[glow=喜欢所以顶！！]喜欢所以顶[/glow] The Godfather FADE FROM BLACK TO: MICHAEL, in profile looking downward. He holds out his hand and ROCCO kissing it. DISSOLVE TO: A remote mountainside area of Sicily. We hear a marching band playing in the background. The introduction is overlaid: THE GODFATHER WAS BORN VITO ANDOLINI IN THE TOWN OF CORLEONE IN SICILY. IN 1901 HIS FATHER WAS MURDERED FOR AN INSULT TO THE LOCAL MAFIA CHIEFTAIN. HIS OLDER BROTHER PAOLO SWORE REVENGE AND DISAPPEARED INTO THE HILLS, LEAVING VITO, THE ONLY MALE HEIR, TO STAND WITH HIS MOTHER AT THE FUNERAL. HE WAS NINE YEARS OLD. [The marching band is followed by a procession of mourners including VITO and his MOTHER. There is a casket, apparently containing the body of VITO's father. Two gunshots ring out; all run for cover. People are screaming.] WOMAN (in Sicilian) They've killed the boy! They've killed young PAOLO - they have killed your son PAOLO! Murders! Murders! [Young VITO and his mother run over to PAOLO's body, in a prone position on the rocky ground] VITO's MOTHER CICCIO (in Sicilian) My son -- My son [more] [She begins to cry. GAFFE: The actor who plays "dead" PAOLO moves his hand as he's hugged] CUT TO: Young VITO and his mother approach the gate to DON CICCIO's villa and it is opened for them. CUT TO: VITO and his MOTHER walking down a path. CUT TO: DON CICCIO sitting drinking wine. CUT TO: VITO and his mother walk down the path some more. CUT TO: DON CICCIO puts down his glass and looks at VITO and his MOTHER. CUT TO: VITO's mother kisses DON CICCIO's hand VITO's MOTHER (in Sicilian) All my respect DON CICCIO. DON CICCIO you killed my husband because he wouldn't give into you. And his oldest son PAOLO -- because he swore revenge. But VITO is only nine. And dumb-witted, He never speaks. DON CICCIO (in Sicilian) It's not his words I'm afraid of. VITO's MOTHER (in Sicilian) He's weak - he can't hurt anyone. DON CICCIO (in Sicilian) But when he grows, he'll grow strong. VITO's MOTHER (in Sicilian) Don't worry - this little boy can't do a thing to you. [DON CICCIO stands up.] DON CICCIO (in Sicilian) When he is a man he'll come for revenge. VITO's MOTHER (in Sicilian) I beg you, DON CICCIO, spare my only son. He's all I have left. I swear to God that he'll never do any harm to you. Spare him! DON CICCIO No. [She reveals a concealed knife and holds it to DON CICCIO's neck.] MOTHER (in Sicilian) Move and I'll kill him! (then) Run VITO! [Young VITO watches as DON CICCIO's guards shoot his down, and he runs away.] DON CICCIO (in Sicilian) Kill him! Kill him! Kill him! CUT TO: The streets of Corleone at night. GUARD (yelling in Sicilian) Any family who hides Vito Andolini will regret it! You understand? Yes or no! (then) Anybody who hides the boy Vito Andolini is in for trouble! CUT TO: The guards walking down stairs. CUT TO: A family hiding VITO in a donkey cart. MAN [Probably ABBANDANDO] (in Sicilian) VITO, we're praying for you. CUT TO: The man gets on the donkey that's carrying VITO. GUARD yelling (in Sicilian) If anyone is hiding the boy VITO Andolini -- turn him over to us. DON CICCIO will thank you for it! It'll be better for the boy, and better for you! Any family who hides the boy Vito Andolini will regret it! CUT TO: A courtyard. The donkey cart passes by the guards. CUT TO: The donkey cart walking away. DISSOLVE TO: "The Moshulu" entering New York Harbor, passing in front of the Statue of Liberty. CUT TO: VITO on the ship. He stands up and walks behind everyone. CUT TO: Everyone getting off the ship. CUT TO: VITO still walking. CUT TO: Immigrants looking at the Statue of Liberty. CUT TO: VITO looking at the Statue of Liberty also. CUT TO: Inside Ellis. CUT TO: MAN inspects VITO's eyes and writes an encirled X on him. INSPECTOR (pointing) NURSE -- CUT TO: All the immigrants waiting. A man playing a violin as everyone is talking in different languages. CUT TO: Immigrants trying to explain themselves. CAMERA pans left along counter. INTAKE OFFICER 1 Interpreter INTAKE OFFICER 2 Where are you from? INTAKE OFFICER 3 What is your name? [VITO walks up.] INTAKE OFFICER 4 What is your name? Come on son, what is your name? TRANSLATOR ["What is your name?" in Italian] then, looking at the tag on VITO's coat: VITO Andolini from Corleone. INTAKE OFFICER 4 Corleone -- VITO Corleone. Okay over there. Next -- your name? CUT TO: A doctor inspects VITO's chest with a stethoscope. DOCTOR (to NURSE) Tell him he has small pox quarantine three months. NURSE (translating for VITO) [In Italian, something like "you have small pox and will be quarantined for three months at Ellis Island"] CUT TO: Two men walk down the hall looking for VITO MAN Calling Out Vito Corleone? Vito Corleone? Other MAN, standing next to Young VITO Here he is; this is him. [Young VITO is placed in a room, looks out the window at the Statue of Liberty, places his suitcase on the bunk (#52), sits and then starts to sing] VITO CORLEONE ELLIS ISLAND 1907 CUT TO: A Church. ANTHONY is walking down the aisle during his first communion. HIS GRANDSON ANTHONY VITO CORLEONE LAKE TAHOE NEVADA 1958 FATHER CARMELO [in Latin] [Priest prays while giving out eucharist. Anthony is the third child. He turns toward the camera.] CUT TO: Lake Tahoe Resort. Bandstand, music play CUT TO: VALETs parking cars VALET Hey! bring the car keys. WOMAN (OS) Morey! Morey! CUT TO: MAN takes drink to policeman in the parking lot. CUT TO: MAN and WOMAN dance. CUT TO: Watchman on roof lights a cigarette. CUT TO: GUESTS sitting and talking. CUT TO: CONNIE and MERLE Johnson walk, dodging guests, making their way to MAMA CORLEONE. CONNIE: MAMA -- whooh MAMA. MAMA CORLEONE [something in Italian, then] Look who's here -- CONNIE Oh, FATHER CARMELO. MAMA CORLEONE This is FATHER CARMELO -- MERLE I'm MERLE Johnson -- MAMA CORLEONE -- and the priest FATHER CARMELO Nice to meet you, how are you. MAMA CORLEONE -- family Priest. CONNIE MAMA -- [She kisses MAMA.] -- here I am. MAMA CORLEONE Constanzia - finalmente -- after one week? I sent the car out to the airport last week to pick you up! CONNIE Oh -- it was chaos. Anyway, here I am, just one week late. And this is for my MAMA. [She hands MAMA a wrapped jewelry box] MAMA What's this? CONNIE You remember MERLE, don't you? MERLE (to MAMA) Hello MAMA. MAMA Hello, how are you; thank you. CONNIE Where's MICHAEL? I gotta to talk to him, and um, get a few things straight, and I can't wait on line. MAMA You go see your children first! And then you worry about waiting on line to see your brother -- like everybody else. [The band gives a musical introduction to the CONDUCTOR] CUT TO: A napping FRANK PENTANGELI napping outside. WILLIE CICCI wakes him and they walk off. CONDUCTOR Ladies and Gentlemen a most distinguished guest would like to say a few words. Would you please welcome SENATOR Pat GEARY of the state of Nevada, and there is Mrs. GEARY. [SENATOR GEARY walks up onto the stage] GEARY Thank you very much, Ladies and Gentlemen -- and this is a very very happy day for me and ugh -- my wife, Mrs. GEARY. We see Nevada far too seldom -- but particularly today when we can -- we can join with old friends -- we can make new friends -- and we help celebrate -- a young man's first communion. And also, to thank that boy's family for a magnificent contribution to the state. I have here in my hand, a check -- made out to the University, and it is a magnificent endowment in the name of - uh, ANTHONY VITO Corleone -- and the check is signed by that young man's parents -- whom I think we should recognize Mike -- Pat -- uh, KAY -- stand up please -- stand up, let the folks see you. Folks, I want you to join with me in giving a real Nevada -- thank-you to Mr. and Mrs. MICHAEL Corleone! [The crowd claps. The conductor whispers something to GEARY.] We also have as a special added attraction, the Sierra Boys Choir. Who have, uh, chosen a certain special song, in a special arrangement, to honor their host, Mr. MICHAEL Corleone. Boys. CUT TO: Mike and KAY getting up for a photo. [The choir begins to sing.] CUT TO: A long shot of the boys singing. CUT TO: A close up of the boys singing. CUT TO: MICHAEL at a photo session accepting a plaque DIRECTOR Relax. [MICHAEL holds the plaque.] Okay fellas we got that one. [MICHAEL and GEARY shake hands.] Okay, that's good. Alright. Now SENATOR, this is you and Mrs. Corleone. [The director comes over and gives GEARY the check and places him next to KAY. They also shake hands.] Okay that's enough, Senator -- [MICHAEL an GEARY shake hands for one more picture, holding the check] CUT TO: EVERYONE listening to the choir. CUT TO: The interior of MICHAEL's office. MICHAEL This is my lawyer, TOM HAGEN; SENATOR GEARY. He's the one who arranged this whole thing through your man Turnbull. GEARY Yes -- Yes. MICHAEL Sit down. GEARY Well I was under the impression that you and I would talk alone. MICHAEL I trust these men with my life, SENATOR. If I were to ask them to leave, it would be an insult. GEARY Well uh, it's perfectly all right with me, but I should tell you that I am a blunt man and I intend to speak very frankly to you -- maybe -- more frankly than anyone in my position's ever spoke to you before. [MICHAEL lights a cigarette] The Corleone family has done very well here in Nevada. You own, or, you control, two major hotels in Vegas -- one in Reno. The licenses were grandfathered in, so there is no problem with the gaming commission. Now, my sources tell me that -- you plan to make a move against the Tropicalla. They tell me within a week -- you're gonna move Klingman out. That's quite an expansion. However it will leave with one little technical problem. Ahh -- The license will still be in Klingman's name. MICHAEL Turnbull is a good man. GEARY Yeah, well let's cut out the bullshit. I don't want to spend any more time here than I have to. You can have the license, the price is 250,000 dollars. Plus a monthly payment of 5% of the gross -- of all four hotels. Mister -- Corleone. MICHAEL Now the price of the license is less than 20,000 dollars, am I right? GEARY That's right. MICHAEL Now why would I ever consider paying more than that? GEARY Because I intend to squeeze you. I don't like your kind of people. I don't like to see you come out to this clean country in your oily hair -- dressed up in those silk suits - and try to pass yourselves off as decent Americans. I'll do business with you, but the fact is, I despise your masquerade -- the dishonest way you pose yourself. Yourself, and your whole fucking family. MICHAEL SENATOR - we're both part of the same hypocrisy. But never think it applies to my family. GEARY All right, all right -- some people have to play little games. You play yours. So lets just say that you'll pay me because it is in your interest to pay me. But I want your answer and the money by noon tomorrow. And one more thing: don't you contact me again -- ever. From now on you deal with Turnbull. (then, to Al) Open that door son. [He starts to leave] MICHAEL Uh, senator -- you can have my answer now if you like. My offer is this -- nothing. Not even the fee for the gaming license, which I would appreciate if you would put up personally. GEARY (laughing) Good afternoon, gentlemen. [He opens the door and walks out] KAY, I didn't know you were out here. Honey, we have to go -- we're 30 minutes late. KAY Oh really? I'm sorry. GEARY Mrs. Corleone, I've been delighted. KAY Oh, no -- GEARY Thank you. KAY -- It was our pleasure. Thank you so much; it was wonderful talking with you. CUT TO: People dancing. Music plays outside. CUT TO: FREDO's boat pulls up to the dock. CUT TO: BUTTONMAN looks around. CUT TO: More BUTTONMEN look around at the party. CUT TO: FREDO and JOHNNY OLA and others get off the boat and onto the dock CUT TO: PENTANGELI drinking out of the hose held by WILLIE CICCI. PENTANGELI FREDO! FREDO, you son of a bitch, you look great! [PENTANGELI runs toward him.] FREDO FRANK PENTANGELI, I thought you was never coming out west you big bum! [They give each other a hug.] PENTANGELI I gotta check on my boys, uh? Hey, FREDO what's with the food around here? FREDO What's the matter. PENTANGELI A kid comes up to me in a white jacket, gives me a Ritz cracker, and uh, chopped liver, he says Canap閟. I say uh, uh, can o' peas my ass, that's a Ritz cracker and chopped liver! [FREDO laughs] PENTANGELI [Something in Italian, then] Bring out the peppers and sausage. FREDO Ah, seeing you reminds me of New York -- the old days, huh! PENTANGELI Hey, FREDO -- you remember, uh, WILLIE CICCI, he was with old man CLEMENZA in Brooklyn. Yeah, look here -- FREDO Look, we were all upset about that, Frankie. Heart attack, huh? WILLIE CICCI No - No, that was no heart attack. PENTANGELI Tha's -- Tha'sa -- That's what I'm here to see your brother Mike about. But wha' -- what's with him? FREDO What do you mean? PENTANGELI I mean, what do I hafta do, get a letter of introduction to get a sit-down? FREDO You, you can't get in to see Mike? PENTANGELI He's got me waiting in a lobby! CUT TO: MICHAEL's office. JOHNNY OLA enters. JOHNNY OLA (shaking hands with AL) JOHNNY OLA. AL NERI AL NERI . MICHAEL Sit down. You know my lawyer, TOM HAGEN -- JOHNNY OLA. JOHNNY OLA Sure, I remember TOM from the old days. MICHAEL ROCCO - (then) What's this? JOHNNY OLA It's an orange -- from Miami. MICHAEL Why don't you take care of JOHNNY's men -- they look like they might be hungry. JOHNNY -- sit down. TOM isn't gonna sit in with us -- he only handles specific areas of the family business. TOM -- TOM Sure, Mike. MICHAEL What are you drinking, JOHNNY? JOHNNY OLA Anisette. MICHAEL Anisette. TOM If you need anything, Mike, I'll be outside, alright? [TOM walks out the door.] MICHAEL Just tell ROCCO we're waiting, TOM JOHNNY OLA I just left, uh, Mr. ROTH in Miami. MICHAEL How's his health? JOHNNY OLA Ahh -- it's not good. MICHAEL Is there anything I can do -- anything I can send? JOHNNY OLA He appreciates your concern, MICHAEL -- and your respect. The casino you're interested in -- the registered owners are Jacob Lawrence, Allen Barclay - they're both Beverly Hills Attorneys. The real owners are the old Lakeville Road group from Cleveland, and our friend in Miami. Meyer Klingman runs the store -- he runs a piece of it, too -- he does alright. But I've been instructed to tell you that if you move Klingman out, our friend in Miami will go along. MICHAEL That is very kind of him. You tell him, that's greatly appreciated. JOHNNY OLA HYMAN ROTH always makes money for his