all the way now. would you kindly identify to this committee that gentleman sitting on your right hand? HAGEN (coolly) Yes. PENTANGELI The FBI guys promised me a deal. "Yeah. Do you deny that confession and do you know what denying that confession will mean to you? The die is cast and like a good soldier. that's what they wanted. I never heard of it. That's all. SENATOR KANE We have your confession that you murdered on the orders of Michael Corleone.were you a member of a crime organization headed by Michael Corleone? PENTANGELI No." He makes a big grin to show how he has made fools of everybody. So I said. Everything. Michael Corleone did that. I never heard of nothing like that. They said Michael Corleone did this. But it was all lies. One of them scribbles a note on a piece of paper. I believe. SENATOR KANE Mr. Because then. So I made up a lot of stuff about Michael Corleone. Hagen. SENATOR KANE Is he related to the witness? HAGEN He is. and passes it to the Committee lawyer. His name is Vincenzo Pentangeli. . sir. their eyes have settled on the Sicilian. a brother. sure. I was in the olive oil business with his father a long time ago.

SENATOR KANE (furious) The witness is excused. There may just be a shadow of contempt. I would like you to take the stand. in the midst of the confusion. HAGEN SENATOR KANE This meeting is adjourned. A bitter. VIEW ON THE TWO FBI AGENTS They watch the Corleone party as they exit. SENATOR KANE (to Vincenzo Pentangeli) Sir. Hagen smiles. the gentleman does not understand English. take the stand. HAGEN (rising and shouting) This committee owes an apology! SENATOR KANE The committee is adjourned until further notice.VIEW ON MICHAEL AND VINCENZO PENTANGELI They wait with no expression. at his own expense. uncomprehending. He rises and they take their leave. He doesn't answer. Vincenzo stares at him. contemptuous smile. VIEW ON MICHAEL The modest champion.DAY . Senator Kane. HAGEN Sir. INT. to aid his brother in his trouble. take him out. The guards and FBI Agents quickly remove Pentangeli. For the first time. He would not in any case. He came. as everybody else in the room is required to sit still. WASHINGTON HOTEL CORRIDOR . He is not under any jurisdiction of our government and his reputation in his own country is impeccable.

MICHAEL ROCCO MICHAEL I had no idea. surprised.WASHINGTON HOTEL . KAY I think it's too late for changes. MICHAEL Why don't you sit down? KAY I'm not going to stay long. A distance away.. ROCCO Michael is sitting in an easy chair.Michael. they're here. I'm very happy for you.changes I want to make. On the phone? No.. Things I've been thinking about -. Anthony. he seems to have difficulty with his eyes..DAY The door to Michael's suite opens. is standing by himself. the children . INT. Michael rises. the boy. I promised myself I wouldn't talk about it and I've gone and spoiled it. I suppose I knew that you're simply too smart for anyone ever to beat you. she's here. KAY I wanted to see you before you went back to Nevada. Also. They're outside with Esther.. I can't. MICHAEL There are a lot of things I want to talk to you about. It's Kay.The Corleone nurse is waiting. MICHAEL'S SUITE . and Kay enters. Rocco steps back. playing with the little girl MARY. Michael. Rocco leans in. Where? MICHAEL KAY In a minute. .

Years ago Frankie had a young girlfriend. he called her his co-wife. . She had to be faithful.. He had her checked out and watched so she couldn't cheat. Michael.. Then Frankie took them to Italy. He wouldn't divorce his wife. What really happened with Pentangeli? MICHAEL His brother came to help him. in the old days. He set her up in a house in Jersey. He gave her money and made her give up the kids. This was between the two brothers. Where he knew they'd by safe. And she did. and had them brought up by his brother Vincenzo. That kind of thing's all over. You see.. KAY And that's all he had to do. and she had to have kids.. a boy and a girl. IF he was a traitor. That was his joke. She begged him to let her go. show his face. only one... because she was a great cook. Just MICHAEL That's all. He did. two. you've got it wrong. there was only one legitimate reason to kill a blood relative. I promised you..MICHAEL Why too late? KAY Tell me... He said he girlfriend made a spaghetti sauce once and it was so terrible he knew he could never marry her. KAY You would have killed his brother? MICHAEL Kay. but the girl couldn't stand that kind of life. KAY I didn't even know he had a brother. And where is he now? MICHAEL On a plane back to Sicily. but he meant it. in Sicily..

