FADE FROM BLACK: Int. of Don Corleone's home office -day



BONASERA (seated in front of the Don's desk, facing the
camera)

I believe in America. America has made my fortune. And I
raised my daughter in the

American fashion. I gave her freedom, but -- I taught her
never to dishonor her family. She

found a boyfriend; not an Italian. She went to the movies
with him; she stayed out late. I

didn't protest. Two months ago, he took her for a drive,
with another boyfriend. They made

her drink whiskey. And then they tried to take advantage of
her. She resisted. She kept her

honor. So they beat her, like an animal. When I went to the
hospital, her nose was a'broken.

Her jaw was a'shattered, held together by wire. She couldn't
even weep because of the pain.

But I wept. Why did I weep? She was the light of my life --
beautiful girl. Now she will

never be beautiful again.

[Bonasera breaks down. The Don gestures to Sonny to give
Bonasera a drink]

Sorry...

[Bonasera, taking the drink, sips from the shot glass]

I -- I went to the police, like a good American. These two
boys were brought to trial. The

judge sentenced them to three years in prison -- suspended
sentence. Suspended sentence!

They went free that very day! I stood in the courtroom like
a fool. And those two bastard,

they smiled at me. Then I said to my wife, "for justice, we
must go to Don Corleone."



VITO CORLEONE (sitting behind his desk, petting a cat)

Why did you go to the police? Why didn't you come to me
first?



BONASERA

What do you want of me? Tell me anything. But do what I beg
you to do.



VITO CORLEONE

What is that?



[Bonasera gets up to whisper his request into Don
Corleone's ear]



That I cannot do.



BONASERA

I'll give you anything you ask.



VITO CORLEONE

We've known each other many years, but this is the first
time you came to me for counsel,

for help.  I can't remember the last time that you invited
me to your house for a cup of

coffee, even though my wife is godmother to your only child.
But let's be frank here: you

never wanted my friendship. And uh, you were afraid to be in
my debt.



BONASERA

I didn't want to get into trouble.



VITO CORLEONE

I understand. You found paradise in America, had a good
trade, made a good living. The

police protected you; and there were courts of law. And you
didn't need a friend of me. But

uh, now you come to me and you say -- "Don Corleone give me
justice." -- But you don't ask

with respect. You don't offer friendship. You don't even
think to call me Godfather. Instead,

you come into my house on the day my daughter is to be
married, and you uh ask me to do

murder, for money.



BONASERA

I ask you for justice.



VITO CORLEONE

That is not justice; your daughter is still alive.



BONASERA

Then they can suffer then, as she suffers.

(then)

How much shall I pay you?



VITO CORLEONE (stands, turning his back toward Bonasera)

Bonasera... Bonasera... What have I ever done to make you
treat me so disrespectfully? Had

you come to me in friendship, then this scum that ruined
your daughter would be suffering

this very day.  And that by chance if an honest man such as
yourself should make enemies,

then they would become my enemies.  And then they would fear
you.



BONASERA

Be my friend --

(then, after bowing and the Don shrugs)

-- Godfather?



VITO CORLEONE (after Bonasera kisses his hand)

Good.

(then)

Some day, and that day may never come, I'll call upon you to
do a service for me. But uh,

until that day -- accept this justice as a gift on my
daughter's wedding day.



BONASERA (as he leaves the room)

Grazie, Godfather.



VITO CORLEONE

Prego.

(then, to Tom Hagen, after Bonasera leaves the room)

Ah, give this to ah, Clemenza. I want reliable people;
people that aren't gonna be carried

away. I'm  mean, we're not murderers, despite of what this
undertaker says.



CUT TO: Connie's Wedding reception. We hear the music
"Connie's Wedding (The

Godfather Tarantella)" -day

CUT TO: Connie and Carlo at the head table

CUT TO: The family gathers for a family portrait



VITO CORLEONE (to Sonny)

Where's Michael?



SONNY CORLEONE

Don't worry; it's early.



VITO CORLEONE

We're not taking the picture without Michael

(then, he tells the photographer, in Italian)



TOM HAGEN

What's the matter, Sonny?



SONNY CORLEONE

It's Michael



CUT TO: The Don meeting some guests outside

CUT TO: Mama dancing with Sonny's twin girls

CUT TO: Connie and Carlo laughing with guests at head table

CUT TO: Long shot of guests dancing

CUT TO: FBI arrive at entrance

CUT TO: Clemenza dancing with his wife

CUT TO: FBI take license plate numbers

CUT TO: Tessio sitting at a table with Carmella & twins,
tossing himself an orange

CUT TO: FBI continuing to take license plate numbers

CUT TO: Don Barzini arrives



VITO CORLEONE

Eh, Don Barzini.

(then, Vito introduces Barzini to someone, in Italian)



CUT TO: Clemenza is dancing, gets tired, and spins off the
dancefloor, laughing.



CLEMENZA (after dancing)

Hey, Paulie! Let me have some wine. Paulie! More wine...



PAULIE (OS to someone)

Scusi, please

(then, in view, to Clemenza, handing him a pitcher
quarter-full of wine)

Ah, you look teriff' on the dance floor



CLEMENZA

Hey, what are you a dance judge or something? [something in
Italian] Go take a walk

around the neighborhood -- do your job.



CUT TO: Sonny pinches Lucy Mancini's cheek as he walks
towards his wife, Sandra



SONNY

Hey Sandra, do me a favor, huh; watch the kids -- don't
let'em run wild, all right?



SANDRA

Well, you watch yourself, all right?



CUT TO: Reception continues with Part 2 of Connie's Wedding
Song (The Godfather

Mazurka). We first see Tessio dancing with a young girl
standing on his feet.



OS: eh Tessio, buona fai



CUT TO: Don Corleone dancing with his wife, Carmella (Mama)

CUT TO: Connie collecting gifts for her bridal purse. Paulie
is watching.



PAULIE

Twenty- Thirty-grand. In small bills, cash. In that little
silk purse. Maron, if this was

someone else's wedding, sweet tonato!



BUTTONMAN (from afar, tossing him sandwiches)

Hey, Paulie! I got two [gavagool?], [gabagone?], and a ...



PAULIE

Eh, you stupid jerk!



CUT TO: A photographer takes Barzini's picture. Barzini
motions to his men to get the

camera



PHOTOGRAPHER

Eh, what's the matter?



[The men bring the film to Barzini, who exposes and
crumples it]



CUT TO: Tom going up to his wife, Theresa, who's sitting at
a table at the reception



TOM

I have to go back to work



THERESA

Oh, Tom



TOM (after he kisses his wife)

It's part of the wedding: No Sicilian can refuse any request
on his daughter's wedding day.



LUCA (rehearsing his lines as Tom passes him)

Don Corleone, I am honored and grateful that you have
invited me to your home...



CUT TO: Sonny goes out into the driveway to see the FBI
guys. The Mazurka ends.



SONNY

Eh -- what's this -- Get outta here; it's a private party,
go on!

(then, to FBI man in car)

What's is it? Hey, it's my sister's wedding

(then, he spits after being shown a badge. He turns and
walks away)

Goddamn FBI don't respect nothing  [jazz music begins to
play from party]

(then, to photographer)

Eh, come here; come here; come here; come here, come here;
come here; come here...

(then smashes camera, which Paulie kicks, and flips cash to
him)  [music ends]

Extra dialogue from The SAGA only

NAZORINE (off screen)

He was captured by the American army. Then he was sent to
New Jersey, as a prisoner of

war...

CUT TO: Nazorine and Enzo in Don Corleone's office -day



NAZORINE (seated in front of the Don't desk)

But towards the end, he was uh paroled to help with the
American uh war effort. So for the

last six months he's been working in my pastry shop.



VITO CORLEONE (seated)

Nazorine, my friend, what can I do for you?



NAZORINE

Well now that the war is over, this boy, Enzo -- they want
to repatriate him back to Italy.

Godfather, I have a daughter. You see, she and Enzo...



VITO CORLEONE

You want Enzo to stay in this country, and you want your
daughter to be married.



NAZORINE (stands)

You understand everything.



[they shake hands, Nazorine turns to leave]



VITO CORLEONE

Bene.



NAZORINE (now by the door with Tom Hagen)

Mr. Hagen, thank you.

(then, turning to Don Corleone)

An' wait til you see the beautiful wedding cake I made for
your daughter! Ooof! [gestures]

Like this! The bride and the groom and the angel...



TOM (after Nazorine exits)

Who should I give this job to?



VITO CORLEONE

Not to our paisan. Give it to a jew congressman, in another
district. Who else is on the list?



CUT TO: Michael and Kay arrive, make some introductions. Kay
says hello to one of the

guests, and someone says Michael's name. They dance to
"Ev'rytime I Look In Your Eyes"

as the Don watches from his window -day



CUT TO: The Don's office -day



TOM

He's not on the list, but Luca Brasi wants to see you



VITO CORLEONE

Is this -- Is this necessary?



TOM

He didn't expect to be invited to the wedding, so he wanted
to thank you.



VITO CORLEONE

All right.



CUT TO: Outside of the Corleone residence, Luca sits,
rehearsing his lines -day



LUCA BRASI (rehearsing his lines aloud)

Don Corleone, I am honored and grateful that you have
invited me to your home on the

wedding day of your daughter. And may their first child be a
masculine child.

(then, starting over, which continues throughout the
following dialogue)

Don -- Don Corleone...



KAY

Michael, that man over there is talking to himself. See that
scary guy over there?



LUCA'S VOICE

...on the wedding day of your daughter...



MICHAEL (after glancing over at Luca)

He's a very scary guy.



KAY

Well, who is he? What's his name?



MICHAEL

His name is Luca Brasi -- an' he helps my father out
sometimes.



[Luca stands up, facing Mike and Kay, seemingly coming
toward them]



KAY

Oh, Michael, wait a minute; he's coming over here...



TOM (appearing in view)

Mike!



MICHAEL

Oh!



TOM (embracing Michael)

Heh...! You look terrific!



MICHAEL

My brother, Tom Hagen -- this is Kay Adams.



TOM

How do you do.



KAY

How do you do, Tom



TOM (into Michael's ear)

Your father's been asking for you

(then, to Kay, before he leaves)

Very nice to meet you



KAY

Nice to meet you

(then, after Tom exits to bring Luca into the Don's
office)

If he's your brother, why does he have a different name?



MICHAEL

Oh, ah, that -- when my brother Sonny was a kid, he found
Tom Hagen in the street. And he

had no home -- and so my father took him in -- and he's been
with us ever since.  He's a good

lawyer. Not a Sicilian, but -- I think he's gonna be
consiglieri.



KAY

What's that?



MICHAEL

That's um, like a counselor -- an advisor -- very important
to the family.  

(then)

You like your lasagna?



CUT TO: Luca Brasi in Don Corleone's office -day



LUCA BRASI (after kissing the Don's left cheek)

Don Corleone, I am honored and grateful that you have
invited me to your daugh-- ter's

wedding...

(then, after realizing he messed up his rehearsed lines, he
fails to recover)

...on the day of your daughter's wedding. And I hope that
their first child be a masculine

child. I pledge my ever-ending loyalty. --



[Playing kids run into the room and then are escorted out
by Tom]



(then, as Luca hands Don Corleone a cash-filled envelope)

For your daughter's bridal purse.



VITO CORLEONE

Thank you, Luca, my most valued friend.



LUCA BRASI

Don Corleone, I'm gonna leave you now, because I know you
are busy.



VITO CORLEONE

Thank you.



[Tom escorts Luca out]



CUT TO: Bride & groom dance to "The Godfather Fox Trot"

CUT TO: Sonny moves closer to Lucy to whisper into her ear

CUT TO: Sandra gestures to other women about the size of
Sonny's manhood; they laugh;

Sandra turns to see Lucy get up to meet Sonny

CUT TO: Singing and dancing on stage



VOICE (urging Mama Corleone to come onto the stage to
sing)

Signora Corleone! -- [more]



MAMA (laughingly)

No -- no -- no! [more]

(then, once on stage)

[sounds like] Assesta stori!

(then sings the first verse to "Luna Mezz'a Mare")

(then, Mama calls Nazorine to the stage)



CUT TO: Sonny goes upstairs

CUT TO: An old man continues "Luna Mezz'a Mare" while
Nazorine dances and laughs on

stage

CUT TO: Lucy Mancini goes upstairs

CUT TO: The old man who was singing is now dancing

CUT TO: Don's office.



TOM

Senator Cauly apologized for not coming personally -- he
said you'd understand.  Also, some

of the judges. They've all sent gifts.

(then, toasting to the Don)

Salute!



[OS: Screaming of joy from the party outside]



VITO CORLEONE

What is that outside?



CUT TO: Outside, Johnny Fontane enters the party, signing
autographs



CONNIE (while running up to Johnny, then hugging him)

Johnny! Johnny! Johnny! I love you!



CUT TO: Don's office. The Don is looking out the window



VITO

He came all the way from California to come to the wedding;
I told you he was going to

come.



