THE GODFATHER _____________ Screenplay by MARIO PUZO and FRANCIS FORD COPPOLA THIRD DRAFT PARAMOUNT PICTURES 1 Gulf and Western Plaza March 29, 1971 New York, New York 10019 INT DAY: DON'S OFFICE (SUMMER 1945) The PARAMOUNT Logo is presented austerely over a black background. There is a moment's hesitation, and then the simple words in white lettering: THE GODFATHER While this remains, we hear: "I believe in America." Suddenly we are watching in CLOSE VIEW, AMERIGO BONASERA, a man of sixty, dressed in a black suit, on the verge of great emotion. BONASERA America has made my fortune. As he speaks, THE VIEW imperceptibly begins to loosen. BONASERA I raised my daughter in the American fashion; I gave her freedom, but taught her never to dishonor her family. She found a boy friend, not an Italian. She went to the movies with him, stayed out late. Two months ago he took her for a drive, with another boy friend. 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 broken, her jaw was shattered and held together by wire, and she could not even weep because of the pain. He can barely speak; he is weeping now. BONASERA I went to the Police like a good American. These two boys were arrested and brought to trial. The judge sentenced them to three years in prison, and suspended the sentence. Suspended sentence! They went free that very day. I stood in the courtroom like a fool, and those bastards, they smiled at me. Then I said to my wife, for Justice, we must go to The Godfather. By now, THE VIEW is full, and we see Don Corleone's office in his home. The blinds are closed, and so the room is dark, and with patterned shadows. We are watching BONASERA over the shoulder of DON CORLEONE. TOM HAGEN sits near a small table, examining some paperwork, and SONNY CORLEONE stands impatiently by the window nearest his father, sipping from a glass of wine. We can HEAR music, and the laughter and voices of many people outside. DON CORLEONE Bonasera, we know each other for years, but this is the first time you come to me for help. I don't remember the last time you invited me to your house for coffee...even though our wives are friends. BONASERA What do you want of me? I'll give you anything you want, but do what I ask! DON CORLEONE And what is that Bonasera? BONASERA whispers into the DON's ear. DON CORLEONE No. You ask for too much. BONASERA I ask for Justice. DON CORLEONE The Court gave you justice. BONASERA An eye for an eye! DON CORLEONE But your daughter is still alive. BONASERA Then make them suffer as she suffers. How much shall I pay you. Both HAGEN and SONNY react. DON CORLEONE You never think to protect yourself with real friends. You think it's enough to be an American. All right, the Police protects you, there are Courts of Law, so you don't need a friend like me. But now you come to me and say Don Corleone, you must give me justice. And you don't ask in respect or friendship. And you don't think to call me Godfather; instead you come to my house on the day my daughter is to be married and you ask me to do murder...for money. BONASERA America has been good to me... DON CORLEONE Then take the justice from the judge, the bitter with the sweet, Bonasera. But if you come to me with your friendship, your loyalty, then your enemies become my enemies, and then, believe me, they would fear you... Slowly, Bonasera bows his head and murmurs. BONASERA Be my friend. DON CORLEONE Good. From me you'll get Justice. BONASERA Godfather. DON CORLEONE Some day, and that day may never come, I would like to call upon you to do me a service in return. EXT DAY: MALL (SUMMER 1945) A HIGH ANGLE of the CORLEONE MALL in bright daylight. There are at least five hundred guests filling the main courtyard and gardens. There is music and laughing and dancing and countless tables covered with food and wine. DON CORLEONE stands at the Gate, flanked on either side by a son: FREDO and SONNY, all dressed in the formal attire of the wedding party. He warmly shakes the hands, squeezes the hands of the friends and guests, pinches the cheeks of the children, and makes them all welcome. They in turn carry with them gallons of homemade wine, cartons of freshly baked bread and pastries, and enormous trays of Italian delicacies. The entire family poses for a family portrait: DON CORLEONE, MAMA, SONNY, his wife, SANDRA, and their children, TOM HAGEN and his wife, THERESA, and their BABY; CONSTANZIA, the bride, and her bridegroom, CARLO RIZZI. As they move into the pose, THE DON seems preoccupied. DON CORLEONE Where's Michael? SONNY He'll be here Pop, it's still early. DON CORLEONE Then the picture will wait for him. Everyone in the group feels the uneasiness as the DON moves back to the house. SONNY gives a delicious smile in the direction of the Maid-of-Honor, LUCY MANCINI. She returns it. Then he moves to his wife. SONNY Sandra, watch the kids. They're running wild. SANDRA You watch yourself. HAGEN kisses his WIFE, and follows THE DON, passing the wine barrels, where a group of FOUR MEN nervously wait. TOM crooks a finger at NAZORINE, who doublechecks that he is next, straightens, and follows HAGEN. EXT DAY: MALL ENTRANCE (SUMMER 1945) Outside the main gate of the Mall, SEVERAL MEN in suits, working together with a MAN in a dark sedan, walk in and out of the rows of parked cars, writing license plate numbers down in their notebooks. We HEAR the music and laughter coming from the party in the distance. A MAN stops at a limousine and copies down the number. BARZINI, dignified in a black homburg, is always under the watchful eyes of TWO BODYGUARDS as he makes his way to embrace DON CORLEONE in the courtyard. The MEN walk down another row of parked cars. Put another number in the notebook. A shiney new Cadillac with wooden bumpers. PETER CLEMENZA, dancing the Tarantella joyously, bumping bellies with the ladies. CLEMENZA Paulie...wine...WINE. He mops his sweating forehead with a big handkerchief. PAULIE hustles, gets a glass of icy black wine, and brings it to him. PAULIE You look terrif on the floor! CLEMENZA What are you, a dance judge? Go do your job; take a walk around the neighborhood... see everything is okay. PAULIE nods and leaves; CLEMENZA takes a breath, and leaps back into the dance. The MEN walk down another row of parked cars. Put another number in the notebook. TESSIO, a tall, gentle-looking man, dances with a NINE-YEAR- OLD GIRL, her little black party shoes planted on his enormous brown shoes. The MEN move on to other parked cars, when SONNY storms out of the gate, his face flushed with anger, followed by CLEMENZA and PAULIE. SONNY Buddy, this is a private party. The MAN doesn't answer, but points to the DRIVER of the sedan. SONNY menacingly thrusts his reddened face at him. The DRIVER merely flips open his wallet to a greed card, without saying a word. SONNY steps back, spits on the ground, turns, and walks away, followed by CLEMENZA, PAULIE, and another TWO MEN. He doesn't say a thing for most of the walk back into the courtyard, and then, muttered to PAULIE. SONNY Goddamn FBI...don't respect nothing. INT DAY: DON'S OFFICE (SUMMER 1945) DON CORLEONE sits quietly behind his massive desk in the dark study. NAZORINE ...a fine boy from Sicily, captured by the American Army, and sent to New Jersey as a prisoner of war... DON CORLEONE Nazorine, my friend, tell me what I can do. NAZORINE Now that the war is over, Enzo, this boy is being repatriated to Italy. And you see, Godfather... (he wrings his hands, unable to express himself) He...my daughter...they... DON CORLEONE You want him to stay in this country. NAZORINE Godfather, you understand everything. DON CORLEONE Tom, what we need is an Act of Congress to allow Enzo to become a citizen. NAZORINE (impressed) An Act of Congress! HAGEN (nodding) It will cost. The DON shrugs; such are the way with those things; NAZORINE nods. NAZORINE Is that all? Godfather, thank you... (backing out, enthusiastically) Oh, wait till you see the cake I made for your beautiful daughter! NAZORINE backs out, all smiles, and nods to the GODFATHER. DON CORLEONE rises and moves to the Venetian blinds. HAGEN Who do I give this job to? The DON moves to the windows, peeking out through the blinds. DON CORLEONE Not to one of our paisans...give it to a Jew Congressman in another district. Who else is on the list for today? The DON is peeking out to the MEN around the barrel, waiting to see him. HAGEN Francesco Nippi. His nephew has been refused parole. A bad case. EXT DAY: MALL (SUMMER 1945) WHAT HE SEES: NIPPI waits nervously by the barrel. HAGEN (O.S.) His father worked with you in the freight yards when you were young. LUCA BRASI sitting alone, grotesque and quiet. HAGEN (O.S.) He's not on the list, but Luca Brasi wants to see you. INT DAY: DON'S OFFICE (SUMMER 1945) The DON turns to HAGEN. DON CORLEONE Is it necessary? HAGEN You understand him better than anyone. The DON nods to this. Turns back to the blinds and peeks out. EXT DAY: MALL (SUMMER 1945) WHAT HE SEES: MICHAEL CORLEONE, dressed in the uniform of a Marine Captain, leads KAY ADAMS through the wedding crowd, occasionally stopped and greeted by FRIENDS of the family. INT DAY: DON'S OFFICE (SUMMER 1945) The DON, inside the office, peering through the blinds, following them. EXT DAY: MALL (SUMMER 1945) MICHAEL moves through the crowd, embraces MAMA and introduces her to his GIRL. EXT DAY: OFFICE WINDOW (SUMMER 1945) The DON's eyes peering through the blinds. EXT DAY: MALL TABLES (SUMMER 1945) KAY and MICHAEL settle by a table on the edge of the wedding, burdened down with plates of food and glasses and wine. She is exhilarated by the enormity of the affair, the music and the vitality. KAY I've never seen anything like it. MICHAEL I told you I had a lot of relatives. KAY looking about, a young and lively thing in a gift shop. We see what she sees: Her interest is caught by THREE MEN standing by the wine barrels. KAY (amused) Michael, what are those men doing? MICHAEL They're waiting to see my father. KAY They're talking to themselves. MICHAEL They're going to talk to my father, which means they're going to ask him for something, which means they better get it right. KAY Why do they bother him on a day like this? MICHAEL Because they know that no Sicilian will refuse a request on his daughter's wedding day. EXT DAY: WEDDING PARTY (SUMMER 1945) CONNIE CORLEONE, the Bride, is pressing the bodice of her overly-fluffy white gown against the groom, CARLO RIZZI. He is bronzed, with curly blondish hair and lovely dimples. She absolutely adores him and can barely take her eyes from him long enough to thank the various GUESTS for the white envelopes they are putting into the large white purse she holds. In fact, if we watch carefully, we can see that one of her hands is slid under his jacket, and into his shirt, where she is provocatively rubbing the hair on his chest. CARLO, on the other hand, has his blue eyes trained on the bulging envelopes, and is trying to guess how much cash the things hold. Discreetly, he moves her hand off of his skin. CARLO (whispered) Cut it out, Connie. The purse, looped by a ribbon of silk around CONNIE's arm, is fat with money. PAULIE (O.S.) What do you think? Twenty grand? A little distance away, a young man, PAULIE GATTO, catches a prosciutto sandwich thrown by a friend, without once taking eyes from the purse. PAULIE Who knows? Maybe more. Twenty, thirty grand in small bills cash in that silk purse. Holy Toledo, if this was somebody else's wedding! SONNY is sitting at the Wedding Dias, talking to LUCY MANCINI, the Maid of Honor. Every once in a while he glances across the courtyard, where his WIFE is talking with some WOMEN. He bends over and whispers something into LUCY's ear. SANDRA and the WOMEN are in the middle of a big, ribald laugh. WOMAN Is it true what they say about your husband, Sandra? SANDRA's hands separate with expanding width further and further apart until she bursts into a peal of laughter. Through her separated hands she sees the Wedding Dais. SONNY and LUCY are gone. INT DAY: DON'S HALL & STAIRS (SUMMER 1945) The empty hallway. The bathroom door opens and LUCY surreptitiously steps out. She looks up where SONNY is standing on the second landing, motioning for her to come up. She lifts her petticoats off the ground and hurries upstairs. EXT DAY: MALL TABLES (SUMMER 1945) KAY and MICHAEL. KAY (in a spooky low tone) Michael, that scarey guy...Is he a relative? She has picked out LUCA BRASI. MICHAEL No. His name is Luca Brasi. You wouldn't like him. KAY (Excited) Who is he? MICHAEL (Sizing her up) You really want to know? KAY Yes. Tell me. MICHAEL You like spaghetti? KAY You know I love spaghetti. MICHAEL Then eat your spaghetti and I'll tell you a Luca Brasi story. She starts to eat her spaghetti. She begins eating, looking at him eagerly. MICHAEL Once upon a time, about fifteen years ago some people wanted to take over my father's olive oil business. They had Al Capone send some men in from Chicago to kill my father, and they almost did. KAY Al Capone! MICHAEL My Father sent Luca Brasi after them. He tied the two Capone men hand and foot, and stuffed small bath towels into their mouths. Then he took an ax, and chopped one man's feet off... KAY Michael... MICHAEL Then the legs at the knees... KAY Michael you're trying to scare me... MICHAEL Then the thighs where they joined the torso. KAY Michael, I don't want to hear anymore... MICHAEL Then Luca turned to the other man... KAY Michael, I love you. MICHAEL ...who out of sheer terror had swallowed the bath towel in his mouth and suffocated. The smile on his face seems to indicate that he is telling a tall story. KAY I never know when you're telling me the truth. MICHAEL I told you you wouldn't like him. KAY He's coming over here! LUCA comes toward them to meet TOM HAGEN halfway, just near their table. MICHAEL Tom...Tom, I'd like you to meet Kay Adams. KAY (having survived LUCA) How do you do. MICHAEL My brother, Tom Hagen. HAGEN Hello Kay. Your father's inside, doing some business. (privately) He's been asking for you. MICHAEL Thanks Tom. HAGEN smiles and moves back to the house, LUCA ominously following. KAY If he's your brother, why does he have a different name? MICHAEL My brother Sonny found him living in the streets when he was a kid, so my father took him in. He's a good lawyer. INT DAY: DON'S OFFICE (SUMMER 1945) DON CORLEONE at the window. He has seen the intimacy of the YOUNG COUPLE. LUCA (O.S.) Don Corleone... THE DON turns to the stiffly formal LUCA, and he moves forward to kiss his hand. He takes the envelope from his jacket, holds it out, but does not release it until he makes a formal speech. LUCA (with difficulty) Don Corleone...I am honored, and grateful...that you invited me to your home...on the wedding day of your...daughter. May their first child...be a masculine child. I pledge my never ending loyalty. (he offers the envelope) For your daughter's bridal purse. DON CORLEONE Thank you, Luca, my most valued friend. THE DON takes it, and then