partners. One by one, our old friends are gone. Death -- natural or not - prison -- deported. HYMAN ROTH is the only one left -- because he always made money for his partners. CUT TO: Outside, PENTANGELI runs up to the stage. PENTANGELI Wha'? Wha'? I can't believe, out of thirty professional musicians, there isn't one Italian in, in the group here. Come, let's have a tarantella. Come on -- [PENTANGELI begins to hum the tune, piano joins in] You! Up! Clarinet up , up, up! [He hums some more] What's da matta? What's da matta? [ He is still humming when the clarinet begins to play "Pop Goes The Weasel." PENTANGELI gets mad as the whole group joins in] CUT TO: MICHAEL's boathouse. CONNIE and MERLE walk in. MICHAEL (to MERLE) I'll see my sister alone. MERLE It concerns me, too. Is it okay, Mike, if I stay? CONNIE How are you, honey? You met MERLE -- he was with me in Vegas. MICHAEL I saw him with you MERLE Could I have a drink or something? MICHAEL Que voi? CONNIE (to AL NERI) Al, would you please get him a drink! (then, to MICHAEL) We're going to Europe next week. I'd like to book passage on The Queen MICHAEL So what do you come to me for -- why don't you go to a travel agent? MERLE We're getting married first. MICHAEL The ink on your divorce isn't dry yet and your getting married? You see your children on weekends -- You know your oldest boy, Victor, was picked up in Reno for some petty theft that you don't even know about-- CONNIE MICHAEL! MICHAEL -- You fly around the world with men who don't even care about you, and use you like a whore! CONNIE MICHAEL, you're not my father! MICHAEL Then what do you come to me for? CONNIE 'Cause I need money. MICHAEL CONNIE - CONNI, CONNIE, CONNIE, CONNIE, CONNIE -- I wanna be reasonable with you. Now, why don't you stay with us - with the family. You can live here on the estate with your kids. You won't be deprived of anything and you can have everything you want. Now -- I don't know this MERLE -- I don't know what he does -- I don't know what he lives on. Now why don't you tell him that marriage is out of the question, and you don't want to see him anymore. Now he'll understand, believe me. [CONNIE and MERLE reach out to hold hands] CONNIE -- if you don't listen to me -- and marry this man -- you'll disappoint me. CUT TO: Outside, nighttime. A bonfire is burning and a man throws a log down. CUT TO: A boat passes by. CUT TO: People walk along the boardwalk CUT TO: Band playing on the stage. CUT TO: Outside the family sits at a table. MAMA Corleone Avive. MICHAEL Cent' anni Everyone Cent' anni DEANNA What's "Chen dandy"? FREDO Cent' anni -- It means a hundred years. CONNIE It means we should all live happily for a hundred years -- the family. That'd be true if my father were still alive. MAMA CORLEONE CONNIE -- CONNIE MERLE, you've met my sister-in-law, DEANNA. [They shake hands] FREDO's wife. DEANNA Pleasure MERLE How do you do. MAMA CORLEONE [to Tom, in Italian] [A reference to DEANNA and MERLE] TOM HAGEN [in Italian] [Responds] MERLE (to CONNIE) What did she mean by that? PENTANGELI (in Sicilian) Hey, Michael - excuse me. [laughs] With all respect I didn't come here to eat dinner! MICHAEL I know, I know. [PENTANGELI knocks over a glass of wine, everyone looks at him.] Bene! CUT TO: DEANNA and another man dance. She is obviously drunk. CUT TO: FREDO looking on. CUT TO: DEANNA falls onto the dance floor. CUT TO: MICHAEL looking on. CUT TO: FREDO jogging to take her away. CUT TO: MICHAEL whispering something to ROCCO. CUT TO: FREDO grabbing her. DEANNA What's the matter? I just, I just want to dance! FREDO Dancing is one thing -- you're fallin' all over the floor. DEANNA I know what's the matter with you - you're just jealous because he's a real man. FREDO I swear to God, DEANNA, I'm gonna belt you right in the cheek. DEANNA Ah, you couldn't belt your MAMA. You know something, those daigos are crazy when it comes to their wives. [ROCCO walks up to FREDO] ROCCO (to FREDO) MICHAEL says that if you can't take care of this -- I have to. FREDO Maybe you better. DEANNA Never marry a WOP! they treat their wives like shit! [ROCCO runs over and gabs he] I didn't mean to say WOP. Ahh, Ahh woo! ROCCO! Oh! What are you doing to me -- help -- FREDO! FREDO (to MICHAEL) I can't control her, Mikey. MICHAEL You're my brother, FREDO, you don't have to apologize to me. CUT TO: MICHAEL's boathouse. MICHAEL CLEMENZA promised the Rosato brothers three territories in the Bronx after he died. You took over, and you didn't give it to them. PENTANGELI I weltched? MICHAEL You weltched. PENTANGELI Yeah, CLEMENZA promised them [something in Italian] CLEMENZA promised them nothing. He hated those son of a bitches more than I do. MICHAEL Frankie, they feel cheated. PENTANGELI MICHAEL, your sitting high up in the Sierra mountains. And your drinkin' - uh, what's he drinkin'? WILLIE CICCI Champaign PENTANGELI Champaign, Uh, Champaign Cocktails -- and you're passing judgment on how I run my Family. MICHAEL (in Sicilian) Your Family -- Your Family's still called Corleone. And you'll run it like a Corleone. PENTANGELI (in Sicilian) My family doesn't eat here; doesn't eat in Las Vegas -- and doesn't eat in Miami -- with HYMAN ROTH. MICHAEL Frankie -- you're a good old man -- and I like you. And you were loyal to my father for years. PENTANGELI The Rosato brothers - they're taking hostages. Hey, Mike, they spit right in my face. All because they're backed up by that Jew in Miami. MICHAEL I know -- that's why I don't want them touched. PENTANGELI You don't want 'em touched. MICHAEL No, I want you to be fair with them PENTANGELI You want me to be fair with them? TOM -- how can you be fair to animals? TOM -- for Crissakes, listen -- They recruit spics -- they recruit niggers -- and they do violence in their, in their Grandmother's neighborhoods. And everything with them is whores -- whores! [something in Italian] junk dope! And they leave the gambling to last. Now I want to run my family without you on my back, and I want those Rosato brothers dead! MICHAEL No! PENTANGELI Mort' MICHAEL Now I have business that's important with HYMAN ROTH -- I don't want it disturbed. PENTANGELI And you give your loyalty to a Jew before your own blood. MICHAEL Come on, Frankie, you know my father did business with HYMAN ROTH -- he respected him. PENTANGELI Your father did business with HYMAN ROTH, your father respected HYMAN ROTH. But your father never trusted HYMAN ROTH -- or his Sicilian messenger boy, JOHNNY OLA! (then, in Sicilian) You'll have to excuse me -- I'm tired, and I'm a little drunk! (then, in English) And I want everyone here to know -- there's not gonna be no trouble from me! Don Corleone. Cicc', a porta! NERI You want him to leave now? MICHAEL Let him go back to New York -- I've already made my plans. That old man had too much wine. [He drinks, then looks at his watch.] It's late CUT TO: Outside. MICHAEL and KAY dance. MICHAEL How's the baby? KAY Sleeping inside me. MICHAEL Does it feel like a boy? KAY Yes, yes it does MICHAEL. MICHAEL KAY -- I'm sorry about all the people today -- bad timing -- it couldn't be helped, though. KAY It made me think of what you once told me - "in five years the Corleone Family will be completely legitimate." That was seven years ago. MICHAEL I know -- I'm trying, darling. CUT TO: A boat passes by the Corleone Estate once more. CUT TO: MICHAEL walks into his bedroom and sees a picture drawn by ANTHONY of MICHAEL in a car. It has boxes to check if he likes it or not. MICHAEL Did you see this? KAY Uh huh. (then) MICHAEL? Why are the drapes open? [MICHAEL looks at the drapes and then gunshots ring out and bust through the window just missing MICHAEL. MICHAEL crawls on the floor towards KAY. He pulls her from the bed onto the floor and covers her with his body] Are you all right? Are you hit? It's over It's over. CUT TO: Outside a siren rings and dogs bark. CUT TO: GUARDs shutting the gate CUT TO: The lights being turned on. CUT TO: A man turning on the power to the lights. CUT TO: ROCCO running up to MICHAEL. ROCCO They're still on the property. Please, MICHAEL, please stay inside. MICHAEL Keep them alive. ROCCO We'll try. MICHAEL ROCCO! Alive! ROCCO Stay by the door. CUT TO: The dogs are released and run into the drains. CUT TO. A light searching. CUT TO: People searching. CUT TO: People outside MICHAEL's room. CUT TO: MICHAEL, KAY and the kids inside; everyone is quiet. CUT TO: Dogs sniff the docks CUT TO: Men armed with machine guns escort MICHAEL around. CUT TO: Boat, now equipped with a strobe light, searches. CUT TO: A room in the estate; TOM knocks. MICHAEL Yeah, come in. TOM Mikey, you all right? MICHAEL Yeah -- there's a lot I can't tell you -- and I now that's upset you in the past. TOM A little. MICHAEL Yeah -- you felt it was because of some lack of trust of confidence -- but it's -- it's, because I admire you and I love you that I kept things secret from you. That's why at his moment you're the only one I completely trust. FREDO -- ah, he's got a good heart -- but he's week, and he's stupid, and this is life and death. TOM, you're my brother. TOM I always wanted to thought of as a brother by you, Mikey -- a real brother. MICHAEL I know. You're gonna take over -- you're gonna be the Don. If what I think has happened has happened, I'm gonna leave here tonight. I give you complete power, TOM -- over FREDO and his men, ROCCO, NERI, everyone. I am trusting you with the lives of my wife and my children -- the future of this family. TOM If we catch these guys do you think we'll be able to find out who's backing them? MICHAEL That's not the catch -- unless I'm very wrong, they're dead already. They're killed by somebody close to us -- inside. Very, very scared they botched it. TOM What about your people ROCCO and NERI? You don't think that they had something to do with this. MICHAEL You see -- all our people are business men, their loyalty is based on that. Now, one thing that I learned from Pop was to try to think as people around you think. Now on that basis, anything's possible. CUT TO: Outside, DEANNA screams DEANNA Right out my window! I want to get out of here! They're lying there dead! CUT TO: BUTTONMEN running to the drain. BUTTONMAN Over here there's two of them. Looks like they were hired out of New York, I don't recognize them. We won't get anything out of them now. MICHAEL Fish 'em out. [Two BUTTONMEN fish out the bodies] TOM Alright, get rid of the bodies. ROCCO Where's Mike? TOM ROCCO. [TOM walks off.] CUT TO: MICHAEL walks into ANTHONY's room. MICHAEL ANTHONY, everything's gonna be all right. Try and sleep. [He kisses ANTHONY on the cheek] Did you like your party? ANTHONY I got lots of presents. MICHAEL I know. Did you like them? ANTHONY I didn't know the people who gave them to me. MICHAEL They were friends. ANTHONY Did you see my present for you? MICHAEL It was on my pillow. ANTHONY, I'm gonna be leaving very early tomorrow. ANTHONY Will you take me? MICHAEL No, I can't ANTHONY. ANTHONY Why do you have to go? MICHAEL 'Cause I have to do business. ANTHONY I could help you. MICHAEL Someday you will. VITO CORLEONE NEW YORK CITY 1917 [We see a baby (SANTINO) playing in a playpen. VITO picks him up and rocks him.] CUT TO: A playhouse with VITO and GENCO. GENCO She's really beautiful. You've got to see her. [The first part of the play finishes] Wait till you see her, words can't describe her. Performer (PEPINO) [in Italian] I left Naples, I left my mama, for a no-good tramp. Now, here I am, in America, in New York. Alone! Thinking of my mother. Without news from home -- [there's a knock at the door] Enter! GIRL (entering stage) [in Italian] Pepino, a letter for you! Performer (PEPINO) [in Italian] Finally, a letter from Naples! GENCO [in Italian] VITO, how do you like my little angel? Isn't she beautiful? VITO [in Italian] She's very beautiful. To you, she's beautiful. For me, there's only my wife and son. Performer (PEPINO) [in Italian] Our dear mother -- is dead! [He cries] Mama! Mama Mia! [He pulls out a gun and starts to sing "Senza Mama" ("Without Mama")] GENCO [in Italian] We'll go backstage later and take her out to eat. [Don FANUCCI stands up.] Sit down, you Bum. [Don FANUCCI turns and looks at GENCO] Oh, excuse me, Don FANUCCI [Don FANUCCI leaves] We'll go see her backstage VITO [in Italian] Who was that? GENCO [in Italian] The Black Hand. [The girl exits the stage] VITO Come on come on let's go see her backstage. [in Italian] CUT TO: They enter the backstage area. GENCO [in Italian] That's FANUCCI -- The Black Hand. MANAGER [in Italian] We'll talk about it tomorrow. FANUCCI [in Italian] Tomorrow -- always tomorrow. You'll pay me today! You'll pay me today [FANUCCI grabs the girl ad puts a knife to her face.] GENCO [in Italian] Let's go. MANAGER [in Italian] Not my daughter! Let her go! Here take all my money! [FANUCCI takes money out of the box offered by the manager] GENCO [in Italian] VITO, come here, come on. [They walk outside.] I know what you're thinking. But you don't know how things are. FANUCCI's with the Black Hand. The whole neighborhood pays him. Even my father in the, in the grocery store. VITO [in Italian] If he's Italian -- why does he bother other Italians? GENCO [in Italian] He knows they have nobody to protect them. Forget that. Did you like my angel? VITO [in Italian] If you're happy, I'm happy CUT TO: Outside the Abbandando Groceria, VITO walks a basket of fruit down the street. CUT TO: Inside the Corleone home, VITO and MAMA are having dinner. MAMA Don't you feel well? Is your boss treating you all right? VITO Forget it. [A stone hits the window. We hear a voice outside.] CLEMENZA (O.S.) Hey! Paisan! (then) You speak Italian? [VITO looks out the window, then goes into the bathroom. He opens the window to see CLEMENZA.] CLEMENZA [in Italian] Hide this for me! Next week I'll come and get it! [He tosses VITO a bag. VITO shuts the door to the bathroom. Then he puts the bag in the bathtub and unravels the rags. The wad of rags hides an assortment of guns.] CUT TO: Inside of the ABBANDANDO grocery store. FANUCCI enters. FANUCCI [in Italian] ABBANDANDO, meet my nephew! How's business? [ABBANDANDO shrugs. FANUCCI reaches inside the cash register and pulls out some coins.] It's good, it's good. CUT TO: VITO sits down at a table with GENCO. GENCO [in Italian] FANUCCI's mad. Says the neighborhood's getting sloppy. People don't pay on time, don't pay the full amount. Says he's been to nice to everybody. [We