TOM

It's been two years; he's probably in trouble again.



VITO

He's a good godson.



CUT TO: Bandstand area -day



MAMA CORLEONE

Johnny, Johnny! [In Italian: "Sing a song"]

(then, in English)

Sing a song.



[the crowd encourages Johnny, and he gives in]



CUT TO: Michael and Kay's table  -day



KAY

Mike, you never told me you knew Johnny Fontane!



MICHAEL

Sure...  You wanna meet him?



KAY

Huh? Oh, well, sure!



MICHAEL

My father helped him with his career.



JOHNNY (OS)

For my Connie...



KAY

He did? How?



JOHNNY (OS, singing "I Have But One Heart")

"I have but one heart..."



MICHAEL

Let's listen to the song...



KAY

Oh, Michael...



CUT TO: Johnny singing to Connie, who's seated. Then PAN the
crowd cheering and

screaming as Johnny sings



JOHNNY (singing, continues)

"...this heart I bring you / I have but one heart / To share
with you / I have but one dream /

That I can cling to / You are the one dream/I pray comes
true..."





KAY

Please, Michael, tell me.



JOHNNY (OS, continues the song)

"My darling, until I saw you..."



MICHAEL

Well, when Johnny was first starting out, he was signed to
this personal service contract;

with a big band leader. And as his career got better and
better, he wanted to get out of it.

Now, Johnny is my father's godson. And my father went to see
this band leader, and he

offered him $10,000 to let Johnny go. But the band leader
said no.  So the next day, my

father went to see him; only this time with Luca Brasi.  And
within an hour, he signed a

release, for a certified check for $1,000.



KAY

How'd he do that?



MICHAEL

My father made him an offer he couldn't refuse.



KAY

What was that?



MICHAEL

Luca Brasi held a gun to his head, and my father assured him
that either his brains -- or his

signature -- would be on the contract.

(then)

That's a true story.

(then, after we see Johnny ending the song)

That's my family, Kay. It's not me.



CUT TO: Bandstand area  -day



MAMA (OS)

Bene! Bene!



[The song is finished, and we hear applause. The Don goes
out to meet and hug

Johnny, and they, and other guests, toast. The Mazurka music
and dancing continue]



VITO (to the surrounding guests)

My godson comes all the way from California...give him a
glass of wine



VOICE (OS)

Salute!



JOHNNY (whispers into the Don's ear that he wants to talk
to him)



VITO CORLEONE

I'll take care of it.

(then, to Tom)

Tom, I want you to find Santino. Tell him to come to the
office.



[Tom looks up, as if knowing what Sonny's up to]



CUT TO: Michael and Kay's table at the reception



MICHAEL (with Kay, gets tapped in the head by Fredo)

Oh!

(then, noticing Fredo)

How are you, Fredo?

(then)

Fredo -- my brother Fredo -- this is Kay Adams



KAY

Oh, hi

FREDO (apparently drunk)

How'ya doing?

(then, after Fredo kisses Kay on the cheek)

This is my brother, Mike.



MICHAEL

Are you having a good time?



FREDO

Huh? yeah...

(then)

This your friend, huh?



CUT TO: Johnny Fontane in the Don's office. -day



JOHNNY

I don't know what to do. My voice is -- is weak. It's weak.
Anyway, uh, if I had this part in

the picture, ya'know, it puts me right back up on top again.
But this, uh -- this man out there,

he won't give it to me; the head of the studio.



VITO CORLEONE

What's his name?



JOHNNY

Woltz -- Woltz. He -- He won't give it to me -- and ah, he
says there's no chance. No chance.



CUT TO: Tom looking for Sonny inside the house



TOM (at the bottom of the stairs)

Sonny?  Sonny?



[Sonny and Lucy are going at it, standing against a door in
an upstairs bedroom.

Tom goes upstairs, then knocks on the bedroom door]



TOM

Sonny? Sonny you in there?



SONNY (stopping the action)

What?



TOM

Your old man wants to see you.



SONNY

Yeah, one minute.



[Tom smiles, and walks away, as Sonny and Lucy continue]



LUCY

Oh, Sonny!



CUT TO: A woman singing Italian song, opera-like, on the
stage -day

CUT TO: The Don's office



JOHNNY (as Tom quietly enters the Don's office)

A month ago he bought the movie rights to this book.  A
bestseller -- and the main character,

it's a guy just like me. I uh -- I wouldn't even have to act
-- just be myself.  Oh, Godfather, I

don't know what to do.  I don't know what to do.



VITO CORLEONE

You can act like a man!

(then, after slapping Johnny on the face)

What's the matter with you? Is this how you turned out? A
Hollywood finocchio that ah cries

like a woman?

(then imitating Johnny, as Tom giggles)

What can I do?! What can I do?!

(then)

What is that nonsense? Ridiculous.



[Sonny enters the room]



VITO CORLEONE (to Johnny, after glancing to see Sonny
enter)

You spend time with your family?



JOHNNY

Sure I do.



VITO CORLEONE (to Johnny, but toward and about Sonny)

Good. 'Cause a man who doesn't spend time with his family
can never be a real man.

(then, to Johnny)

Come're.

(then)

You look terrible. I want you to eat. I want you to rest a
while. And in a month from now,

this -- Hollywood bigshot's gonna give you what you want.



JOHNNY

It's too late, they start shooting in a week



VITO CORLEONE

I'm gonna make him an offer he can't refuse.

(then)

Now you just go outside and enjoy yourself, and ah, forget
about all this nonsense. I want

you to leave it all to me.



JOHNNY (exiting)

All right



VITO CORLEONE (after Johnny exits)

Well...



CUT TO: The cake comes out. Nazorine, the baker, takes a
proud bow. The Tarantella plays

again.



CUT TO: The Don's office



VITO CORLEONE

What time does my daughter leave with the bridegroom?



TOM

In a few minutes, right after they cut the cake.

(then, as we hear clinking glasses coming from outside,
which continues)

Now your new son-in-law; give him something important?



VITO CORLEONE

Never.  Give him a living, but never discuss the Family
business with him. What else?



TOM

Virgil Sollozzo called. Now we're gonna have to give him a
day sometime next week.



VITO CORLEONE

We'll discuss it when you come back from California.



TOM (laughing)

When am I going to California?



VITO CORLEONE

I want you to go tonight; I want you to talk to this --
movie bigshot, and settle this business

for Johnny. Now, if there's nothing else, I'd like to go to
my daughter's wedding.

Extra footage from The TRILOGY & SAGA

TOM

Uh -- the hospital called. Um --Consiglieri Genco -- he's
not gonna last out the night.



VITO CORLEONE

Santino, go tell your brothers that I went them to come with
me to visit Genco to pay their

respects. Tell Fredo to drive the big car... outside now.



SONNY

Uh, Pop... Michael?



VITO CORLEONE

All my sons

CUT TO: Family portrait scene in the yard [the clinking
glasses have stopped] -day



MAMA (seeing Carlo and Connie kissing)

Carlo, we're gonna take the picture...



MICHAEL (as he goes to get Kay for the photo)

Wait a minute...



KAY

No, Michael, not me.



PHOTOGRAPHER

Okay, that's it. Just like that; now, hold it.



CUT TO: Connie and the Don dance to "The Godfather Waltz
(Come Live Your Life With Me)"

Extra footage from The TRILOGY & SAGA

CUT TO: Tom arrives in Hollywood by plane, takes a cab, then
walks by foot through Woltz

International Pictures. Music: "Manhattan Serenade" plays
-day

Extra footage from The TRILOGY & SAGA

JANIE'S MOTHER (after Janie kisses Woltz)

Ah, isn't that nice...



WOLTZ (who's just walked toward Tom)

All right, start talking.



TOM

Uh, I was sent by a friend of Johnny Fontane's -- His friend
is my client, who'd give his

undying friendship to Mr. Woltz, if Mr. Woltz would grant us
a small -- favor.



WOLTZ

Woltz is listening.



TOM

Give Johnny the part in that new war film you're starting
next week.



WOLTZ (laughs, then)

And ah, what favor would ah your friend ah grant Mr. Woltz?



TOM

You're gonna have some union problems; my client could make
then disappear. Also, one of

your top stars has just moved from ah marijuana to
heroin...



WOLTZ

Are you trying to muscle me?



TOM

Absolutely not.



WOLTZ

Now listen to me, you smooth-talking son-of-a-bitch! Let me
lay it on the line for you and

your boss, whoever he is. Johnny Fontane will never get that
movie! I don't care how many -

- daigo guinea WOP greaseball gumbahs come out of the
woodwork!



TOM

I'm German-Irish...



WOLTZ

Well let me tell you something my Kraut Mick friend, I'm
gonna make so much trouble for

you, you won't know what hit you!



TOM

Mr. Woltz, I'm a lawyer, I have not threatened you.



WOLTZ

I know almost every big lawyer in New York, who the hell are
you?



TOM

I have a special practice; I handle one client -- Now you
have my number; I'll wait for your

call -- By the way, I admire your pictures very much.



[Tom shakes Woltz' hand, then leaves]



WOLTZ (to a staff member)

Check him out...



CUT TO: Later, Tom and Woltz walking around Woltz' estate.
"Manhattan Serenade" plays

again. -early evening



TOM

This is really beautiful.



WOLTZ

Well, look at this. It used to decorate the palace of a
king.



TOM

Oh, yeah; very nice.



WOLTZ

Why didn't you say you worked for Corleone, Tom? I thought
you were just some cheap

two-bit hustler Johnny was running in trying to bluff me.



TOM

I don't like to use his name unless it's really necessary.



WOLTZ

How's your drink, Tom?



TOM

Fine



WOLTZ

Hey, come on over here with me; I wanna show you something
really beautiful. You do

appreciate beauty, don't you?

(then)

There you are, $600,000 on four hooves. I bet a Russian Czar
never paid that kind of dough

for a single horse.

(then, toward the horse)

Khartoum.  Khartoum.

(then, to Tom)

I'm not gonna race him, though. I'm gonna put him out to
stud.



TOM

He's beautiful.



WOLTZ (to stablehand)

Thanks, Tony.



TONY

You're welcome...



WOLTZ (to Tom)

Let's get something to eat, huh?



CUT TO: Woltz' dinner table  -early evening



TOM

Mr. Corleone is Johnny's godfather. To the Italian people,
that's a very religious, sacred,

close relationship.



WOLTZ

I respect that; just tell him he should ask me anything
else. But this is one favor I can't give

him.



TOM

He doesn't ask a second favor once he's been refused the
first, understood?



[Gaffe: Waiter fills Tom's wine glass twice, shown in two
camera angles]



WOLTZ

You don't understand. Johnny Fontane never gets that movie.
That part is perfect for him;

it'll make him a big star. And I'm gonna run him out of the
business, and let me tell you why.

(then, after he stands)

Johnny Fontane ruined one of Woltz International's most
valuable protיgיs. For five years

we had her under training. Singing lessons; acting lessons,
dancing lessons. I spent hundreds

of thousands of dollars on her. I was gonna make her a big
star! And let me be even more

frank, just to show you that I'm not a hard-hearted man, and
it's not all dollars and cents.  

She was beautiful; she was young, she was innocent. She was
the greatest piece of ass I ever

had, and I had'em all over the world! And then Johnny
Fontane comes along with his olive-

oil voice, and guinea charm. And she runs off. She threw it
all away just to make me look

ridiculous! And a man in my position can't afford to be made
to look ridiculous! Now you

get the hell outta here! And if that gumbah tries any rough
stuff, you tell him I ain't no band

leader! Yeah, I heard that story....



TOM

Thank you for the dinner and a very pleasant evening. If
your car could take me to the

airport; Mr. Corleone is a man who insists on hearing bad
news immediately.



[Tom nods, then exits]

Extra footage from The TRILOGY & SAGA

CUT TO: pan of exterior of Woltz' estate, music is a
variation of the Title Theme, then we

see the interior of Woltz' bedroom. Woltz awakens in a pool
of blood, and finds Khartoum's

severed head in his bed; and SCREAMS ah - ah - ah - ah - ah!
-dawn



DISSOLVE TO: close-up of Vito Corleone's face; he nods
-evening



VITO CORLEONE

You're not too tired, are you, Tom?



TOM

No, no. I slept on the plane.

(then, as we see Sollozzo entering the Don's office from
the street)

I have the Sollozzo notes here. Now -- Sollozzo is known as
'The Turk.'  He's supposed to be

very good with a knife, but only in matters of business or
some sort of reasonable complaint.

Uh, his business is narcotics. He has fields in Turkey where
they grow the poppy. And in

Sicily he has the plants to process them into heroin. Now --
he needs cash, and he needs

protection from the police, for which he gives a piece of
the action -- I couldn't find out how

much. The Tattaglia family is behind him here in New York.
Now they have to be in it for

something.



CUT TO: Sonny introducing himself to Sollozzo, shaking hands
-day



SONNY

Sonny Corleone...