You held me a prisoner once. You are my wife. (pause) I don't think Vincenzo would have done it. then yes.. I will. they want to say goodbye.Kay begins to realize. and they are my children. Michael. MICHAEL Kay. will you try again? MICHAEL If that's what it takes. do you think I'm going to let you leave. Honor. Michael. too. I think it's pity. I never thought that . he knew what was at stake. I don't want to hear anything. MICHAEL I won't let you leave! Christ. but now. KAY At this moment.. Omerta. Kay. I told you. silence. MICHAEL When he saw his brother in the hearing room. KAY Goodbye... because you are MINE! KAY Oh. and I love you and I will not let you leave. KAY (meekly) Michael. MICHAEL No. I feel no love for you at all. things that have been the same for thousands of years. you seem so helpless. There are things between men and women that will not change. It was between those brothers. He loves the kids. KAY I'll bring the children up now. It had nothing to do with me. I do feel things for you. For the first time since I've known you.

You see. it's an impossibility. and I had it killed. something unholy and evil. KAY It wasn't a miscarriage. He moves to her. an abortion. how can I let you take my children away? Don't you know me? You understand.. MICHAEL How can I let you leave. you'll be happy that I stopped you. I don't want your son.could happen. that I have the strength to change. and is tender with her. KAY Bring the . I can. couldn't you figure it out! It was an abortion. a boy. and I'm prepared to make it up to you. never. KAY You haven't heard me. You'll forget about this. I wouldn't bring another of your sons into this world. MICHAEL I know what it meant. MICHAEL We'll go back tonight.. But in time. all my cunning.. no. not in his wildest imagination could he have guessed that she would do such a thing. you'll forget about the baby we lost. And we have another child. you and I. I will make changes. but this must all end! VIEW ON MICHAEL He had no hint. I would never let it happen. you'll feel differently.. soon. KAY The baby I lost. not if it took all my strength.. And you with your cunning. I know you... (he clenches his fist tightly) I CAN change... like our marriage is an abortion.. he does love her. Michael. children.. it was a son. An abortion. and we'll go on. but it has. that I have learned.. and you'll forget the miscarriage.

We see that some have the simple silk ribbon with the word "Mama" hand-lettered upon it. He stops when he notices Neri. to the other extreme of the estate. Connie steps back. INT.FULL VIEW . a little distance away. gathered near Michael's house. and puts down a bouquet of flowers. literally knocking her down to the floor. wipes away the tears in his eyes and steps away from the coffin. VIEW ON NERI After a moment. CLOSE SHOT Connie Corleone. kneeling by the coffin of his mother in a portion of the house that has been set aside for the wake. with all his passion. MED. along with others that have been placed there.And I know that now it's over. and hurting her badly. Her two children stand close behind her. FADE IN: EXT. looking at him. not with this Sicilian thing that goes back two thousand years. there would be no way you could ever forgive me.DAY Fredo. kneels down before the shrine of Santa Theresa. FADE OUT. MICHAEL (coldly) You won't take my children. is a small grouping of about twenty to thirty people. MICHAEL'S HOUSE . Fredo moves to . moving to the old woman's coffin. and moves through the small group of friends and relatives. though raging -. He is silent. and his strength. they had been raised by their Grandmother. A few drivers wait quietly. into Michael's house.CONNIE'S VIEW . I knew it then. he nods respectfully to Fredo. he raises his arms. Fredo concludes his prayer.DAY A collection of dark cars and black limousines are gathered to one side.then. And then. and steps forward. THE CORLEONE ESTATE AT TAHOE . dressed simply and now showing her age without the carefully applied makeup which we have been used to. and strikes her across her neck.