see ABBANDANDO and FANUCCI fighting.] VITO [in Italian] So FANUCCI's changing? GENCO [in Italian] Sure. He wants double from everybody. Even from my father. FANUCCI (to ABBANDANDO) [in Italian] I'm a friend, right? So you'll let him work here? [FANUCCI pats ABBANDANDO on the cheek in gratitude. ABBANDANDO paces around.] ABBANDANDO [in Italian] VITO, come here. [VITO walks over to ABBANDANDO] VITO -- I've got some bad news. I feel rotten about telling you this -- but FANUCCI -- he's got a nephew -- [ABBANDANDO searches for the right word.] VITO And you have to give him my job. You've always been good to me, ever since I came here. You looked after me like a father. I thank you. And I won't forget it. [VITO hugs him] CUT TO: Outside VITO walks down the street. ABBANDANDO (out of picture) VITO. [VITO sees ABBANDANDO walking up with a basket of fruit.] VITO No, No, No. ABBANDANDO [in Italian] Take this to your family. VITO [in Italian] Thanks anyway. But please, I can't accept. [They argue in Italian but VITO still refuses the gift. He walks off.] CUT TO: The Corleone home. VITO walks in. He takes off his hat and unwraps a pear that he places on the Dinner table. MAMA What a nice pear! [VITO removes his coat and sits down and kisses his wife.] CUT TO: Outside on the street Peter CLEMENZA walks up to VITO. CLEMENZA [in Italian] I'm CLEMENZA, you still have my goods? [VITO nods.] Did you look inside? VITO I'm not interested in things that don't concern me. CUT TO: Inside a Caf? CLEMENZA and VITO sit and drink esspresso. CLEMENZA [in Italian] A friend of mine has a nice rug. Maybe your wife would like it. VITO [in Italian] Sure, she would. But who has the money for a rug? CLEMENZA [in Italian] It would be a present. I know how to return a favor. VITO [in Italian] Yea sure -- my wife would like it. CUT TO: Outside CLEMENZA and VITO walk down the street. CLEMENZA VITO [In Italian "Let's go"] CUT TO: Outside a house's door. CLEMENZA rings the buzzer and nobody answers. CLEMENZA [in Italian] The son of a bitch! He isn't home. [He says something in Italian then looks under the rug.] Damn, he didn't even leave the key. [He reaches into his coat and pulls out a small lever.] Well, he won't mind. [He pries the door open.] Come on in. Hey VITO come on in. [CLEMENZA walks over and puts his arm around VITO. VITO looks then enters.] CUT TO: Inside a well lavished house. VITO [in Italian] This is your friend's place? CLEMENZA Si [Something in Italian.] VITO [in Italian] This is a real palace. CLEMENZA [in Italian] Only the best. [CLEMENZA begins to move furniture off of the rug. Then he move towards the table in the center of the room.] CLEMENZA [in Italian] VITO give me a hand, will you? [VITO looks around again then helps CLEMENZA carry the table off the rug. CLEMENZA begins to roll the rug as VITO looks around. Someone knocks on the door. CLEMENZA walks to the door and looks out. He holds a gun to the edge of the door, at head height, as a POLICE OFFICER looks in. The POLICE OFFICER tries the door knob to no avail, then leaves.] CUT TO: Outside of VITO's apartment. CLEMENZA and VITO carry the rug up the stairs. CUT TO: Inside the Corleone home. CLEMENZA lays the rug down and grabs SANTINO. He starts to play with him. He puts him on the rug as SANTINO begins to cry. MAMA Look how pretty it is, SANTINO! CUT TO: A train with MICHAEL blows it's horn as it passes by. CUT TO: Inside the train. MICHAEL's BODYGUARD pours some water then sits down. CUT TO: Outside view of the train we see MICHAEL taking pills for his Diabetes. CUT TO: Florida. JOHNNY OLA is followed by MICHAEL and his BODYGUARD drive up to HYMAN ROTH's house. JOHNNY runs into the house. MICHAEL steps out of his car and walks to the ROTH house. MRS. ROTH walks into view. MRS. ROTH Come on in. It's all right come on in. HYMAN's in there. I was just making some lunch -- would you like a tuna sandwich? MICHAEL Uh, no thank you. [He walks out of the room and into a room that occupies HYMAN ROTH watching television] HYMAN ROTH Come in, MICHAEL. Sit down, make yourself comfortable. It's almost over -- you following the football game? MICHAEL Nope, not for a while I haven't. ROTH I enjoy watching football in the afternoon, one of the things I enjoy about this country; baseball, too. I've loved baseball ever since Arnold Rothstein fixed the World Series in 1919. [They both chuckle.] I heard you had some trouble. Stupid -- people behaving like that with guns Important thing is, that you're alright. Good health -- the most important thing in the world. More than success, more than money -- more than power. [MICHAEL stands up and shuts the door; moves the chairs closer as ROTH turns up the TV.] MICHAEL I came here because there is gonna be more blood shed. I want you to know about it before it happens so that there's no danger of starting another war. ROTH Nobody wants another war. MICHAEL FRANK PENTANGELI came to my home and he asked my permission to get rid of the Rosato brothers. When I refused, he tried to have me killed. He was stupid, I was lucky; I'll visit him soon. The important thing is that nothing interferes with our plans for the future. Yours and mine. [ROTH shakes his head.] ROTH Nothing is more important. [There is a long pause between them, then.] You're a wise and considerate young man MICHAEL And you're a great man, Mr. ROTH. There's much I can learn from you. ROTH Whatever I can do to help, MICHAEL. [At that moment MRS. ROTH opens the door and walks in with lunch.] MRS. ROTH Excuse me -- lunch. ROTH Come in. MRS. ROTH Honey Bunny, you're gonna break you eardrums. [She turns down the TV then begins to walk out.] Okay, enjoy it. ROTH Thanks. [She shuts the door behind her on the way out.] You're young, I'm old and sick. What we'll do together in the next few months will make history, MICHAEL -- history. It's never been done before. Not even your father would dream that such a thing could be possible. MICHAEL Then PENTANGELI is a dead man, you don't object. ROTH He's small potatoes. CUT TO: Outside of the old Corleone compound in New York. PENTANGELI steps out of his car. BUTTONMAN (O.S.) Hey Cicc' PENTANGELI (to BODYGUARDS) What's up? We got company Huh. [ He walks past MICHAEL's BODYGUARD and into the house where his wife is.] [Something in Italian] MRS. PENTANGELI [in Italian] MICHAEL Corleone is here. He's in the den. You better hurry. He's been waiting a half hour. [He takes off his coat and scarf, and brushes back his hair.] Is something wrong? [He opens the door to see MICHAEL looking out the window. PENTANGELI Don Corleone, I wish you would o' let me know you were coming; I could o' prepared something for you. MICHAEL I didn't want you to know I was coming. [PENTANGELI shuts the door.] You heard what happened in my home? PENTANGELI Mike, I almost died myself -- we was all so relieved -- MICHAEL (shouting) In my home! In my bedroom, were my wife sleeps! Where my children come and play with their toys. In my home. [A long pause, MICHAEL sits down.] I want you to help me take my revenge. PENTANGELI MICHAEL, anything -- what can I do? MICHAEL Settle these troubles with the Rosato brothers. [PENTANGELI is confused.] PENTANGELI Mike, I don't understand, I don't -- look -- I don't have your brain -- uh -- for big deals -- but this is a street thing. That HYMAN ROTH in Miami -- he's backing up those son of a bitches. MICHAEL I know he is. PENTANGELI Why do you ask me to lay down to them Mike? [A long pause.] MICHAEL It was HYMAN ROTH that tried to have me killed. I know it was him. PENTANGELI Now -- Jesus Christ, Mike, Jesus Christ. Look, let's get 'em all -- let's get 'em all now, while we got the muscle. [Another long pause then MICHAEL stands up.] MICHAEL This used to be my father's old study -- it's changed. I remember there used to be a big desk, righthere. I remember when I was a kid, Frankie, we had to be very quiet when we played near here. I was very happy that this house never went to strangers -- first CLEMENZA took it over, now you. My father taught me many things here -- he taught me in this room. (then, as Michael sits beside PENTANGELI) He taught me -- keep your friends close but your enemies closer. Now, if HYMAN ROTH sees that I interceded in this thing, and the Rosato brothers failed him, he's gonna think his relationship with me is still good. Capide? PENTANGELI [Acknowledge in Italian.] MICHAEL That's what I want him to think. I want him completely relaxed, and confident, in our friendship. Then I'll be able to find out who the traitor in my family was. CUT TO: The bedroom of FREDO's house-late night. FREDO and DEANNA are sleeping. The telephone begins to ring. FREDO picks it up. FREDO Yea? Voice of JOHNNY OLA FREDO, this is JOHNNY -- JOHNNY OLA. We need some more help. FREDO JOHNNY, Jesus Christ, what the hell time is it? DEANNA Who's that, honey? FREDO Shhh -- Voice of JOHNNY OLA. Listen good, FREDO. FREDO What are you calling me here for? I don't want to talk to you. Voice of JOHNNY OLA PENTANGELI set up a meeting with the Rosato brothers -- says he's gonna go for their deal. FREDO Oh, God -- Voice of JOHNNY OLA Will he come alone? FREDO I don't know anything -- you got me in deep enough already. Voice of JOHNNY OLA Just go along, everything will be alright FREDO -- PENTANGELI says he's willing to make the deal. All we want to know is if he's on the level or if he's gonna bring his boys.. FREDO You guys lied to me -- I don't want you to call me anymore. Voice of JOHNNY OLA Your brother's not going to find out we talked. FREDO I don't know what you're talking about. [He hangs up the phone and sits up in bed.] DEANNA Who was that? FREDO Ahh -- wrong number -- CUT TO: On the streets in front of a bar in New York (7th Street & Avenue B). PENTANGELI and WILLIE CICCI walk up to CARMINE ROSATO. CARMINE ROSATO Frank -- I got nobody here. PENTANGELI Wait in the car, Cicc'. WILLIE CICCI Frankie -- PENTANGELI It's okay, Cicc'. [CICCI walks off and CARMINE ROSATO gives PENTANGELI something.] What's this, Rosato? CARMINE ROSATO It's a lucky C-note for our new deal. [They walk inside.] CARMINE ROSATO RICHIE, give us some, (pants?) [They sit at the bar] We're all real happy about your decision, Frankie. You're not gonna regret it. PENTANGELI I don't like the C-note Rosato -- I take that as an insult [TONY ROSATO comes up from behind and begins to garrote PENTANGELI.] TONY ROSATO Michael Corleone says hello! [He drags him over to a phone booth where he is joined by two other BUTTONMEN.] BUTTONMAN #1 Get his head in. TONY ROSATO Close the fuckin' door CARMINE ROSATO A cop what the fu -- [The BUTTONMEN scatter as the cop comes in.] COP Hey RICH, it's dark in here. Are you open or closed? RICH Hey, I just came in to clean up a little -- you know. [The cop walks around.] What's the matter? COP Is that something in the floor? [Carmine pulls out a gun] RICH Carmine, no! No, not here! Not here! CARMINE ROSATO. ANTHONY! RICH Not here, Carmine, let him go! [The BUTTONMEN and TONY push the cop down and start to run out.] TONY ROSATO You open this fucker, I'm gonna blow your head off. BUTTONMAN #2 CARMINE! [We hear a gun battle outside and see PENTANGELI barely alive.] CUT TO: Outside a gun battle rages in the street. CUT TO: A BUTTONMAN is arrested. CUT TO: CICCI stands up and fires into the Rosato car. The car hits him. CUT TO: At night, a plan taxies on the runway. CUT TO: Inside a Fredo's club. FREDO and TOM walk in and shake hands with the manager. MANAGER Freddie, good to see ya. TOM How is he? MANAGER He's okay -- he's in the back. [They walk to the back of the club.] Come on girls, take a hike. (then) In this room here. TOM I want to talk to him alone first. MANAGER Come on; Huh. [TOM walk in to a room alone.] TOM I thought I could help you SENATOR. GEARY Hagen. [TOM nods.] Listen, I did not -- TOM I know, you're alright. GEARY I didn't do anything. TOM It's okay. You're very lucky -- my brother FREDO operates this place, he was called before anyone. If this had happened someplace else, we couldn't've helped you.. GEARY I -- when I woke up, I was on the floor -- and I don't know how it happened. TOM You can't remember? GEARY I passed out. [He stands up and moves over the bed where we see a bloody dead girl.] I -- I'll fix it. [He unties the girl's hand from the bed post.] Just a game. [He takes a towel and begins to wipe up the blood that is all over her. He looks at the towel and wipes off his hands.] Jesus, Jesus. [He begins to cry. As he does, TOM looks over at NERI who is wiping his hands in the bathroom.] Jesus, God -- Oh, God. I don't know -- and I can't understand -- why I can't remember. TOM You don't have to remember -- just do as I say. We're putting a call into your office -- explain that you'll be there tomorrow afternoon -- you decided to spend the night at Michael Corleone's house in Tahoe -- as his guest. GEARY I do remember that she was laughing...we'd done it before -- and I know that I couldn't've hurt -- that girl TOM This girl has no family -- nobody knows that she worked here. It'll be as if she never existed. All that's left is our friendship. CUT TO: Lake Tahoe Resort. A car pulls up the gate. The car has KAY driving and the kids are in the back. A BUTTONMAN comes up to KAY. KAY Yes? BUTTONMAN I'm sorry, Mrs. Corleone, we're not to let you through. KAY I'm just going to the market. [The BUTTONMAN waves his hand and the gate is closed.] BUTTONMAN Well, if you'll just give us a list, we'll pick up anything you like. KAY Whose orders are these? BUTTONMAN Mr. Hagen's, ma'am -- he's coming over here now. KAY Alright, well, I'm just goin' to have to speak with Mr. Hagen. [KAY gets out of the car as TOM walks up the path towards KAY.] TOM I um -- wanted to explain this but I had business in Carlton City. Now, this is MICHAEL's request for your safety. Now, we can send out for anything you need. KAY I see -- I'm supposed to stay in my house? TOM No, within the compound will be fine. KAY TOM, I was going to take the children to New England next week. TOM That's off. KAY Am I a prisoner? Is that it? TOM That's not the way we look at it, KAY. KAY All right -- come on kids, we're going back to the house BUTTONMAN JOE! [JOE steps into the car.] CUT TO: The lakefront of Havana. MICHAEL's car drives by. CUT TO: MICHAEL's car drives over a bridge to see the small shack-like houses below. CUT TO: MICHAEL's car driving along the streets of Havana; people cross the street as soon as MICHAEL's