CUT TO: Back to Don, Sonny and Tom before the meeting
-evening



VITO CORLEONE

What about his prison record?



TOM

Two terms. One in Italy, one here. He's known as a top
narcotics man.



VITO CORLEONE

Santino? Whattaya think?



SONNY

There's a lot of money in that white powder.



VITO CORLEONE

Tom?



TOM [Sollozzo scenes still intercut]

Well, I say yes. There's more money potential in narcotics
than anything else we're looking

at. Now if we don't get into it, somebody else will. Maybe
one of the Five Families, maybe

all of them.  Now with the money they earn, they can buy
more police and political power;

then they come after us. Now we have the unions, we have the
gambling; an' they're the best

things to have. But narcotics is a thing of the future.  An'
if we don't get a piece of that

action, we risk everything we have -- I mean not now, but ah
ten years from now.



SONNY

So, what's your answer gonna be, Pop?



CUT TO: Sollozzo meeting in Don Corleone's Genco office.
Scene includes the Don,

Sollozzo, Tom, Sonny, Fredo, Clemenza, and Tessio sitting in
Room #2 -day



SOLLOZZO

Bene. Don Corleone. I need a man who has powerful friends. I
need a million dollars in

cash. I need, Don Corleone, those politicians that you carry
in your pocket, like so many

nickels and dimes.



VITO CORLEONE

What is the interests for my family?



SOLLOZZO

Thirty percent. In the first year, your end should be three-
four-million dollars. And then it

would go up.



VITO CORLEONE

And what is the interest for the Tattaglia Family?



SOLLOZZO (to Tom)

My compliments.

(then to Don Corleone)

I'll take care of the Tattaglia's, outta my share.



VITO CORLEONE

So I receive thirty percent for finance -- political
influence, and legal protection, that's what

your telling me?  



SOLLOZZO

That's right



VITO CORLEONE

Why do you come to me? Why do I deserve this generosity?



SOLLOZZO

If you consider a million dollars in cash just finance, te
salute, Don Corleone.



VITO CORLEONE (gets up to pour Sollozzo another drink)

I said that I would see you because, I heard that you're a
serious man, to be treated with

respect.

(then, after sitting)

But uh, I must say "no" to you -- and I'll give you my
reasons. It's true, I have a lot of friends

in politics, but they wouldn't be friendly very long if they
knew my business was drugs

instead of gambling, which they rule that as a -- harmless
vice. But drugs is a dirty business.



SOLLOZZO

Don Corleone...



VITO CORLEONE

It -- makes -- it doesn't make any difference to me what a
man does for a living, understand.

But your business is ah -- a little dangerous.



SOLLOZZO

If you're worried about security for your million, the
Tattaglia's will guarantee it.



SONNY

Aw,  you're telling me that the Tattaglia's guarantee our
investment?



VITO CORLEONE (to Sonny)

Wait a minute...



[Clemenza and Tom look at each other, realizing Sonny's
faux pas. Sollozzo

notices]



VITO CORLEONE (to Sollozzo)

I have a sentimental weakness for my children, and I spoil
them as you can see; they talk

when they should listen. But, anyway, Signor Sollozzo, my no
is final, and I wish to

congratulate you on your new business, and I know you'll do
very well; and good luck to you

-- as best as your interests don't conflict with my
interests. Thank you.



[the group begins to leave the room: Sollozzo, Clemenza,
Tessio, then Fredo]



VITO CORLEONE

Santino, come're. Whattsa matter with you? I think your
brain is going soft from all that

comedy your playing with that young girl. Never tell anybody
outside the family what you're

thinking again!

(then)

Go on...

(then, after Sonny exits)

Tom...

(then, after a huge flower arrangement appears at the
office entrance)

What -- what is this nonsense?



TOM

It's from ah Johnny, starring in that new ah film.



VITO CORLEONE

Ah -- Well, take it away.



TOM (to person holding flowers)

Take it over there



VITO CORLEONE

And uh, tell Luca Brasi to come in.



CUT TO: Luca sits down in front of the Don at the Genco
office.  -day



VITO CORLEONE

I'm a little worried about this Sollozzo fella. I want you
to find out what he's got under his

fingernails, ya'know. Go to the ah Tattaglia's, uh, and ah,
make them think that ah you're --

you're not too happy with our family and -- and ah find out
what you can.



FADE FROM BLACK: Michael and Kay Christmas shopping outside
of Best & Co. "Have

Yourself A Merry Little Christmas" is playing -day



KAY

I got something -- I got something for your mother, and for
Sonny, and a tie for um um

Freddy, and Tom Hagen got the Reynolds pen...



MICHAEL

And what do you want for Christmas?



KAY

Me? Oh, just you.



CUT TO: Luca Brasi getting ready for his meeting: putting on
his vest and checking his gun

-night

EXTRA SCENE FROM THE EPIC, TRILOGY & SAGA: Mike and Kay
are in a hotel

room bed. The phone rings, and Kay picks up. "Have Yourself
A Merry Little Christmas"

continues-day



KAY (into phone)

Hello?



VOICE ON THE PHONE

Good afternoon, it's 3 o'clock



KAY (into phone)

Thank you....

(then, to Michael, after hanging up the phone)

Michael, it's 3 o'clock



MICHAEL (barely awake)

Wha?



KAY (laughs)

It's 3 o'clock -- we hafta get up -- because we have to go
to your father's house...



MICHAEL

Why do we have to?



KAY (laughing)

Because we have to...



MICHAEL

Ya'know, if we go to my father's house --



KAY

uh-huh...



MICHAEL

-- we can't push the beds together...



KAY (laughs)

Why not?



MICHAEL

Because they're in separate rooms



KAY (laughs)

Well, alright then -- I -- then we won't go -- we won't tell
your father...



MICHAEL

Okay...



KAY

You know, we'll just get married first -- and we'll tell'em
later...



[Music changes to "All Through The Night"]



MICHAEL

I can't do that...



KAY

Then Michael, get outta bed



MICHAEL

Let's go tomorrow...



KAY

Michael, they're expecting us!



MICHAEL

Oh, Kay -- get the phone...



KAY

What are you gonna do?



MICHAEL

Just get the phone...



[Kay gives Michael the phone, and he picks up the receiver
and the operator

responds]



OPERATOR (over the phone)

Yes, may I help you?



MICHAEL (into phone)

Hi, may I please have uh, Orchard-9-9539 please...



KAY

What are you doing? -- What are you doing? Are you doing
something...?



MICHAEL (to Kay)

You're going to be the long-distance operator from New
Hampshire

(then, after Kay laughs)

Come on...



KAY (laughing)

I can't do this



MICHAEL

You gotta -- come on...



TOM'S VOICE (over phone)

Hello?



KAY (pretending to be an operator, into phone)

Hello, this is long distance calling -- I have a collect
call from Mr. Michael Corleone -- um,

will you accept the charges?



TOM'S VOICE (over phone)

Yes...



KAY (pretending to be an operator, into phone)

One moment, please...



[Kay hands Michael the receiver. He inaudibly asks Kay who
it is, but she doesn't

know]



MICHAEL (into phone)

Hello?



TOM'S VOICE (over phone)

Hello?



MICHAEL (into phone)

Hello, Tom



TOM'S VOICE (over phone)

Hi, Mike, how are you?



MICHAEL (into phone)

Listen -- we're up in New Hampshire still -- we're gonna
drive down tomorrow morning...



[The beds on which Michael and Kay are laying, pushed
together, begin to

separate]



TOM

Is there anything I can do for you?



MICHAEL'S VOICE (over phone)

No, ah -- we're fine. Now, I'm -- I'm gonna see you
Christmas -- everybody's goin' out to the

mall?



TOM'S VOICE (over phone)

Right...



MICHAEL (into phone)

Okay...



TOM'S VOICE (over phone)

Right, Mikey...



MICHAEL (as the beds separate, and Michael and Kay fall
between them)

Bye, Tom...

CUT TO: Don Corleone's office on Mott Street -early evening



VITO CORLEONE

Andiamo, Fredo. Tell Paulie to get the car; we're going.



FREDO

Okay, Pop -- I'll have to get it myself, Pop; Paulie called
in sick this morning.



VITO CORLEONE

Huh?!



FREDO (exiting)

Paulie's a good kid, I don't mind getting the car.



[The office manager helps the Don don his coat]



VITO CORLEONE (to office manager)

[sounds like] Buon nateli, Dano. Grazie



CUT TO: Luca Brasi walking down hallway to the bar. The
TRILOGY shows some extra

footage -night

CUT TO: Luca Brasi's meeting at Tattaglia's bar -night



BRUNO TATTAGLIA

Luca, I'm Bruno Tattaglia.



LUCA

I know



BRUNO TATTAGLIA

Su bequero Scotch? Pre-war...



LUCA

Io no bib'  ["I don't drink"]



SOLLOZZO

You know who I am?



LUCA

[In Italian: I know you]



SOLLOZZO

[In Italian: You have been talking to the Tattaglia
family...right? I think you and I can do

business. I need someone strong like you. I heard you are
not happy -- with the Corleone

Family. Want to join me?]



LUCA

[In Italian: What's in it for me?]



SOLLOZZO

[In Italian: $50,000 -- to start with.]



LUCA

[In Italian: Not bad]



SOLLOZZO (offering his hand to Luca)

[In Italian: Agreed?]



[Luca doesn't shake. He takes out a cigarette, which Bruno
lights]



LUCA

Grazie.



[Bruno grabs Luca's hand to the bar, Sollozzo rams a knife
into it, and Luca is

garroted by a buttonman]



CUT TO: Tom Hagen exits a store while Christmas shopping.
Tom is carrying a sled and

some tied-up boxes. "Santa Claus Is Coming To Town" is
playing. -early evening



SOLLOZZO

Tom! Tom Hagen! Merry Christmas!

(then, after Tom nods)

Heh, I'm glad I run into you; I want to talk to you.



TOM

Well I haven't got time



SOLLOZZO

Aw, make time, consiglieri. Get in the car.

(then)

What are you worried about? If I wanted to kill you, you'd
be dead already

(then)

Get in.



{The TRILOGY Tape #1 ends here}



DISSOLVE TO: The Don and Fredo leaving the Genco office
-late afternoon



VITO CORLEONE

Ah, Aspetta, Fredo; I'm gonna buy some fruit



FREDO (getting into the driver's seat of the car)

Okay, Pop



VITO CORLEONE (to merchant)

Ah, hi, Merry Christmas; I wan' some fruit over there. What
is this? Gimme three. And that

one...



[After the don gets some oranges and a green pepper, he
hears footsteps, then

running. He begins to run toward the car, screaming Fredo!
Fredo! and stumbles and falls

onto the car. The two gunmen shoot about 10 shots at him.
The Don screams Uh!, falls over,

the assassins run, and the Don falls to the curb]



FREDO (gets out of the car, fumbling with the gun, then
sits on the curb crying)

I can't -- I can't -- Papa!!

Extra footage from The TRILOGY & SAGA

CUT TO: Michael and Kay walking outside of Radio City Music
Hall, which is showing

Leo McCarey's "The Bells of St. Mary's" which Michael and
Kay just saw.  The music

playing is "Bells of St. Mary's" -evening



KAY

Mike, would you like me better if I were a nun? Like in the
story, you know?



MICHAEL (after pausing)

No.



KAY

Then would you like me better if I were Ingrid Bergman?



MICHAEL

Now that's a thought...



KAY (shaken)

Michael...



MICHAEL

No, I would not like you better if you were Ingrid Bergman.



KAY (upset)

Michael...



MICHAEL

What's the matter?



KAY

Michael...



[They walk back to a newsstand they had just passed, and
Michael picks up the

Daily Mirror which has the headline: "VITO CORLEONE FEARED
MURDERED."  He

flips the pages to reveal an inside article: "Assassins Gun
Down Underworld Chief"]



MICHAEL

They don't say if he's dead or alive...



[They run across the street to a phone booth to call
Sonny]



MICHAEL (into the phone)

Sonny -- Michael.



SONNY'S VOICE (over the phone)

Michael, where you been?



MICHAEL (into the phone)

Is he all right?



SONNY'S VOICE (over the phone)

We don't know yet. There's all kinds of stories.

(then, after a sigh)

He was hit bad, Mikey...

(then)

Are you there?



MICHAEL (into the phone)

Yeah, I'm here.



SONNY'S VOICE (over the phone)

Where you been? I was worried.



MICHAEL (into the phone)

Didn't Tom tell you? I called.



SONNY'S VOICE (over the phone)

No -- look, come home, kid. You should be with Mama,
ya'hear?



MICHAEL (into the phone)

Alright...



CUT TO: Sonny's house just after talking to Michael on the
phone. Sonny hangs up. -night



SANDRA (sadly hugging Sonny)

Oh my God...



[there's a loud crash heard OS from outside the house]



SANDRA (as the baby, Santino Jr, starts to cry)

Oh! Sonny!