THE BOATHOUSE . HAGEN I'm sorry. FREDO Can I talk to him? No chance. Is Kay coming? No. CONNIE I want to stay close to home now. Tom. and sits down by his knees.DAY Michael sits quietly in the darkened room in one of the big sofas. He asked for you. We regard this tableau for a long moment. CONNIE (who has heard this) Can I see him? HAGEN He's in the boathouse. His two children. MICHAEL Tom is right. Fredo's in the house with Mama. Freddie.S.MED. VIEW . their shoes not touching the floor. CONNIE (O. dressed immaculately in suit and tie. FREDO Where's Mike? HAGEN (difficult to tell him) He's waiting for you to leave.) (quietly) Michael? It's Connie. also dressed for the wake sit opposite him in the other oversized sofa. CONNIE Michael. CONNIE CONNIE MICHAEL . and Tom said he couldn't see you. She comes in. is that alright? Michael nods.Hagen. INT. who is there with his wife and children.

Teresa. and talking in low voices. and helpless without you. followed by Connie. . he's so sweet. Slowly. why don't you go outside for a while? The children don't move. He approaches his brother. Connie realizes they will only listen to Michael. Gardner and their baby. VIEW Michael enters the room. MICHAEL The children can stay.DAY Friends. CONNIE I hated you for so long. Sandra Corleone. with you now. so that you would know -. Can't you forgive Fredo. quietly paying their respects to Mama. INT. Mike. VIEW ON MICHAEL Fredo breaks I want to be FREDO Jesus Christ.and you would be hurt too. like some lost child with no friends. her children. and then embraces. all the familiar faces of the family are present. But I understand you now. and want to be close to you now. like Papa was. MICHAEL'S HOUSE . I think I do. Michael. who tends little Mary and Anthony. to hurt myself. And I forgive you. for so many years. CONNIE I want to talk to you. Some of the men can be seen in the kitchen. Francesca and her new husband. and touches her gently. relatives. You were being strong for all of us. CONNIE You need me. into tears.Kids. MED. Christ. Fredo is there. Michael. broken-hearted over the loss of his Mother. drinking wine. Michael puts his hand on her hair. I think I did things to myself. Michael. Mike.

he kisses. Don't let this opportunity slip through your fingers.DAY looking through the window at his son and brother. and one of his older sons. continues. he glances up. VIEW ON SANDRA CORLEONE waiting there. THE TAHOE ESTATE . HAGEN'S VIEW Fredo is sitting by the edge of the harbor with Michael's son Anthony. He stops before he enters. VIEW ON NERI quiet. think of yourself for once. obviously wanting to talk to him. MOVING VIEW ON THE TWO as they cross toward the boathouse. HAGEN Yes. without answering her.embracing his brother. he is helping him with some fishing rig. She stops him. and moves toward the boathouse. and she walks with him. We're all trapped here. SANDRA Tom. he stops. dressed informally. THE BOATHOUSE . SANDRA You're going to talk to him now. sits in the room. to the boathouse. After crossing the lawn. don't do it. SANDRA Will you tell him? HAGEN I don't know.DAY Tom Hagen is talking in the distance to his wife. and deadly. MICHAEL Neri Continues up He .MED. don't you see? He continues past her. EXT. VIEW . INT.VIEW ON MICHAEL .

nothing is impossible. He'll be met by the Internal Revenue." MICHAEL He's been dying of the same heart attack for twenty years.. MICHAEL They won't take him.(without looking back) Sit down. Mr. "terminal. it would be like trying to kill the President.. not for a million. not for ten million. Have you heard about our friend and partner. NERI (hands Hagen the paper) The High Court of Israel turned down his request to live as a 'returned Jew. the Customs Service.. They turned him down.. HAGEN That plane goes to Miami. HAGEN Mike. offered a gift of one million dollars if they would give him citizenship. HAGEN (reading) He's going to try Panama.. Hyman Roth? HAGEN I know he's in Israel... He landed in Buenos Aires yesterday. . Tom. and half the FBI.' His passport's been invalidated except for return to the U. HAGEN (understanding) Mike. there's no way we can get to him.S.. HAGEN His medical condition is reported as. it's impossible. MICHAEL I don't like it when you use the word impossible. MICHAEL I want it met.