car passes by. CUT TO: MICHAEL looking out the window. CUT TO: People on the street. A kid tries to lure a man into a club. CUT TO: People trying to sell maps of Cuba. CUBAN SALES CHILD Cuba! Cuba! CUT TO: People walking in front of MICHAEL's car. CUT TO: MICHAEL's car passes by a bus full of tourists. CUT TO: A man on the street flings a torch around as many people watch. CUT TO: Children begging for money. CUT TO: MICHAEL's BODYGUARD rolls up the window. CUT TO: Children trying to sell newspapers. CUT TO: A meeting of a number of people including MICHAEL Corleone. CUBAN RULER, Fulgencio Batista Most respected Gentlemen -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- allow me to welcome you to the city of Havana. TRANSLATOR [Translates] CUBAN RULER [in Spanish] I want to thank this distinguished group of American industrialists -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- for continuing to work with Cuba. TRANSLATOR [Translates] CUBAN RULER [in Spanish] For the greatest period of prosperity -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- in her entire history. TRANSLATOR [Translates] CUBAN RULER [in Spanish] Mr. William Shaw -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- representing the General Fruit Company. TRANSLATOR [Translates] CUBAN RULER [in Spanish] Fred Corngold and Mr. Dant -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- for the United Telephone and Telegraph Company. TRANSLATOR [Translates] CUBAN RULER [in Spanish] Mr. Petty -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- Regional Vice President of the Pan-American Mining Corporation. TRANSLATOR [Translates] CUBAN RULER [in Spanish] Mr. Robert Allen of South American Sugar. TRANSLATOR [Translates] CUBAN RULER [in Spanish] And Mr. MICHAEL Corleone of Nevada -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- representing our associates in tourism and leisure activities. TRANSLATOR [Translates] CUBAN RULER [in Spanish] And my old friend and associate from Florida -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- Mr. HYMAN ROTH TRANSLATOR [Translates] CUBAN RULER [in Spanish] I would like to take this opportunity to thank United Telephone and Telegraph for their lovely Christmas gift -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- a solid gold telephone. TRANSLATOR [Translates] CUBAN RULER [in Spanish] Perhaps you gentlemen would like to take a look at it. TRANSLATOR [Translates] GUEST #1 Mr. PRESIDENT CUBAN RULER [in Spanish] Yes! GUEST #1 Perhaps you would discuss the status of rebel activate and -- uh -- what this can do to our businesses? CUBAN RULER [in Spanish] Of course -- I want to assure you that although the rebels have mounted an impressive campaign in Las Villas -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- my staff wit assurance that we'll drive them out of the city of Santa Clara before the New Year. TRANSLATOR [Translates] CUBAN RULER [in Spanish] And I want to you all as is -- TRANSLATOR [Translates] CUBAN RULER [in Spanish] -- we will tolerate no guerrillas in casinos, or the swimming pools. [All laugh.] CUT TO: Outside on the streets of Havana. A man runs in front of JOHNNY OLA's car and the driver honks the horn at him. A Cuban police officer walks up to the car and talks to the driver. OFFICER [Something in Spanish] [We see OFFICERS making an arrest of a rebel.] DRIVER He say that they're making an arrest and that in a few minutes he'll let us through. JOHNNY OLA It's nothing. Just some lousy bandits. The police are cleaning them up. [The rebel pushes a police captain into the car and explodes a grenade that he had hidden in his jacket.] CUT TO: On top of a Cuban building. A birthday cake for HYMAN ROTH is wheeled toward him and a small group of people. The cake has a drawing of Cuba on it. ROTH I hope my age is correct -- I'm always accurate about my age. Make sure that everyone sees the cake before we cut it. I'm very pleased you were all able to come from such distances to be with me today. When a man comes to this point in his life -- he wants to turn over the things that he's been blessed with -- turn them over to friends. As a reward for the friends he's had -- and to make sure everything goes well after he's gone. JOHNNY OLA Not for years. EVERYONE Hear! Hear! ROTH Well, we'll see; the doctors would disagree, but what do they know? These are wonderful things that we've achieved in Havana -- and there's no limit to where we can go from here. This kind of Government knows how to help business...to encourage it -- the hotels here are bigger and swankier than any of the rug joints we've put in Vegas -- and we can thank our friends in the Cuban government -- which has put up half of the cash with the Teamsters on a dollar for dollar basis -- has relaxed restrictions on imports. What I am saying now is we have what we have always needed -- real partnership with the government. [The waiter brings over a piece of cake but ROTH rejects it.] Smaller piece. (then, to the group) You all know MICHAEL Corleone -- and we all remember his father. At the time of my retirement -- or death -- I turn over all my interests in the Havana operation -- MICHAEL (to WAITER) Grazie ROTH -- to his control. But -- all of you will share. The National will go to the Lakeville Road boys. The Capri to the Corleone Family. The Sevilla Biltmore, also, but Eddie Levine of Newport will bring in the Pennino Brothers -- Dino and Eddie - for a piece, and also to handle the actual casino operation. And we've saved a piece for some friends in Nevada, to make sure things go smooth back home. I want all of you to enjoy your cake -- so, enjoy. GUESTS Happy Birthday! MICHAEL I saw an interesting thing happen today. A rebel was being arrested by the military police, and rather than be taken alive, he exploded a grenade he had hidden in his jacket. He killed himself, and took a captain of the command with him. [ROTH looks concerned] Right JOHNNY. JOHNNY OLA Those rebels, you know, they're lunatics. MICHAEL Maybe so -- but it occurred to me. The soldiers are paid to fight -- the rebels aren't. ROTH What does that tell you? MICHAEL They can win. ROTH This county's had rebels for the last fifty years -- it's in their blood, believe me, I know. I've been coming here since the 20's. We were running molasses out of Havana when you were a baby -- the trucks, owned by your father. MICHAEL -- [ROTH tilts his head, a sign for MICHAEL to talk to him alone. The get up and walk.] -- I'd rather we talked about this when we were alone. The two million never got to the island. CUT TO: The inside of ROTH's room in the Capri. ROTH is lying on the couch talking to MICHAEL. ROTH I wouldn't want it to get around that you held back the money because you had second thoughts about the rebels. [A long pause as MICHAEL paces.] Sit down MICHAEL. [He pats a chair.] Sit down. [MICHAEL sits down next to ROTH.] If only I could live to see it -- to be there with you. Uh, what I wouldn't give for -- twenty more years. Here we are protected -- free to make our profits without key follow with the goddamn Justice Department and the FBI. Ninety miles away, partnership with a friendly government -- ninety miles. It's nothing. Just one small step, looking for a man that wants to be President of the United States -- and having the cash to make it possible. MICHAEL, we're bigger than U.S. Steel. CUT TO: Outside the Capri, a car that is driving FREDO from the airport pulls up. A man opens the door and another man gets his luggage. FREDO is caring one suitcase of his own. The porter tries to take it from him but FREDO pulls it away. He walks into the Capri. CUT TO: Inside the Capri, FREDO an MICHAEL embrace. The people in the room are MICHAEL, FREDO and MICHAEL's BODYGUARD. FREDO Mikey -- how are you, okay? [FREDO walks over to MICHAEL's BODYGUARD.] Hi, uh, Freddie Corleone. [FREDO holds out his hand and MICHAEL acknowledges in Italian that it's okay.] Jesus Christ, what a trip -- the whole time I'm thinkin' what if somebody knows what I got in here. Can you imagine that, huh? Two million dollars in the seat next to me in the plane? [He opens up the briefcase, unzips it, and begins to show MICHAEL the money. He then looks over at the BODYGUARD.] Whoop, excuse me. MICHAEL No, it's okay. FREDO You wanna count it? [MICHAEL doesn't answer instead he pats FREDO on the cheek.] FREDO MICHAEL, what the hell is goin' on anyway? I'm totally in the dark. MICHAEL The family's making an investment in Havana -- [MICHAEL takes the briefcase over to a guard.] -- This is a little gift for the PRESIDENT. FREDO Oh -- well that's great -- Havana's great -- it's my kinda town -- anybody I know in Havana? MICHAEL Oh, HYMAN ROTH, JOHNNY OLA. [FREDO looks distracted.] FREDO No -- I never met them. [There is a long pause as we hear sirens in the background.] Listen, Mikey, I'm uh -- I'm kind of, uh -- [MICHAEL lights a cigarette for FREDO.] -- I'm kinda nervous from the trip. Can I -- can I get a - a drink or something? MICHAEL I thought maybe we'd -- we'd go out together. I know a place we can spend some time together - okay? CUT TO: An outside caf?where MICHAEL and FREDO are sitting at a small table together. FREDO Sometimes I think I shoulda married a woman like you did -- like KAY. Kids -- have a family. For once in my life -- be more like -- Pop. MICHAEL It's not easy to be his son -- it's not easy. FREDO You know MAMA used to tease me. She'd say, uh - "You don't belong to me; you were left on the doorstep by gypsies." Sometimes I think it's true. MICHAEL You're no gypsy, FREDO. FREDO Mikey -- I was mad at you. [There is a long pause as FREDO shuffles around.] Why didn't we spend time like this before? You wanna drink right? WAITER! [A waiter walks up to them.] Por Favor -- how do you say "banana daiquiri"? MICHAEL Banana daiquiri. FREDO That's it? MICHAEL Yes. FREDO Uno Banana Daiquiri. WAITER Banana Daiquiri. FREDO Si -- and uh -- a club soda. MICHAEL SENATOR GEARY is flying in from Washington tomorrow night with some people -- some government people. I want you to show them a good time in Havana. FREDO My specialty, right? MICHAEL Can I trust you with something, FREDO? FREDO Of course, Mike. MICHAEL Later on in the evening we're all invited to the Presidential Palace reception, to bring in the New Year. After it's over - they're gonna take me home in a military car -- alone -- for my protection. Before I reach my hotel, I'll be assassinated. [The waiter comes with their drinks.] WAITER Gracias FREDO Who? MICHAEL ROTH. [FREDO glances on with surprise.] It was ROTH who tried to kill me in my home. It was ROTH all along. He acts like I'm his son -- his successor -- but he thinks he's gonna live forever -- and he wants me out. FREDO How can I help? MICHAEL Just go along as if you know nothing. I've already made my move. FREDO What move? MICHAEL HYMAN ROTH will never see the New Year. CUT TO: Inside ROTH's Havana room in the Capri. JOHNNY OLA guides MICHAEL and his BODYGUARD into the room were ROTH is. A DOCTOR has inspected ROTH and begins to talk to MRS. ROTH in Spanish.] MRS. ROTH [translating the DOCTOR] Says you have to take it easy. And he's gonna give you a prescription. He'll be back tomorrow. ROTH I want my own doctor. Fly him in from Miami - I don't trust a doctor can't speak English. MRS. ROTH Gracias, se駉r ROTH Honey, go down to the casino. MRS. ROTH Well, if you're sure you're felling better. ROTH Feell fine. Play the bingo game. MRS. ROTH Alright. [Then to MICHAEL.] Nice to see you Mr. Paul. Just make yourself at home. [After she's left.] ROTH My sixth sense tells me your brother FREDO brought a bag full of money. Where is it? [MICHAEL is silent.] You're pulling out? MICHAEL Just wanna -- I just wanna wait. [ROTH and JOHNNY OLA exchange worried glances.] How do you fell? ROTH Terrible -- I'd give four million just to be able to take a piss without it hurting. MICHAEL Who had FRANK PENTANGELI killed? ROTH The -- Rosato brothers. MICHAEL I know -- but who gave the go ahead. I know I didn't. [Once again JOHNNY OLA and ROTH exchange glances. This time ROTH is mad.] ROTH There was this kid I grew up with -- he was younger than me. Sorta looked up to me -- you know. We did our first work together -- worked our way out of the street. Things were good, we made the most of it. During Prohibition -- we ran molasses into Canada -- made a fortune -- you father, too. As much as anyone, I loved him -- and trusted him. Later on he had an idea -- to build a city out of a desert stop-over for GI's on the way to the West Coast. That kid's name was Moe Green -- and the city he invented was Las Vegas. This was a great man -- a man of vision and guts. And there isn't even a plaque -- or a signpost -- or a statue of him in that town! Someone put a bullet through his eye. No one knows who gave the order -- when I heard it, I wasn't angry; I knew Moe -- I knew he was head-strong, talking loud, saying stupid things. So when he turned up dead -- I let it go. And I said to myself, this is the business we've chosen -- I didn't ask who gave the order -- because it had nothing to do with business! [He turns around and thinks of what he ju
The Godfather
FADE FROM BLACK TO: MICHAEL, in profile looking downward. He
holds out his hand and ROCCO kissing it.
DISSOLVE TO: A remote mountainside area of Sicily. We hear a
marching band playing in the background. The introduction is
overlaid:
THE GODFATHER WAS BORN VITO ANDOLINI IN THE TOWN OF CORLEONE IN
SICILY. IN 1901 HIS FATHER WAS MURDERED FOR AN INSULT TO THE
LOCAL MAFIA CHIEFTAIN. HIS OLDER BROTHER PAOLO SWORE REVENGE AND
DISAPPEARED INTO THE HILLS, LEAVING VITO, THE ONLY MALE HEIR, TO
STAND WITH HIS MOTHER AT THE FUNERAL. HE WAS NINE YEARS OLD.
[The marching band is followed by a procession of mourners
including VITO and his MOTHER. There is a casket, apparently
containing the body of VITO's father. Two gunshots ring out; all
run for cover. People are screaming.]
WOMAN (in Sicilian)
They've killed the boy! They've killed young PAOLO - they have
killed your son PAOLO! Murders! Murders!
[Young VITO and his mother run over to PAOLO's body, in a prone
position on the rocky ground]
VITO's MOTHER CICCIO (in Sicilian)
My son -- My son [more]
[She begins to cry. GAFFE: The actor who plays "dead" PAOLO moves
his hand as he's hugged]
CUT TO: Young VITO and his mother approach the gate to DON
CICCIO's villa and it is opened for them.
CUT TO: VITO and his MOTHER walking down a path.