LUCA's hand, which he squeezes so tightly we might imagine it to be painful. LUCA Let me leave you, Don Corleone. I know you are busy. He turns, almost an about-face, and leaves the study with the same formality he entered with. DON CORLEONE breathes more easily, and gives the thick envelope to HAGEN. DON CORLEONE I'm sure it's the most generous gift today. HAGEN The Senator called--apologized for not coming personally, but said you'd understand. Also, some of the Judges...they've all sent gifts. And another call from Virgil Sollozzo. DON CORLEONE is not pleased. HAGEN The action is narcotics. Sollozzo has contacts in Turkey for the poppy, in Sicily for the plants to process down to morphine or up to heroin. Also he has access to this country. He's coming to us for financial help, and some sort of immunity from the law. For that we get a piece of the action, I couldn't find out how much. Sollozzo is vouched for by the Tattaglia family, and they may have a piece of the action. They call Sollozzo the Turk. He's spent a lot of time in Turkey and is suppose to have a Turkish wife and kids. He's suppose to be very quick with the knife, or was, when he was younger. Only in matters of business and with some reasonable complaint. Also he has an American wife and three children and he is a good family man. THE DON nods. HAGEN He's his own boss, and very competent. DON CORLEONE And with prison record. HAGEN Two terms; one in Italy, one in the United States. He's known to the Government as a top narcotics man. That could be a plus for us; he could never get immunity to testify. DON CORLEONE When did he call? HAGEN This morning. DON CORLEONE On a day like this. Consiglero, do you also have in your notes the the Turk made his living from Prostitution before the war, like the Tattaglias do now. Write that down before you forget it. The Turk will wait. We now begin to hear a song coming over the loud-speakers from outside. In Italian, with unmistakable style. DON CORLEONE What that? It sounds like Johnny. He moves to the window, pulls the blinds up, flooding the room with light. DON CORLEONE It is Johnny. He came all the way from California to be at the wedding. HAGEN Should I bring him in. DON CORLEONE No. Let the people enjoy him. You see? He is a good godson. HAGEN It's been two years. He's probably in trouble again. EXT DAY: MALL (SUMMER 1945) JOHNNY FONTANE on the bandstand, singing to the delight and excitement of the wedding GUESTS. KAY I didn't know your family knew Johnny Fontane. MICHAEL Sure. KAY I used to come down to New York whenever he sang at the Capitol and scream my head off. MICHAEL He's my father's godson; he owes him his whole career. JOHNNY finishes the song and the CROWD screams with delight. They call out for another when DON CORLEONE appears. DON CORLEONE My Godson has come three thousand miles to do us honor and no one thinks to wet his throat. At once a dozen wine glasses are offered to JOHNNY, who takes a sip from each as he moves to embrace his GODFATHER. JOHNNY I kept trying to call you after my divorce and Tom always said you were busy. When I got the Wedding invitation I knew you weren't sore at me anymore, Godfather. DON CORLEONE Can I do something for you still? You're not too rich, or too famous that I can't help you? JOHNNY I'm not rich anymore, Godfather, and...my career, I'm almost washed up... He's very disturbed. The GODFATHER indicates that he come with him to the office so no one will notice. He turns to HAGEN. DON CORLEONE Tell Santino to come in with us. He should hear some things. They go, leaving HAGEN scanning the party looking for SONNY. INT DAY: DON'S OFFICE (SUMMER 1945) HAGEN glances up the staircase. HAGEN Sonny? Then he goes up. INT DAY: DON'S UPSTAIRS ROOM (SUMMER 1945) SONNY and LUCY are in a room upstairs; he has lifted her gown's skirts almost over her head, and has her standing against the door. Her face peeks out from the layers of petticoats around it like a flower in ecstasy. LUCY Sonnyeeeeeeee. Her head bouncing against the door with the rhythm of his body. But there is a knocking as well. They stop, freeze in that position. HAGEN (O.S.) Sonny? Sonny, you in there? INT DAY: DON'S UPSTAIRS HALLWAY (SUMMER 1945) Outside, HAGEN by the door. HAGEN The old man wants you; Johnny's here...he's got a problem. SONNY (O.S.) Okay. One minute. HAGEN hesitates. We HEAR LUCY's head bouncing against the door again. TOM leaves. INT DAY: DON'S OFFICE (SUMMER 1945) DON CORLEONE ACT LIKE A MAN! By Christ in Heaven, is it possible you turned out no better than a Hollywood finocchio. Both HAGEN and JOHNNY cannot refrain from laughing. The DON smiles. SONNY enters as noiselessly as possible, still adjusting his clothes. DON CORLEONE All right, Hollywood...Now tell me about this Hollywood Pezzonovanta who won't let you work. JOHNNY He owns the studio. Just a month ago he bought the movie rights to this book, a best seller. And the main character is a guy just like me. I wouldn't even have to act, just be myself. The DON is silent, stern. DON CORLEONE You take care of your family? JOHNNY Sure. He glances at SONNY, who makes himself as inconspicuous as he can. DON CORLEONE You look terrible. I want you to eat well, to rest. And spend time with your family. And then, at the end of the month, this big shot will give you the part you want. JOHNNY It's too late. All the contracts have been signed, they're almost ready to shoot. DON CORLEONE I'll make him an offer he can't refuse. He takes JOHNNY to the door, pinching his cheek hard enough to hurt. DON CORLEONE Now go back to the party and leave it to me. He closes the door, smiling to himself. Turns to HAGEN. DON CORLEONE When does my daughter leave with her bridegroom? HAGEN They'll cut the cake in a few minutes...leave right after that. Your new son-in-law, do we give him something important? DON CORLEONE No, give him a living. But never let him know the family's business. What else, Tom? HAGEN I've called the hospital; they've notified Consiglere Genco's family to come and wait. He won't last out the night. This saddens the DON. He sighs. DON CORLEONE Genco will wait for me. Santino, tell your brothers they will come with me to the hospital to see Genco. Tell Fredo to drive the big car, and ask Johnny to come with us. SONNY And Michael? DON CORLEONE All my sons. (to HAGEN) Tom, I want you to go to California tonight. Make the arrangements. But don't leave until I come back from the hospital and speak to you. Understood? HAGEN Understood. EXT DAY: MALL (SUMMER 1945) Now all the wedding GUESTS excitedly clap their hands over the entrance of the cake: NAZORINE is beaming as he wheels in a serving table containing the biggest, gaudiest, most extravagant wedding cake ever baked, an incredible monument of his gratitude. The CROWD is favorably impressed: they begin to clink their knives or forks against their glasses, in the traditional request for the Bride to cut the cake and kiss the Groom. Louder and louder, five hundred forks hitting five hundred glasses. EXT DAY: MALL (SUMMER 1945) Silence. HIGH ANGLE ON THE MALL, late day. The GUESTS are gone. A single black car is in the courtyard. FREDDIE is behind the driver's seat: the DON enters the car, looks at MICHAEL, who sits between SONNY and JOHNNY in the rear seat. DON CORLEONE Will your girl friend get back to the city all right? MICHAEL Tom said he'd take care of it. The DON pulls the door shut; and the car pulls out, through the gate of the great Corleone Mall. INT DAY: HOSPITAL CORRIDOR (SUMMER 1945) A long white hospital corridor, at the end of which we can see a grouping of FIVE WOMEN, some old and some young, but all plump and dressed in black. DON CORLEONE and his SONS move toward the end. But then the DON slows, putting his hand on MICHAEL's shoulder. MICHAEL stops and turns toward his FATHER. The two looks at one another for some time. SILENCE. DON CORLEONE then lifts his hand, and slowly touches a particular medal on MICHAEL's uniform. DON CORLEONE What was this for? MICHAEL For bravery. DON CORLEONE And this? MICHAEL For killing a man. DON CORLEONE What miracles you do for strangers. MICHAEL I fought for my country. It was my choice. DON CORLEONE And now, what do you choose to do? MICHAEL I'm going to finish school. DON CORLEONE Good. When you are finished, come and talk to me. I have hopes for you. Again they regard each other without a word. MICHAEL turns, and continues on. DON CORLEONE watches a moment, and then follows. INT DAY: HOSPITAL ROOM (SUMMER 1945) DON CORLEONE enters the hospital room, moving closest to OUR VIEW. He is followed by his SONS, JOHNNY and the WOMEN. DON CORLEONE (whispered) Genco, I've brought my sons to pay their respects. And look, even Johnny Fontane, all the way from Hollywood. GENCO is a tiny, wasted skeleton of a man. DON CORLEONE takes his bony hand, as the others arrange themselves around his bed, each clasping the other hand in turn. GENCO Godfather, Godfather, it's your daughter's wedding day, you cannot refuse me. Cure me, you have the power. DON CORLEONE I have no such power...but Genco, don't fear death. GENCO (with a sly wink) It's been arranged, then? DON CORLEONE You blaspheme. Resign yourself. GENCO You need your old Consigliere. Who will replace me? (suddenly) Stay with me Godfather. Help me meet death. If he sees you, he will be frightened and leave me in peace. You can say a word, pull a few strings, eh? We'll outwit that bastard as we outwitted all those others. (clutching his hand) Godfather, don't betray me. The DON motions all the others to leave the room. They do. He returns his attention to GENCO, holding his hand and whispering things we cannot hear, as they wait for death. INT NIGHT: AIRPLANE (SUMMER 1945) FADE IN: The interior of a non-stop Constellation. HAGEN is one of the very few passengers on this late flight. He looks like any young lawyer on a business trip. He is tired from the difficult preparation and duties that he has just executed during the wedding. On the seat next to him is an enormous, bulging briefcase. He closes his eyes. INT NIGHT: HONEYMOON HOTEL (SUMMER 1945) The honeymoon hotel: CARLO and CONNIE. CARLO is in his undershorts, sitting up on the bed, anxiously taking the envelopes out of the silk bridal purse and counting the contents. CONNIE prepares herself in the large marble bathroom. She rubs her hands over his bronze shoulders, and tries to get his interest. INT NIGHT: DON'S OFFICE (SUMMER 1945) DON CORLEONE in his office. LUCA BRASI sitting near to him. DON CORLEONE Luca, I am worried about this man Sollozzo. Find out what you can, through the Tattaglias. Let them believe you could be tempted away from the Corleone Family, if the right offer was made. Learn what he has under his fingernails... INT NIGHT: MANCINI APT. HALL (SUMMER 1945) The hallway of an apartment building. SONNY enters, climbs two steps at a time. He knocks, and then whispers. SONNY It's me, Sonny. The door opens, and two lovely arms are around him, pulling him into the apartment. INT NIGHT: LUCA'S ROOM (WINTER 1945) LUCA BRASI's tiny room. He is partly dressed. He kneels and reaches under his bed and pulls out a small, locked trunk. He opens it, and takes out a heavy, bullet-proof vest. He puts it on, over his wool undershirt, and then puts on his shirt and jacket. He takes his gun, quickly disassembles, checks, and reassembles it. And leaves. INT NIGHT: DON'S OFFICE (SUMMER 1945) A CLOSE VIEW of DON CORLEONE thinking quietly. INT NIGHT: MOVING TRAIN (SUMMER 1945) MICHAEL and KAY on a train, speeding on their way to New Hampshire. INT NIGHT: SUBWAY (WINTER 1945) LUCA, in his bulky jacket, sitting quietly on an empty subway train. INT NIGHT: AIRPLANE (SUMMER 1945) HAGEN on the Constellation. He reaches into his briefcase, and takes out several pictures and papers. One photograph is of a smiling man, JACK WOLTZ, linked arm in arm with fifteen movie stars on either side, including a lovely young child star to his immediate right. HAGEN considers other papers. INT NIGHT: DON'S OFFICE (SUMMER 1945) DON CORLEONE looks, and then moves HAGEN into an embrace. He straightens his arms and looks at TOM deeply. DON CORLEONE Remember my new Consigliere, a lawyer with his briefcase can steal more than a hundred men with guns. EXT DAY: WOLTZ ESTATE GATE (SUMMER 1945) JACK WOLTZ ESTATE. HAGEN stands before the impressive gate, armed only with his briefcase. A GATEMAN opens the gate, and TOM enters. EXT DAY: WOLTZ GARDENS (SUMMER 1945) HAGEN and WOLTZ comfortably stroll along beautiful formal gardens, martinis in hand. WOLTZ You should have told me your boss was Corleone, Tom, I had to check you out. I thought you were just some third rate hustler Johnny was running in to bluff me. (a piece of statuary) Florence, thirteenth century. Decorated the garden of a king. They cross the garden and head toward the stables. WOLTZ I'm going to show you something beautiful. They pass the stables, and come to rest by a stall with a huge bronze plaque attached to the outside wall: "KHARTOUM." TWO SECURITY GUARDS are positioned in chairs nearby; they rise as WOLTZ approaches. WOLTZ You like horses? I like horses, I love 'em. Beautiful, expensive Racehorses. The animal inside is truly beautiful. WOLTZ whispers to him with true love in his voice. WOLTZ Khartoum...Kartoum...You are looking at six hundred thousand dollars on four hoofs. I bet even Russian Czars never paid that kind of dough for a single horse. But I'm not going to race him I'm going to put him out to Stud. INT NIGHT: WOLTZ DINING ROOM (SUMMER 1945) HAGEN and WOLTZ sit at an enormous dining room table, attended by SEVERAL SERVANTS. Great paintings hang on the walls. The meal is elaborate and sumptuous. HAGEN Mr. Corleone is Johnny's Godfather. That is very close, a very sacred religious relationship. WOLTZ Okay, but just tell him this is one favor I can't give. But he should try me again on anything else. HAGEN He never asks a second favor when he has been refused the first. Understood? WOLTZ You smooth son of a bitch, let me lay it on the line for you, and your boss. Johnny Fontane never gets that movie. I don't care how many Dago, Guinea, wop Greaseball Goombahs come out of the woodwork! HAGEN I'm German-Irish. WOLTZ Okay my Kraut-Mick friend, Johnny will never get that part because I hate that pinko punk and I'm going to run him out of the Movies. And I'll tell you why. He ruined one of Woltz Brothers' most valuable proteges. For five years I had this girl under training; singing lessons! Acting lessons! Dancing lessons! We spent hundreds of thousands of dollars--I was going to make her a star. I'll be even more frank, just to show you that I'm not a hard-hearted man, that it wasn't all dollars and cents. That girl was beautiful and young and innocent and she was the greatest piece of ass I've ever ad and I've had them all over the world. Then Johnny comes along with that olive oil voice and guinea charm and she runs off. She threw it all away to make me look ridiculous. A