Tom. if history has taught us anything. (he stops. I didn't see why I should tell you about an offer I turned down. If not. what does the family gain? Forget that. I already know the answer. without being asked) Don't ever enjoy the cruel part of all this. call Houstan.. (Michael begins to confuse him) Are you sure. But perhaps your relucatance is because you've come to tell me that you're moving your family to Vegas. If there's anything certain. (then he sits down. it's that you can kill. Tom.. Good. (he pauses. and become a Vice-President. Mike. I've HAGEN I'm staying. Then I can count on you to help me do the things I have to do..MICHAEL I'm surprised at you. Mikey? Are you sure of what we're doing. Sonny never listened to me about that. then coldly) ANYBODY.. what we'll gain. Michael? always been loyal to you. that you've been offered the Vice-Presidency of the Houstan Hotels there. do you want to find them everywhere? MICHAEL They are everywhere! HAGEN I turned Houstan down. MICHAEL Then you're staying. Or weren't you going to tell me at all? HAGEN Are you so hungry for traitors. HAGEN Why do you hurt me. certain in life.then. MICHAEL I know you do. Take your family and your mistress and move them to Las Vegas. .

He shows a court order to them and they lead him up the stairs where he knocks on the door.and opens his briefcase) Now. explain everything to me.DAY The guards step aside as Tom Hagen enters the foyer of the house. INT. INT. HAGEN You have guards outside and the electric fence. THE HARBOR . PENTANGELI The room has a bug in it. I did this amazing thing. GUARDED HOUSE . And this was my secret: (confidentially) Every time I would put the line down I would say a "Hail Mary" and every time I said a "Hail Mary" I would catch a fish. You know. FREDO Anthony.DAY There is a KNOCK at the door. we're gonna go out on the lake. and no one could catch a fish except me. EXT. There's no security reason for not letting us talk in the yard. The two guards show Hagen in and Hagen presents the court order to one of the FBI men. HAGEN (to the FBI men) I'd like to go outside with him. with a silly-looking fishing hat on his head. in the open air.DAY Fredo sits with Anthony. and we're gonna try it. me and my brothers and my Pop. when it's sunset. ole buddy. Now. FBI MAN #1 This room is not bugged. covered with lure and flies. . when I was a kid. GUARDED HOUSE . your Uncle Fredo's gonna teach you how to catch the big fish. HAGEN I think I prefer to see my client privately. I went out on a fishing trip.

what do I do now? The light is beginning to turn reddish as the sun falls. HAGEN Frankie.he could of had his own Family. Hagen takes it and Pentangeli lights both their cigars. They pass out of the room. don't worry. He wouldn't even go out to dinner.DAY FBI MAN #1 Hagen and Pentangeli outside. Pentangeli takes out some cigars and offers Hagen one. Nothing could get him away from that two mule town. They cannot be overheard. my brother. by the electric fence. PENTANGELI Did my brother go back? HAGEN Yeah.Okay. Frankie. I remember you talking about Hitler back in '43. almost. PENTANGELI He's ten times tougher than me. HAGEN PENTANGELI Tom. you were always interested in politics. We were young then. PENTANGELI That's my brother. He coulda been big over here -. HAGEN Everything is going to be okay. Just wanted to go home. HAGEN They . but don't worry. THE ARMY POST . They puff on them contentedly. You're right. They are comfortable together. I still read a lot. He's old-fashioned. PENTANGELI Yeah. HAGEN Yeah. EXT. bring me stuff. in history.

how they based it on the old Roman Legions. We was like the Roman Empire. If they got arrested and executed.You were around the old timers who dreamed up how the Families should be organized... HAGEN (very gently) The Roman Empire. it was once. and called them 'Regimes'. PENTANGELI They went home and sat in a hot bath and opened their veins. nothing happened. Sometimes they gave a little party before they did it. and bled to death. They both puff on their cigars. HAGEN Yeah. Pentangeli looks at Hagen. when a plot against the Emperor failed. all their estate went to the Emperor. Those were great old days.. Hagen throws away his cigar. the plotters were always given a chance to let their families keep their fortunes. Hagen thinks of other days too. up front. PENTANGELI Yeah. Pentangeli puffs on his. A HAGEN Don't worry about anything. If they just went home and killed themselves. HAGEN (sadly) Yeah. Frankie Five-Angels. but only the rich guys. with the 'Capos' and 'Soldiers. nice deal. Pentangeli lets himself be carried away by thoughts of old days of glory. PENTANGELI .' and it worked. The Corleone family was like the Roman Empire. he understands. that was a good break.. The little guys got knocked off. it worked. PENTANGELI Yeah.