CUT TO: DON CICCIO sitting drinking wine.
CUT TO: VITO and his mother walk down the path some more.
CUT TO: DON CICCIO puts down his glass and looks at VITO and his
MOTHER.
CUT TO: VITO's mother kisses DON CICCIO's hand
VITO's MOTHER (in Sicilian)
All my respect DON CICCIO. DON CICCIO you killed my husband
because he wouldn't give into you. And his oldest son PAOLO --
because he swore revenge. But VITO is only nine. And dumb-witted,
He never speaks.
DON CICCIO (in Sicilian)
It's not his words I'm afraid of.
VITO's MOTHER (in Sicilian)
He's weak - he can't hurt anyone.
DON CICCIO (in Sicilian)
But when he grows, he'll grow strong.
VITO's MOTHER (in Sicilian)
Don't worry - this little boy can't do a thing to you.
[DON CICCIO stands up.]
DON CICCIO (in Sicilian)
When he is a man he'll come for revenge.
VITO's MOTHER (in Sicilian)
I beg you, DON CICCIO, spare my only son. He's all I have left. I
swear to God that he'll never do any harm to you. Spare him!
DON CICCIO
No.
[She reveals a concealed knife and holds it to DON CICCIO's
neck.]
MOTHER (in Sicilian)
Move and I'll kill him!
(then)
Run VITO!
[Young VITO watches as DON CICCIO's guards shoot his down, and he
runs away.]
DON CICCIO (in Sicilian)
Kill him! Kill him! Kill him!
CUT TO: The streets of Corleone at night.
GUARD (yelling in Sicilian)
Any family who hides Vito Andolini will regret it! You
understand? Yes or no!
(then)
Anybody who hides the boy Vito Andolini is in for trouble!
CUT TO: The guards walking down stairs.
CUT TO: A family hiding VITO in a donkey cart.
MAN [Probably ABBANDANDO] (in Sicilian)
VITO, we're praying for you.
CUT TO: The man gets on the donkey that's carrying VITO.
GUARD yelling (in Sicilian)
If anyone is hiding the boy VITO Andolini -- turn him over to us.
DON CICCIO will thank you for it! It'll be better for the boy,
and better for you! Any family who hides the boy Vito Andolini
will regret it!
CUT TO: A courtyard. The donkey cart passes by the guards.
CUT TO: The donkey cart walking away.
DISSOLVE TO: "The Moshulu" entering New York Harbor, passing in
front of the Statue of Liberty.
CUT TO: VITO on the ship. He stands up and walks behind everyone.
CUT TO: Everyone getting off the ship.
CUT TO: VITO still walking.
CUT TO: Immigrants looking at the Statue of Liberty.
CUT TO: VITO looking at the Statue of Liberty also.
CUT TO: Inside Ellis.
CUT TO: MAN inspects VITO's eyes and writes an encirled X on him.
INSPECTOR (pointing)
NURSE --
CUT TO: All the immigrants waiting. A man playing a violin as
everyone is talking in different languages.
CUT TO: Immigrants trying to explain themselves. CAMERA pans left
along counter.
INTAKE OFFICER 1
Interpreter
INTAKE OFFICER 2
Where are you from?
INTAKE OFFICER 3
What is your name?
[VITO walks up.]
INTAKE OFFICER 4
What is your name? Come on son, what is your name?
TRANSLATOR
["What is your name?" in Italian]
then, looking at the tag on VITO's coat:
VITO Andolini from Corleone.
INTAKE OFFICER 4
Corleone -- VITO Corleone. Okay over there. Next -- your name?
CUT TO: A doctor inspects VITO's chest with a stethoscope.
DOCTOR (to NURSE)
Tell him he has small pox quarantine three months.
NURSE (translating for VITO)
[In Italian, something like "you have small pox and will be
quarantined for three months at Ellis Island"]
CUT TO: Two men walk down the hall looking for VITO
MAN Calling Out
Vito Corleone? Vito Corleone?
Other MAN, standing next to Young VITO
Here he is; this is him.
[Young VITO is placed in a room, looks out the window at the
Statue of Liberty, places his suitcase on the bunk (#52), sits
and then starts to sing]
VITO CORLEONE
ELLIS ISLAND
1907
CUT TO: A Church. ANTHONY is walking down the aisle during his
first communion.
HIS GRANDSON
ANTHONY VITO CORLEONE
LAKE TAHOE NEVADA
1958
FATHER CARMELO [in Latin]
[Priest prays while giving out eucharist. Anthony is the third
child. He turns toward the camera.]
CUT TO: Lake Tahoe Resort. Bandstand, music play
CUT TO: VALETs parking cars
VALET
Hey! bring the car keys.
WOMAN (OS)
Morey! Morey!
CUT TO: MAN takes drink to policeman in the parking lot.
CUT TO: MAN and WOMAN dance.
CUT TO: Watchman on roof lights a cigarette.
CUT TO: GUESTS sitting and talking.
CUT TO: CONNIE and MERLE Johnson walk, dodging guests, making
their way to MAMA CORLEONE.
CONNIE:
MAMA -- whooh MAMA.
MAMA CORLEONE
[something in Italian, then]
Look who's here --
CONNIE
Oh, FATHER CARMELO.
MAMA CORLEONE
This is FATHER CARMELO --
MERLE
I'm MERLE Johnson --
MAMA CORLEONE
-- and the priest
FATHER CARMELO
Nice to meet you, how are you.
MAMA CORLEONE
-- family Priest.
CONNIE
MAMA --
[She kisses MAMA.]
-- here I am.
MAMA CORLEONE
Constanzia - finalmente -- after one week? I sent the car out to
the airport last week to pick you up!
CONNIE
Oh -- it was chaos. Anyway, here I am, just one week late. And
this is for my MAMA.
[She hands MAMA a wrapped jewelry box]
MAMA
What's this?
CONNIE
You remember MERLE, don't you?
MERLE (to MAMA)
Hello MAMA.
MAMA
Hello, how are you; thank you.
CONNIE
Where's MICHAEL? I gotta to talk to him, and um, get a few things
straight, and I can't wait on line.
MAMA
You go see your children first! And then you worry about waiting
on line to see your brother -- like everybody else.
[The band gives a musical introduction to the CONDUCTOR]
CUT TO: A napping FRANK PENTANGELI napping outside. WILLIE CICCI
wakes him and they walk off.
CONDUCTOR
Ladies and Gentlemen a most distinguished guest would like to say
a few words. Would you please welcome SENATOR Pat GEARY of the
state of Nevada, and there is Mrs. GEARY.
[SENATOR GEARY walks up onto the stage]
GEARY
Thank you very much, Ladies and Gentlemen -- and this is a very
very happy day for me and ugh -- my wife, Mrs. GEARY. We see
Nevada far too seldom -- but particularly today when we can -- we
can join with old friends -- we can make new friends -- and we
help celebrate -- a young man's first communion. And also, to
thank that boy's family for a magnificent contribution to the
state. I have here in my hand, a check -- made out to the
University, and it is a magnificent endowment in the name of -
uh, ANTHONY VITO Corleone -- and the check is signed by that
young man's parents -- whom I think we should recognize Mike --
Pat -- uh, KAY -- stand up please -- stand up, let the folks see
you. Folks, I want you to join with me in giving a real Nevada --
thank-you to Mr. and Mrs. MICHAEL Corleone!
[The crowd claps. The conductor whispers something to GEARY.]
We also have as a special added attraction, the Sierra Boys
Choir. Who have, uh, chosen a certain special song, in a special
arrangement, to honor their host, Mr. MICHAEL Corleone. Boys.
CUT TO: Mike and KAY getting up for a photo.
[The choir begins to sing.]
CUT TO: A long shot of the boys singing.
CUT TO: A close up of the boys singing.
CUT TO: MICHAEL at a photo session accepting a plaque
DIRECTOR
Relax.
[MICHAEL holds the plaque.]
Okay fellas we got that one.
[MICHAEL and GEARY shake hands.]
Okay, that's good. Alright. Now SENATOR, this is you and Mrs.
Corleone.
[The director comes over and gives GEARY the check and places him
next to KAY. They also shake hands.]
Okay that's enough, Senator --
[MICHAEL an GEARY shake hands for one more picture, holding the
check]
CUT TO: EVERYONE listening to the choir.
CUT TO: The interior of MICHAEL's office.
MICHAEL
This is my lawyer, TOM HAGEN; SENATOR GEARY. He's the one who
arranged this whole thing through your man Turnbull.
GEARY
Yes -- Yes.
MICHAEL
Sit down.
GEARY
Well I was under the impression that you and I would talk alone.
MICHAEL
I trust these men with my life, SENATOR. If I were to ask them to
leave, it would be an insult.
GEARY
Well uh, it's perfectly all right with me, but I should tell you
that I am a blunt man and I intend to speak very frankly to you
-- maybe -- more frankly than anyone in my position's ever spoke
to you before.
[MICHAEL lights a cigarette]
The Corleone family has done very well here in Nevada. You own,
or, you control, two major hotels in Vegas -- one in Reno. The
licenses were grandfathered in, so there is no problem with the
gaming commission. Now, my sources tell me that -- you plan to
make a move against the Tropicalla. They tell me within a week --
you're gonna move Klingman out. That's quite an expansion.
However it will leave with one little technical problem. Ahh --
The license will still be in Klingman's name.
MICHAEL
Turnbull is a good man.
GEARY
Yeah, well let's cut out the bullshit. I don't want to spend any
more time here than I have to. You can have the license, the
price is 250,000 dollars. Plus a monthly payment of 5% of the
gross -- of all four hotels. Mister -- Corleone.
MICHAEL
Now the price of the license is less than 20,000 dollars, am I
right?
GEARY
That's right.
MICHAEL
Now why would I ever consider paying more than that?
GEARY
Because I intend to squeeze you. I don't like your kind of
people. I don't like to see you come out to this clean country in
your oily hair -- dressed up in those silk suits - and try to
pass yourselves off as decent Americans. I'll do business with
you, but the fact is, I despise your masquerade -- the dishonest
way you pose yourself. Yourself, and your whole fucking family.
MICHAEL
SENATOR - we're both part of the same hypocrisy. But never think
it applies to my family.
GEARY
All right, all right -- some people have to play little games.
You play yours. So lets just say that you'll pay me because it is
in your interest to pay me. But I want your answer and the money
by noon tomorrow. And one more thing: don't you contact me again
-- ever. From now on you deal with Turnbull.
(then, to Al)
Open that door son.
[He starts to leave]
MICHAEL
Uh, senator -- you can have my answer now if you like. My offer
is this -- nothing. Not even the fee for the gaming license,
which I would appreciate if you would put up personally.
GEARY (laughing)
Good afternoon, gentlemen.
[He opens the door and walks out]
KAY, I didn't know you were out here. Honey, we have to go --
we're 30 minutes late.
KAY
Oh really? I'm sorry.
GEARY
Mrs. Corleone, I've been delighted.
KAY
Oh, no --
GEARY
Thank you.
KAY
-- It was our pleasure. Thank you so much; it was wonderful
talking with you.
CUT TO: People dancing. Music plays outside.
CUT TO: FREDO's boat pulls up to the dock.
CUT TO: BUTTONMAN looks around.
CUT TO: More BUTTONMEN look around at the party.
CUT TO: FREDO and JOHNNY OLA and others get off the boat and onto
the dock
CUT TO: PENTANGELI drinking out of the hose held by WILLIE CICCI.
PENTANGELI
FREDO! FREDO, you son of a bitch, you look great!
[PENTANGELI runs toward him.]
FREDO
FRANK PENTANGELI, I thought you was never coming out west you big
bum!
[They give each other a hug.]
PENTANGELI
I gotta check on my boys, uh? Hey, FREDO what's with the food
around here?
FREDO
What's the matter.
PENTANGELI
A kid comes up to me in a white jacket, gives me a Ritz cracker,
and uh, chopped liver, he says Canap閟. I say uh, uh, can o' peas
my ass, that's a Ritz cracker and chopped liver!
[FREDO laughs]
PENTANGELI
[Something in Italian, then] Bring out the peppers and sausage.
FREDO
Ah, seeing you reminds me of New York -- the old days, huh!
PENTANGELI
Hey, FREDO -- you remember, uh, WILLIE CICCI, he was with old man
CLEMENZA in Brooklyn. Yeah, look here --
FREDO
Look, we were all upset about that, Frankie. Heart attack, huh?
WILLIE CICCI
No - No, that was no heart attack.
PENTANGELI
Tha's -- Tha'sa -- That's what I'm here to see your brother Mike
about. But wha' -- what's with him?
FREDO
What do you mean?
PENTANGELI
I mean, what do I hafta do, get a letter of introduction to get a
sit-down?
FREDO
You, you can't get in to see Mike?
PENTANGELI
He's got me waiting in a lobby!
CUT TO: MICHAEL's office. JOHNNY OLA enters.
JOHNNY OLA (shaking hands with AL)
JOHNNY OLA.
AL NERI
AL NERI .
MICHAEL
Sit down. You know my lawyer, TOM HAGEN -- JOHNNY OLA.
JOHNNY OLA
Sure, I remember TOM from the old days.
MICHAEL
ROCCO -
(then)
What's this?
JOHNNY OLA
It's an orange -- from Miami.
MICHAEL
Why don't you take care of JOHNNY's men -- they look like they
might be hungry. JOHNNY -- sit down. TOM isn't gonna sit in with
us -- he only handles specific areas of the family business. TOM
--
TOM
Sure, Mike.
MICHAEL
What are you drinking, JOHNNY?
JOHNNY OLA
Anisette.
MICHAEL
Anisette.
TOM
If you need anything, Mike, I'll be outside, alright?
[TOM walks out the door.]
MICHAEL
Just tell ROCCO we're waiting, TOM
JOHNNY OLA
I just left, uh, Mr. ROTH in Miami.
MICHAEL
How's his health?
JOHNNY OLA
Ahh -- it's not good.
MICHAEL
Is there anything I can do -- anything I can send?
JOHNNY OLA
He appreciates your concern, MICHAEL -- and your respect. The
casino you're interested in -- the registered owners are Jacob
Lawrence, Allen Barclay - they're both Beverly Hills Attorneys.
The real owners are the old Lakeville Road group from Cleveland,
and our friend in Miami. Meyer Klingman runs the store -- he runs
a piece of it, too -- he does alright. But I've been instructed
to tell you that if you move Klingman out, our friend in Miami
will go along.
MICHAEL
That is very kind of him. You tell him, that's greatly
appreciated.
JOHNNY OLA
HYMAN ROTH always makes money for his partners. One by one, our
old friends are gone. Death -- natural or not - prison --
deported. HYMAN ROTH is the only one left -- because he always
made money for his partners.