[Sonny searches for and finds his gun from a drawer]



SONNY (to Sandra, at the door, after hearing knocking)

Get back -- go

(then, to the door)

Who is it?



CLEMENZA'S VOICE (through the door)

Open up -- It's Clemenza



SONNY (after letting him in)

What?



CLEMENZA (entering)

There's more news about your old man. The word is out on the
street that he's already dead



SONNY

Watch your mouth -- what's the matter with you?



CLEMENZA (after being pushed up against the wall)

Jesus Christ; take it easy -- take it easy



SONNY

Where was Paulie?



CLEMENZA

Paulie was out sick. He been calling sick all winter.



SONNY

How many times has he been sick?



CLEMENZA

Only maybe three, four times. I mean --



SONNY

3, 4 times?



CLEMENZA

-- I asked Freddy if he wants me to get a different
bodyguard and he said "no."



SONNY

Listen, do me a favor, pick him up right now, I don't care
how sick he is. If he's breathing, I

want you to bring him to my father's house. Now, you
understand? Now.



CLEMENZA

Yeah. You want me to send any people over here?



SONNY

No. No. No -- Just you and him. Ga'head.



CLEMENZA (exiting)

Alright...



SONNY (to Sandra, who's holding the crying Santino Jr)

Look, uh... I'll be having a couple people come over to the
house. A couple of our people...



[Sonny's phone rings, and he picks up]



SONNY (into the phone)

Hello?



SOLLOZZO'S VOICE (over the phone)

Santino Corleone?



SONNY (into the phone, and Sandra leaves the room with the
baby)

Yeah...



SOLLOZZO'S VOICE (over the phone)

We have Tom Hagen. In about three hours he'll be released
with our proposition --



[Sonny checks his watch, then writes the time onto the
kitchen cabinet]



SOLLOZZO'S VOICE (over the phone, continues)

-- Listen to everything he has to say before you do
anything. What's done is done.

(then)

And don't lose that famous temper of yours, huh Sonny?



SONNY (into the phone)

No, I'll wait...



[Sollozzo hangs up, then Sonny hangs up]

Extra footage from The TRILOGY & SAGA

CUT TO: An abandoned diner / Sollozzo with kidnapped Tom
Hagen -night



SOLLOZZO (drinking coffee, to Tom)

Your boss is dead. I know you're not in the muscle-end of
the family, Tom, so I don't want

you to be scared. I want you to help the Corleone's, and I
want you to help me.

(then, handing Tom a drink)

Yeah, we got him outside his office just about an hour after
we picked you up.

(then)

Drink it.

(then)

So now it's up to you to make the peace between me and
Sonny.

(then)

Sonny was hot for my deal, wasn't he? And you knew it was
the right thing to do.



TOM

Sonny'll come after you with everything he's got.



SOLLOZZO

That'll be his first reaction, sure. That's why you gotta
talk some sense into him. The

Tattaglia family is behind me with all their people. The
other New York Families will go

along with anything that will prevent a full-scale war.
Let's face it, Tom, and all due respect,

the Don, rest in peace, was -- slippin'. Ten years ago could
I have gotten to him?

(then)

Well -- now he's dead. He's dead, Tom, and nothing can bring
him back. So you gotta talk to

Sonny, you gotta talk to the caporegimes, that Tessio and
that Fat Clemenza.

(then)

It's good business, Tom.



TOM

I'll try, but even Sonny won't be able to call off Luca
Brasi.



SOLLOZZO

Yeah, well, let me worry about Luca.

(then)

You just talk to Sonny -- and the other two kids.



TOM

I'll to my best.



SOLLOZZO

Good. Now, you can go.

(then, while walking out)

I don't like violence, Tom. I'm a business man. Blood is a
big expense.



[Outside, a car, sounding its horn, pulls up; Sollozzo goes
to talk to them, and

returns]



SOLLOZZO

He's still alive. They hit'em with five shots, and he's
still alive! Well that's bad luck for me,

and bad luck for you if you don't make that deal!



CUT TO: Michael arrives at Corleone compound. A car drops
him off at the gate, and he

goes inside, seeing family and friends. The TRILOGY has some
extra footage at the

beginning of this scene, in the car. -night



CLEMENZA (sitting with Theresa Hagen, stands to greet
Michael)

Mike -- Your mother's over in the hospital with your father;
looks like he's gonna pull

through, thank God.

Extra footage from The TRILOGY & SAGA

CUT TO: The Don's office with Sonny, Tom, Mike, Tessio, &
Clemenza -night



SONNY (background, to Tom)

Whattaya think --



TOM (background, to Sonny)

Too much...



SONNY (background, to Tom)

Huh?



CLEMENZA (background, to Tessio)

...it's a lot of bad blood. Sollozzo, Philip Tattaglia,
Bruno Tattaglia; Garbone,...



TOM (background, to Sonny)

It's too far -- I think it's too personal... The Don'll
consider this all...



MICHAEL (to Clemenza)

You kill all those guys?



SONNY

Hey, stay out of it, Mickey; do me a favor.



TOM

Sollozzo's the key. You get rid of him, every falls into
line. Now what about Luca? Sollozzo

didn't seem to be worried about Luca...



SONNY

Aw --I don't know -- if Luca sold out we're in a lot of
trouble, believe me. A lot of trouble.



TOM

Has anyone been able to get in touch with Luca?



CLEMENZA

Eh, I've been trying all night. He might be shacked up.



SONNY

Hey, Mick, do me a favor --



TOM (background, to Clemenza)

Luca never sleeps over with a broad -- he always goes home
when he's through...



SONNY (to Michael)

-- try ringing him...

(then, to Tom)

Well, Tom -- you're consiglieri, now what do we do if the
old man dies, God forbid.



TOM

If we lose the old man --



TESSIO (background)

... Sollozzo, Philip Tattaglia, ...



TOM

-- we lose our political contacts and half our strength. The
other New York Families might

wind up supporting Sollozzo just to avoid a long --
destructive war. This is almost 1946 --



TESSIO (background)

... my people...



TOM

-- nobody wants bloodshed anymore. If your father dies,

(then)

you make the deal, Sonny.



SONNY

That's easy for you to say, Tom, he's not your father!



TOM

I'm as much a son to him as you or Mike.



[knock on door]



SONNY

What is it?



[Paulie enters]



CLEMENZA

Hey, Paulie, I thought I told you to stay put.



PAULIE

Well, the guy at the gates say -- say they got a package.



SONNY

Yeah? Hey, Tessio, go see what it is.



PAULIE (to Sonny, after Tessio exits)

You want me to hang around?



SONNY

Yeah, hang around. You all right?



PAULIE

Yeah, I'm fine



SONNY

Yeah? --



[Paulie coughs, perhaps deliberately]



SONNY

-- There's some food in the icebox, you hungry or anything?



PAULIE

Nah, it's alright -- thanks...



SONNY

How 'bout a drink? Have a little brandy -- that'll help
sweat it out. Huh? Go'ahead, baby...



PAULIE

Alright, sure -- that might be a good idea...



SONNY

Yeah, right.

(then to Clemenza, after Paulie exits)

I want you to take care of that sonofabitch right away.
Paulie sold out the old man, that

stronz'. I don't want to see him again. Make that first
thing on your list, understand?



CLEMENZA

Understood.



SONNY

Hey, Mickey, tomorrow -- get a couple of guys, you go over
to Luca's apartment; hang

around, waitin' for him to show up...



TOM

Uh maybe we shouldn't get Mike uh mixed up in this too
directly



SONNY

Yeah, listen, uh... hang around the house on the phone an'
be a big help, huh?

(then)

Try Luca again -- ga'head



[Tessio enters with package, which he places on Sonny's
lap]



SONNY (unwrapping the package of Luca's bulletproof
vest-wrapped fish]

What the hell is this?



CLEMENZA

It's a Sicilian message. It means Luca Brasi sleeps with the
fishes.



[Michael hangs up the phone]

Extra footage from The TRILOGY & SAGA

CUT TO: Clemenza leaves his house in the morning. Some boys
are playing, one is pushing

the other in a toy car as the latter yells ah! -morning



CLEMENZA (to his wife, on his front stoop)

I'm goin' now...



MRS. CLEMENZA (standing in the door)

What time will you be home tonight?



CLEMENZA (walking to the car)

I don't know, probably late.



MRS. CLEMENZA (OS)

Don't forget the cannoli!



CLEMENZA (getting into the car, as is Rocco)

Yeah, yeah, yeah, yeah...



PAULIE (in the driver's seat)

Rocco, sit on the other side. You block the rearview
mirror.



CLEMENZA

That Sonny's runnin' wild. He's thinkin'a going to the
mattresses already. We gotta find a

spot over on the West Side. Ya try -- 309 West 43rd Street.
You know any gooda spots on

the West Side?



PAULIE

Yeah, I think about it.



CLEMENZA

Well think about it while you're drivin', will ya? I wanna
hit New York sometime this

month.

(then)

And watch out for the kids while you're backin' out.

Extra footage from The TRILOGY & SAGA

CUT TO: Driving under the El Tracks -day



CLEMENZA'S VOICE

Hey, Paulie, I want you to go down 39th Street -- Carlo
Santos -- you pick up 18 --



PAULIE'S VOICE

Yeah...



CLEMENZA'S VOICE (continuing)

-- mattresses for the guys to sleep, while you bring me the
bill...



PAULIE'S VOICE

Uh-huh, yeah, alright... That...[?]...bill



CLEMENZA'S VOICE

Ya'know, you make sure they're clean, cuz those guys a'gonna
be stuck up in there for a long

time, ya'know?



PAULIE'S VOICE

They're clean. They told me they exterminate them



CLEMENZA'S VOICE (as Rocco laughs)

Exterminate? That's a bad word to use: exterminate! Get this
guy. Watch out we don't

exterminate you [laughs]



PAULIE'S VOICE

You think that's funny, or what?



CLEMENZA'S VOICE (laughs with Rocco)

Hey, Paulie -- [In Italian: Did you fart?]



PAULIE'S VOICE

Hey, Rocco, what did you do?



ROCCO'S VOICE (laughs)

Not me -- nothin' -- it wasn't me



PAULIE'S VOICE (laughs)

It's gotta be him, then...



CLEMENZA'S VOICE

Pull over, will yah? I gotta take a leak.



[Paulie pulls over, and Clemenza gets out to relieve
himself. Rocco shoots Paulie

three times as we hear a variation of the "Title Theme"
music]



CLEMENZA (back at the car)

Leave the gun. Take the cannoli.



CUT TO: Outdoors, outside the Don's kitchen, Michael is
sitting on a bench. -day



CLEMENZA'S VOICE (OS)

Hey, Mike! Hey, Mikey?



MICHAEL

Yeah?



CLEMENZA'S VOICE (OS)

You're wanted on the telephone.



MICHAEL (entering the kitchen)

Who is it?



CLEMENZA

Some girl...  [the music fades out]



MICHAEL (into phone)

Hello, Kay?



KAY'S VOICE (over the phone)

How's your father?



MICHAEL (into the phone)

He's good. He's gonna make it.



KAY'S VOICE (over the phone)

I love you.



MICHAEL (into the phone)

Huh?



KAY'S VOICE (over the phone, louder)

I love you.

(then)

Michael?



MICHAEL (into the phone)

Yeah, I know.



KAY'S VOICE (over the phone)

Tell me you love me...



MICHAEL (into the phone)

I can't talk...



KAY'S VOICE (over the phone)

Can't you say it?



MICHAEL (into the phone)

Eh -- I'll see you tonight



KAY'S VOICE

Okay



[Michael hangs up the phone]



CLEMENZA

Hey, Mikey, why don't you tell that nice girl you love her?


(then, in an exaggerated Italian accent)

I love you with all-a my heart! If I don't see you again
soon, I'm a-gonna die! [laughs]

(then)

Heh, come over here, kid, learn something. You never know,
you might have to cook for

twenty guys someday.  You see, you start out with a little
bit of oil. Then you fry some

garlic. Then you throw in some tomatoes, tomato paste, you
fry it; ya make sure it doesn't

stick. You get it to a boil; you shove in all your sausage
and your meatballs; heh?... And a

little bit o' wine. An' a little bit o' sugar, and that's my
trick.



SONNY (after entering the kitchen)

Why don't you cut out the crap. I got more important things
for you to do.

(then)

How's Paulie?



CLEMENZA

Oh, Paulie? Won't see him no more...



SONNY (nods)

(then to Michael, who's walking out of the kitchen)

Where you going?



MICHAEL

To the city.



SONNY

No... wanna send some bodyguards with him -- alright?



MICHAEL

No, I'm just going to the hospital to see Pop



SONNY

Never mind; send somebody with him



CLEMENZA

Aw, he'll be alright -- Sollozzo knows he's a civilian



SONNY

Alright; be careful, huh?



MICHAEL (as he exits)

Yes, sir...



SONNY

Send somebody with him, anyway...