THE BOATHOUSE . car and drives off. PENTANGELI You boys sure you can't get me a broad for tonight? Give me a little party? FBI MAN #2 We got some nice books. Then gets into his waiting INT. Thanks. PENTANGELI I guess I'll just take a hot bath. He lifts Anthony into the boat. VIEW The boat pulls up alongside Fredo and Anthony. and remember the secret. and pulls the small outboard. MED. which glides the boat out into the harbor. glances back. Pentangeli is led back to the house.SUNSET Michael sits alone in the empty boathouse. FREDO Here we go. Pentangeli puffs on his cigar and gives the Agent a smile an old man gives a child. FBI MAN #1 Your lawyer tell you he can get that 600 years reduced to 500? Pentangeli puffs on his cigar and reflects. INT. BOAT DOCK .DAY Hagen walks away. in the shadows. They shake hands.SUNSET Neri stands by the dock area under the boathouse.S. He wears a fishing cap. The FBI Agents come out to let Hagen out the gate.FULL VIEW . He pushes the button which lowers a boat by winch and tackle. THEIR VIEW CONNIE (O. He starts upstairs. THE ARMY POST . Anthony.) .Thanks. EXT. He steps into the boat. Tom.

MED. HIS VIEW Pentangeli lying in a tub of water. HIGH SECURITY HOUSE IN ARMY POST . FREDO . FREDO I'll catch one for you. The VIEW MOVES CLOSER. kid. His wrists are cut and covered with blood. Jesus. His stomach shows above it. LAKE TAHOE . he hammers on the door. VIEW . from the dark window of the boathouse. and we can hear Fredo as he holds the pole.NIGHT The FBI man knocks on the bathroom door in the house where they have kept Pentangeli. and the boat with the two fisherman glides off. INT. we're goin' fishing. Okay. and blessed is the fruit of thy womb. . Using his elbow.. with the secret. FREDO Ah. open up.Connie. DISSOLVE TO: EXT. VIEW ON MICHAEL watching. the Lord is with thee. Blessed art thou amongst women. is calling Anthony. CONNIE He can't go. Anthony.. each with lines out. Michael wants to take him into Reno. The bath water has a purplish tone. You okay? No answer. Neri stands the motor. in houseclothes. you got to go to Reno with your Pop. CONNIE Hurry. He lifts the boy out of the boat. FBI MAN #1 Frankie.SUNSET Fredo and Neri are fishing. and then a kick he breaks into the bathroom. and puts him on the shore. FREDO He's here.

living on a pension.. ROTH . Roth is not a well man. Mother of God. Mr..LONG SHOT The boat on the shimmery lake. We hear a quiet.. and television cameramen.. Holy Mary. They allow him to be photographed by press people. ROTH I'm an old man. and in shirt-sleeves in taken into custody by a swarm of Customs. REPORTER Is it true you are worth over three hundred million dollars.. and I wished to live there as a Jew in the twilight of my life.. because they wouldn't give me an absentee ballot. and then silence. and FBI men. we have to take you into custody. REPORTER Can you give us your reaction to the High Court of Israel's ruling. pray for us. Roth? ROTH I'm a retired investor. at my age... FBI MAN Mr. Roth.. LAWYER Mr. echoing GUNSHOT. he's tired of running. Some flashbulbs go off.NIGHT An exhausted Hyman Roth. ROTH I am a retired investor on a pension. I know. FREDO . Yes. it's too late to start worrying. DISSOLVE TO: INT.. MIAMI AIRPORT . I came home to vote in the Presidential election. ill-shaven.

as Rocco attempts to run down the airport corridor. who had been with Kay for years.DAY The cleaning woman. limping as he does. as the FBI men move him away. between her knees. and in a second. KAY Anthony. her little daughter Mary. CONNIE Kay. Behind her. daughter. kiss Mama goodbye. in another chair by the side of the room. EXT.DAY A taxi cab waits by the house. you have to go. FADE OUT. MICHAEL'S HOUSE . CLOSE VIEW One of the newspapermen laughing we recognize to be Rocco Lampone. and shoves his revolver right against his head. He doesn't move. sits by the dining room table. and kisses her many times. Kay puts her coat on. THE DRIVEWAY BY MICHAEL'S HOUSE . we can see the tableau of Kay sitting on the couch. in the recreation room. VIEW Connie comes into the house quickly.The newsmen and photographers all laugh. INT. he's coming. its driver sleeping with a newspaper over his face. Her son Anthony sits by himself. MED. CONNIE (angrily) Anthony. He moves closer to Roth. This prompts Esther to weep all the more. you kiss your Mother . Esther. assassinates Roth. FBI men easily pick him off. People scream. then stands. weeping profusely. Kay hugs her CONNIE You have to hurry. on camera. and moves toward them. talking quietly about things we cannot hear. and reaches out for her son.