CUT TO: Outside, PENTANGELI runs up to the stage.
PENTANGELI
Wha'? Wha'? I can't believe, out of thirty professional
musicians, there isn't one Italian in, in the group here. Come,
let's have a tarantella. Come on --
[PENTANGELI begins to hum the tune, piano joins in]
You! Up! Clarinet up , up, up!
[He hums some more]
What's da matta? What's da matta?
[ He is still humming when the clarinet begins to play "Pop Goes
The Weasel." PENTANGELI gets mad as the whole group joins in]
CUT TO: MICHAEL's boathouse. CONNIE and MERLE walk in.
MICHAEL (to MERLE)
I'll see my sister alone.
MERLE
It concerns me, too. Is it okay, Mike, if I stay?
CONNIE
How are you, honey? You met MERLE -- he was with me in Vegas.
MICHAEL
I saw him with you
MERLE
Could I have a drink or something?
MICHAEL
Que voi?
CONNIE (to AL NERI)
Al, would you please get him a drink!
(then, to MICHAEL)
We're going to Europe next week. I'd like to book passage on The
Queen
MICHAEL
So what do you come to me for -- why don't you go to a travel
agent?
MERLE
We're getting married first.
MICHAEL
The ink on your divorce isn't dry yet and your getting married?
You see your children on weekends -- You know your oldest boy,
Victor, was picked up in Reno for some petty theft that you don't
even know about--
CONNIE
MICHAEL!
MICHAEL
-- You fly around the world with men who don't even care about
you, and use you like a whore!
CONNIE
MICHAEL, you're not my father!
MICHAEL
Then what do you come to me for?
CONNIE
'Cause I need money.
MICHAEL
CONNIE - CONNI, CONNIE, CONNIE, CONNIE, CONNIE -- I wanna be
reasonable with you. Now, why don't you stay with us - with the
family. You can live here on the estate with your kids. You won't
be deprived of anything and you can have everything you want. Now
-- I don't know this MERLE -- I don't know what he does -- I
don't know what he lives on. Now why don't you tell him that
marriage is out of the question, and you don't want to see him
anymore. Now he'll understand, believe me.
[CONNIE and MERLE reach out to hold hands]
CONNIE -- if you don't listen to me -- and marry this man --
you'll disappoint me.
CUT TO: Outside, nighttime. A bonfire is burning and a man throws
a log down.
CUT TO: A boat passes by.
CUT TO: People walk along the boardwalk
CUT TO: Band playing on the stage.
CUT TO: Outside the family sits at a table.
MAMA Corleone
Avive.
MICHAEL
Cent' anni
Everyone
Cent' anni
DEANNA
What's "Chen dandy"?
FREDO
Cent' anni -- It means a hundred years.
CONNIE
It means we should all live happily for a hundred years -- the
family. That'd be true if my father were still alive.
MAMA CORLEONE
CONNIE --
CONNIE
MERLE, you've met my sister-in-law, DEANNA.
[They shake hands]
FREDO's wife.
DEANNA
Pleasure
MERLE
How do you do.
MAMA CORLEONE [to Tom, in Italian]
[A reference to DEANNA and MERLE]
TOM HAGEN [in Italian]
[Responds]
MERLE (to CONNIE)
What did she mean by that?
PENTANGELI (in Sicilian)
Hey, Michael - excuse me. [laughs] With all respect I didn't come
here to eat dinner!
MICHAEL
I know, I know.
[PENTANGELI knocks over a glass of wine, everyone looks at him.]
Bene!
CUT TO: DEANNA and another man dance. She is obviously drunk.
CUT TO: FREDO looking on.
CUT TO: DEANNA falls onto the dance floor.
CUT TO: MICHAEL looking on.
CUT TO: FREDO jogging to take her away.
CUT TO: MICHAEL whispering something to ROCCO.
CUT TO: FREDO grabbing her.
DEANNA
What's the matter? I just, I just want to dance!
FREDO
Dancing is one thing -- you're fallin' all over the floor.
DEANNA
I know what's the matter with you - you're just jealous because
he's a real man.
FREDO
I swear to God, DEANNA, I'm gonna belt you right in the cheek.
DEANNA
Ah, you couldn't belt your MAMA. You know something, those daigos
are crazy when it comes to their wives.
[ROCCO walks up to FREDO]
ROCCO (to FREDO)
MICHAEL says that if you can't take care of this -- I have to.
FREDO
Maybe you better.
DEANNA
Never marry a WOP! they treat their wives like shit!
[ROCCO runs over and gabs he]
I didn't mean to say WOP. Ahh, Ahh woo! ROCCO! Oh! What are you
doing to me -- help -- FREDO!
FREDO (to MICHAEL)
I can't control her, Mikey.
MICHAEL
You're my brother, FREDO, you don't have to apologize to me.
CUT TO: MICHAEL's boathouse.
MICHAEL
CLEMENZA promised the Rosato brothers three territories in the
Bronx after he died. You took over, and you didn't give it to
them.
PENTANGELI
I weltched?
MICHAEL
You weltched.
PENTANGELI
Yeah, CLEMENZA promised them [something in Italian] CLEMENZA
promised them nothing. He hated those son of a bitches more than
I do.
MICHAEL
Frankie, they feel cheated.
PENTANGELI
MICHAEL, your sitting high up in the Sierra mountains. And your
drinkin' - uh, what's he drinkin'?
WILLIE CICCI
Champaign
PENTANGELI
Champaign, Uh, Champaign Cocktails -- and you're passing judgment
on how I run my Family.
MICHAEL (in Sicilian)
Your Family -- Your Family's still called Corleone. And you'll
run it like a Corleone.
PENTANGELI (in Sicilian)
My family doesn't eat here; doesn't eat in Las Vegas -- and
doesn't eat in Miami -- with HYMAN ROTH.
MICHAEL
Frankie -- you're a good old man -- and I like you. And you were
loyal to my father for years.
PENTANGELI
The Rosato brothers - they're taking hostages. Hey, Mike, they
spit right in my face. All because they're backed up by that Jew
in Miami.
MICHAEL
I know -- that's why I don't want them touched.
PENTANGELI
You don't want 'em touched.
MICHAEL
No, I want you to be fair with them
PENTANGELI
You want me to be fair with them? TOM -- how can you be fair to
animals? TOM -- for Crissakes, listen -- They recruit spics --
they recruit niggers -- and they do violence in their, in their
Grandmother's neighborhoods. And everything with them is whores
-- whores! [something in Italian] junk dope! And they leave the
gambling to last. Now I want to run my family without you on my
back, and I want those Rosato brothers dead!
MICHAEL
No!
PENTANGELI
Mort'
MICHAEL
Now I have business that's important with HYMAN ROTH -- I don't
want it disturbed.
PENTANGELI
And you give your loyalty to a Jew before your own blood.
MICHAEL
Come on, Frankie, you know my father did business with HYMAN ROTH
-- he respected him.
PENTANGELI
Your father did business with HYMAN ROTH, your father respected
HYMAN ROTH. But your father never trusted HYMAN ROTH -- or his
Sicilian messenger boy, JOHNNY OLA!
(then, in Sicilian)
You'll have to excuse me -- I'm tired, and I'm a little drunk!
(then, in English)
And I want everyone here to know -- there's not gonna be no
trouble from me! Don Corleone. Cicc', a porta!
NERI
You want him to leave now?
MICHAEL
Let him go back to New York -- I've already made my plans. That
old man had too much wine.
[He drinks, then looks at his watch.]
It's late
CUT TO: Outside. MICHAEL and KAY dance.
MICHAEL
How's the baby?
KAY
Sleeping inside me.
MICHAEL
Does it feel like a boy?
KAY
Yes, yes it does MICHAEL.
MICHAEL
KAY -- I'm sorry about all the people today -- bad timing -- it
couldn't be helped, though.
KAY
It made me think of what you once told me - "in five years the
Corleone Family will be completely legitimate." That was seven
years ago.
MICHAEL
I know -- I'm trying, darling.
CUT TO: A boat passes by the Corleone Estate once more.
CUT TO: MICHAEL walks into his bedroom and sees a picture drawn
by ANTHONY of MICHAEL in a car. It has boxes to check if he likes
it or not.
MICHAEL
Did you see this?
KAY
Uh huh.
(then)
MICHAEL? Why are the drapes open?
[MICHAEL looks at the drapes and then gunshots ring out and bust
through the window just missing MICHAEL. MICHAEL crawls on the
floor towards KAY. He pulls her from the bed onto the floor and
covers her with his body]
Are you all right? Are you hit? It's over It's over.
CUT TO: Outside a siren rings and dogs bark.
CUT TO: GUARDs shutting the gate
CUT TO: The lights being turned on.
CUT TO: A man turning on the power to the lights.
CUT TO: ROCCO running up to MICHAEL.
ROCCO
They're still on the property. Please, MICHAEL, please stay
inside.
MICHAEL
Keep them alive.
ROCCO
We'll try.
MICHAEL
ROCCO! Alive!
ROCCO
Stay by the door.
CUT TO: The dogs are released and run into the drains.
CUT TO. A light searching.
CUT TO: People searching.
CUT TO: People outside MICHAEL's room.
CUT TO: MICHAEL, KAY and the kids inside; everyone is quiet.
CUT TO: Dogs sniff the docks
CUT TO: Men armed with machine guns escort MICHAEL around.
CUT TO: Boat, now equipped with a strobe light, searches.
CUT TO: A room in the estate; TOM knocks.
MICHAEL
Yeah, come in.
TOM
Mikey, you all right?
MICHAEL
Yeah -- there's a lot I can't tell you -- and I now that's upset
you in the past.
TOM
A little.
MICHAEL
Yeah -- you felt it was because of some lack of trust of
confidence -- but it's -- it's, because I admire you and I love
you that I kept things secret from you. That's why at his moment
you're the only one I completely trust. FREDO -- ah, he's got a
good heart -- but he's week, and he's stupid, and this is life
and death. TOM, you're my brother.
TOM
I always wanted to thought of as a brother by you, Mikey -- a
real brother.
MICHAEL
I know. You're gonna take over -- you're gonna be the Don. If
what I think has happened has happened, I'm gonna leave here
tonight. I give you complete power, TOM -- over FREDO and his
men, ROCCO, NERI, everyone. I am trusting you with the lives of
my wife and my children -- the future of this family.
TOM
If we catch these guys do you think we'll be able to find out
who's backing them?
MICHAEL
That's not the catch -- unless I'm very wrong, they're dead
already. They're killed by somebody close to us -- inside. Very,
very scared they botched it.
TOM
What about your people ROCCO and NERI? You don't think that they
had something to do with this.
MICHAEL
You see -- all our people are business men, their loyalty is
based on that. Now, one thing that I learned from Pop was to try
to think as people around you think. Now on that basis,
anything's possible.
CUT TO: Outside, DEANNA screams
DEANNA
Right out my window! I want to get out of here! They're lying
there dead!
CUT TO: BUTTONMEN running to the drain.
BUTTONMAN
Over here there's two of them. Looks like they were hired out of
New York, I don't recognize them. We won't get anything out of
them now.
MICHAEL
Fish 'em out.
[Two BUTTONMEN fish out the bodies]
TOM
Alright, get rid of the bodies.
ROCCO
Where's Mike?
TOM
ROCCO.
[TOM walks off.]
CUT TO: MICHAEL walks into ANTHONY's room.
MICHAEL
ANTHONY, everything's gonna be all right. Try and sleep.
[He kisses ANTHONY on the cheek]
Did you like your party?
ANTHONY
I got lots of presents.
MICHAEL
I know. Did you like them?
ANTHONY
I didn't know the people who gave them to me.
MICHAEL
They were friends.
ANTHONY
Did you see my present for you?
MICHAEL
It was on my pillow. ANTHONY, I'm gonna be leaving very early
tomorrow.
ANTHONY
Will you take me?
MICHAEL
No, I can't ANTHONY.
ANTHONY
Why do you have to go?
MICHAEL
'Cause I have to do business.
ANTHONY
I could help you.
MICHAEL
Someday you will.
VITO CORLEONE
NEW YORK CITY
1917
[We see a baby (SANTINO) playing in a playpen. VITO picks him up
and rocks him.]
CUT TO: A playhouse with VITO and GENCO.
GENCO
She's really beautiful. You've got to see her.
[The first part of the play finishes]
Wait till you see her, words can't describe her.
Performer (PEPINO) [in Italian]
I left Naples, I left my mama, for a no-good tramp. Now, here I
am, in America, in New York. Alone! Thinking of my mother.
Without news from home --
[there's a knock at the door]
Enter!
GIRL (entering stage) [in Italian]
Pepino, a letter for you!
Performer (PEPINO) [in Italian]
Finally, a letter from Naples!
GENCO [in Italian]
VITO, how do you like my little angel? Isn't she beautiful?
VITO [in Italian]
She's very beautiful. To you, she's beautiful. For me, there's
only my wife and son.
Performer (PEPINO) [in Italian]
Our dear mother -- is dead!
[He cries]
Mama! Mama Mia!
[He pulls out a gun and starts to sing "Senza Mama" ("Without
Mama")]
GENCO [in Italian]
We'll go backstage later and take her out to eat.
[Don FANUCCI stands up.]
Sit down, you Bum.
[Don FANUCCI turns and looks at GENCO]
Oh, excuse me, Don FANUCCI
[Don FANUCCI leaves]
We'll go see her backstage
VITO [in Italian]
Who was that?
GENCO [in Italian]
The Black Hand.
[The girl exits the stage]
VITO
Come on come on let's go see her backstage. [in Italian]
CUT TO: They enter the backstage area.
GENCO [in Italian]
That's FANUCCI -- The Black Hand.
MANAGER [in Italian]
We'll talk about it tomorrow.
FANUCCI [in Italian]
Tomorrow -- always tomorrow. You'll pay me today! You'll pay me
today
[FANUCCI grabs the girl ad puts a knife to her face.]
GENCO [in Italian]
Let's go.
MANAGER [in Italian]
Not my daughter! Let her go! Here take all my money!
[FANUCCI takes money out of the box offered by the manager]
GENCO [in Italian]
VITO, come here, come on.
[They walk outside.]
I know what you're thinking. But you don't know how things are.
FANUCCI's with the Black Hand. The whole neighborhood pays him.
Even my father in the, in the grocery store.
VITO [in Italian]
If he's Italian -- why does he bother other Italians?
GENCO [in Italian]
He knows they have nobody to protect them. Forget that. Did you
like my angel?
VITO [in Italian]
If you're happy, I'm happy
CUT TO: Outside the Abbandando Groceria, VITO walks a basket of
fruit down the street.