CLEMENZA (chuckles)



CUT TO: Michael goes to the city, driven by bodyguards
-early evening

DISSOLVE TO: Kay's hotel room. Michael and Kay are eating
dinner, while "All of My

Life" plays



MICHAEL (as he gets up to get his coat)

I have to go...



KAY

Can I go with you?



MICHAEL

You know, Kay, there's gonna be detectives there -- people
from the Press...



KAY

Well, I'll ride in the cab...



MICHAEL

I don't want you to get involved...



KAY

When will I see you again?



MICHAEL (after a long pause)

Go back to New Hampshire, and I'll call you at your parents'
house.



KAY

When will I see you again, Michael?



MICHAEL

I don't know...



[Michael kisses Kay, then exits]



CUT TO: Michael exiting the hotel

CUT TO: The hospital (10:30pm). Michael arrives by cab. He
enters the quiet hospital to

find no one at the nurse's station. He walks down the hall
to check an office, and only sees a

half-finished sandwich on a desk. He runs down the hall and
up the stairs towards his

father's room. He pauses, noticing there is no guard outside
the Don's door. He walks around

the corner up to Room #2 and hesitates before he pushing the
door open. His father is in the

bed, and Michael wonders if he's alive. He walks up to the
Don. -night



NURSE (entering the room)

What are you doing here? You're not supposed to be here
now!



MICHAEL

I'm Michael Corleone -- this is my father.

(then)

There's nobody here. What happened to the guards?



NURSE

Your father just had too many visitors. They interfered with
hospital service. The police

made them leave about ten minutes ago.



[As the nurse checks the Don's pulse, Michael picks up the
phone]



MICHAEL (into phone)

Ah, Get me, ah, Long Beach-4-5620, please...

(then, to nurse, who was leaving the room)

Nurse, wait a minute. Stay here.

(then, into phone)

Sonny -- Michael. I'm at the hospital.



SONNY'S VOICE (over the phone)

Yeah?



MICHAEL (into the phone)

Listen -- I got here late. There's nobody here.



SONNY'S VOICE (over the phone)

What? Nobody?



MICHAEL (into the phone)

Nobody... no no no Tessio's men, no detectives, nobody.
Papa's all alone.



SONNY'S VOICE (over the phone)

Don't panic -- I'll send somebody...



MICHAEL (loudly)

I won't panic!

[hangs up the phone]



NURSE

I'm sorry; but you will have to leave.



MICHAEL (as he checks to see if the bed would fit through
the doorway)

Uhh... You and I are gonna moo -- move my father to another
room. Now can you

disconnect those tubes so we can move the bed out?



NURSE

That's out of the question!



MICHAEL

You know my father? Men are coming here to kill him. You
understand? Now help me,

please.



[Michael and the nurse roll the Don's bed to another room.
We hear a door close,

then footsteps are heard coming up the stairs as Michael
peers from the doorway. A man

holding flowers seems to be looking for a room]



MICHAEL (coming out of hiding)

Who are you?



ENZO

I am Enzo, the baker -- Do you remember me?



MICHAEL

Enzo...



ENZO

Yes, Enzo...



MICHAEL

You better get out of here, Enzo; there's gonna be
trouble...



ENZO

If there is trouble, I stay here to help you. For your
father -- for your father



MICHAEL

Alright... Listen, wait for me outside in front of the
hospital. Alright? I'll be out in a minute.

Go ahead...



ENZO

Okay... okay.



[Michael returns to the Don's room, at his bedside. The
nurse is still in the room]



MICHAEL

Just lie here, Pop. I'll take care of you now. I'm with you
now. I'm with you...



[Michael kisses the Don's hand; the Don smiles, with a tear
in his eye. Michael

leaves to meet Enzo outside of the hospital]



MICHAEL (grabbing and tossing the flowers that Enzo is
still holding)

Get rid of these

(then, as Michael turns Enzo's collar up)

Come 'ere... Put your hand in your pocket like you have a
gun. You'll be alright.

(then, after he sighs)

You'll be okay...



[A black sedan pulls up to the front of the hospital. The
occupants look at Michael

and Enzo, as Michael undoes a button of his coat and puts
his hand in, as if he had a gun.

The car then drives off]



MICHAEL

You did good.



[Enzo, very scared, takes out a cigarette and has trouble
lighting it with his Zippo

lighter. His hands are shaking. Michael takes the lighter
and lights his cigarette, noticing

that his hands are not shaking. Sirens are heard as police
cars screech to a halt in front of the

hospital. Michael shoos Enzo away as he is grabbed by an
officer]



OFFICER (grabbing Michael)

Now hold still...



CAPTAIN McCLUSKEY (entering the scene)

I thought I got all you guinea hoods locked up! What the
hell are you doing here?



MICHAEL

What happened to the men who were guarding my father,
captain?



McCLUSKEY

Why you little punk! What the hell are you doing telling me
my business? I pulled them

guys off of here, eh! -- now you get outta here -- and stay
away from this hospital!



MICHAEL

I'm not moving until you put some guards around my father's
room



McCLUSKEY

Phil, take him in!



OFFICER PHIL

The kid's clean, Captain. He's a war hero. He's never been
busted for the rackets...



McCLUSKEY (overlaps)

Goddamn it, I said take him in!



MICHAEL

What's the Turk paying you to set up my father, Captain?



McCLUSKEY

Take a hold of him. Stand him up. Stand'im up straight.



[McCluskey punches Michael in the jaw as a Corleone car
screeches up. Men get

out and run up the steps toward the Don's room. Tom and a
couple of men go to get

Michael]



TOM (to McCluskey)

I'm attorney for the Corleone family. These men are private
detectives hired to protect Vito

Corleone. They're licensed to carry firearms. If you
interfere, you'll have to appear before a

judge in the morning and show cause.



McCLUSKEY (to his officers)

Alright... let'im go.  [inaudible "Shit!" as he turns away]
Come on!



DISSOLVE TO: Corleone mall, during the day. Tom, Clemenza
and Michael get out of the

car and walk through the gate, noticing armed men all over
the mall. Tessio greets them.

-day



CLEMENZA

What's with all the new faces?



TESSIO

We'll need'em now. After the hospital thing, Sonny got mad.
We hit Bruno Tattaglia 4

o'clock this morning.



CLEMENZA

Jesus Christ...

(then, motions to Michael to come on)

It looks like a fortress around here...



CUT TO: Inside the Corleone office -day



SONNY (to Tom)

Tom-anuch! Hey, a hundred button men on the street
twenty-four hours a day; that Turk

shows one hair on his ass, he's dead --



TOM (going to sit down)

Yeah?



SONNY

-- believe me...

(then, to Michael, whose face is bruised from McCluskey's
punch)

Hey, Michael, come're, let me look at you. You look
beautiful! Beautiful! Just gorgeous!

(then, to Tom)

Hey, listen to this -- the Turk wants to talk. Eh gosh --
imagine the nerve of the sonofabitch,

eh? Craps out last night, and wants a meetin' today...



TOM

What did he say?



SONNY

What did he say -- Badda-beep, badda-bap, badda-boop,
badda-beep -- He wants us to send

Michael here to proposition. And the promise is, that the
deal is so good, that we can't

refuse. Eh...



TOM (as Tessio enters the room)

What about Bruno Tattaglia?



SONNY

That's part of the deal -- Bruno cancels out what they did
to my father...



TOM

Sonny, we ought to hear what they have to say...



SONNY (standing in front of Tom, who's seated)

No; no; no! No more! Not this time, consiglieri. No more
meetin's, no more discussions, no

more Sollozzo tricks. You give'em one message: I want
Sollozzo -- if not, it's all-out war --

we go to the mattresses...



TOM (stands)

Some of the other families won't sit still for all-out war!



SONNY

Then they hand me Sollozzo!



TOM

Your father wouldn't want to hear this! This is business,
not personal, Sonny!



SONNY

They shot my father -- that's business? Your ass...



TOM

Even the shooting of your father was business, not personal,
Sonny!



SONNY (now seated behind the desk)

Well, then, business will have to suffer, alright?  And
listen -- do me a favor, Tom -- No

more advice on how to patch things up. Just help me win,
please, alright?



TOM (after they settle down)

I found out about this Captain McCluskey who broke Mike's
jaw...



SONNY

What about 'im?



TOM

Now he's definitely on Sollozzo's payroll, and for big
money. McCluskey has agreed to be

the Turk's bodyguard. What you have to understand, Sonny, is
that while Sollozzo is being

guarded like this, he is invulnerable. Now nobody has ever
gunned down a New York police

captain -- never.  It would be disastrous. All the Five
Families would come after you, Sonny.

The Corleone Family would be outcasts! Even the old man's
political protection would run

for cover! So do me a favor -- take this into
consideration.



SONNY

Alright. We'll wait.



MICHAEL

We can't wait.



SONNY

Huh?



MICHAEL (who's seated with his arms on the chair's arms)

We can't wait. I don't care what Sollozzo says about a deal,
he's gonna kill Pop, that's it.

That's the key for him. Gotta get Sollozzo.



CLEMENZA

Mike is right...



SONNY

Lemme ask you something, Professor, I mean -- what about
McCluskey? Huh? What do we

do with this -- cop here?



MICHAEL

They wanna have a meeting with me, right? It will be me --
McCluskey -- and Sollozzo.

Let's set the meeting. Get our informers to find out where
it's gonna be held. Now, we insist

it's a public place -- a bar, a restaurant -- some place
where there's people so I feel safe.

They're gonna search me when I first meet them, right, so I
can't have a weapon on me then.

But if Clemenza can figure a way -- to have a weapon planted
there for me -- then I'll kill

'em both.



[Clemenza, Tessio and Sonny laugh. Tom shrugs]



SONNY

Hey, whataya gonna do, nice college boy, eh? Didn't want to
get mixed up in the Family

business, huh? Now you wanna gun down a police captain, why,
because he slapped ya in

the face a little bit? Hah? What do you think this is the
Army, where you shoot'em a mile

away? You've gotta get up close like this and bada-bing! you
blow their brains all over your

nice Ivy League suit. Come're...



MICHAEL (as Sonny kisses his head)

Sonny...



SONNY

You're taking this very personal. Tom, this is business and
this man is taking it very very

personal.



MICHAEL

Where does it say that you can't kill a cop?



HAGEN

Come on, Mikey...



MICHAEL

Tom, wait a minute. I'm talking about a cop -- that's mixed
up in drugs. I'm talking about ah

- ah - a dishonest cop -- a crooked cop who got mixed up in
the rackets and got what was

coming to him. That's a terrific story. And we have
newspaper people on the payroll, don't

we, Tom?

[Hagen nods in the affirmative]

And they might like a story like that.



HAGEN

They might, they just might...



MICHAEL (to Sonny)

It's not personal, Sonny. It's strictly business.



CUT TO: Clemenza's Cellar. Clemenza is showing Michael the
gun he's to use -day



CLEMENZA

It's as cold as they come -- impossible to trace, so you
don't worry about prints, Mike. I put a

special tape on the trigger, and the butt. Here, try it...

(then, after Michael tries it but doesn't shoot it)

What's the matter, the trigger too tight?



MICHAEL (after shooting the gun)

Maron, my ears...



CLEMENZA (laughs)

Yeah, I left it noisy -- that way it scares any
pain-in-the-ass innocent bystanders away.

(then)

All right, you shot'em both -- now what do you do?



MICHAEL

Sit down, finish my dinner...



CLEMENZA

Come on, kid, don't fool around. Just let your hand drop to
your side, and let the gun slip

out. Everybody'll still think you got it. They're gonna be
staring at your face, Mike -- so walk

outta the place real fast -- but you don't run. Don't look
nobody directly in the eye -- but you

don't look away, either. Hey, they're gonna be scared stiff
of you, believe me, so don't worry

about nothin'. You know, you're going to turn out all right.
You take a long vacation --

nobody knows where -- and we're gonna catch the hell.



MICHAEL

How bad do you think it's gonna be?



CLEMENZA

Pretty goddamn bad. Probably all the other Families will
line up against us. That's alright --

this thing's gotta happen every five years or so -- ten
years -- helps to get rid of the bad

blood.  Been ten years since the last one. You know you got
to stop them at the beginning,

like they should have stopped Hitler at Munich, They should
never've let him get away with

that. They were just asking for big trouble. You know, Mike,
we was all proud of you --

being a hero and all. Your father, too.



[Clemenza hands Michael the gun after adjusting it. Michael
points and fires the

unloaded gun]



CUT TO: The Corleone Dining Room (6:30pm). Sonny, Clemenza,
Tessio and Rocco are

sitting around, eating Chinese food while waiting for news
about where the Sollozzo

meeting will take place. Michael smokes as the others eat.
-early evening



TOM (as he enters)

Nothing. Not a hint. Absolutely nothing -- even Sollozzo's
people don't know where the

meeting's going to be held.



MICHAEL

How much time do we have?



