False King
Quelle: Spotify
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 s