MAN IN MY POSITION CANNOT AFFORD TO BE MADE TO LOOK RIDICULOUS! EXT DAY: GENCO OLIVE OIL CO. (SUMMER 1945) An unimposing little building in New York City on Mott Street with a large old sign: "GENCO OLIVE OIL IMPORTS, INC." next to an open-faced fruit market. A dark Buick pulls up, and a single small man, whom we cannot see well because of the distance, gets out and enters the building. This is VIRGIL SOLLOZZO. INT DAY: OLIVE OIL OFFICES (SUMMER 1945) Looking toward the staircase we can hear SOLLOZZO's footsteps before he actually rises into view. He is a small man, very dark, with curly black hair. But wiry, and tight and hard, and obviously very dangerous. He is greeted at the head of the stairs by SONNY, who takes his hand and shakes it, introducing himself. For a moment, there is a complex of handshaking quite formal, and whispered respectful introductions. Finally, SOLLOZZO is taken into the DON's glass paneled office; the two principals are introduced. They are very respectful of one another. Folding chairs are brought in by FREDDIE, and soon they are all sitting around in a circle; the DON, SOLLOZZO, SONNY, HAGEN, FREDDIE, CLEMENZA and TESSIO. The DON is the slightest bit foolish with all his compatriots, whereas SOLLOZZO has brought no one. Throughout all that transpires, however, it is clear that this scene is between two men: SOLLOZZO and DON CORLEONE. SOLLOZZO My business is heroin, I have poppy fields, laboratories in Narseilles and Sicily, ready to go into production. My importing methods are as safe as these things can be, about five per cent loss. The risk is nothing, the profits enormous. DON CORLEONE Why do you come to me? Why do I deserve your generosity? SOLLOZZO I need two million dollars in cash...more important, I need a friend who has people in high places; a friend who can guarantee that if one of my employees be arrested, they would get only light sentences. Be my friend. DON CORLEONE What percentages for my family? SOLLOZZO Thirty per cent. In the first year your share would be four million dollars; then it would go up. DON CORLEONE And what is the percentage of the Tattaglia family? SOLLOZZO nods toward HAGEN. SOLLOZZO My compliments. I'll take care of them from my share. DON CORLEONE So. I receive 30 per cent just for finance and legal protection. No worries about operations, is that what you tell me? SOLLOZZO If you think two million dollars in cash is just finance, I congratulate you Don Corleone. There is a long silence; in which each person present feels the tension. The DON is about to give his answer. DON CORLEONE I said I would see you because I've heard you're a serious man, to be treated with respect... (pause) But I'll say no to you. We feel this around the room. DON CORLEONE I'll give you my reasons. I have many, many friends in Politics. But they wouldn't be so friendly if my business was narcotics instead of gambling. They think gambling is something like liquor, a harmless vice...and they think narcotics is dirty business. SOLLOZZO takes a breath. DON CORLEONE No...how a man makes his living is none of my business. But this proposition of yours is too risky. All the people in my family lived well the last ten years, I won't risk that out of greed. SOLLOZZO Are you worried about security for your million? DON CORLEONE No. SOLLOZZO The Tattaglias will guarantee your investment also. This startles SONNY; he blurts out. SONNY The Tattaglia family guarantees our investment? SOLLOZZO hears him first, and then very slowly turns to face him. Everyone is the room knows that SONNY has stepped out of line. DON CORLEONE Young people are greedy, and they have no manners. They speak when they should listen. But I have a sentimental weakness for my children, and I've spoiled them, as you see. But Signor Sollozzo, my no is final. SOLLOZZO nods, understands that this is the dismissal. He glances one last time at SONNY. He rises; all the others do as well. He bows to the DON, shakes his hand, and formally takes his leave. When the footsteps can no longer be heard: The DON turns to SONNY. DON CORLEONE Santino, never let anyone outside the family know what you are thinking. I think your brain is going soft from all that comedy you play with that young girl. TWO OFFICE WORKERS are carrying an enormous floral display with the word "THANK YOU" spelled out in flowers. DON CORLEONE What is this nonsense? HAGEN It's from Johnny. It was announced this morning. He's going to play the lead in the new Woltz Brothers film. INT DAY: WOLTZ'S BEDROOM (SUMMER 1945) It is large, dominated by a huge bed, in which a man, presumably WOLTZ, is sleeping. Soft light bathes the room from the large windows. We move closer to him until we see his face, and recognize JACK WOLTZ. He turns uncomfortably; mutters, feels something strange in his bedsheets. Something wet. He wakens, feels the sheets with displeasure; they are wet. He looks at his hand; the wetness is blood. He is frightened, pulls aside the covers, and sees fresh blood on his sheets and pajamas. He grunts, pulls the puddle of blood in his bed. He feels his own body frantically, moving, down, following the blood, until he is face to face with the great severed head of Khartoum lying at the foot of his bed. Just blood from the hacked neck. White reedy tendons show. He struggles up to his elbows in the puddle of blood to see more clearly. Froth covers the muzzle, and the enormous eyes of the animal are yellowed and covered with blood. WOLTZ tries to scream; but cannot. No sound comes out. Then, finally and suddenly an ear-splitting scream of pure terror escapes from WOLTZ, who is rocking on his hands and knees in an uncontrolled fit, blood all over him. INT DAY: OLIVE OIL OFFICES (SUMMER 1945) CLOSE VIEW on the GODFATHER. Nodding. DON CORLEONE Send Johnny my congratulations. ----------------------------------------FADE OUT-------- (SCENES 12 & 12 OMITTED) FADE IN: EXT DAY: FIFTH AVENUE (WINTER 1945) Fifth Avenue in the snow. Christmas week. People are bundled up with rosy faces, rushing to buy presents. KAY and MICHAEL exit a Fifth Avenue department store, carrying a stack of gaily wrapped gifts, arm in arm. KAY We have something for your mother, for Sonny, we have the tie for Fredo and Tom Hagen gets the Reynolds pen... MICHAEL And what do you want for Christmas? KAY Just you. They kiss. INT DAY: HOTEL ROOM (WINTER 1945) CLOSE ON a wooden radio, playing quiet Music. THE VIEW PANS AROUND the dark hotel room, curtained against the daylight. MICHAEL (O.S.) We'll have a quiet, civil ceremony at the City Hall, no big fuss, no family, just a couple of friends as witnesses. The two are in each other's arms in a mess of bedsheets on the two single beds that they have pushed together. KAY What will your father say? MICHAEL As long as I tell him beforehand he won't object. He'll be hurt, but he won't object. KAY What time do they expect us? MICHAEL For dinner. Unless I call and tell them we're still in New Hampshire. KAY Michael. MICHAEL Then we can have dinner, see a show, and spend one more night. He moves to the telephone. MICHAEL (CONT'D.) Operator. Get me (fill in number) KAY Michael, what are you doing? MICHAEL Shhh, you be the long distance operator. Here. KAY Hello...this is Long Distance. I have a call from New Hampshire. Mr. Michael Corleone. One moment please. She hands the phone to MICHAEL who continues the deception. MICHAEL Hello, Tom? Michael. Yeah... listen, we haven't left yet. I'm driving down to the city with Kay tomorrow morning. There's something important I want to tell the old man before Christmas. Will he be home tomorrow night? INT DAY: OLIVE OIL OFFICE (WINTER 1945) HAGEN in the Olive Oil Company office. In the background, through the glass partitions, we can see the DON, at work in his office. TOM is tired, and steeped in paperwork. HAGEN (O.S.) Sure. Anything I can do for you. MICHAEL (O.S.) No. I guess I'll see you Christmas. Everyone's going to be out at Long Beach, right? HAGEN Right. He smiles. MICHAEL has hung up. He looks at the piles of work, and can't face it. He rises, puts on his coat and hat, and continues out. He peeks into the DON's office. HAGEN Michael called; he's not leaving New Hampshire until tomorrow morning. I've got to go, I promised Theresa I'd pick up some toys for the kids. The DON smiles and nods. TOM smiles, and leaves; OUR VIEW remaining with DON CORLEONE. FREDDIE is sitting on a bench in the corner, reading the afternoon paper. He puts aside the papers the office manager has prepared for him, and then moves to FREDDIE, raps his knuckles on his head to take his nose out of the paper. DON CORLEONE Tell Paulie to get the car from the lot; I'll be ready to go home in a few minutes. FREDO I'll have to get it myself; Paulie called in sick this morning. DON CORLEONE That's the third time this month. I think maybe you'd better get a healthier bodyguard for me. Tell Tom. FREDO (going) Paulie's a good kid. If he's sick, he's sick. I don't mind getting the car. FREDDIE leaves. He slowly puts on his jacket. Looks out his window. EXT DUSK: OLIVE OIL CO. (WINTER 1945) FREDDIE crosses the street. INT DUSK: OLIVE OIL OFFICE (WINTER 1945) OFFICE MANAGER Buon Watale, Don Corleone. The MANAGER helps him on with his overcoat. Once again, the DON glances out his window. The black car pulls up; FREDDIE driving. DON CORLEONE Merry Christmas. (handing the MANAGER an envelope) And he starts down the stairs. EXT DUSK: OLIVE OIL CO. (WINTER 1945) The light outside is very cold, and beginning to fail. When FREDDIE sees his FATHER coming, he moves back into the driver's seat. The DON moves to the car, and is about to get in when he hesitates, and turns back to the long, open fruit stand near the corner. The PROPRIETOR springs to serve him. The DON walks among the trays and baskets, and merely points to a particular piece of fruit. As he selects, the MAN gingerly picks the pieces of fruit up and puts them into a paper bag. The DON pays with a five dollar bill, waits for his change, and then turns back to the car. EXT DUSK: POLKS TOY STORE (WINTER 1945) TOM HAGEN exits carrying a stack of presents, all gift wrapped. He continues past the windows. As he walks, someone walks right in his way. He looks up. It is SOLLOZZO. He takes TOM by the arm and walks along with him. SOLLOZZO (quietly) Don't be frightened. I just want to talk to you. A car parked at the curb suddenly flings its rear door open. SOLLOZZO (urgently) Get in; I want to talk to you. HAGEN pulls his arm free. He is frightened. HAGEN I haven't got time. TWO MEN suddenly appear on either side of him. SOLLOZZO Get in the car. If I wanted to kill you you'd be dead already. Trust me. HAGEN, sick to his stomach, moves with his ESCORTS, leaving our VIEW on the Mechanical windows gaily bobbing the story of Hansel and Gretel. We HEAR the car doors shut, and the car drive off. EXT NIGHT: RADIO CITY - PHONE BOOTH (WINTER 1945) RADIO CITY MUSIC HALL during the Christmas show. KAY and MICHAEL exit; tears are still streaming down her cheeks, and she sniffles, and dries her tears with Kleenex. KAY nostalgically hums "The Bells of Saint Mary's," as they walk arm in arm. KAY Would you like me better if I were a nun? MICHAEL No. KAY Would you like me better if I were Ingrid Bergman? They have passed a little enclosed newsstand. KAY sees something that terrifies her. She doesn't know what to do. MICHAEL still walks, thinking about her question. KAY (a little voice) Michael? MICHAEL I'm thinking about it. KAY Michael... MICHAEL No, I would not like you better if you were Ingrid Bergman. She cannot answer him. Rather she pulls him by the arm, back to the newsstand, and points. His face goes grave. The headlines read: "VITO CORLEONE SHOT, CHIEFTAN GUNNED DOWN." MICHAEL is petrified; quickly he takes each edition, drops a dollar in the tray, and hungrily reads through them. KAY knows to remain silent. MICHAEL (desperately) They don't say if he's dead or alive. EXT DUSK: OLIVE OIL CO. (WINTER 1945) DON CORLEONE by the fruit stand; he is about to move to the car, when TWO MEN step from the corner. Suddenly, the DON drops the bag of fruit and darts with startling quickness toward the parked car. DON CORLEONE Fredo, Fredo! The paper bag has hit the ground, and the fruit begins rolling along the sidewalk, as we HEAR gunshots. Five bullets catch the DON in the back; he arches in pain, and continues toward the car. The PROPRIETOR of the fruit stand rushes for cover, knocking over an entire case of fruit. The TWO GUNMEN move in quickly, anxious to finish him off. Their feet careful to avoid the rolling fruit. There are more GUNSHOTS. FREDDIE is hysterical; he tries to get out of the car; having difficulty opening the door. He rushes out, a gun trembling in his hand; his mouth open. He actually drops the gun. The gun falls amid the rolling fruit. The GUNMEN are panicked. They fire once more at the downed DON CORLEONE. His leg and arm twitch where they are hit; and pools of blood are beginning to form. The GUNMEN are obviously in a state of panic and confusion; they disappear around the corner as quickly as they came. The PEOPLE about the avenue have all but disappeared: rather, we catch glimpses of them, poking their heads safely from around corners, inside doorways and arches, and from windows. But the street itself is now empty. FREDDIE is in shock; he looks at his FATHER; now great puddles of blood have formed, and the DON is lifeless and face down in them. FREDDIE falls back on to the curb and sits there, saying something we cannot understand. He begins to weep profusely. INT NIGHT: SUBWAY (WINTER 1945) LUCA BRASI riding alone on a subway car, late at night. He gets off. He emerges at a subway terminal, proceeds out. EXT NITE: NIGHT CLUB STREET (WINTER 1945) LUCA walks down the late night street. He approaches an elegant New York Nightclub, whose gaudy neon sign is still winking this late at night. He waits and watches. Then the sign goes out; and he proceeds into the club. INT NITE: NIGHTCLUB (WINTER 1945) The main floor of the Nightclub is very large, with endless glistening wooden floors. Now, at this late time, the chairs have been stacked on the tables and a NEGRO JANITOR is waxing them. A single HAT-CHECK GIRL is counting her receipts. LUCA moves past the empty bandstand, and sits at the bar. ANOTHER MAN, dark and very well-built, moves behind the bar. MAN Luca...I'm Bruno Tattaglia. LUCA I know. LUCA looks up; and out of the shadows emerges SOLLOZZO. SOLLOZZO Do you know who I am? LUCA Nods. SOLLOZZO You've been talking to the Tattaglias. They thought we could do business. LUCA listens. SOLLOZZO I need somebody strong to protect my operation, physically. I've heard you're not happy with your family, you might make a switch. LUCA If the money is good enough. SOLLOZZO On the first shipment, I can guarantee you fifty thousand dollars. LUCA looks at him; he had no idea the offer would be so good. SOLLOZZO extends his hand, but LUCA pretends not to see it, rather, he