SONNY (checking his watch)

They're gonna pick you up in front of Jack Dempsey's joint
in an hour and a half. Exactly an

hour and a half.



CLEMENZA

We could put a tail on them and see how it turns out...



SONNY

Sollozzo'd lose our ass going around the block!



TOM

What about the negotiator?



CLEMENZA

He's over at my place playin' pinochle with a couple of my
men. He's happy, they're lettin'

him win...



TOM

There's too much of a risk for Mike -- maybe we outta call
it off, Sonny.



CLEMENZA

The negotiator keeps on playing cards until Mike comes back
safe and sound.



SONNY

So why don't he just blast whoever's in the goddamn car?



CLEMENZA

Too dangerous -- they'd be lookin' for that.



TOM

Sollozzo might not even be in the car, Sonny!



[the phone rings, Sonny gets up to get it]



SONNY

I'll get it.

(then, into the phone)

Yeah -- Yeah -- Well, thanks...

(then, after hanging up the phone and returning to the
table)

Louis' Restaurant in the Bronx.



TOM

Well is it reliable?



SONNY

That's my man in McCluskey's precinct. A police captain's
gotta be on call twenty-four hours

a day. He signed out at that number between eight and ten.
Anybody know this joint?



TESSIO

Yeah, sure, I do. It's perfect for us. A small family place,
good food. Everyone minds his

business. It's perfect. Pete: they got an old-fashion'
toilet -- you know, the box, and - and -

and - ah the chain-thing. We might be able to tape the gun
behind it.



CLEMENZA

All right. Mike: you go to the restaurant, you eat, you talk
for a while, you relax. You make

them relax. Then you get up and you go take a leak. No --
better still -- you ask for

permission to go. Then when you come back, you come out
blastin', and don't take any

chances -- two shots in the head apiece.



SONNY

Hey, listen, I want somebody good -- and I mean very good --
to plant that gun. I don't want

my brother coming out of that toilet with just his dick in
his hands, alright?



CLEMENZA

The gun'll be there...



SONNY

All right

(then, to Tessio)

Listen, you drive him and you pick him up after the job,
okay?



CLEMENZA

Come on, let's move...



[as they're leaving]



MICHAEL'S VOICE (OS)

Thank you, Tom...



SONNY (to Michael)

Did he - ah - tell you to drop the gun right away?



MICHAEL

Yeah, a million times.



CLEMENZA

You don't forget: two shots apiece in the head soon as you
come out the door, ah? Let's go...



MICHAEL (to Sonny)

How long do you think it'll be before I can come back?



SONNY

At least a year, Mike. Listen - um - I'll square it with
Mom, uh - you know, your not seeing

her before you leave; and uh, I'll get a message to that
girlfriend, when I think the time is

right.

(then, after he and Michael embrace)

Take care, huh?



TOM

Take care, Mike...



MICHAEL (embracing Tom)

Tom.



DISSOLVE TO: Jack Dempsey's Restaurant (8:00pm). Michael's
waiting on the sidewalk

until Sollozzo's car pulls up and he gets in. -evening



SOLLOZZO

I'm glad you came, Mike. I hope we can straighten everything
out. I mean, this is terrible --

it's not the way I wanted things to go at all. It should've
never happened.



MICHAEL

We'll straighten everything out tonight. I don't want my
father bothered any more...



SOLLOZZO

He won't be, Mike; I swear on my children he won't be. But
you gotta keep an open mind

when we talk. I mean, I hope you're not a hothead like your
brother Sonny. You -- can't talk

business with him... [something in Italian]



McCLUSKEY

Ahh, he's a good kid.

(then, as he leans forward, offering his handshake)

I'm sorry about the other night, Mike. I gotta frisk you, so
turn around uh -- on your knees,

facing me.

(then, as McCluskey frisks Michael)

Ah, I guess I'm gettin' too old for my job. Too grouchy --
can't stand the aggravation. You

know how it is...

(then, to Sollozzo)

He's clean.



[A little while later, as the car begins to cross the
Triborough bridge. Michael

notices the sign that says "To New Jersey"]



MICHAEL

We're goin' to Jersey?



SOLLOZZO

Maybe...



[Sollozzo's car does a high-speed U-turn, cutting off cars
who sound their horns, as

Sollozzo's driver crosses over the road's divider into the
other direction across the bridge]



SOLLOZZO

Nice work, Lou.



[Later, the car pulls up to Louis' Italian-American
Restaurant. They enter]



CUT TO: At a table in Louis' Italian Restaurant. The waiter
brings a bottle of wine to the

table. -evening



McCLUSKEY

How's the Italian food in this restaurant?



SOLLOZZO

Good -- try the veal -- it's the best in the city.



McCLUSKEY

I'll have it.



SOLLOZZO (to the waiter)

Capide?

(then, after the waiter nods, opens the bottle and pours
the wine)

All right.

(then, to McCluskey)

I'm gonna speak Italian to Mike.



McCLUSKEY

Go ahead...



SOLLOZZO

Me dispiace?  



MICHAEL

[In Italian, probably "yeah..."]



SOLLOZZO

[Sounds like, in Italian: "What happened to your father was
business -- I have much respect

for your father -- but your father -- his thinking is old
fashioned. You must understand why I

had to do that"...]



MICHAEL

[Sounds like, in Italian: "I understand those things..."]



SOLLOZZO (after the waiter brings McCluskey's veal, then
exits)

[Sounds like, in Italian: "Now let's work through where we
go from here... (more)"]



MICHAEL

[Something in Italian]...come si diche...?

(then, in English)

What I want -- what's most important to me -- is that I have
a guarantee: No more attempts

on my father's life.



SOLLOZZO

What guarantees could I give you, Mike? I am the hunted one!
I missed my chance. You

think too much of me, kid -- I'm not that clever. All I
want, is a truce.



MICHAEL (after a while)

I have to go to the bathroom. Is that all right?



McCLUSKEY (while eating)

You gotta go, you gotta go...

(then, after Sollozzo begins to frisk Michael as he's
standing)

I frisked him -- he's clean.



SOLLOZZO

Don't take too long...



McCLUSKEY (while watching Michael enter the bathroom)

I've frisked a thousand young punks...



CUT TO: Inside the restroom, Mike's looking for the gun
behind the tank: He can't find it

CUT TO: Table. McCluskey glances toward the restroom;
Sollozzo smokes

CUT TO: Restroom, when Michael finally finds the gun. He's
relieved

CUT TO: Table. McCluskey glances up again

CUT TO: Restroom, where Michael hesitates by the door,
preparing himself as a train is

loudly heard passing close by, just before he goes back to
the dining area

CUT TO: Dining room: Sollozzo and McCluskey watch Michael
emerge from the restroom,

hesitate at the door, then sit down



SOLLOZZO (voice fading into background)

[Sounds like, in Italian:

"Everything all right? I respect myself -- understand? --
and cannot allow another

man to hold me back.  What happened was unavoidable.  I had
the unspoken support of the

other Family Dons. If your father were in better health,
without his eldest son running

things, no disrespect intended, we wouldn't have this
nonsense.  We will stop fighting until

your father is well and can resume bargaining.  No vengeance
will be taken.  We will have

peace, but your family should interfere no longer...."
(rough translation by Jim Coyle)]



[Michael doesn't pay attention to Sollozzo -- he's under
too much mental anguish.

He rises, and quickly shoots Sollozzo in the head. He then
shoots McCluskey in the throat,

then the forehead as McCluskey holds his throat. McCluskey
falls, overturning the table.

Michael goes to exit, dropping the gun. Outside, Michael
gets picked up by Tessio, and they

speed off]



[The Mattresses sequence, as we hear ragtime music being
played:]

DISSOLVE TO: newspaper stack showing headline: "Police Hunt
Cop Killer"

DISSOLVE TO: newspaper headline: "City Cracks Down"

DISSOLVE TO: Tessio by a lamp working on a crossword puzzle

DISSOLVE TO: The Sun headline: "Police Captain Linked With
Drug Rackets"

DISSOLVE TO: Clemenza seated on a cot, starting to lie down

DISSOLVE TO: buttonmen seated around table eating -day

PAN RIGHT to piano player (who's playing the music we hear)
-day

DISSOLVE TO: The Daily Mirror: "Mobster Barzini Questioned
in Underworld Feud"

DISSOLVE TO: buttonman writing a letter, sitting on a
mattress

DISSOLVE TO: buttonmen at table passing food -day

DISSOLVE TO: newspaper photo of police overlooking a dead
body in a bar

DISSOLVE TO: piano player's hands with overlaid newspaper
photos

DISSOLVE TO: buttonman standing with back to camera. He's
smoking as he exits left

OVERLAY of newspaper headline: "Third Month of Gangland
Violence" over:

DISSOLVE TO: pot of spaghetti being dumped into an outside
trash can -day

DISSOLVE TO: Clemenza sleeping on cot

OVERLAY ends, then:

DISSOLVE TO: newspaper with Vito Corleone's picture, with
the headline: "Syndicate Big

Shot Vito Corleone Returns Home"



DISSOLVE TO: Exterior of hospital. Ambulance, police,
reporters around, and

photographers taking pictures. -day



VOICE (among other mumblings)

Hey, come on, let's go ... get in the car



[Clemenza and four buttonmen get in the first car and drive
off, followed by the

ambulance, and then another Corleone car.]



CUT TO: Corleone people gathering at the mall's gate -day

CUT TO: Ambulance driving down the causeway sounding its
siren-day

CUT TO: Corleone family gathering at the mall's gate as
ambulance pulls up OS-day

CUT TO: Don Corleone's foyer filled with relatives including
a crying baby -day



ORDERLY

Okay, you take over...



[Tom starts up steps. An attendant and a buttonman carry
the Don on his stretcher

up the stairs as the family watches. At the bottom of the
steps we see Sonny holding his son,

Frankie]



FRANKIE (as he play-punches Clemenza in the belly)

Ow!



CLEMENZA

Very nice...!



CUT TO: The Don's bedroom. Vito Corleone is being visited by
family members. -day



SONNY'S TWIN DAUGHTER

I love you, Grandpa.



SANDRA (carrying a crying Santino Jr)

I'm sorry, Pa -- he doesn't know you yet.



SONNY

All right

(then, to his son Frankie, whom he's still holding)

Here you are, big guy -- give it to Grandpa



FRANK

Okay

(then, reading from his handmade card)

I hope you get well, Grandpa, and I wish I would see you
soon. Love, your grandson, Frank.



[Frank kisses the Don]



MAMA

Ooohh... [then something in Italian]



SONNY (to Frankie)

Go with your mother

(then, to Sandra)

Go ahead -- take 'em downstairs -- come on...

(then, after the women and children leave)

Go on, Carlo -- you, too. Go on...



CUT TO: Kitchen, as Mama and others prepare dinner -day



SANDRA (background)

...you want all of that chicken cacciatore for you,
sweetheart?

(then, to Connie, who's cutting bread)

Oh, hey, that's enough bread!



CONNIE (background)

But I like bread!



SANDRA

Oh I know, but how much can you eat? (background)



CUT TO: The Corleone main gate. Children are playing ball,
and the ball bounces toward

the gate. A buttonman picks it up and tosses it back. -day



CUT TO: The Don's dining room -day



CONNIE (laughingly, while putting the bread on the table)

What's the matter with you, Carlo?



CARLO

Shut up and set the table...



CUT TO: The Don's bedroom.  Vito is in bed, holding cards
and presents given to him.

Clemenza, Tessio, Tom, Fredo and Sonny are standing around
the bed. -day



TOM (sighs)

Since McCluskey's killing, the police have been cracking
down on most of our operations --

and also the other Families. There's been a lot of bad
blood.



SONNY

They hit us so -- we hit 'em back.



TOM

Through our contacts in the newspapers, we've been able to
put out a lot of material about

McCluskey being linked with Sollozzo in the drug rackets.
See -- things are starting to

loosen up.



SONNY

And I'm ah sending Fredo to uh Las Vegas, under the
protection of uh Don Francesco of L.A

-- I want him to rest.



FREDO

I'm going to learn -- the -- casino business...



SONNY

Yeah...



VITO CORLEONE (whispering)

Where's Michael?

(then, a little louder, after Tom doesn't answer)

Where's Michael?



TOM (after looking off toward Sonny, bends his head toward
the Don)

It was Michael -- who killed Sollozzo.  But he's safe -- and
we're starting to work to bring

him back now.



[The Don, markedly upset and angry, gestures that they
leave him alone. They exit:

Tom, Tessio, Sonny, then Fredo]



CUT TO: Hallway and stairs as Sonny and Tom descend -day



SONNY

I want you to find out where that ol' pimp Tattaglia is
hiding -- I want his ass now -- right

now!



TOM (after he stops Sonny)

Hey -- Sonny...



SONNY

What?



TOM

Things are starting to loosen up a little bit. If you go
after Tattaglia all hell's gonna break --



SONNY (background)

Oh, Tom...



TOM (continuing)

-- loose. Let -- let the smoke clear -- Pop can negotiate.