. as though some sickness has taken more years away from him. And then DISSOLVE TO: EXT. and slowly rises. KAY Anthony. the door is still open. Kay starts to go. VIEW ON KAY looks at him. HER VIEW Michael has stepped into the dining room. Then she looks up. MED. your Mama loves you. kisses her. KAY Anthony. ANTHONY Hugs her lifelessly. and starts to go. NEW VIEW She steps out the kitchen door.goodbye! He rises. TAHOE ESTATE . she has become too strong for tears. VIEW ON MICHAEL slowly steps toward her. then she cannot help herself. VIEW ON MICHAEL He moves closer to the door. and calls to her son. kiss me once. Goodbye. He seems older somehow. kissing her boy. instinctively. stops. She restrains any tears. closes it obscuring any view of her.DAY It is late fall -. Crouches down. outside. and walks to her. she takes a step back. looks at her. CLOSE VIEW on Kay. picks up Mary. VIEW ON KAY Another step back. say goodbye.most of the leaves have fallen on the grounds and there is quite a wind.

VIEW ON THE KENNELS There are still the guard dogs. who seems to be the closest person now living on the estate with him. Some of the windows have been boarded up. The roads from the airport are so windy. He seems older than his years. it takes forever. diabetes. VIEW ON THE SWIMMING POOLS They have not been used in several months. We see the . some moving impatiently. only a hint of someone in the gatehouse. MED. we don't see the button men.MED. MED. As the MUSIC concludes its statement. that she has fallen into the role of a surrogate Mother-Wife. some sleeping. I've driven them myself. figures of two people. CONNIE Don't worry. He is attended by his sister Connie. VIEW ON THE HOUSES Some of the houses have had the summer awnings taken down. CONNIE I'll bring him out to you as soon as he comes. VIEW ON THE MAIN GATE Leaves blowing past it. they are drained and the bottoms are mossy and dark. of the Godfather over these images. and the waves are high as they break against the pavilion. We HEAR the MUSIC of time passing. seated at a table. VIEW Michael sits at a table having a sparse lunch. VIEW The peninsula of the private Corleone Harbor. and put away. We see from the way she pampers him with his lunch. as though his illness. has taken its toll. She picks up some of the serving plates that he has left untouched. of Michael. VIEW The water is whipped up by the wind. I'm sure he got here on time.

. You're much taller than me. MICHAEL You've grown so tall.. VIEW ON MICHAEL squinting up at his son. MED. but now it's all dried out. I was a good student.. MICHAEL Sit down.She moves back to the main house. CLOSE VIEW ON MICHAEL He turns and looks at the rough water of the lake for a moment. and reaches up to his son. A PLACE IN THE GARDEN . VIEW ON ANTHONY CORLEONE He is eighteen years old.DAY There are a few chairs. Of course. I never finished college.. MICHAEL He rises. alright. that's alright. CONNIE Don't let me interrupt anything. You'll graduate in another year. EXT. so tall in the last year. MED. Dad. but I never finished. ANTHONY Hello. Connie approaches them.. who is now taller than he. Good. Your Aunt Connie and I waited for you to have some lunch. . ANTHONY MICHAEL Well.. he embraces him. isn't that right? You know. I'm not hungry. ANTHONY I was taller than you when I was fourteen. He slowly takes a sip of wine. there was a war then. Anthony.