busies himself putting a cigarette in his mouth. BRUNO TATTAGLIA, behind the bar, makes a cigarette lighter magically appear, and holds it to LUCA's cigarette. Then, he does an odd thing; he drops the lighter on the bar, and puts his hand lightly on LUCA's, almost patting it. INT NITE: SONNY'S LIVING ROOM (WINTER 1945) The telephone in SONNY's house is ringing. He approaches it, obviously fresh from a nap. SONNY Yeah. VOICE (O.S.) Do you recognize my voice? SONNY I think so. Detective squad? VOICE (O.S.) Right. Don't say my name, just listen. Somebody shot your father outside his place fifteen minutes ago. SONNY Is he alive? VOICE (O.S.) I think so, but I can't get close enough. There's a lot of blood. I'll try to find out more. SONNY Find out anything you can...you got a Grand coming. (click) SONNY cradles the phone. An incredible rage builds up in him, his face actually turning red. He would like to rip the phone to pieces in his bare hands. Then he controls it. Quickly, he dials another number. SONNY Theresa, let me talk to Tom. Not yet? Have him call me as soon as he gets home. He hangs up. SANDRA (O.S.) Sonny? Sonny, who is it? (she enters the room) What is it? SONNY (calmly) They shot the old man. SANDRA Oh God... SONNY Honey...don't worry. Nothing else is going to happen. There is a POUNDING on the door. A BABY starts crying. SANDRA (really frightened) SONNY? SONNY reaches into a cabinet drawer, takes out a gun, and moves quickly. He opens the front door quickly. It is CLEMENZA. He enters, SONNY closes the door. SANDRA goes to look after the baby. CLEMENZA (excited) You heard about your father? SONNY Yeah. CLEMENZA The word is out in the streets that he's dead. SONNY Where the hell was Paulie, why wasn't he with the Don? CLEMENZA Paulie's been a little sick all winter...he was home. SONNY How many times did he stay home the last couple of months? CLEMENZA Maybe three, four times. I always asked Freddie if he wanted another bodyguard, but he said no. Things have been so smooth the last ten years... SONNY Go get Paulie, I don't care how sick he is. Pick him up yourself, and bring him to my father's house. CLEMENZA That's all? Don't you want me to send some people over here? SONNY No, just you and Paulie. CLEMENZA leaves; SONNY moves to SANDRA, who sits on the couch weeping quietly, comforting her BABY. SONNY A couple of our people will come to stay here. Do whatever they say; I'm going over to the main house. If you want me, use Pop's special phone. The telephone rings again. SONNY answers it. SONNY Hello. SOLLOZZO (O.S.) Santino Corleone? SANDRA moves behind him, anxious to know who it is. SONNY indicates that she be quiet. SONNY Yeah. SOLLOZZO (O.S.) We have Tom Hagen. In about three hours he'll be released with our proposition. Don't do anything until you've heard what he has to say. You can only cause a lot of trouble. What's done is done. (a pause) Don't lose that famous temper of yours. SONNY (quietly) I'll wait. EXT NITE: MALL (WINTER 1945) FULL VIEW OF THE CORLEONE MALL. It is night, but the courtyard is bathed with white light from floodlights on the tops of all the houses. It is very cold. We see the figure of SONNY cross the Mall, and let himself into the main house. INT NITE: DON'S KITCHEN (WINTER 1945) SONNY walks into the empty, darkened house. Then he calls out. SONNY Ma? Ma, where are you. The kitchen door swings open. He moves quickly and takes her by the arm. He is deliberately calm. SONNY Ma, I just got a call. Pop's hurt...I don't know how bad. MAMA (quietly) Santino? Have they killed him? SONNY (almost in tears) We don't know yet, Ma. MAMA I'll get dressed. In case we can see him... She moves out of the kitchen, and continues upstairs. SONNY turns the gas from the pan of peppers she was frying. He takes some bread without thinking, and dips it in the oil, and sloppily eats some of the peppers, as he moves into his father's office. INT NITE: DON'S OFFICE (WINTER 1945) He switches the lights on in the DON's office. The massive desk dominates the room. SONNY moves quickly to the telephone, pulling a small chair to the side of the desk, and dials a number. SONNY Tessio...This is Santino Corleone. I want fifty reliable men out here. TESSIO (O.S.) I heard, Sonny...but what about Clemenza's regime? SONNY I don't want to use Clemenza's people right now. Understood? He hangs up. He moves quickly to a wall safe; operates the dial, and removes a small notebook. He takes it back to the desk, and runs over the list of numbers with his forefinger. We follow the names, until the finger stops at one: LUCA BRASI. SONNY dials the number. There is no answer. SONNY Luca. INT NITE: BUILDING (WINTER 1945) The interior of an abandoned building. SEVERAL MEN in suits and ties sit around in the booths. HAGEN sits in one: SOLLOZZO sits across from him. SOLLOZZO I know you're not in the muscle end of the family--so I don't want you to be afraid. I want you to help the Corleones and I want you to help me. HAGEN's hands are trembling as he tries to put a cigarette in his mouth. ONE of the BUTTON MEN brings a bottle of rye to the table, and pours a little into a delicate, flowered china cup. HAGEN sips gratefully. SOLLOZZO Your boss is dead... HAGEN is overwhelmed: actual tears spring to his eyes. SOLLOZZO pauses respectfully. SOLLOZZO (pushing the bottle) Have some more. We got him outside his office, just before I picked you up. You have to make the peace between me and Santino. HAGEN still is focused on the grief of losing the old man. SOLLOZZO Sonny was hot for my deal, right? You know it's the smart thing to do, too. I want you to talk Sonny into it. HAGEN (pulling himself together) Sonny will come after you with everything he's got. SOLLOZZO rises, impatiently. SOLLOZZO That's going to be his first reaction. You have to talk some sense into him. The Tattaglia family stands behind me with all their people. The other New York Families will go along with anything that prevents a full scale war. He leans close to HAGEN. SOLLOZZO The Don was slipping; in the old days I could never have gotten to him. Now he's dead, nothing can bring him back. Talk to Sonny, talk to the Caporegimes, Clemenza and Tessio...it's good business. HAGEN Even Sonny won't be able to call off Luca Brasi. SOLLOZZO I'll worry about Luca. You take care of Sonny and the other two kids. HAGEN I'll try...It's what the Don would want us to do. SOLLOZZO (lifting his hands in an expression of harmlessness) Good...then you can go... (he escorts him to the door) I don't like violence. I'm a businessman, and blood is a big expense. He opens the door; they step out together. EXT NITE: BUILDING HAGEN, SOLLOZZO exit. But a car pulls up, and ONE of SOLLOZZO'S MEN rushes out. He indicates with some urgency that he wants to talk to SOLLOZZO in private. Then SOLLOZZO moves with a grave expression. He opens the door, indicating that HAGEN should be led back in. SOLLOZZO The old man is still alive. Five bullets in his Sicilian hide and he's still alive. (he gives a fatalistic shrug) Bad luck for me, bad luck for you. EXT NITE: MALL (WINTER 1945) MICHAEL driving during the night. There is a little fog in the air, and moisture has formed on the windshield, making it difficult to see well. The wipers move across the view, as the gate of the Corleone Mall appears before us, still decorated for Christmas. The courtyard is bathed with white floodlight, giving this place a cold and isolated look. The narrow entrance mouth of the Mall is sealed off with a link chain. There are strange cars parked along the curving cement walk. SEVERAL MEN are congregated about the gate and chain; ONE of them approaches MICHAEL's car. MAN Who're you? ANOTHER peeks his ugly face almost right up to MICHAEL, and then turns. MAN 2 It's the Don's kid; take the car, I'll bring him inside. The FIRST MAN opens the car door, and MICHAEL steps out. INT NITE: HALL (WINTER 1945) The Hallway of the main house is filled with MEN MICHAEL doesn't recognize. They pay little attention to him. Most of them are waiting; sitting uncomfortably; no one is talking. INT NITE: DON'S LIVING ROOM (WINTER 1945) MICHAEL moves into the living room; there is a Christmas tree, and countless greeting cards taped to the walls. THERESA HAGEN is sitting stiffly on the sofa, smoking a cigarette; on the coffee table in front of her is a water glass half filled with whiskey. On the other side of the sofa sits CLEMENZA; his face is impassive, but he is sweating, and the cigar in his hand glistens slickly black with his saliva. PAULIE GATTO sits tensely and alone on the other side of the room. CLEMENZA sees MICHAEL, looks up at him. CLEMENZA Your mother's at the hospital with the old man: He's gonna pull through. MICHAEL nods his relief. MICHAEL Thanks. He moves to THERESA. MICHAEL (gently) You heard from Tom yet? Without looking up, she clings to him for a moment, and trembles. Occasionally, STRANGE MEN will cross through the room; everyone speaks in a whisper. MICHAEL (taking her hand) C'mon. He leads her into his father's office without knocking. INT NITE: DON'S OFFICE (WINTER 1945) SONNY and TESSIO are huddled around a yellow pad. They look up, startled. SONNY Don't worry, Theresa; they just want to give Tom the proposition, then they're going to turn him loose. He reassuringly hugs THERESA, and then to MICHAEL's surprise, he kisses him on the cheek. SONNY I was worried when we couldn't get in touch with you in that hick town. MICHAEL How's Mom? SONNY Good. She's been through it before. Me too. You were too young to know about it. You better wait outside; there're some things you shouldn't hear. MICHAEL I can help you out... SONNY Oh no you can't, the old man'd be sore as hell if I let you get mixed up in this. MICHAEL Jesus Christ, he's my father, Sonny. SONNY Theresa. She understands, and leaves them alone. SONNY All right, Mikey...who do we have to hit, Clemenza or Paulie? MICHAEL What? SONNY One of them fingered the old man. MICHAEL didn't realize that the men waiting outside were on trial for their lives. MICHAEL Clemenza? No, I don't believe it. SONNY You're right, kid, Clemenza is okay. It was Paulie. MICHAEL How can you be sure? SONNY On the three days Paulie was sick this month, he got calls from a payphone across from the old man's building. We got people in the phone company. (he shrugs) Thank God it was Paulie...we'll need Clemenza bad. MICHAEL is just realizing the gravity and extent of the situation. MICHAEL Is it going to be all-out war, like last time? SONNY Until the old man tells me different. MICHAEL Then wait, Sonny. Talk to Pop. SONNY Sollozzo is a dead man, I don't care what it costs. I don't care if we have to fight all the five families in New York. The Tattaglia family's going to eat dirt. I don't care if we all go down together. MICHAEL (softly) That's not how Pop would have played it. SONNY I know I'm not the man he was. But I'll tell you this and he'll tell you too. When it comes to real action, I can operate as good as anybody short range. MICHAEL (calmly) All right, Sonny. All right. SONNY Christ, if I could only contact Luca. MICHAEL Is it like they say? Is he that good? Outside, we HEAR THERESA cry out, almost a scream of relief. Then open the door and rush out. Everyone is standing: in the doorway, TOM HAGEN is wrapped in a tight embrace with his WIFE. HAGEN If I plead before the Supreme Court, I'll never do better than I did tonight with that Turk. EXT NITE: MALL, FEATURING DON'S HOUSE (WINTER 1945) The windows of the main house are dark except for the DON's study. It stands out against the cold, dark night. INT NITE: DON'S LIVING ROOM (WINTER 1945) The living room is empty, save for PAULIE GATTO sitting on the edge of the sofa. The clock reads: 4:00 a.m. INT NITE: DON'S OFFICE (WINTER 1945) SONNY, MICHAEL, HAGEN, CLEMENZA and TESSIO; all exhausted, in shirtsleeves, about to fall asleep. It is four in the morning; there is evidence of many cups of coffee and many snacks. They can barely talk anymore. HAGEN Is the hospital covered? SONNY The cops have it locked in and I got my people there visiting Pop all the time. What about the hit list. HAGEN widens his sleepy eyes, and looks at the yellow pad. HAGEN Too much, too far, too personal. The Don would consider this all purely a business dispute: Get rid of Sollozzo, and everything falls in line. YOU don't have to go after the Tattaglias. CLEMENZA nods. HAGEN What about Luca? Sollozzo didn't seem worried about Luca. That worries me. SONNY If Luca sold out we're in real trouble. HAGEN Has anyone been able to get in touch with him? SONNY No, and I've been calling all night. Maybe he's shacked up. HAGEN Luca never sleeps over with a broad. He always goes home when he's through. Mike, keep ringing Luca's number. MICHAEL, very tired, picks up the phone, and dials the number once again. He can hear the phone ringing on the other end but no one answers. Then hangs up. HAGEN Keep trying every fifteen minutes. (exhausted) SONNY Tom, you're the Consigliere, what do we do if the old man dies? HAGEN Without your father's political contacts and personal influence, the Corleone family loses half its strength. Without your father, the other New York families might wind up supporting Sollozzo, and the Tattaglias just to make sure there isn't a long destructive war. The old days are over, this is 1946; nobody wants bloodshed anymore. If your father dies...make the deal, Sonny. SONNY (angry) That's easy to say; it's not your father. HAGEN (quietly) I was as good a son to him as you or Mike. SONNY Oh Christ Tom, I didn't mean it that way. HAGEN We're all tired... SONNY OK, we sit tight until the old man can give us the lead. But Tom, I want you to stay inside the Mall. You too, Mike, no chances. Tessio, you hold your people in reserve, but have them nosing around the city. The hospital is yours; I want it tight, fool-proof, 24 hours a day. There is a timid knock on the door. SONNY What is it? PAULIE GATTO looks in. CLEMENZA I tol' you to stay put, Paulie... PAULIE The guy at the gate's outside...says there's a package... SONNY Tessio, see what it is. TESSIO gets up, leaves. PAULIE You want me to hang around? SONNY Yeah. Hang around. PAULIE Outside? CLEMENZA Outside. PAULIE Sure. He closes the door. SONNY Clemenza. You take care of Paulie. I don't ever want to see him again. Understood? CLEMENZA Understood. SONNY Okay, now you can move your men into the Mall, replace Tessio's people. Mike, tomorrow you take a couple of Clemenza's people and go to Luca's apartment and wait for him to show. That crazy bastard might be going after Sollozzo right now if he's heard the news. HAGEN Maybe Mike shouldn't get mixed up in this so directly. You know the old man doesn't want that. SONNY OK forget it, just stay on the phone. MICHAEL is embarrassed to be so protected. He dials Luca Brasi's number once again. The ring repeats, but no one answers. TESSIO comes back, carrying Luca Brasi's bullet-proof vest in his hand. He unwraps it; there is a large