SONNY

No, Pop can't do nothin' til he's better! I'm going to
decide what's going to be done --



TOM

All right, but your war is costing us a lot of money;
nothing's coming in! --



SONNY (background)

Whattsa matter?



TOM (continuing)

-- We can't do business.



SONNY

Well neither can they! Don't worry about it.



TOM

They don't have our over-head!



SONNY

Please, don't worry about it!



TOM

We can't afford a stalemate!



SONNY

Well, then, there ain't no more stalemate -- I'm gonna end
it by killin' that old bastard! I'm

gonna...kill...



TOM

Yeah, well you're getting a great reputation! -- I hope
you're enjoying it...



SONNY

Well you just do what I tell you to do! Goddamn it! If I had
a wartime consiglieri -- a

Sicilian -- I wouldn't be in this shape! Pop had Genco --
look what I got.

(then, after exhaling)

I'm sorry, I didn't mean that. Ma made a little dinner --
it's Sunday...



TOM (walking away)

It's alright...



CUT TO: Dining room, the family is eating at the table
-evening



SONNY (to Tom)

You know niggers are havin' a good time with uh -- our
policy banks up there in Harlem --

drivin' them new Cadillacs -- payin' fifty percent on a
bet.



CARLO (to Sonny)

I knew that was gonna happen soon as they started makin' big
money.



SONNY (background, to Carlo)

Yeah...



CONNIE

Well Papa never talked business at the table, and in front
of the kids.



CARLO

Hey shut up, Connie, when Sonny's talking...



SONNY

Hey, don't you ever tell her to shut up -- you got that?



CONNIE

okay...



MAMA (to Sonny)

Santino ... don't interfere.



CARLO

Hey look, Sonny, Tom -- I'd like to talk to you maybe after
dinner. I could be doing a lot

more for the Family



SONNY

We don't discuss business at the table.



CUT TO: Fredo enters the Don's room and sites in the window
seat



DISSOLVE TO: Sicilian countryside, during the day.  "The
Love Theme" music plays.

Michael is walking with his bodyguards, Fabrizio and Calo. A
car drives up to them and

stops. Fabrizio opens the door for Tommasino -day



FABRIZIO

[In Italian: I kiss your hand, Don Tommasino]



TOMMASINO

[In Italian: Michele, Why are you so far from the house? You
know I'm responsible to your

father for your life]



MICHAEL

[In Italian: I'm with Calo and Fabrizio...]



TOMMASINO

[In Italian: It's still dangerous. We've heard from Santino
in New York -- your enemies know

you're here]



MICHAEL

[In Italian: Did Santino say -- when I can go back?]



TOMMASINO

[In Italian: Not yet. It's out of the question]



MICHAEL (as he starts to walk away)

Grazie.



TOMMASINO

[In Italian: Where are you going now?]



MICHAEL

Corleone.



TOMMASINO

[In Italian: Take my car...]



MICHAEL

[In Italian: No -- I want to walk]



TOMMASINO [this line is not in The TRILOGY]

Accura! [Be Careful!]

Extra footage from The TRILOGY & SAGA

EXTRA SCENE FROM THE EPIC, TRILOGY & SAGA: Michael,
Fabrizio and Calo

are resting under a tree. Michael and Fabrizio are snacking,
while Calo tans himself.



FABRIZIO

[In Italian: Tell us something about New York]



MICHAEL

[In Italian: How do you know I'm from New York?]



FABRIZIO

[In Italian: We heard]



MICHAEL

[In Italian: Where?]



FABRIZIO

[In Italian: Somebody told us you were a real important --
how do you say -- a

pezzonovante -- a big shot]



MICHAEL

[In Italian: I'm the son of a pezzonovante]



FABRIZIO

[In Italian: Ah -- Is America as rich as they say?]



CALO (sunbathing)

[In Italian: Stop bothering me with this rich America
stuff!]



FABRIZIO (to Calo)

[Sounds like, in Italian: Eh, shut up...]

(then, to Michael, in English)

Eh, take me to the America -- if you need a good lupara in
America, take me -- I'd be the

best man you can get.

(then, he sings The National Anthem in broken English)

Oh, say can you see? By the dawn's early light? Ah?



MICHAEL (as Fabrizio laughs)

Bravo!

DISSOLVE TO: Another section of the Sicilian countryside.
Michael, Calo, and Fabrizio are

walking. -day

DISSOLVE TO: They walk on a terraced hillside. -day

DISSOLVE TO: Calo, pointing to a town on a hilltop as we
hear church bells -day



CALO

Michele:  Corleone.



DISSOLVE TO: They walk through empty streets in Corleone,
Sicily. The TRILOGY has

some extra shots leading up to this scene -day



MICHAEL

[In Italian: Where have all the men gone?]



CALO

[In Italian: They're dead from vendettas.

(then, pointing to a plaque on a wall)

There are the names of the dead]

Extra footage from The TRILOGY & SAGA

DISSOLVE TO: Country road.  -day



FABRIZIO (as an American Army jeep dives past)

Hey, hey, take me to the America, G.I.! Hey!

(then, to another jeep)

Hey, hey, hey, take me to the America, G.I.! Clark Gable!
Eh!

(then, as a third jeep drives by)

America, America, va! take me to the America, G.I.! Clark
Gable!

(then, mutters in Italian)



DISSOLVE TO: Sicilian countryside. Young village girls pick
flowers and sing. Unaware of

Michael, Fabrizio and Calo watching them. One of the girls,
Appolonia, is startled when she

sees Michael. After an exchange of looks, Appolonia turns
and walks away, saying

something in Italian. -day



FABRIZIO

[In Italian: Mama mia what a beauty]



APPOLONIA

[Something in Sicilian]



FABRIZIO (to Michael, who can't keep his eyes off of
Appolonia)

Oh -- I think you got hit by the thunderbolt]



CALO (poking Michael's shoulder)

[In Italian: Michele -- In Sicily, women are more dangerous
than shotguns]



[Apollonia turns to look at Michael]



DISSOLVE TO: A small village cafe. We hear "Sicilian
Pastorale." The owner, Vitelli, after

yelling something into the kitchen, welcomes the guests, who
are seating themselves at a

table. -day



VITELLI

[In Italian: Did you have a good hunt?]



FABRIZIO

[In Italian: You know all the girls around here? We saw some
real beauties

(then, after Vitelli smiles)

One of them struck our friend like a thunderbolt]



CALO (after Vitelli laughs, looking at Michael

[In Italian: ]



FABRIZIO

[In Italian: She would tempt the devil himself]



CALO

[In Italian: ...tempt the devil...]



VITELLI (gesturing "put together" with his fingers)

[Something like, in Italian: Ah, I understand -- really put
together...]



FABRIZIO

[In Italian: Really put together, eh Calo?]



CALO

[In Italian: ...together]



VITELLI (gesturing an ideal female form with his hands)

[In Italian: ]



FABRIZIO

[In Italian: Such hair -- such mouth!]



CALO

A bocca...



VITELLI

[In Italian: Ah, he girls around here are beautiful -- but
virtuous, ah?]



FABRIZIO

[In Italian: This one had a purple dress -- and a purple
ribbon in her hair]



CALO

[In Italian: ...a purple ribbon...]



FABRIZIO

[In Italian: ...a type more Greek than Italian]



CALO

Piu Greca d'Italiana



FABRIZIO

[In Italian: Do you know her?]



VITELLI (curtly)

[In Italian: NO! -- There's no girl like that in this
town!]



[Vitelli turns and enters the cafe, yelling]



FABRIZIO (gets up to look into cafe)

[In Italian: My God, I understand!]



MICHAEL (to Calo)

[In Italian: What's wrong?]



FABRIZIO (returns, after Calo shrugs, to collect his
things)

[In Italian: Let's go -- it's his daughter]



MICHAEL

[In Italian: Tell him to come here]



FABRIZIO

[Something like, in Italian: You don't understand -- it's
his daughter!]



MICHAEL

[In Italian: No, no, no, no -- Call him]



[Fabrizio dons his lupara before going in to get Vitelli.
Fabrizio, Vitelli, and other

men emerge from the cafe. Vitelli looks irate]



MICHAEL

Fabrizio--traducce per me



FABRIZIO

Si, Signor.



MICHAEL

I apologize if I offended you...



FABRIZIO (translates into Italian)



MICHAEL

I am a stranger in this country...



FABRIZIO (translates)



MICHAEL

And I meant no disrespect to you, or your daughter...



FABRIZIO (translates)



VITELLI

[In Italian: Who is this? He sounds American...]



MICHAEL

I am an American -- hiding in Sicily...



FABRIZIO (translates)



MICHAEL

My name is Michael Corleone...



FABRIZIO (translates)



MICHAEL

There are people who'd pay a lot of money for that
information...



FABRIZIO (translates)



MICHAEL (after Vitelli nods)

But then your daughter would lose a father...



FABRIZIO (translates)



MICHAEL

...instead of gaining a husband.



FABRIZIO (hesitates, then translates after Michael
gestures)



CALO

[Something in Italian: Ah --]



MICHAEL

I wanna meet your daughter...



FABRIZIO (translates)



MICHAEL

...with your permission...



FABRIZIO (translates)



MICHAEL

...and under the supervision of your family



FABRIZIO (translates)



MICHAEL

With all -- respect



FABRIZIO (translates)



VITELLI

[In Italian: Come to my house Sunday. My name is
Vitelli...(more)]



MICHAEL

Grazie -- e como se chiama, vostra figlia?



VITELLI

Apollonia.



MICHAEL

Bene.



DISSOLVE TO: Tommasino's Villa courtyard.  Michael, Calo,
and Fabrizio get ready to

drive to Vitelli's. The Love Theme plays. -day



DISSOLVE TO: Vitelli's Yard. Michael, holding gifts, is
introduced to each of the relatives,

then to Apollonia, after she descends the steps and sits on
the bench beside her mother.

-day



VITELLI (introducing Apollonia to Michael)

E guesta mia figlia, Apollonia -- e guesto Michele Corleone



[Apollonia shakes Michael's hand, accepts his gift, and
looks at her mother who

nods, giving her permission to open it. She unwraps a boxed
necklace]



APOLLONIA (holding the necklace)

Grazie



MICHAEL

Prego



DISSOLVE TO: Vitelli's Cafe. Michael and his bodyguards
drive up to the cafe and sit with

Vitelli, who is jovial, and his family. -day



VITELLI (to Michael)

[Something like, in Italian: What happened to your eye...
(more)]



MICHAEL

[Something like, in Italian: No - no - it's okay... (more)]



[Michael looks at Apollonia, who's wearing the necklace.
She touches the necklace,

and they smile at each other]



CUT TO: Hilltop in the village. Michael and Apollonia are
walking and talking. Behind

them walk many female relatives.  Behind the women, Fabrizio
and Calo with their luparas.

-day



CUT TO: Lucy Mancini's apartment building (New York City).
Three bodyguards are

pitching pennies outside where Sonny's car is parked. There
are others inside the lobby and

on the stairs.  -day



CUT TO: Outside Lucy's apartment door. She pushes the door
open, revealing Sonny in an

embrace with her. Sonny jumps back as though goosed. -day



SONNY (as he exits, Lucy smiles)

Hey! I'm gonna knock you dizzy.

(then, coming down the stairs, to a bodyguard reading in
the lobby)

Save it for the library -- Come on, we got to go pick up my
sister -- let's go.



[Sonny leaves the building, looking around the street]



CUT TO: Connie and Carlo's apartment. Connie unlocks the
door for Sonny, turning away

from him as he enters. -day



SONNY

Wha's the matter?

(then)

Huh? What'sa matter?



[Connie faces him with a bruised face. Sonny bites his
knuckles]



CONNIE

It was my fault!



SONNY

Where is he?



CONNIE

Sonny, please, it was my fault -- Sonny, it was my fault! I
hit him -- I started a fight with

him. Please let me be -- I hit him, so he hit me. I didn't
-- I --



SONNY

Sh sh sh sh sh -- Okay. -- I'm just uh -- I'm just gonna get
a doctor to come and take a look at

you, alright?



CONNIE

Sonny, please don't do anything -- please don't do
anything!



SONNY

Okay -- What's the matter with you? What am I gonna do --
I'm gonna make that baby an

orphan before he's born or what? Huh? Hmmm?

(then, after Connie laughs)

All right?



CUT TO: City street.  Carlo is seated on a stoop with two
men. -day



CARLO (watching a man leave the building)

This fat slob's still bettin' the Yankees pretty heavy? You
tell 'em to stop takin' action on 'em,

alright?

(then)

We lost enough money last week on the game...



[Sonny's car appears, screeches to a halt. He gets out]



SONNY (as he throws a sawed-off broom stick at Carlo)

Carlo, come'ere! -- come'ere!, come'ere!, come'ere!

(then, after catching him after a short chase and beating
him)

You bastard!