CUT TO: Inside the Corleone home, VITO and MAMA are having
dinner.
MAMA
Don't you feel well? Is your boss treating you all right?
VITO
Forget it.
[A stone hits the window. We hear a voice outside.]
CLEMENZA (O.S.)
Hey! Paisan!
(then)
You speak Italian?
[VITO looks out the window, then goes into the bathroom. He opens
the window to see CLEMENZA.]
CLEMENZA [in Italian]
Hide this for me! Next week I'll come and get it!
[He tosses VITO a bag. VITO shuts the door to the bathroom. Then
he puts the bag in the bathtub and unravels the rags. The wad of
rags hides an assortment of guns.]
CUT TO: Inside of the ABBANDANDO grocery store. FANUCCI enters.
FANUCCI [in Italian]
ABBANDANDO, meet my nephew! How's business?
[ABBANDANDO shrugs. FANUCCI reaches inside the cash register and
pulls out some coins.]
It's good, it's good.
CUT TO: VITO sits down at a table with GENCO.
GENCO [in Italian]
FANUCCI's mad. Says the neighborhood's getting sloppy. People
don't pay on time, don't pay the full amount. Says he's been to
nice to everybody.
[We see ABBANDANDO and FANUCCI fighting.]
VITO [in Italian]
So FANUCCI's changing?
GENCO [in Italian]
Sure. He wants double from everybody. Even from my father.
FANUCCI (to ABBANDANDO) [in Italian]
I'm a friend, right? So you'll let him work here?
[FANUCCI pats ABBANDANDO on the cheek in gratitude. ABBANDANDO
paces around.]
ABBANDANDO [in Italian]
VITO, come here.
[VITO walks over to ABBANDANDO]
VITO -- I've got some bad news. I feel rotten about telling you
this -- but FANUCCI -- he's got a nephew --
[ABBANDANDO searches for the right word.]
VITO
And you have to give him my job. You've always been good to me,
ever since I came here. You looked after me like a father. I
thank you. And I won't forget it.
[VITO hugs him]
CUT TO: Outside VITO walks down the street.
ABBANDANDO (out of picture)
VITO.
[VITO sees ABBANDANDO walking up with a basket of fruit.]
VITO
No, No, No.
ABBANDANDO [in Italian]
Take this to your family.
VITO [in Italian]
Thanks anyway. But please, I can't accept.
[They argue in Italian but VITO still refuses the gift. He walks
off.]
CUT TO: The Corleone home. VITO walks in. He takes off his hat
and unwraps a pear that he places on the Dinner table.
MAMA
What a nice pear!
[VITO removes his coat and sits down and kisses his wife.]
CUT TO: Outside on the street Peter CLEMENZA walks up to VITO.
CLEMENZA [in Italian]
I'm CLEMENZA, you still have my goods?
[VITO nods.]
Did you look inside?
VITO
I'm not interested in things that don't concern me.
CUT TO: Inside a Caf? CLEMENZA and VITO sit and drink esspresso.
CLEMENZA [in Italian]
A friend of mine has a nice rug. Maybe your wife would like it.
VITO [in Italian]
Sure, she would. But who has the money for a rug?
CLEMENZA [in Italian]
It would be a present. I know how to return a favor.
VITO [in Italian]
Yea sure -- my wife would like it.
CUT TO: Outside CLEMENZA and VITO walk down the street.
CLEMENZA
VITO [In Italian "Let's go"]
CUT TO: Outside a house's door. CLEMENZA rings the buzzer and
nobody answers.
CLEMENZA [in Italian]
The son of a bitch! He isn't home.
[He says something in Italian then looks under the rug.]
Damn, he didn't even leave the key.
[He reaches into his coat and pulls out a small lever.]
Well, he won't mind.
[He pries the door open.]
Come on in. Hey VITO come on in.
[CLEMENZA walks over and puts his arm around VITO. VITO looks
then enters.]
CUT TO: Inside a well lavished house.
VITO [in Italian]
This is your friend's place?
CLEMENZA
Si [Something in Italian.]
VITO [in Italian]
This is a real palace.
CLEMENZA [in Italian]
Only the best.
[CLEMENZA begins to move furniture off of the rug. Then he move
towards the table in the center of the room.]
CLEMENZA [in Italian]
VITO give me a hand, will you?
[VITO looks around again then helps CLEMENZA carry the table off
the rug. CLEMENZA begins to roll the rug as VITO looks around.
Someone knocks on the door. CLEMENZA walks to the door and looks
out. He holds a gun to the edge of the door, at head height, as a
POLICE OFFICER looks in. The POLICE OFFICER tries the door knob
to no avail, then leaves.]
CUT TO: Outside of VITO's apartment. CLEMENZA and VITO carry the
rug up the stairs.
CUT TO: Inside the Corleone home. CLEMENZA lays the rug down and
grabs SANTINO. He starts to play with him. He puts him on the rug
as SANTINO begins to cry.
MAMA
Look how pretty it is, SANTINO!
CUT TO: A train with MICHAEL blows it's horn as it passes by.
CUT TO: Inside the train. MICHAEL's BODYGUARD pours some water
then sits down.
CUT TO: Outside view of the train we see MICHAEL taking pills for
his Diabetes.
CUT TO: Florida. JOHNNY OLA is followed by MICHAEL and his
BODYGUARD drive up to HYMAN ROTH's house. JOHNNY runs into the
house. MICHAEL steps out of his car and walks to the ROTH house.
MRS. ROTH walks into view.
MRS. ROTH
Come on in. It's all right come on in. HYMAN's in there. I was
just making some lunch -- would you like a tuna sandwich?
MICHAEL
Uh, no thank you.
[He walks out of the room and into a room that occupies HYMAN
ROTH watching television]
HYMAN ROTH
Come in, MICHAEL. Sit down, make yourself comfortable. It's
almost over -- you following the football game?
MICHAEL
Nope, not for a while I haven't.
ROTH
I enjoy watching football in the afternoon, one of the things I
enjoy about this country; baseball, too. I've loved baseball ever
since Arnold Rothstein fixed the World Series in 1919.
[They both chuckle.]
I heard you had some trouble. Stupid -- people behaving like that
with guns Important thing is, that you're alright. Good health --
the most important thing in the world. More than success, more
than money -- more than power.
[MICHAEL stands up and shuts the door; moves the chairs closer as
ROTH turns up the TV.]
MICHAEL
I came here because there is gonna be more blood shed. I want you
to know about it before it happens so that there's no danger of
starting another war.
ROTH
Nobody wants another war.
MICHAEL
FRANK PENTANGELI came to my home and he asked my permission to
get rid of the Rosato brothers. When I refused, he tried to have
me killed. He was stupid, I was lucky; I'll visit him soon. The
important thing is that nothing interferes with our plans for the
future. Yours and mine.
[ROTH shakes his head.]
ROTH
Nothing is more important.
[There is a long pause between them, then.]
You're a wise and considerate young man
MICHAEL
And you're a great man, Mr. ROTH. There's much I can learn from
you.
ROTH
Whatever I can do to help, MICHAEL.
[At that moment MRS. ROTH opens the door and walks in with
lunch.]
MRS. ROTH
Excuse me -- lunch.
ROTH
Come in.
MRS. ROTH
Honey Bunny, you're gonna break you eardrums.
[She turns down the TV then begins to walk out.]
Okay, enjoy it.
ROTH
Thanks.
[She shuts the door behind her on the way out.]
You're young, I'm old and sick. What we'll do together in the
next few months will make history, MICHAEL -- history. It's never
been done before. Not even your father would dream that such a
thing could be possible.
MICHAEL
Then PENTANGELI is a dead man, you don't object.
ROTH
He's small potatoes.
CUT TO: Outside of the old Corleone compound in New York.
PENTANGELI steps out of his car.
BUTTONMAN (O.S.)
Hey Cicc'
PENTANGELI (to BODYGUARDS)
What's up? We got company Huh.
[ He walks past MICHAEL's BODYGUARD and into the house where his
wife is.]
[Something in Italian]
MRS. PENTANGELI [in Italian]
MICHAEL Corleone is here. He's in the den. You better hurry. He's
been waiting a half hour.
[He takes off his coat and scarf, and brushes back his hair.]
Is something wrong?
[He opens the door to see MICHAEL looking out the window.
PENTANGELI
Don Corleone, I wish you would o' let me know you were coming; I
could o' prepared something for you.
MICHAEL
I didn't want you to know I was coming.
[PENTANGELI shuts the door.]
You heard what happened in my home?
PENTANGELI
Mike, I almost died myself -- we was all so relieved --
MICHAEL (shouting)
In my home! In my bedroom, were my wife sleeps! Where my children
come and play with their toys. In my home.
[A long pause, MICHAEL sits down.]
I want you to help me take my revenge.
PENTANGELI
MICHAEL, anything -- what can I do?
MICHAEL
Settle these troubles with the Rosato brothers.
[PENTANGELI is confused.]
PENTANGELI
Mike, I don't understand, I don't -- look -- I don't have your
brain -- uh -- for big deals -- but this is a street thing. That
HYMAN ROTH in Miami -- he's backing up those son of a bitches.
MICHAEL
I know he is.
PENTANGELI
Why do you ask me to lay down to them Mike?
[A long pause.]
MICHAEL
It was HYMAN ROTH that tried to have me killed. I know it was
him.
PENTANGELI
Now -- Jesus Christ, Mike, Jesus Christ. Look, let's get 'em all
-- let's get 'em all now, while we got the muscle.
[Another long pause then MICHAEL stands up.]
MICHAEL
This used to be my father's old study -- it's changed. I remember
there used to be a big desk, righthere. I remember when I was a
kid, Frankie, we had to be very quiet when we played near here. I
was very happy that this house never went to strangers -- first
CLEMENZA took it over, now you. My father taught me many things
here -- he taught me in this room.
(then, as Michael sits beside PENTANGELI)
He taught me -- keep your friends close but your enemies closer.
Now, if HYMAN ROTH sees that I interceded in this thing, and the
Rosato brothers failed him, he's gonna think his relationship
with me is still good. Capide?
PENTANGELI
[Acknowledge in Italian.]
MICHAEL
That's what I want him to think. I want him completely relaxed,
and confident, in our friendship. Then I'll be able to find out
who the traitor in my family was.
CUT TO: The bedroom of FREDO's house-late night. FREDO and DEANNA
are sleeping. The telephone begins to ring. FREDO picks it up.
FREDO
Yea?
Voice of JOHNNY OLA
FREDO, this is JOHNNY -- JOHNNY OLA. We need some more help.
FREDO
JOHNNY, Jesus Christ, what the hell time is it?
DEANNA
Who's that, honey?
FREDO
Shhh --
Voice of JOHNNY OLA.
Listen good, FREDO.
FREDO
What are you calling me here for? I don't want to talk to you.
Voice of JOHNNY OLA
PENTANGELI set up a meeting with the Rosato brothers -- says he's
gonna go for their deal.
FREDO
Oh, God --
Voice of JOHNNY OLA
Will he come alone?
FREDO
I don't know anything -- you got me in deep enough already.
Voice of JOHNNY OLA
Just go along, everything will be alright FREDO -- PENTANGELI
says he's willing to make the deal. All we want to know is if
he's on the level or if he's gonna bring his boys..
FREDO
You guys lied to me -- I don't want you to call me anymore.
Voice of JOHNNY OLA
Your brother's not going to find out we talked.
FREDO
I don't know what you're talking about.
[He hangs up the phone and sits up in bed.]
DEANNA
Who was that?
FREDO
Ahh -- wrong number --
CUT TO: On the streets in front of a bar in New York (7th Street
& Avenue B). PENTANGELI and WILLIE CICCI walk up to CARMINE
ROSATO.
CARMINE ROSATO
Frank -- I got nobody here.
PENTANGELI
Wait in the car, Cicc'.
WILLIE CICCI
Frankie --
PENTANGELI
It's okay, Cicc'.
[CICCI walks off and CARMINE ROSATO gives PENTANGELI something.]
What's this, Rosato?
CARMINE ROSATO
It's a lucky C-note for our new deal.
[They walk inside.]
CARMINE ROSATO
RICHIE, give us some, (pants?)
[They sit at the bar]
We're all real happy about your decision, Frankie. You're not
gonna regret it.
PENTANGELI
I don't like the C-note Rosato -- I take that as an insult
[TONY ROSATO comes up from behind and begins to garrote
PENTANGELI.]
TONY ROSATO
Michael Corleone says hello!
[He drags him over to a phone booth where he is joined by two
other BUTTONMEN.]
BUTTONMAN #1
Get his head in.
TONY ROSATO
Close the fuckin' door
CARMINE ROSATO
A cop what the fu --
[The BUTTONMEN scatter as the cop comes in.]
COP
Hey RICH, it's dark in here. Are you open or closed?
RICH
Hey, I just came in to clean up a little -- you know.
[The cop walks around.]
What's the matter?
COP
Is that something in the floor?
[Carmine pulls out a gun]
RICH
Carmine, no! No, not here! Not here!
CARMINE ROSATO.
ANTHONY!
RICH
Not here, Carmine, let him go!
[The BUTTONMEN and TONY push the cop down and start to run out.]
TONY ROSATO
You open this fucker, I'm gonna blow your head off.
BUTTONMAN #2
CARMINE!
[We hear a gun battle outside and see PENTANGELI barely alive.]
CUT TO: Outside a gun battle rages in the street.
CUT TO: A BUTTONMAN is arrested.
CUT TO: CICCI stands up and fires into the Rosato car. The car
hits him.
CUT TO: At night, a plan taxies on the runway.
CUT TO: Inside a Fredo's club. FREDO and TOM walk in and shake
hands with the manager.
MANAGER
Freddie, good to see ya.
TOM
How is he?
MANAGER
He's okay -- he's in the back.
[They walk to the back of the club.]
Come on girls, take a hike.
(then)
In this room here.
TOM
I want to talk to him alone first.
MANAGER
Come on; Huh.
[TOM walk in to a room alone.]
TOM
I thought I could help you SENATOR.
GEARY
Hagen.
[TOM nods.]
Listen, I did not --
TOM
I know, you're alright.
GEARY
I didn't do anything.
TOM
It's okay. You're very lucky -- my brother FREDO operates this
place, he was called before anyone. If this had happened
someplace else, we couldn't've helped you..
GEARY
I -- when I woke up, I was on the floor -- and I don't know how
it happened.
TOM
You can't remember?
GEARY
I passed out.
[He stands up and moves over the bed where we see a bloody dead
girl.]
I -- I'll fix it.
[He unties the girl's hand from the bed post.]
Just a game.
[He takes a towel and begins to wipe up the blood that is all
over her. He looks at the towel and wipes off his hands.]