fish wrapped inside. CLEMENZA A Sicilian message: Luca Brasi sleeps with the fishes. INT. NITE: NIGHTCLUB (WINTER 1945) LUCA sits at the Bar of the Tattaglia Nightclub, as we remember him. BRUNO TATTAGLIA had just patted his hand. LUCA looks up at him. Then SOLLOZZO pats the other hand, almost affectionately. LUCA is just about to twist his hands away, when they both clamp down as hard as they can. Suddenly, a garrote is thrown around his neck, and pulled violently tight. His face begins to turn to purple blotches, and then totally purple, right before our eyes; his tongue hangs out, in a far more extreme way than a normal tongue could. His eyes bulge. ONE of the MEN looks down at him in disgust as LUCA's strength leaves him. BRUNO (making an ugly face) Oh Christ...all over the floor. SOLLOZZO lets LUCA's hand go with a victorious smile on his face. LUCA falls to the floor. SOLLOZZO The Godfather is next. ----------------------------------------FADE OUT-------- FADE IN: EXT DAY: CLEMENZA'S HOUSE (WINTER 1945) Morning in a simple Brooklyn suburb. There are rows of pleasant houses; driveway after driveway, down the block. A dark, somber young man of thirty-one or two walks with a noticeable limp down the sidewalk, and rings the bell. This is ROCCO LAMPONE. The woman of the house, MRS. CLEMENZA, talks to him through the screen door, and then points to the side of the house. ROCCO moves to the garage, which is specially heated, and in which CLEMENZA is busy at work washing a shiny brand new Lincoln. LAMPONE admires the car. LAMPONE Nice. CLEMENZA Crazy Detroit delivered it with a wooden bumper. They're going to send me the chrome bumpers in a couple months. I waited two years for this car to come with wooden bumpers! He scrubs and polishes with great affection. CLEMENZA Today you make your bones on Paulie. You understand everything? LAMPONE Sure. As he scrubs around the glove compartment, he opens it, unwraps a gun and gives it to LAMPONE. CLEMENZA .22 soft-nosed load. Accurate up to five feet. LAMPONE expertly puts the gun away. GATTO's car pulls into the driveway, and he sounds the horn. The two men walk to the car. GATTO is driving, a bit nervous, like he doesn't know what is up. LAMPONE gets in the rear seat; CLEMENZA in the front, making a grunt of recognition. He looks at his wristwatch, as though wanting to chide PAULIE for being late. PAULIE flinches a little when he sees LAMPONE will ride behind him; he half turns: PAULIE Rocco, sit on the other side. A big guy like you blocks my rearview mirror. CLEMENZA turns sourly to PAULIE. CLEMENZA Goddamn Sonny. He's running scared. He's already thinking of going to the mattresses. We have to find a place on the West Side. Paulie, you know a good location? PAULIE relaxes a bit; he thinks he's off any possible hook he was on. Also there's the money he can make by selling Sollozzo any secret location. PAULIE I'll think about it. CLEMENZA (grunting) Drive while you thinking; I wanna get to the City this month! The car pulls out. EXT DAY: PAULIE'S CAR - ON ROAD (WINTER 1945) Inside PAULIE drives; and CLEMENZA sits in a grump. OUR VIEW does not show LAMPONE in the rear seat. EXT DAY: PAULIE'S CAR AT TUNNEL (WINTER 1945) The Car crosses to the Midtown Tunnel in the late Winter light. INT DAY: PAULIE'S CAR IN TUNNEL (WINTER 1945) Inside the tunnel; GATTO doesn't like not seeing LAMPONE. He tries to adjust his rearview mirror to catch a glimpse of him. CLEMENZA Pay attention! EXT DAY: PAULIE'S CAR AT MATTRESS (WINTER 1945) The car is parked in the City. PAULIE comes down from an available apartment and gets back into the car. PAULIE Good for ten men... CLEMENZA OK, go to Arthur Avenue; I'm suppose to call when I found somethin'. The car pulls off. EXT DAY: RESTAURANT (WINTER 1945) New part of the city; the car pulls up in a parking lot. CLEMENZA get outs, glances at LAMPONE, then to PAULIE. CLEMENZA You wait; I'll call. He walks, tucking his shirt into his pants, around the corner and enters the Luna Restaurant. INT DAY: RESTAURANT (WINTER 1945) CLEMENZA enters the little restaurant, sits down at a table. The WAITERS know him; immediately put a bottle of wine, some bread--and then a plate of veal on his table. He eats. EXT DAY: RESTAURANT (WINTER 1945) CLEMENZA exits the restaurant, belches, adjusts his pants; he is well fed. We move with him around the corner, not knowing what to expect has happened to Paulie. There is the car; PAULIE is still sitting behind the wheel, LAMPONE in the rear seat. CLEMENZA steps in. CLEMENZA He talked my ear off. Want us to go back to Long Beach; have another job for us. Rocco, you live in the City, can we drop you off? LAMPONE (O.S.) Ah, I left my car at your place. CLEMENZA OK, then you gotta come back. The car pulls out. By now, PAULIE is completely relaxed and secure. PAULIE You think we'll go for that last place? CLEMENZA Maybe, or you gotta know now. PAULIE Holy cow, I don't gotta know nothing. EXT DAY: PAULIE'S CAR ON CAUSEWAY (WINTER 1945) The car moves along the ready beach area of the causeway. Inside, CLEMENZA turns to PAULIE. CLEMENZA Paulie, pull over. I gotta take a leak. The car pulls off the Causeway, into the reeds. CLEMENZA steps out of the car, OUR VIEW MOVING with him. He turns his back three quarters from us (we can no longer see the car), unzips, and we hear the sound of urine hitting the ground. We wait on this for a moment; and then there are two GUNSHOTS. CLEMENZA finishes his leak, zips up and turns, moving back to the car. PAULIE is dead, bleeding from the mouth; the windows behind him are shattered. CLEMENZA Leave the gun. LAMPONE gets out, the two men walk through the reeds a few feet where there is another car. They get in, and drive off. ---------------------------------------FADE OUT--------- EXT DAY: MALL (WINTER 1945) HIGH ANGLE OF THE MALL. It is late afternoon. Many strange cars are parked on the nearby streets. We can see the group of BUTTON MEN, stationed here and there, obviously sentries with concealed weapons. MICHAEL walks along in the rear yard. He is bundled in a warm marine coat. He looks at the strange men, regarding them with an uncertain awe. They look back at him, at first suspiciously and then with the respect of his position. He is like an exile Prince. He wanders past them, and hesitates and looks at the yard. A rusted set of garden swings; and other home playground equipment. The basketball ring now half coming off. This is where he was a child. Then a shout. CLEMENZA (O.S.) Mike. Hey Mikey; telephone. CLEMENZA had shouted from the kitchen window. MICHAEL hurries into the house. INT DAY: DON'S KITCHEN (WINTER 1945) CLEMENZA is in the kitchen, cooking over an enormous pot. He points to the kitchen wall phone which is hanging off the hook. CLEMENZA Some dame. MICHAEL picks it up. MICHAEL Hello. Kay? KAY (O.S.) How is your father? MICHAEL He'll be OK. KAY (O.S.) (pause) I love you. He glances at the THUGS in the kitchen. Tries to shield the phone. KAY (O.S.) I LOVE YOU. MICHAEL Yeah Kay, I'm here. KAY (O.S.) Can you say it? MICHAEL Huh? KAY (O.S.) Tell me you love me. MICHAEL glances at the HOODS at the kitchen table. He curls up in a corner, and in a quarter voice: MICHAEL I can't... KAY (O.S.) Please say it. MICHAEL Look. I'll see you tonight, OK? KAY (O.S.) OK. (click) CLEMENZA is getting ready to build a tomato sauce for all the button men stationed around the house. CLEMENZA How come you don't tell that nice girl you love her...here, learn something... you may have to feed fifty guys some day. You start with olive oil...fry some garlic, see. And then fry some sausage...or meat balls if you like...then you throw in the tomatoes, the tomato paste...some basil; and a little red wine...that's my trick. SONNY peeks into the kitchen; sees CLEMENZA. SONNY You take care of Paulie? CLEMENZA You won't see Paulie anymore. He's sick for good this winter. MICHAEL starts to leave. SONNY Where are you going? MICHAEL To the city. SONNY (to Clemenza; dipping bread into the sauce) Send some bodyguards. MICHAEL I don't need them, Sonny. I'm just going to see Pop in the hospital. Also, I got other things. CLEMENZA Sollozzo knows Mike's a civilian. SONNY OK, but be careful. EXT NITE: CAR MICHAEL sits in the rear seat, calmly, as he is being driven into the city. THREE BUTTONMEN are crowded into the front seat. INT NITE: HOTEL LOBBY MICHAEL crosses the lobby, past lines of servicemen trying to book rooms. INT NITE: HOTEL MICHAEL and KAY eating a quiet dinner at the hotel. He is preoccupied, she's concerned. MICHAEL Visiting hour ends at eight thirty. I'll just sit with him; I want to show respect. KAY Can I go to the hospital with you? MICHAEL I don't think so. You don't want to end up on page 3 of the Daily News. KAY My parents don't read the Daily News. All right, if you think I shouldn't. I can't believe the things the papers are printing. I'm sure most of it's not true. MICHAEL I don't think so either. (silence) I better go. KAY When will I see you again? MICHAEL I want you to go back to New Hampshire...think things over. He leans over her; kisses her. KAY When will I see you again? MICHAEL Goodbye. Quietly, he moves out the door. KAY lies on the bed a while, and then, to herself: KAY Goodbye. EXT NITE: DON'S HOSPITAL (WINTER 1945) A taxi pulls up in front of a hospital, marked clearly with a neon sign "HOSPITAL--EMERGENCY." MICHAEL steps out, pays the fare...and then stops dead in his tracks. MICHAEL looks. He sees the hospital in the night; but it is deserted. He is the only one on the street. There are gay, twinkling Christmas decorations all over the building. He walks, slowly at first, and then ever so quickly, up the steps. He hesitates, looks around. This area is empty. He checks the address on a scrap of paper. It is correct. He tries the door, it is empty. He walks in. INT NITE: HOSPITAL LOBBY (WINTER 1945) MICHAEL stands in the center of an absolutely empty hospital lobby. He looks to the right; there is a long, empty corridor. To the left: the same. HIGH FULL ANGLE, as MICHAEL walks through the desolated building lit by eerie green neon lighting. All we hear are his sole footsteps. He walks up to a desk marked "INFORMATION". No one is there. He moves quickly to a door marked "OFFICE"; swings into it; no one is there. He looks onto the desk: There is half a sandwich, and a half-filled bottle of coke. MICHAEL Hello? Hello? Now he knows something is happening, he moves quickly, alertly. MICHAEL walking down the hospital corridors; all alone. The floors have just been mopped. They are still wet. INT NITE: HOSPITAL STAIRS Now he turns onto a staircase; ever quickening; up several flights. INT NITE: 4TH FLOOR CORRIDOR He steps out onto the fourth floor. He looks. There are merely empty corridors. He takes out his scrap of paper; checks it. "Room 4A." Now he hurries, trying to follow the code of hospital rooms; following the right arrows, quicker and quicker they flash by him. Now he stops, looks up "4A-- Corleone". There is a special card table set up there with some magazines...and some smoking cigarettes still in the ashtray--but no detectives, no police, no bodyguards. INT NITE: DON'S ROOM 4A Slowly he pushes the door open, almost afraid at what he will find. He looks. Lit by the moonlight through the window, he can see a FIGURE in the hospital bed alone in the room, and under a transparent oxygen tent. All that can be heard is the steady though strained breathing. Slowly MICHAEL walks up to it, and is relieved to see his FATHER, securely asleep. Tubes hang from a steel gallows beside the bed, and run to his nose and mouth. VOICE (O.S.) What are you doing here? This startles MICHAEL; who almost jumps around. It is a NURSE lit from the light behind her in the hallway. NURSE You're not supposed to be here now. MICHAEL calms himself, and moves to her. MICHAEL I'm Michael Corleone--this is my father. What happened to the detectives who were guarding him? NURSE Oh your father just had too many visitors. It interfered with the hospital service. The police came and made them all leave just ten minutes ago. (comfortingly) But don't worry. I look in on him. MICHAEL You just stand here one minute... Quickly he moves to the telephone, dials a number. MICHAEL Sonny...Sonny--Jesus Christ, I'm down at the hospital. I came down late. There's no one here. None of Tessio's people--no detectives, no one. The old man is completely unprotected. SONNY (O.S.) All right, get him in a different room; lock the door from the inside. I'll have some men there inside of fifteen minutes. Sit tight, and don't panic. MICHAEL (furiously, but kept inside) I won't panic. He hangs up; returns to the NURSE... NURSE You cannot stay here...I'm sorry. MICHAEL (coldly) You and I are going to move my father right now...to another room on another floor...Can you disconnect those tubes so we can wheel the bed out? NURSE Absolutely not! We have to get permission from the Doctor. MICHAEL You've read about my father in the papers. You've seen that no one's here to guard him. Now I've just gotten word that men are coming to this hospital to kill him. Believe me and help me. NURSE (frightened) We don't have to disconnect them, we can wheel the stand with the bed. She does so...and they perform the very difficult task of moving the bed and the apparatus, out of the room. INT NITE: 4TH FLOOR HOSPITAL (WINTER 1945) They roll the bed, the stand, and all the tubes silently down the corridor. We hear FOOTSTEPS coming up the stairs. MICHAEL hears them, stops. MICHAEL Hurry, into there. They push it into the first available room. MICHAEL peeks out from the door. The footsteps are louder; then they emerge. It is ENZO, NAZORINE's helper, carrying a bouquet of flowers. MICHAEL (stepping out) Who is it? ENZO Michael...do you remember me, Enzo, the baker's helper to Nazorine, now his son-in-law. MICHAEL Enzo, get out of here. There's going to be trouble. A look of fear sweeps through ENZO's face. ENZO If there...will be trouble...I stay with you, to help. I owe it to the Godfather. MICHAEL thinks, realizes he needs all the help he can get. MICHAEL Go outside; stand in front...I'll be out in a minute. INT NITE: DON'S SECOND HOSPITAL ROOM (WINTER 1945) They part. MICHAEL moves into the hospital room where they put his FATHER. NURSE (frightened) He's awake. MICHAEL looks at the OLD MAN, his eyes are open, though he cannot speak. MICHAEL touches his face tenderly. MICHAEL Pop...Pop, it's me Michael. Shhhh, don't try to speak. There are men who are coming to try to kill you. But I'm with you...I'm with you now... The OLD MAN tries to speak...but cannot. MICHAEL tenderly puts his finger to his FATHER's lips. EXT NITE: DON'S HOSPITAL STREET (WINTER 1945) Outside the hospital is empty save for a nervous ENZO, pacing back and forth brandishly the flowers as his only weapon. MICHAEL exits the hospital and moves to him. They both stand under a lamppost in the cold December night. They are both frightened; MICHAEL gives ENZO a cigarette, lights