[Sonny punches and kicks Carlo while bodyguards hold back
on-lookers. Carlo

screams when Sonny bites his knuckles which are clenched to
a metal fence. Sonny slams a

garbage can lid on Carlo's head over and over. The one-sided
fight continues until Carlo

ends up motionless on his back in the downpour of an open
fire hydrant that kids were

playing in.]



SONNY (exhausted)

You touch -- my sister again, I'll kill ya.



[As Sonny begins to walk away, he stops, goes back, and
kicks Carlo one last time]



CUT TO: Village church in Sicily. Traditional Sicilian
wedding music plays as the church

bells ring. The priest blesses Michael and Apollonia as they
kneel at the church's entrance.  

Apollonia's family, and other townspeople are gathered
around. Fabrizio and Calo look on.

-day



PRIEST (in Latin)

et Domini Patri -- et Filii -- et Spiritu Sanctu -- Amen



[The bridal procession makes its way up the street.
Appolonia and Michael, the

bride and groom, are followed by the procession, which
includes Tommasino being helped

with his wheelchair, Calo and Fabrizio]



CUT TO: Village square, where Michael and Apollonia and
guests are dancing at the

reception, to the Mazurka (alla Siciliana). -day



DISSOLVE TO: Michael's bedroom, at night. Michael opens the
shutters. Apollonia stands

in her wedding slip, seemingly a little nervous. Michael
goes and kisses her. She lets down

her slip. They embrace and kiss. -night



CUT TO: Corleone main gate.  Kay gets out of a cab and a
buttonman lets her through the

gate. Tom hurries out of the house to meet her. -day



TOM

Hey! We weren't expecting you, Kay -- you should call



KAY

Yes, well -- I have. I mean I've tried writing and calling.
Now -- I want to reach Michael



TOM

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



KAY

Uh --

(then, after noticing a wrecked car behind her)

what was that?



TOM

Well that's an accident, but nobody was hurt...



KAY

Tom --

(then, after taking a letter from her pocket and handing it
to him)

will you give this -- letter to Michael, please? Please?



TOM (refusing the letter)

Well, if I accepted that -- in a court of law they could
prove that I have knowledge of his

whereabouts. Now you just be patient, Kay -- he'll get in
touch with you, alright.



KAY (as Tom touches her shoulder)

I let my cab go -- so can I come in to call another one,
please?



TOM (taking Kay's arm)

Come on, I'm sorry -- come on.



FADE OUT, THEN DISSOLVE TO: Connie and Carlo's apartment.
The phone rings, and

Connie enters to pick it up. -evening?



CONNIE (into phone)

Hello -- hello?



WOMAN'S VOICE (over the phone)

Is Carlo there?



CONNIE (into phone)

Who's this?



WOMAN'S VOICE (over the phone, giggling)

This is a friend of Carlo's -- would you tell him that I
can't make it tonight until later?



CONNIE (hanging up the phone, walking to the bedroom)

...bitch!

Extra footage from The TRILOGY & SAGA

CUT TO: Bedroom, where Carlo is tying his tie in a mirror.
Connie comes in.



CONNIE

Dinner's on the table...



CARLO

I'm not hungry yet.



CONNIE

The food is on the table -- it's getting cold



CARLO

I'll eat out later.



CONNIE

You just told me to make you dinner!



CARLO

Hey, bafangool, eh?

(then, in The TRILOGY version)

Leave me alone



CONNIE

Ah, bafangool, you!



[Connie runs out]



CARLO (hearing dishes breaking)

[What the hell is she up to now,] this little guinea
brat...



[Carlo goes out of the bedroom]



CUT TO: Kitchen, where Connie is breaking dishes.



CARLO

That's it, break it all you spoiled guinea brat -- break it
all!



CONNIE (running into the dining room as Carlo follows)

Why don't you bring...

(then, disturbing the set table)

Why don't you bring your whore home for dinner? And get...



CARLO (after Connie tosses a pitcher of wine)

Maybe I will! Why not? Yeah you, ga'head...



[Connie, screaming and crying, pushes vases and dishes from
the cabinet onto the

floor, breaking them]



CARLO (yelling)

Now clean it up!



CONNIE (yelling)

Aw, like hell I will!



CARLO (yelling, removing his belt and striking and chasing
Connie)

Clean it up! Clean it up, you guinea spoiled brat! Clean it
up! Clean it up, I said -- clean it

up! Clean that up! Clean it up!



CONNIE (yelling)

You sonofabitch!



CARLO (yelling)

Clean it up! Clean that up you sonofabitch! Clean it! Clean
it up!

(then, once Connie picks up a butcher knife)

Yeah yeah -- come on now, kill me. Be a murderer like your
father. Come on, all you

Corleones are murderers anyway.



CONNIE (yelling, after Carlo grabs her arm, the knife
falls, and she runs)

I will! I will! I hate you! I'll kill you! I'll kill you!



CARLO (yelling)

Come on, you -- kill me. Get out here! Get out here!



CONNIE (yelling, running into the bathroom, closing the
door)

I hate you!



CARLO (yelling, kicking the door open, and beating her as
she screams)

Ga'head -- now I'll kill you! You guinea brat you! Get out
here!



CUT TO: The Don's kitchen. Mama Corleone answers the phone
with a Santino Jr in her

arms, who's crying loudly. -day



MAMA (into phone, as baby cries)

Connie, what's a' matter -- I can't hear you, what is it?
Connie, talk louder -- the baby's

crying.

(then, as Sonny comes in)

Santino, I can't understand -- I don't know -- I don't
understand 'er...



SONNY (towards Sandra who's trying to calm the baby)

Shhhh

(then, into the phone just before the baby screams)

Yeah, Connie...



CONNIE'S VOICE (on the phone, barely audible)

Carlo... -?- ...now don't you come...



SONNY (into the phone)

Listen -- you wait there.



CONNIE (over the phone, barely audible)



SONNY

No no -- you just wait there!

(then, irate, hanging up the phone)

Sonofabitch.



MAMA

What's the matter?



SONNY (as he leaves the kitchen)

Sonofabitch!



MAMA

What's the matter?



SONNY (OS)

Sonofa...



SANDRA (going after him)

Sonny...?



{Note: This is where Tape One ends on the normal-release
videocassette version}



DISSOLVE TO: The Corleone mall. Sonny runs out to his car.
-day



SONNY (to guard at the gate)

Open the goddamn gate -- Get off your ass



[Tom runs out of the house with a buttonman as Sonny turns
his car around]



BUTTONMAN (to another, leaning against the building)

Come on --



TOM

Sonny! Sonny, come on...



SONNY (to Tom, irate, as he drives toward the gate)

Get out of here!



TOM (to some buttonmen)

Move out -- go on!



[buttonmen rush into the car and go after Sonny]



CUT TO: Causeway tollbooths. We faintly hear a baseball game
over a radio. Sonny's car

drives up to the tollbooth. He grabs a bill from his pocket
and hands it to the toll-collector.

The car in front of Sonny's seems to be having a problem
moving and Sonny sounds his

horn. -day



SONNY

Sonofabitch! Come on! Come on!



[The toll-collector "drops" Sonny's change, and bends to
pick it up, sliding the

booth's door shut. Sonny turns his head and notices a line
of armed men pointing their

weapons at him. A fusillade of shots pelt the car, and
Sonny, as he stumbles out screaming.

Once fallen and dead, a hitman comes up and shoots him from
very close range, stops, then

kicks him in the head.  The assassins flee before the
Corleone car shows up]



DISSOLVE TO: The Don's office at night where Tom Hagen is
somberly having a drink. A

slow, somber version of the Title Theme is heard. The Don
enters. -night



VITO CORLEONE (holding out his hand for Tom's drink)

Give me a drop...

(then, after sipping the drink and handing it back to Tom)

My wife is crying upstairs. I hear cars coming to the house.
Consiglieri of mine, I think you

should tell your Don what everyone seems to know...



TOM

Ah, I didn't tell Mama anything. I was about to come up and
wake you just now and tell

you...



VITO CORLEONE

But you needed a drink first.



TOM (shaking his head, then says quietly)

Yup...



VITO CORLEONE

Well, now you've had your drink.



TOM (his voice breaking)

They shot Sonny on the Causeway. He's dead.



VITO CORLEONE (exhales, bows his head; physically shaken
and weakened)

I want -- all inquiries made. I want no acts of vengeance. I
want you to arrange a meeting,

with the heads of the Five Families. This war stops now.



[The Don, weakly standing, goes to embrace Tom. Then he
begins to exit]



VITO CORLEONE

Call Bonasera -- we need him now.



[The Don exits, as Tom dials the phone]



CUT TO: Bonasera, frightened, waiting by an elevator at his
funeral parlor -night



TOM (OS, into phone)

This is Tom Hagen. I'm calling for Vito Corleone, at his
request. Now -- you owe your Don

a service. He has no doubt that you will repay it. Now -- he
will be at your funeral parlor in

one hour. Be there to greet him.



CUT TO: The basement of Bonasera's funeral parlor. From the
elevator, two men carry a

stretcher forward. Tom and the Don follow as Bonasera,
frightened, watches. -night



VITO CORLEONE

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



BONASERA (nervously)

Yes -- What do you want me to do?



VITO CORLEONE

I want you to use all your powers -- and all your skills. I
don't want his mother to see him

this way...

(then, after the Don uncovers the blanket, revealing
Sonny's mangled face, shaken)

Look how they massacred my boy...



CUT TO: Tommasino's Villa Courtyard, Sicily.  Apollonia,
laughing, is trying to drive the

car almost hitting the short walls. Michael is teaching her
how to drive. The car stops, and

Michael gets out.  All the while, they are laughing and
joking in Italian. -day



MICHAEL (once the car stops, he gets out)

[In Italian:  It's safer to teach you English!]



APOLLONIA

[In Italian: I know English...]

(then, in English)

Monday -- Tuesday -- Thursday -- Wednesday -- Friday --
Sunday -- Saturday... Andiamo!

Andiamo!



MICHAEL

Aie, bravo!



APOLLONIA

[In Italian: Come on! Let's go! Let's go!]



[Tommasino's car drives in, sounding its horn. Michael
walks over to it]



MICHAEL

A salute, Don Tommasino



TOMMASINO

[Something in Italian]



MICHAEL

[In Italian: How are things in Palermo?]



[Michael helps Tommasino out of the car as Apollonia runs
over and kisses him]



APOLLONIA

[In Italian: Michael is teaching me to drive -- watch, I'll
show you]



[Tommasino smiles at her, as she runs back to the car]



MICHAEL

Come va Palermo?



TOMMASINO

[In Italian: Young people don't respect anything anymore.
Times are changing for the worse

-- Eh -- This place has become too dangerous for you -- I
don't think you're safe here.  I

want you to move to a villa near Siracusa, right now --
Subita, eh?]



MICHAEL (putting his hand on Tommasino's chest)

[In Italian: What's wrong?]



TOMMASINO

[In Italian: Bad news -- from America. Your brother, Santino
-- they killed him]



APOLLONIA (pressing the car horn)

[In Italian: Michele - Michele, Let's go -- let's go -- you
promised me]



DISSOLVE TO: The Villa. Calo sits under a tree. Fabrizio is
on the wall near the gate.

Michael steps out onto the balcony. -day



MICHAEL

Fabrizio!



FABRIZIO

Yes...



MICHAEL

Prepara la macchina



FABRIZIO

Are you driving yourself, Boss?



MICHAEL

Yes...



FABRIZIO

Is your wife coming with you?



MICHAEL

No -- I want you to take her to her father's house til I
know things are safe...



FABRIZIO

Okay -- anything you say, Boss.



CUT TO: Villa kitchen. Calo sits at the table, eating, as
Michael enters -day



MICHAEL

Calo, dovי Apollonia?



CALO

[In Italian: She's going to surprise you -- she wants to
drive. -- ]



MICHAEL

Ahh...



CALO

[In Italian: -- She'll make a good American wife

(then, after Michael exits)

Wait, I'll get the baggage...]



CUT TO: Villa courtyard. Calo carries suitcases to the car
and puts them into the trunk.

Apollonia is in the driver's seat. -day



MICHAEL (seeing Fabrizio walking toward the gate)

Fabrizio! -- dove vai?



APOLLONIA (sounding the car horn)

[In Italian: Michele, wait there! I'll drive to you...]



MICHAEL (after seeing Fabrizio hurry through the gate)

NO! No, Apollonia!



[The car that Apollonia is in blows up and Michael is
thrown into the bushes]

EXTRA SCENE FROM THE EPIC, TRILOGY & SAGA: Michael, in
shock, is lying in

bed as Apollonia's mother wipes his forehead with a
washcloth. Tommasino is at the side of

the bed.



MICHAEL (whispering)

Appolonia...?



TOMMASINO

Morta



MICHAEL (whispering)

Fabrizio...?

(then, after Tommasino shakes his head not knowing where
Fabrizio is)

Get me -- Get me -- Fabrizio

(then)

Find him... Fabrizio