Jesus, Jesus.
[He begins to cry. As he does, TOM looks over at NERI who is
wiping his hands in the bathroom.]
Jesus, God -- Oh, God. I don't know -- and I can't understand --
why I can't remember.
TOM
You don't have to remember -- just do as I say. We're putting a
call into your office -- explain that you'll be there tomorrow
afternoon -- you decided to spend the night at Michael Corleone's
house in Tahoe -- as his guest.
GEARY
I do remember that she was laughing...we'd done it before -- and
I know that I couldn't've hurt -- that girl
TOM
This girl has no family -- nobody knows that she worked here.
It'll be as if she never existed. All that's left is our
friendship.
CUT TO: Lake Tahoe Resort. A car pulls up the gate. The car has
KAY driving and the kids are in the back. A BUTTONMAN comes up to
KAY.
KAY
Yes?
BUTTONMAN
I'm sorry, Mrs. Corleone, we're not to let you through.
KAY
I'm just going to the market.
[The BUTTONMAN waves his hand and the gate is closed.]
BUTTONMAN
Well, if you'll just give us a list, we'll pick up anything you
like.
KAY
Whose orders are these?
BUTTONMAN
Mr. Hagen's, ma'am -- he's coming over here now.
KAY
Alright, well, I'm just goin' to have to speak with Mr. Hagen.
[KAY gets out of the car as TOM walks up the path towards KAY.]
TOM
I um -- wanted to explain this but I had business in Carlton
City. Now, this is MICHAEL's request for your safety. Now, we can
send out for anything you need.
KAY
I see -- I'm supposed to stay in my house?
TOM
No, within the compound will be fine.
KAY
TOM, I was going to take the children to New England next week.
TOM
That's off.
KAY
Am I a prisoner? Is that it?
TOM
That's not the way we look at it, KAY.
KAY
All right -- come on kids, we're going back to the house
BUTTONMAN
JOE!
[JOE steps into the car.]
CUT TO: The lakefront of Havana. MICHAEL's car drives by.
CUT TO: MICHAEL's car drives over a bridge to see the small
shack-like houses below.
CUT TO: MICHAEL's car driving along the streets of Havana; people
cross the street as soon as MICHAEL's car passes by.
CUT TO: MICHAEL looking out the window.
CUT TO: People on the street. A kid tries to lure a man into a
club.
CUT TO: People trying to sell maps of Cuba.
CUBAN SALES CHILD
Cuba! Cuba!
CUT TO: People walking in front of MICHAEL's car.
CUT TO: MICHAEL's car passes by a bus full of tourists.
CUT TO: A man on the street flings a torch around as many people
watch.
CUT TO: Children begging for money.
CUT TO: MICHAEL's BODYGUARD rolls up the window.
CUT TO: Children trying to sell newspapers.
CUT TO: A meeting of a number of people including MICHAEL
Corleone.
CUBAN RULER, Fulgencio Batista
Most respected Gentlemen --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- allow me to welcome you to the city of Havana.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
I want to thank this distinguished group of American
industrialists --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- for continuing to work with Cuba.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
For the greatest period of prosperity --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- in her entire history.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
Mr. William Shaw --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- representing the General Fruit Company.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
Fred Corngold and Mr. Dant --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- for the United Telephone and Telegraph Company.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
Mr. Petty --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- Regional Vice President of the Pan-American Mining
Corporation.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
Mr. Robert Allen of South American Sugar.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
And Mr. MICHAEL Corleone of Nevada --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- representing our associates in tourism and leisure activities.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
And my old friend and associate from Florida --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- Mr. HYMAN ROTH
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
I would like to take this opportunity to thank United Telephone
and Telegraph for their lovely Christmas gift --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- a solid gold telephone.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
Perhaps you gentlemen would like to take a look at it.
TRANSLATOR
[Translates]
GUEST #1
Mr. PRESIDENT
CUBAN RULER [in Spanish]
Yes!
GUEST #1
Perhaps you would discuss the status of rebel activate and -- uh
-- what this can do to our businesses?
CUBAN RULER [in Spanish]
Of course -- I want to assure you that although the rebels have
mounted an impressive campaign in Las Villas --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- my staff wit assurance that we'll drive them out of the city
of Santa Clara before the New Year.
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
And I want to you all as is --
TRANSLATOR
[Translates]
CUBAN RULER [in Spanish]
-- we will tolerate no guerrillas in casinos, or the swimming
pools.
[All laugh.]
CUT TO: Outside on the streets of Havana. A man runs in front of
JOHNNY OLA's car and the driver honks the horn at him. A Cuban
police officer walks up to the car and talks to the driver.
OFFICER
[Something in Spanish]
[We see OFFICERS making an arrest of a rebel.]
DRIVER
He say that they're making an arrest and that in a few minutes
he'll let us through.
JOHNNY OLA
It's nothing. Just some lousy bandits. The police are cleaning
them up.
[The rebel pushes a police captain into the car and explodes a
grenade that he had hidden in his jacket.]
CUT TO: On top of a Cuban building. A birthday cake for HYMAN
ROTH is wheeled toward him and a small group of people. The cake
has a drawing of Cuba on it.
ROTH
I hope my age is correct -- I'm always accurate about my age.
Make sure that everyone sees the cake before we cut it. I'm very
pleased you were all able to come from such distances to be with
me today. When a man comes to this point in his life -- he wants
to turn over the things that he's been blessed with -- turn them
over to friends. As a reward for the friends he's had -- and to
make sure everything goes well after he's gone.
JOHNNY OLA
Not for years.
EVERYONE
Hear! Hear!
ROTH
Well, we'll see; the doctors would disagree, but what do they
know? These are wonderful things that we've achieved in Havana --
and there's no limit to where we can go from here. This kind of
Government knows how to help business...to encourage it -- the
hotels here are bigger and swankier than any of the rug joints
we've put in Vegas -- and we can thank our friends in the Cuban
government -- which has put up half of the cash with the
Teamsters on a dollar for dollar basis -- has relaxed
restrictions on imports. What I am saying now is we have what we
have always needed -- real partnership with the government.
[The waiter brings over a piece of cake but ROTH rejects it.]
Smaller piece.
(then, to the group)
You all know MICHAEL Corleone -- and we all remember his father.
At the time of my retirement -- or death -- I turn over all my
interests in the Havana operation --
MICHAEL (to WAITER)
Grazie
ROTH
-- to his control. But -- all of you will share. The National
will go to the Lakeville Road boys. The Capri to the Corleone
Family. The Sevilla Biltmore, also, but Eddie Levine of Newport
will bring in the Pennino Brothers -- Dino and Eddie - for a
piece, and also to handle the actual casino operation. And we've
saved a piece for some friends in Nevada, to make sure things go
smooth back home. I want all of you to enjoy your cake -- so,
enjoy.
GUESTS
Happy Birthday!
MICHAEL
I saw an interesting thing happen today. A rebel was being
arrested by the military police, and rather than be taken alive,
he exploded a grenade he had hidden in his jacket. He killed
himself, and took a captain of the command with him.
[ROTH looks concerned]
Right JOHNNY.
JOHNNY OLA
Those rebels, you know, they're lunatics.
MICHAEL
Maybe so -- but it occurred to me. The soldiers are paid to fight
-- the rebels aren't.
ROTH
What does that tell you?
MICHAEL
They can win.
ROTH
This county's had rebels for the last fifty years -- it's in
their blood, believe me, I know. I've been coming here since the
20's. We were running molasses out of Havana when you were a baby
-- the trucks, owned by your father. MICHAEL --
[ROTH tilts his head, a sign for MICHAEL to talk to him alone.
The get up and walk.]
-- I'd rather we talked about this when we were alone. The two
million never got to the island.
CUT TO: The inside of ROTH's room in the Capri. ROTH is lying on
the couch talking to MICHAEL.
ROTH
I wouldn't want it to get around that you held back the money
because you had second thoughts about the rebels.
[A long pause as MICHAEL paces.]
Sit down MICHAEL.
[He pats a chair.]
Sit down.
[MICHAEL sits down next to ROTH.]
If only I could live to see it -- to be there with you. Uh, what
I wouldn't give for -- twenty more years. Here we are protected
-- free to make our profits without key follow with the goddamn
Justice Department and the FBI. Ninety miles away, partnership
with a friendly government -- ninety miles. It's nothing. Just
one small step, looking for a man that wants to be President of
the United States -- and having the cash to make it possible.
MICHAEL, we're bigger than U.S. Steel.
CUT TO: Outside the Capri, a car that is driving FREDO from the
airport pulls up. A man opens the door and another man gets his
luggage. FREDO is caring one suitcase of his own. The porter
tries to take it from him but FREDO pulls it away. He walks into
the Capri.
CUT TO: Inside the Capri, FREDO an MICHAEL embrace. The people in
the room are MICHAEL, FREDO and MICHAEL's BODYGUARD.
FREDO
Mikey -- how are you, okay?
[FREDO walks over to MICHAEL's BODYGUARD.]
Hi, uh, Freddie Corleone.
[FREDO holds out his hand and MICHAEL acknowledges in Italian
that it's okay.]
Jesus Christ, what a trip -- the whole time I'm thinkin' what if
somebody knows what I got in here. Can you imagine that, huh? Two
million dollars in the seat next to me in the plane?
[He opens up the briefcase, unzips it, and begins to show MICHAEL
the money. He then looks over at the BODYGUARD.]
Whoop, excuse me.
MICHAEL
No, it's okay.
FREDO
You wanna count it?
[MICHAEL doesn't answer instead he pats FREDO on the cheek.]
FREDO
MICHAEL, what the hell is goin' on anyway? I'm totally in the
dark.
MICHAEL
The family's making an investment in Havana --
[MICHAEL takes the briefcase over to a guard.]
-- This is a little gift for the PRESIDENT.
FREDO
Oh -- well that's great -- Havana's great -- it's my kinda town
-- anybody I know in Havana?
MICHAEL
Oh, HYMAN ROTH, JOHNNY OLA.
[FREDO looks distracted.]
FREDO
No -- I never met them.
[There is a long pause as we hear sirens in the background.]
Listen, Mikey, I'm uh -- I'm kind of, uh --
[MICHAEL lights a cigarette for FREDO.]
-- I'm kinda nervous from the trip. Can I -- can I get a - a
drink or something?
MICHAEL
I thought maybe we'd -- we'd go out together. I know a place we
can spend some time together - okay?
CUT TO: An outside caf?where MICHAEL and FREDO are sitting at a
small table together.
FREDO
Sometimes I think I shoulda married a woman like you did -- like
KAY. Kids -- have a family. For once in my life -- be more like
-- Pop.
MICHAEL
It's not easy to be his son -- it's not easy.
FREDO
You know MAMA used to tease me. She'd say, uh - "You don't belong
to me; you were left on the doorstep by gypsies." Sometimes I
think it's true.
MICHAEL
You're no gypsy, FREDO.
FREDO
Mikey -- I was mad at you.
[There is a long pause as FREDO shuffles around.]
Why didn't we spend time like this before? You wanna drink right?
WAITER!
[A waiter walks up to them.]
Por Favor -- how do you say "banana daiquiri"?
MICHAEL
Banana daiquiri.
FREDO
That's it?
MICHAEL
Yes.
FREDO
Uno Banana Daiquiri.
WAITER
Banana Daiquiri.
FREDO
Si -- and uh -- a club soda.
MICHAEL
SENATOR GEARY is flying in from Washington tomorrow night with
some people -- some government people. I want you to show them a
good time in Havana.
FREDO
My specialty, right?
MICHAEL
Can I trust you with something, FREDO?
FREDO
Of course, Mike.
MICHAEL
Later on in the evening we're all invited to the Presidential
Palace reception, to bring in the New Year. After it's over -
they're gonna take me home in a military car -- alone -- for my
protection. Before I reach my hotel, I'll be assassinated.
[The waiter comes with their drinks.]
WAITER
Gracias
FREDO
Who?
MICHAEL
ROTH.
[FREDO glances on with surprise.]
It was ROTH who tried to kill me in my home. It was ROTH all
along. He acts like I'm his son -- his successor -- but he thinks
he's gonna live forever -- and he wants me out.
FREDO
How can I help?
MICHAEL
Just go along as if you know nothing. I've already made my move.
FREDO
What move?
MICHAEL
HYMAN ROTH will never see the New Year.
CUT TO: Inside ROTH's Havana room in the Capri. JOHNNY OLA guides
MICHAEL and his BODYGUARD into the room were ROTH is. A DOCTOR
has inspected ROTH and begins to talk to MRS. ROTH in Spanish.]
MRS. ROTH [translating the DOCTOR]
Says you have to take it easy. And he's gonna give you a
prescription. He'll be back tomorrow.
ROTH
I want my own doctor. Fly him in from Miami - I don't trust a
doctor can't speak English.
MRS. ROTH
Gracias, se駉r
ROTH
Honey, go down to the casino.
MRS. ROTH
Well, if you're sure you're felling better.
ROTH
Feell fine. Play the bingo game.
MRS. ROTH
Alright.
[Then to MICHAEL.]
Nice to see you Mr. Paul. Just make yourself at home.
[After she's left.]
ROTH
My sixth sense tells me your brother FREDO brought a bag full of
money. Where is it?
[MICHAEL is silent.]
You're pulling out?
MICHAEL
Just wanna -- I just wanna wait.
[ROTH and JOHNNY OLA exchange worried glances.]
How do you fell?
ROTH
Terrible -- I'd give four million just to be able to take a piss
without it hurting.
MICHAEL
Who had FRANK PENTANGELI killed?
ROTH
The -- Rosato brothers.
MICHAEL
I know -- but who gave the go ahead. I know I didn't.
[Once again JOHNNY OLA and ROTH exchange glances. This time ROTH
is mad.]
ROTH
There was this kid I grew up with -- he was younger than me.
Sorta looked up to me -- you know. We did our first work together
-- worked our way out of the street. Things were good, we made
the most of it. During Prohibition -- we ran molasses into Canada
-- made a fortune -- you father, too. As much as anyone, I loved
him -- and trusted him. Later on he had an idea -- to build a
city out of a desert stop-over for GI's on the way to the West
Coast. That kid's name was Moe Green -- and the city he invented
was Las Vegas. This was a great man -- a man of vision and guts.
And there isn't even a plaque -- or a signpost -- or a statue of
him in that town! Someone put a bullet through his eye. No one
knows who gave the order -- when I heard it, I wasn't angry; I
knew Moe -- I knew he was head-strong, talking loud, saying
stupid things. So when he turned up dead -- I let it go. And I
said to myself, this is the business we've chosen -- I didn't ask
who gave the order -- because it had nothing to do with business!
[He turns around and thinks of what he ju