it. ENZO's hands are trembling, MICHAEL's are not. MICHAEL Get rid of those and look like you've got a gun in your pocket. The windows of the hospital twinkle with Christmas decorations. MICHAEL Listen... We HEAR the sound of a single automobile coming. MICHAEL and ENZO look with fear in their eyes. Then MICHAEL takes the bouquet of flowers and stuffs them under his jacket. They stand, hands in their pockets. A long low black car turns the corner and cruises by them. MICHAEL's and ENZO's faces are tough, impassive. The car seems as though it will stop; and then quickly accelerates. MICHAEL and ENZO are relieved. MICHAEL looks down; the BAKER's hands are shaking. He looks at his own, and they are not. Another moment goes by and we can hear the distant sound of police sirens. They are clearly coming toward the hospital, getting louder and louder. MICHAEL heaves a sigh of relief. In a second, a patrol car makes a screaming turn in front of the hospital; then two more squad cars follow with uniformed POLICE and DETECTIVES. He smiles his relief and starts toward them. TWO huge, burly POLICEMEN suddenly grab his arms while ANOTHER frisks him. A massive POLICE CAPTAIN, spattered with gold braid and scrambled eggs on his hat, with beefy red face and white hair seems furious. This is McCLUSKEY. MCCLUSKEY I thought I got all you guinea hoods locked up. Who the hell are you and what are you doing here? ANOTHER COP standing nearby: COP He's clean, Captain. MICHAEL studies McCLUSKEY closely. MICHAEL (quietly) What happened to the detectives who were supposed to be guarding my father? MCCLUSKEY (furious) You punk-hood. Who the hell are you to tell me my business. I pulled them off. I don't care how many Dago gangsters kill each other. I wouldn't lift a finger to keep your old man from getting knocked off. Now get the hell out of here; get off this street you punk, and stay away from this hospital. MICHAEL stands quiet. MICHAEL I'll stay until you put guards around my father's room. MCCLUSKEY Phil, lock this punk up. A DETECTIVE The Kid's clean, Captain...He's a war hero, and he's never been mixed up in the rackets... MCCLUSKEY (furious) Goddam it, I said lock him up. Put the cuffs on him. MICHAEL (deliberately, right to McCLUSKEY's face, as he's being handcuffed) How much is the Turk paying you to set my father up, Captain? Without any warning, McCLUSKEY leans back and hits MICHAEL squarely on the jaw with all his weight and strength. MICHAEL groans, and lifts his hand to his jaw. He looks at McCLUSKEY; we are his VIEW and everything goes spinning, and he falls to the ground, just as we see HAGEN and CLEMENZA'S MEN arrive. ---------------------------------------FADE OUT--------- EXT DAY: MALL (WINTER 1945) HIGH ANGLE VIEW of THE CORLEONE MALL. The gateway now has a long black car blocking it. There are more BUTTON MEN stationed more formally; and some of them visibly carrying rifles; those of the houses close to the courtyard have MEN standing by open windows. It is clear that the war is escalating. A car pulls up and out get CLEMENZA, LAMPONE, MICHAEL and HAGEN. MICHAEL's jaw is wired and bandaged. He stops and looks up at the open window. We can see MEN holding rifles. MICHAEL Christ, Sonny really means business. They continue walking. TESSIO joins them. The various BODYGUARDS make no acknowledgment. CLEMENZA How come all the new men? TESSIO We'll need them now. After the hospital incident, Sonny got mad. We hit Bruno Tattaglia four o'clock this morning. INT DAY: DON'S HALLWAY They enter the house past the scores of new and strange faces. INT DAY: DON'S OFFICE (WINTER 1945) SONNY is in the DON's office; he is excited and exuberant. SONNY I've got a hundred button men on the streets twenty-four hours a day. If Sollozzo shows one hair on his ass he's dead. He sees MICHAEL, and holds his bandaged face in his hand, kiddingly. SONNY Mikey, you look beautiful! MICHAEL Cut it out. SONNY The Turk wants to talk! The nerve of that son of a bitch! After he craps out last night he wants a meet. HAGEN Was there a definite proposal? SONNY Sure, he wants us to send Mike to meet him to hear his proposition. The promise is the deal will be so good we can't refuse. HAGEN What about that Tattaglias? What will they do about Bruno? SONNY Part of the deal: Bruno cancels out what they did to my father. HAGEN We should hear what they have to say. SONNY No, no Consiglere. Not this time. No more meetings, no more discussions, no more Sollozzo tricks. Give them one message: I WANT SOLLOZZO. If not, it's all out war. We go to the mattresses and we put all the button men out on the street. HAGEN The other families won't sit still for all out war. SONNY Then THEY hand me Sollozzo. HAGEN Come ON Sonny, your father wouldn't want to hear this. This is not a personal thing, this is Business. SONNY And when they shot me father... HAGEN Yes, even the shooting of your father was business, not personal... SONNY No no, no more advice on how to patch it up Tom. You just help me win. Understood? HAGEN bows his head; he is deeply concerned. HAGEN I found out about this Captain McCluskey who broke Mike's jaw. He's definitely on Sollozzo's payroll, and for big money. McCluskey's agreed to be the Turk's bodyguard. What you have to understand is that while Sollozzo is guarded like this, he's invulnerable. 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 just...take that into consideration. SONNY (still fuming) McCluskey can't stay with the Turk forever. We'll wait. MICHAEL We can't wait. No matter what Sollozzo say about a deal, he's figuring out how to kill Pop. You have to get Sollozzo now. SONNY The kid's right. HAGEN What about McCluskey? MICHAEL Let's say now that we have to kill McCluskey. We'll clear that up through our Newspaper contacts later. SONNY Go on Mike. MICHAEL They want me to go to the conference with Sollozzo. Set up the meeting for two days from now. Sonny, get our informers to find out where the meeting will be held. Insist it has to be a public place: a bar or restaurant at the height of the dinner hour. So I'll feel safe. They'll check me when I meet them so I won't be able to carry a weapon; but Clemenza, figure out a way to have one planted there for me. (pause) Then I'll kill them both. Everyone in the room is astonished; they all look at MICHAEL. Silence. SONNY suddenly breaks out in laughter. He points a finger at MICHAEL, trying to speak. SONNY You? You, the high-class college kid. You never wanted to get mixed up in the family business. Now you wanta gun down a police Captain and the Turk just because you got slapped in the face. You're taking it personal, it's just business and he's taking it personal. Now CLEMENZA and TESSIO are also smiling; only HAGEN keeps his face serious. MICHAEL (angrily, but cold) Sonny, it's all personal, and I learned it from him, the old man, the Godfather. He took my joining the Marines personal. I take Sollozzo trying to kill my father personal, and you know I'll kill them Sonny. MICHAEL radiates danger...SONNY stops laughing. INT DAY: CLEMENZA'S CELLAR (WINTER 1945) CLOSE on a revolver. CLEMENZA (O.S.) It's as cold as they come, impossible to trace. (he turns it upside down) Don't worry about prints Mike, I put a special tape on the trigger and butt. Here. (he hands the gun to another pair of hands) Whatsamatter? Trigger too tight. (it fires: very LOUD) I left it noisy, so it'll scare any pain-in-the-neck innocent bystander away. MICHAEL is alone with CLEMENZA in a cellar workshop. CLEMENZA Just let your hand drop to your side, and let the gun slip out. Everybody will still think you got it. They'll be starin' at your face, see? Then walk out of the place real fast, but don't run. Don't look anybody directly in the eye, but don't look away from them neither. Hey, they'll be scared stiff o you, believe me. Nobody's gonna bother with you. Don't worry about nothing; you'd be surprised how good these things go. O.K., put your hat on, let's see how you look. Helps with identification. They put the hat on; CLEMENZA adjusts it. CLEMENZA Mostly it gives witnesses an excuse to change their identification when we make them see the light. Then you take a long vacation and we catch the hell. MICHAEL How bad will it be? CLEMENZA Probably all the other families will line up against us. But, it's alright. These things have to happen once every ten years or so...gets rid of the bad blood. You gotta stop 'em at the beginning. Like they shoulda stopped Hitler at Munich, they shoulda never let him get away with that, they were just asking for big trouble... INT DAY: DON'S HALL & LIVING ROOM (WINTER 1945) MICHAEL steps into the foyer of the main house. A card table is set up with a man playing cards with three of the Corleone buttonmen. He continues into the living room. It's a mess. SONNY asleep on the sofa. On the coffee table are the remains of a take-out Chinese food dinner, and a half-empty bottle of whisky. The radio is playing. MICHAEL Why don't you stop living like a bum and get this place cleaned up. SONNY What are you, inspecting the barracks? (SONNY sits up with his head in his hands) You ready? Did Clemenza tell you be sure to drop the gun right away? MICHAEL A million times. SONNY Sollozzo and McCluskey are going to pick you up in an hour and a half on Times Square, under the big Camels sign. HAGEN We don't let Mike go until we have the hostage, Sonny. CLEMENZA It's okay...the hostage is outside playing pinochle with three of my men. The phone rings in the DON's office. SONNY That could be a Tattaglia informer with the meeting place. INT DAY: DON'S OFFICE (WINTER 1945) HAGEN has hurried into the Den to get the phone; the OTHERS move in. HAGEN's on the phone; he writes something down. SONNY One of Tattaglia's people? HAGEN No. Our informer in McCluskey's precinct. Tonight at 8:00 he signed out for Louis' Restaurant in the Bronx. Anyone know it. TESSIO Sure, I do. It's perfect for us. A small family place with big booths where people can talk in private. Good food. Everybody minds their business. Perfect. (he moves to the desk and makes a crude drawing) This is the entrance, Mike. When you finish just walk out and turn left, then turn the corner. Clemenza, you gotta work fast to plant the gun. They got an old- fashioned toilet with a space between the water container and the wall. We can tape the gun behind there. CLEMENZA Mike, they're gonna frisk you in the car. You'll be clean so they won't worry 'bout nothing. In the restaurant, wait and talk a while, and then ask permission to go. See? Then when you come out, don't waste time; don't sit down...you come out blasting. And don't take chances. In the head, two shots apiece. And out as fast as your legs can move. SONNY I want somebody very good, very safe to plant that gun. I don't want my brother coming out of that toilet with just his dick in his hand. CLEMENZA The gun will be there. SONNY (to MICHAEL, warmly) You're on, kid...I'll square it with Mom your not seeing her before you left. And I'll get a message to your girl friend when I think the time is right. CLEMENZA We gotta move... MICHAEL O.K. How long do you think before I can come back? SONNY Probably a year... HAGEN (starting to crack) Jesus, I don't know... SONNY Can you do it Mike? MICHAEL moves out. EXT NITE: CAMELS SIGN (WINTER 1945) The enormous "CAMELS" sign, puffing smoke, below it stands MICHAEL, dressed in a warm overcoat, and wearing the hat CLEMENZA had given him. A long black car pulls around the corner and slows before him. The DRIVER, leaning over, open the front door. DRIVER Get in, Mike. He does, the car drives off. EXT NITE: SOLLOZZO'S CAR (WINTER 1945) Inside the car, SOLLOZZO reaches his hand over the back seat and shakes MIKE's hand. SOLLOZZO I'm glad you came, Mike. I hope we can straighten everything out. All this is terrible, it's not the way I wanted things to happen at all. It should never have happened. MICHAEL I want to settle things tonight. I want my father left alone. SOLLOZZO He won't be; I swear to you be my children he won't be. Just keep an open mind when we talk. I hope you're not a hothead like your brother, Sonny. It's impossible to talk business with him. McCLUSKEY grunts. MCCLUSKEY He's a good kid. He's all right. Turn around, up on your knees, facing me. He gives MICHAEL a thorough frisk. MCCLUSKEY I'm sorry about the other night Mike. I'm getting too old for my job, too grouchy. Can't stand the aggravation. You know how it is. He's clean. EXT NITE: SOLLOZZO'S CAR - WEST SIDE HIGHWAY (WINTER 1945) MICHAEL looks at the DRIVER and then ahead to see where they're heading. The car takes the George Washington Bridge. MICHAEL is concerned. MICHAEL We're going to New Jersey? SOLLOZZO (sly) Maybe. MICHAEL closes his eyes. EXT NITE: SOLLOZZO'S CAR ON G.W. BRIDGE (WINTER 1945) The car speeds along the George Washington Bridge on its way to New Jersey. Then suddenly it hits the divider, temporarily lifts into the air, and bounces over into the lanes going back to New York. It then hits it very fast, on the way back to the city. EXT NITE: SOLLOZZO'S CAR (WINTER 1945) SOLLOZZO checks to see the cars that had been following, and then leans to the DRIVER. SOLLOZZO Nice work; I'll remember it. MICHAEL is relieved. EXT NITE: LUNA AZURA RESTAURANT (WINTER 1945) The car pulls up in front of a little family restaurant in the Bronx: The "LUNA AZURA". There is no one on the street. MICHAEL looks to see if the DRIVER is going to get out with them. He gets out, and opens the door. SOLLOZZO, McCLUSKEY and MICHAEL get out; the DRIVER remains leaning against the car. They enter the restaurant. INT NITE: LUNA AZURA (WINTER 1945) A very small family restaurant with a mosaic tile floor. SOLLOZZO, MICHAEL and McCLUSKEY sit around a rather small round table near the center of the room. There are empty booths along the side walls; with a handful of CUSTOMERS, and ONE or TWO WAITERS. It is very quiet. MCCLUSKEY Is the Italian food good here? SOLLOZZO Try the veal; it's the finest in New York. The solitary WAITER brings a bottle of wine to the table. They watch him silently as he uncorks it and pours three glasses. Then, when he leaves, SOLLOZZO turns to McCLUSKEY: SOLLOZZO I am going to talk Italian to Mike. MCCLUSKEY Sure, you two go right ahead; I'll concentrate on my veal and my spaghetti. SOLLOZZO now begins in rapid Sicilian. MICHAEL listening carefully and nodding every so often. Then MICHAEL answers in Sicilian, and SOLLOZZO goes on. The WAITER occasionally brings food; and they hesitate while he is there; then go on. Then MICHAEL, having difficulty expressing himself in Italian, accidentally lapses into English. MICHAEL (using English for emphasis) Most important...I want a sure guarantee that no more attempts will be made on my father's life. SOLLOZZO What guarantees can I give you? I am the hunted one. I've missed my chance. You think too highly of me, my friend...I am not so clever...all I want if a truce... MICHAEL looks long and hard at SOLLOZZO, who