OLD CORLEONE HOUSE . Anthony.NIGHT SONNY CORLEONE. They say if a person drowns in it. swing music. Connie gives Michael the shot.. my brother Fredo. Why don't you go to your room and put your things away. Anthony goes on his way to the house with his things. She finishes the shot. The college boy. We'll talk. as we move CLOSER to Michael. who knows my buddy Carlo Rizzi. pulls him into the Corleone dining room. Carol is sitting next to Connie. Here. CONNIE Whenever I see that lake so cold. pull up a chair. whatcha got cooking? And Carlo. I think of poor Fredo.this will just take a second. Here. Mom. MICHAEL Hurry back. happy music.. . the droopy kid over there is Mike. Here. Some say it will remain forever.MED. We begin to HEAR MUSIC of the forties. Lake Tahoe is very cold. (she takes out a small needle. his arm wrapped around a smiling red-faced Carlo Rizzi. that the body will remain mid-suspended -perfectly preserved. puts her things away. VIEW ON MICHAEL Alone in the garden. SONNY Hey. this is my kid sister Connie. drowned. She leaves. we'll talk. CONNIE Your boy will be right back. here's my Mom. She begins to give Michael the shot. DISSOLVE TO: INT. OUR VIEW begins to MOVE CLOSER to him. Oh. and begins to prepare it) Your father has to have his insulin shot. VIEW .

MED. those Japs . They refill glasses. They all drink. (he smiles at Tom Hagen) Hi. TESSIO To our Godfather. we could have expected it after the embargo. and DON CORLEONE enters. The Don happily regards his family.. To my grandchildren. They all drink.An older. DON CORLEONE A good life. Now the study door opens. He raises a glass. Sal. VIEW . everybody. seated at the head of the table. Hey! SONNY Expect it or not. DON CORLEONE Is dinner ready? MOM Two minutes. TESSIO Buon Natale. then Tessio proposes a toast. his arms laden with presents. THE DINING ROOM . Buon Natale. a long life to all my children. his sons and daughters and even some Grandchildren.. and friends. Tom. This is TESSIO. Don Corleone SONNY What'd you think of those Japs. eh? The nerve of those Japs. coming right here in our own backyard dropping bombs! HAGEN Well. INT. and those that will be. lanky man enters the room.NIGHT The family is happily at Christmas dinner. To our family. how's every little thing? HAGEN (helping him with the presents) Wonderful.

Michael. VIEW ON DON CORLEONE Disturbed. do we have to talk about the war at the table? On Christmas. VIEW ON MICHAEL He has been listening to this discussion. INT. HAGEN Pop had to pull a lot of strings to get you your deferment. and then moves across the room. Whose side you on? MAMA Please. People are generally tense over the situation. Sonny tries to make light of it. but not at the dinner table. The girls are cuter. Michael follows his father into the study. DON CORLEONE My son wants to talk about this. MICHAEL Pop. A quiet hush descends over the table. and pours himself a brandy. He stops at the little bar there. glances around.NIGHT The Don closes the door behind his son. he looks back. He rises. as though everyone knows the effect this will have on the old man. DON CORLEONE Then He disappears into his study. SONNY Kid. and starts across the room toward his study. I've decided I'm going to enlist. much less. Michael rises. if you know what I mean. DON CORLEONE'S OLD STUDY .don't have a right to drop bombs in our backyard. MICHAEL I never asked for it. I don't want it. but wise and prudent. and so we'll talk. . stay in college.

and also fear. Dad. and confusion.HIGH FULL VIEW . CLOSE VIEW ON MICHAEL looking at his father with a mixture of great love. talking about things we cannot hear.DAY The leaves are blowing. walk through the grounds of the estate. It's Christmas. . I know. Michael. DON CORLEONE You would risk your life for strangers? MICHAEL Not for strangers. but this is not Sicily. for my country. DISSOLVE TO: EXT. I'm doing it. your country won't take care of you. is a stranger.. but when you are ready. DON CORLEONE Anyone not in your family. Anthony. Go your own way. Let's not spoil this.. I have hopes for you. DON CORLEONE I know. MICHAEL I won't be a man like you. Believe me. come to me the way a son should. THE TAHOE ESTATE . your brothers and sister are all here -. Michael and his young son. when trouble comes. MICHAEL That's how it was in the old world. Pop. MUSIC comes up.we are happy. DON CORLEONE Now what is this talk about joining the army? Eh? MICHAEL It's not talk.DON CORLEONE Would you like some? MICHAEL No.

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