is smiling holding his open hands up as if to say: "I have no tricks up my sleeve". Then he looks away and makes a distressed look on his face. SOLLOZZO What is it? MICHAEL Is it all right if I go to the bathroom? SOLLOZZO is intuitively suspicious. He studies MICHAEL with his dark eyes. Then he thrusts his hand onto MICHAEL's thigh feeling in and around, searching for a weapon. MCCLUSKEY I frisked him; I've frisked thousands of young punks; he's clean. He looks at a MAN sitting at a table opposite them; indicating the bathroom with his eyes. The MAN nods, indicating no one is there. SOLLOZZO Don't take too long. MICHAEL gets up and calmly walks to the bathroom, and disappears inside. INT NITE: LUNA AZURA TOILET (WINTER 1945) MICHAEL steps into the small bathroom; he is breathing very hard. He actually uses the urinal. Then he washes his hands with the bar of pink soap; and dries them thoroughly. Then he moves to the booth, up to the old-fashioned toilet. Slowly he reaches behind the water tank; he panics when he cannot feel the gun. We see behind the tank his hand is just a few inches from the gun...he gropes searchingly...finally coming to rest on the gun. CLOSE ON MICHAEL; the feel of it reassures him. Then he breaks it loose from the tape holding it; he takes a deep breath and shoves it under his waistband. For some unexplainable reason he hesitates once again, deliberately washes his hands and dries them. Then he goes out. INT NITE: LUNA AZURA (WINTER 1945) He hesitates by the bathroom door; and looks at his table. McCLUSKEY is eating a plate of spaghetti and veal. SOLLOZZO turns around upon hearing the door, and looks directly at MICHAEL. MICHAEL looks back. Then he smiles and continues back to the table. He sits down. MICHAEL Now I can talk. I feel much better. The MAN by the far wall had been stiff with attention; now he too relaxes. SOLLOZZO leans toward MICHAEL who sits down comfortably and his hands move under the table and unbutton his jacket. SOLLOZZO begins to speak in Sicilian once again but MICHAEL's heart is pounding so hard he can barely hear him. The WAITER comes to ask about the order, SOLLOZZO turns to speak, and without warning, MICHAEL shoves the table away from him with his left hand, and with his right hand puts the gun right against SOLLOZZO's head, just touching his temple. He pulls the trigger, and we see part of SOLLOZZO's head blown away, and a spray of fine mist of blood cover the entire area. The WAITER looks in amazement; suddenly his white jacket is sprayed and stained with blood. SOLLOZZO seems in a perpetual fall to the floor; through he seems to hang in space suspended. MICHAEL pivots, and looks: There is McCLUSKEY, frozen, the fork with a piece of veal suspended in air before his gaping mouth. MICHAEL fires; catching McCLUSKEY in his thick bulging throat. He makes a horrible, gagging, choking sound. Then coolly, and deliberately, MICHAEL fires again, fires right through McCLUSKEY's white-topped skull. The air is filled with pink mist. MICHAEL swings toward the MAN standing by the bathroom wall. He does not make a move, seemingly paralyzed. Now he carefully shows his hands to be empty. The WAITER steps backward through the mist of blood, an expression of horror on his face. MICHAEL looks at his two victims: SOLLOZZO still in his chair, side of his body propped up by the table. McCLUSKEY finally falls from the chair to the table. MICHAEL is wildly at a peak. He starts to move out. His hand: is frozen by his side, STILL GRIPPING THE GUN. He moves, not letting the gun go. MICHAEL's face; frozen in its expression. His hand: still holding the gun. His face: finally he closes his eyes. His hand relaxes, the gun falls to the floor with a dull thud. He walks quickly out of the restaurant, looks back. He sees a frozen tableau of the murder; as though it had been recreated in wax. Then he leaves. ---------------------------------------FADE OUT--------- FADE IN: INT DAY: MATTRESS (WINTER 1945) A MAN is his shirtsleeves plays a sentimental tune on an old upright piano, while his cigarette burns on the edge. ANOTHER stands nearby, listening quietly. A little distance away, TEN MEN sit around a crude table, quietly eating. They talk in low, relaxed voices, and there is an occasional laugh. ROCCO LAMPONE stands by a window, which has been covered with a heavy-mesh wire grating, gazing out. A large bowl of pasta is passed, and the MEN eat heartily. The sentimental tune is continued over the following: INT DAY: BODIES IN CAR (WINTER 1945) A MAN and a WOMAN, blood coming out of their noses, lie still together in a bullet-riddled automobile. INT DAY: BODY IN BARBER SHOP (WINTER 1945) A MAN is covered by a sheet on the floor of a barber shop. INT DAY: MATTRESS Ten mattresses are spread out around the otherwise empty living room of an apartment. THREE or FOUR MEN including CLEMENZA, are taking naps. An arsenal of hand guns are spread out on a card table. The MEN at the table continue their dinner; passing and pouring the wine. Trash is thrown in 2 or 3 garbage cans kept in the apartment. INT DAY: BODY IN OFFICE (WINTER 1945) A MAN, his clothes soaked in blood, lies on the floor of an office building, dead, under an enormous portrait of Harry S. Truman. EXT DAY: BODY ON STOOP (WINTER 1945) ANOTHER MAN, his trousers soaked in blood, lies spanning three steps of a front stoop. INT NITE: MATTRESS (WINTER 1945) TESSIO, sits in a simple straight-backed chair, doing a crossword puzzle. A thin, boyish BUTTON MAN, writes a letter. Six or seven empty mattresses, with tossed unmade blankets. Coffee cans beside them serve as ash trays. A MAN by the table pulls the cork on another bottle of Ruffino, and wine is poured as the MEN eat. EXT DAY: BODY IN ALLEY (WINTER 1945) A CORPSE is half out of an overturned garbage can in a quiet alley. INT DAY: BODY AT TABLE (WINTER 1945) A MAN in a formal jacket and tie is slumped over a table, in a pool of blood on the tablecloth. INT DAY: MATTRESS (WINTER 1945) A neatly stacked pile of newspapers in the corner of an apartment. We catch a glimpse of one headline: "Five Family War..." The table. The MEN are sitting around cracking nuts. ONE has fallen asleep on his arms at the table. SEVERAL MEN are taking naps on the Mattresses. The PIANO PLAYER finishes the tune with finesse. Picks up and takes a drag from his cigarette. The OTHER MAN nods appreciatively. MAN Nice Augie...nice. EXT DAY: MANCINI BLDG. (SPRING '46) Several cars are parked in front of a pleasant New York apartment building. We recognize a couple of SONNY's bodyguards loafing by the cars, pitching playing cards against the curb. Inside the building, two others wait quietly by the rows of brass mailboxes: they have been there quite awhile. Up one flight of stairs, a single man sits on the step, smoking a cigarette. One of the men by the mailboxes checks his pocketwatch, which is attached to a key chain. We HEAR the sound of a door opening; they look up. The man sitting on the stop stands; and looks. SONNY backs out of an apartment, the arms of LUCY MANCINI wrapped around him. She doesn't want to let go of him; she draws him back into the apartment for a moment, and then he comes out alone, adjusting his clothes. He jauntily skips down the steps, trailed by the bodyguard on the first floor, and moves outside toward his car. The men quickly take up their positions. As he gets in his car: DRIVER Pick up your sister? SONNY Yeah. The car drives off; accompanied and escorted by the bodyguards in their cars. INT DAY: CONNIE'S HALL (SPRING '46) He knocks on the door. No answer. Then again. CONNIE'S VOICE Who is it? SONNY It's me, Sonny. We hear the bolt slide back, and see the door open. SONNY enters, but CONNIE has quickly moved into the hallway, her back to him. SONNY (tenderly) Connie, what is it? He turns her around in his arms. Her face is swollen and bruised; and we can tell from her rough, red eyes that she has been crying for a long time. As soon as he realizes what's happened, his face goes red with rage. She sees it coming, and clings to him, preventing him from running out of the apartment. CONNIE (desperately) It was my fault! I started a fight with him and I tried to hit him so he hit me. He didn't even try to hit me hard Sonny, I walked into it. Sonny listens, and calms himself. He touches her shoulder, the thin silk robe. SONNY I'm goin' to have the doctor come over and take a look at you. He starts to leave. CONNIE Oh Sonny, please don't do anything. Please don't. He stops, and then laughs good naturedly. SONNY Hey. Con. What'm I goin' to do? Make your kid a orphan before he's born. She laughs with him. He kisses her reassuringly, and leaves. EXT DAY: CONNIE'S STREET CARLO settles down on the front steps of the 112th St. "Book" with SALLY RAGS and COACH, who have been drinking beer out of glasses and a pitcher of beer from around the corner. The ball game is blaring from the radio; and the kids on the street are still playing stickball. CARLO has barely settled down, when the kids in the street suddenly scatter, and a car comes screeching up the block and to a halt in front of the candy store. The tires scream, and before it seems as though it has even stopped, a MAN comes hurtling out of the driver's seat, moving so fast the everyone is paralyzed. It is a moment before we recognize that it is SONNY. His face is contorted with anger; in a split second he is on the stoop and has CARLO by the throat. He pulls CARLO away from the others, trying to get him down into the street. But CARLO reaches out for the iron railing, and hangs on, his hand in a lock, cringing away, trying to hide his head and face in the hollow of the his shoulders. His shirt is ripped away in SONNY's hand. SALLY RAGS and COACH, merely sit, watching, stunned. SONNY is pounding the cowered CARLO with all his strength, in a continuous monologue of indistinguishable cursing. His blows are powerful; and begin to draw blood. The kids who have been playing stickball, move up, watching in fascination. CARLO's hands are clenched tight around the railing. SONNY beats him mercilessly. Now SONNY's bodyguards' car pulls up, and they too become spectators. SONNY's tight fists are going down like hammers, into CARLO's face and body. CARLO's nose is bleeding profusely; but still he does nothing, other than hang onto the railing. SONNY grabs hold of CARLO's massive body, and tries to drag him off of the hold on the railing, his teeth clenched in the effort. Then he tries loosening CARLO's locked hands; even biting them. CARLO screams but he does not let go. It's clear that CARLO is much stronger than he is, and will not be moved. SONNY knees him in the mouth, and beats him more; but he is exhausted. Totally out of breath, he stammers haltingly to the bleeding CARLO. SONNY You...bastard...You...hurt my sister... again...and I'll kill...you. He wipes the sweat from his face, and then turns suddenly. and hurries back to the car, in a moment his car is gone, leaving even his bodyguards in confusion. We notice ONE MAN with a sports jacket in the group of spectators especially interested. CARLO finally relaxes the clenched, locked hands. He slumps onto the stoop. ---------------------------------------FADE OUT--------- FADE IN: EXT DAY: MALL (SPRING 1946) HIGH ANGLE on the Corleone Mall. It is a gray, rainy day. Young BUTTON MEN in raincoats stand in quiet groups of various points around the main house and compound. Things have changed; one house has been extensively enlarged; a new and secure gate house has been built. Security measures that had been make-shift and temporarily have now been made a permanent part of the Mall, evolving it into a Medieval Fortress. We notice a huge crater in the courtyard; the result of a recent bomb attempt. The house nearest the crater is damaged by fire. A taxi arrives; KAY ADAMS steps out, huddled in a bright yellow raincoat; she lets the cab go, and hurries to the shelter of the gate house. They are not expecting her, and ask her to wait while they call the main house. KAY looks at the imposing, depressing Mall, while rain still runs down onto her face. She notices the bomb crater, and the fire damage; and the sullen faces of the BUTTON MEN. TOM HAGEN exits the Main House, and hurries toward her. HAGEN Kay, we weren't expecting you. You should call... KAY I've tried calling and writing. I want to reach Michael. HAGEN Nobody knows where he is. We know he's all right, but that's all. KAY looks in the direction of the crater, filling with rainwater. KAY What was that? HAGEN An accident. No one was hurt. KAY Listen Tom, I let my cab go; can I come in to call another one? TOM is clearly reluctant to involve her any more than he has to. HAGEN Sure...I'm sorry. They hurry through the rain and into the Main House. INT DAY: DON'S LIVING ROOM (SPRING 1946) In the living room, KAY shakes the water from her coat and takes her rainhat off. KAY Will you give this to him. HAGEN If I accept that letter and you told a Court of Law I accepted it, they would interpret it as my having knowledge of his whereabouts. Just wait Kay, he'll contact you. We hear footsteps descending the staircase; MAMA CORLEONE enters the room; the OLD WOMAN squints at KAY, evaluating her. MAMA You're Mikey's little girl. KAY nods yes; there are still tears in her eyes. MAMA You eat anything? KAY shakes her head. MAMA (to HAGEN) Disgrazia, you don't even give the poor girl a cup of coffee? HAGEN shrugs helplessly; on an impulse, KAY quickly moves toward MAMA, the letter extended. KAY Will you give this letter to Michael. HAGEN Mama, no. MAMA You tell me what to do? Even he don't tell me what to do. She takes the letter from KAY, who is grateful and relieved. KAY Why did they blame Michael? MAMA You listen to me, you go home to your family, and you find a good young man and get married. Forget about Mikey; he's no good for you, anymore. She looks directly into KAY's eyes; and KAY understands what that means. EXT DAY: DON'S HOSPITAL (SPRING 1946) A hospital in New York City. POLICE and teams of PRIVATE DETECTIVES are stationed guarding the area. An ambulance with a team of DETECTIVES and BUTTON-MEN GUARDS exit the hospital with rifles in hand; followed by SEVERAL HOSPITAL ASSISTANTS wheeling a hospital stretcher, presumably carrying the DON. TESSIO and CLEMENZA emerge, with OTHER BUTTON MEN bringing up the rear. HAGEN walks with the stretcher, and for a moment they disappear behind the ambulance. Then suddenly, siren blasting, it speeds off, accompanied by dark low-slung cars. EXT DAY: MALL (SPRING 1946) The Corleone Mall. Equally impressive security stands ready at the Corleone Mall. EXTRA BUTTON MEN, as well as SOME POLICE, and PRIVATE DETECTIVES. It all seems to be under the supervision of ROCCO LAMPONE. All is silent. The WOMEN and CHILDREN, dressed in Sunday clothes, wait. EXT DAY: AMBULANCE (SPRING 1946) One ambulance, speeding along the Grand Central Parkway, preceded and followed by a dark car, each one carrying a team of BUTTON MEN. Sitting next to the DRIVER of the ambulance is a GUARD with a rifle on his lap. INT DAY: DON'S HALL (SPRING 1946) Inside the Main CORLEONE House: Hospital ORDERLIES carry the DON on his stretcher carefully under the watchful eyes of CLEMENZA, TESSIO, LAMPONE and various GUARDS and BUTTON MEN. All the CORLEONE family is here today: MAMA, FREDO, SANDRA, THERESA, CONNIE, CARLO; the various CORLEONE CHILDREN. INT DAY: DON'S BEDROOM (SPRING 1946) The DON is made comfortable in his room, which has all but been converted into a hospital room, with complete and extensive equipment. The various CHILDREN get a turn to kiss the OLD MAN, as he is made comfortable... and then SONNY indicates that all the CHILDREN, WOMEN, and CARLO should leave. They do, the door is closed. INT DAY: DON'S DINING ROOM (SPRING 1946) The mood is quite happy downstairs, as the WOMEN prepare the Sunday dinner, and set the table. CARLO sits alone among them, a frown on his face. CONNIE What's the matter, Carlo? CARLO Shut up. INT DAY: DON'S BEDROOM (SPRING 1946) All the MEN of the family stand around the hospital bed with grim faces, SONNY and HAGEN closest to the OLD MAN. The DON does not speak, yet he asks questions with his looks and glances, as clearly as if they were verbalized. HAGEN is the spokesman for the family. HAGEN ...since McCluskey's killing, the police have cracked down on most of our operations...on the other families too. There's been a lot of bad blood. The OLD MAN glances at SONNY. SONNY Pop, they hit us and we hit them back. HAGEN We put out a lot of material through our contacts in the Newspapers...about McCluskey's being tied up with Sollozzo in the Drug Rackets...things are starting to loosen up. The OLD MAN nods. SONNY Freddie's gonna go to Las Vegas...under the protection of Don Francesco of L.A. I want him to rest... FREDO I'm goin' to learn the casino business. The DON nods approvingly. Then he searches around the room for a face he does not see. HAGEN knows who he's looking for. HAGEN Michael... (he takes a breath) It was Michael who killed Sollozzo. The DON closes his eyes, and then reopens them in anger and rage. HAGEN He's safe now...we're already working on ways to bring him back. The DON is very angry, he motions with a weak hand that they leave him alone. INT. DAY: DON'S STAIRS AND HALL (SPRING 1946) HAGEN is very upset as he comes down the Stairs; SONNY is expansive and optimistic. SONNY We'll let the old man take it easy for a couple of weeks. I want to get things going good before he gets better. What's the matter with you? HAGEN You start operating, the five families will start their raids again. We're at a stalemate Sonny, your war is costing us a lot of money. SONNY No more stalemate Tom, we got the soldiers, we'll match them gun for gun if that's how they want it. They know me for what I am, Tom-- and they're scared of me. HAGEN Yes. That's true, you're getting a hell of a reputation. SONNY Well it's war! We might not be in this shape if we had a real war- time Consiglere, a Sicilian. Pop had Genco, who do I have? (TOM starts to leave) Hey Tom, hey...hey. It's Sunday, we're gonna have dinner. Don't be sore. INT DAY: DON'S DINING ROOM (SPRING 1946) The FAMILY, WIVES, CHILDREN and all sit around the table over Sunday dinner. SONNY is at the head of the table. EXT DAY: MALL (SPRING 1946) SOME of the CORLEONE GRANDCHILDREN play in the enclosed Mall, in the proximity of the BUTTON MEN stationed liberally by the gate. ONE CHILD misses a ball, it rolls by the gate house. A young BUTTON MAN scoops it up and throws it back, smiling. -----------------------------------------FADE OUT------- INT DAY: CONNIE'S APT. (SPRING 1946) CONNIE and CARLO's apartment. She's in a slip, on the phone. We HEAR the shower going in the bathroom. CONNIE Who is this? GIRL (O.S.) (giggle) I'm a friend of Carlo's. I just wanted to tell him I can't see him tonight; I have to go out of town. CONNIE's face turns red. CONNIE You lousy tramp bitch. (click) She slams the phone down; just as CARLO is coming out of the bathroom drying his golden body. CARLO What was that? CONNIE Your girl friend. She says she can't make it tonight. You lousy bastard you have the nerve to give your whores my telephone number. I'll kill you, you bastard! She hauls off and punches him knowingly; he laughs, so then she flings herself at him, kicking and scratching; her heavy belly heaving under the thin slip. CARLO (defending himself) You're crazy. She was kidding around; I don't know, some nut. He pushes her aside, and moves into the bedroom to continue dressing. CONNIE You're staying home. You're not going out. CARLO OK, OK. You gonna make me something to eat at least? That calms her down; she stands there a moment, breathing heavily; and then she nods, and goes into the kitchen, and starts her wifely duties. CARLO is dressed; puts on some cologne; CONNIE appears in the doorway. CONNIE The food is on the table. CARLO I'm not hungry yet. CONNIE Eat it, it's on the table. CARLO Ba Fa Goulle. CONNIE BA FA GOULE YOU! She turns deliberately, goes out into the kitchen. A moment later we begin to hear the sound of dishes breaking. CARLO slowly walks out, where we can see CONNIE systematically smashing all the dishes against the sink, sending the greasy veal and peppers all over the apartment floor. CARLO You filthy guinea spoiled brat. Clean it up or I'll kick your head in. CONNIE Like hell I will. She stands there, solid, ready to punch him again. Slowly, he slides his belt out of his trousers, and doubles it in his hand. CARLO Clean it up! He swings the belt against her heavy hips. She moves back into the kitchen, and gets a kitchen knife, and holds it ready. CARLO Even the female Corleones are murderers. He puts the strap down on a table, and moves after her. She makes a sudden thrust at his groin, which he avoids. He pulls the knife away, cutting his hand in the process. She gets away momentarily, but he pursues her around the table, gets her; and starts to slap her in the face. She breaks away from him, and rushes into the bedroom. CONNIE The baby! The baby! INT DAY: CONNIE'S BEDROOM (SPRING 1946) She runs into the bedroom; he follows. She moves into a corner, and then like a desperate animal, tries to hide under the bed. He reaches under, and pulls her out by the hair. He slaps her in the face until she begins to weep; then he throws her on the bed, contemptuously. He grabs part of her thigh, pinching it very hard. CARLO You're fat as a pig. Then he pushes her away, and walks out of the room, leaving her in tears. She is crying; she pulls herself to the bedroom phone, and in a whisper: CONNIE Mama...mama, it's Connie. Mama, I can't talk any louder. No, I don't want to talk to Sonny. We can tell that the phone has been passed to SONNY. INT DAY: DON'S KITCHEN (SPRING 1946) In the kitchen at the Mall, MAMA cannot understand the whispering and she has given the phone to SONNY. SONNY Yeah Connie. CONNIE (O.S.) Sonny, just send a car to bring me home. I'll tell you then, it's nothing Sonny, don't you come. Send TOM, please Sonny, it's nothing; I just want to come home. SONNY's face is turning red. SONNY (in a controlled voice) You wait there. You just wait there. He hangs up the phone; and just stands there for a moment. SONNY (quietly) That sonofabitch; that sonofabitch... HAGEN enters the room; he knows what is happening, knows he cannot interfere. EXT DAY: MALL SONNY leaves the house. HAGEN moves to the outside mall just as SONNY's car is driving off. He moves to a group of BUTTON MEN. HAGEN Go after him. EXT DAY: CAUSEWAY (SPRING 1946) SONNY's car on the Jones Beach Causeway, speeds quickly by. After a pause, another car, with the CORLEONE BODYGUARDS, is trailing. SONNY is driving; he is very angry. EXT NITE: TOLL BOOTHS (SPRING 1946) SONNY in his car; driving back. Still breathing hard and still furious. Then he thinks it's funny; he enjoyed it. He starts laughing, louder and louder, as he pulls up to a toll booth, stops, and extends his hand with a coin to the COLLECTOR. ---------------------------------------FADE OUT--------- FADE IN: INT NITE: AMERIGO BONASERA'S APARTMENT The serious-faced UNDERTAKER is on the telephone. HAGEN (O.S.) This is Tom Hagen. I'm calling for Don Corleone, at his request. BONASERA looks at his WIFE, with deep anxiety in his eyes. BONASERA's lips are suddenly dry. BONASERA Yes, I understand. I'm listening. HAGEN (O.S.) You owe the Don a service. In one hour, not before, perhaps later, he will be at your funeral parlor to ask for your help. Be there to greet him. If you have any objections speak now, and I'll inform him. Silence. BONASERA stutters, then speaks in fright. BONASERA Anything...Anything the Godfather wishes. HAGEN (O.S.) Good. He never doubted you. BONASERA The Don himself is coming to me tonight? HAGEN (O.S.) Yes. (click) BONASERA is sweating; slowly he lowers the phone; his WIFE sees his pale expression, and follows him into the room. Silently, he begins the ritual of dressing. His WIFE knows something serious is happening, and never takes her eyes from him. He lights a cigarette. BONASERA For the last year, they have been killing one another. So now, what? Your Godfather comes to me...Why? (whispering, slyly) They've killed someone so important that they wish to make his body disappear. MRS. BONASERA (frightened) Amerigo! BONASERA They could make me an accomplice to their murder. They could send me to jail! He slips into his trousers. Then he moves to his WIFE to tie his tie, as she has done for years. BONASERA And if the other families find out...they will make me their enemy. They could come here to our house. I curse the day I ever went to the Godfather. EXT NITE: FUNERAL PARLOR (SPRING 1946) With his ring of keys, he opens the funeral parlor, enters. INT NITE: FUNERAL PARLOR (SPRING 1946) BONASERA walks through the darkened funeral parlor, without turning on the lights; then into the rear, preparation room, past the tables, and equipment. He operates the chain that lifts a large overhead garage type door. And looks out into the alley. He sits on a bench, and waits. EXT NITE: FUNERAL PARLOR ALLEY (SPRING 1946) The tires of a car roll very quietly along the small alley; we notice a dark car approach the rear of BONASERA's funeral parlor. CLEMENZA gets out, and moves to the open, rear door. BONASERA greets him, too petrified to speak. He notices TWO OTHER MEN get out of the car, and carry a stretcher with a CORPSE swaddled in a gray blanket, with yellowed feet protruding. BONASERA closes his eyes in fear, but indicates which way the MEN should carry their sinister burden. INT NITE: FUNERAL PARLOR EMBALMING ROOM (SPRING 1946) They carry the CORPSE to one of the tables in the embalming room. Then BONASERA turns to see ANOTHER MAN step out of the darkness somewhat uncertainly. It is DON CORLEONE. He walks up to BONASERA, very close, without speaking. His cold eyes looking directly at the frightened UNDERTAKER. Then, after a long gaze: DON CORLEONE Well my friend, are you ready to do me this service? BONASERA nods. The DON moves to the CORPSE on the embalming table; he makes a gesture, and the OTHER MEN leave them alone. BONASERA What do you wish me to do? DON CORLEONE (staring at the table) I want you to use all your powers, all your skill, as you love me. I do not want his mother to see him as he is. He draws down the gray blanket. BONASERA lets out a gasp of horror at what he sees: The bullet-smashed face of SONNY CORLEONE. EXT NITE: TOLL BOOTHS (SPRING 1946) SONNY extends his hand with a coin at the toll booth. A car suddenly swerves in front of him, trapping him in the booth, and in incredible rally of machine gun fire greets him, coming through and smashing the windows of the toll booths on both side of him, and from the front window of the car blocking him. The windows of his car are shot out. Bullet holes puncture the doors of his car. His hand, with the coin in it, falls inside the car. His arms, shoulders are riddled by the fire, and still it continues, as though the ASSASSINS cannot take a chance that he will survive it. Suddenly, he lets out an enormous ROAR, like a bull, and actually, opens the door, and steps out of the car, UNDER fire. His face is hit; and finally he falls to the ground. A FULL SHOT...as the ASSASSINS scramble for their cars and make off in the distance. SONNY's BODYGUARDS stop a safe distance away, realizing they are too late. INT NITE: DON'S LIVING ROOM (SPRING 1946) View on HAGEN's ashen face in the living room. He is silent a moment, and then: HAGEN (quietly) OK. Go to Clemenza's house and tell him to come here right away. He'll tell you what to do. The MEN leave him alone. He is quiet, standing in the middle of the living room a moment. He looks in the direction of the kitchen, where he can see fragments of MAMA moving around. INT NITE: UPSTAIRS (SPRING 1946) TOM proceeds up stairs, and quietly in the direction of the DON's room. He opens the DON's door. Looks in. INT NITE: DON'S BEDROOM (SPRING 1946) The DON in his hospital bed. Asleep under sedation. HAGEN hesitates. He cannot go in; he cannot tell the OLD MAN. He closes the door. INT NITE: DON'S OFFICE (SPRING 1946) HAGEN alone in the office. He is drinking. He looks up at the sound of cars; the CAPOREGIMES are arriving. Then he hears footsteps. The door opens; and in a robe, with slippers, DON CORLEONE slowly enters the room. He walks directly to his stuffed armchair, sits down. His face is stern, as he looks into HAGEN's eyes. DON CORLEONE Give me a drop of anisette. HAGEN rises, and pours a glass for the OLD MAN. DON CORLEONE My wife was weeping before she fell asleep, outside my window I saw my caporegimes to the house, and it is midnight. So, Consigliere of mine, I think you should tell your Don what everyone knows. HAGEN (quietly) I didn't tell Mama anything. I was about to come up and wake you and tell you. Just now. DON CORLEONE But you needed a drink first. HAGEN Yes. DON CORLEONE Now you've had your drink. Pause. HAGEN They shot Sonny on the Causeway. (pause) He's dead. DON CORLEONE blinks. One feels that just for a second he loses all physical strength; he clasps his hands in front of him on the top of the desk and looks into HAGEN's eyes. DON CORLEONE I want no inquiries made. No acts of vengeance. (pause) Consigliere, arrange a meeting with the heads of the five families...this war stops now. He rises and unsteadily leaves the room, turns... DON CORLEONE Call Bonasera...he will do me a service. And leaves. HAGEN moves to the phone; dials... HAGEN This is Tom Hagen; I'm calling for Don Corleone, at his request. BONASERA (O.S.) Yes, I understand I'm listening. HAGEN You owe the Don a service. He has no doubt that you will repay it. EXT DAY: BANK BUILDING (SPRING 1946) Day in Manhattan. An impressive Bank Building in the financial center of New York. Many limousines are parked, uniforms and plain-clothed CHAUFFEURS waiting quietly. INT DAY: BOARD ROOM (SPRING 1946) The Board Room of