《教父》2
导演：弗朗西斯·福特·科波拉
Coppola, Francis Ford
主演：艾尔·帕西诺 Pacino, Al
罗伯特·杜瓦尔 Duvall, Robert
黛安·基顿 Keaton, Diane
罗伯特·德尼罗 De Niro, Robert
FADE FROM BLACK TO: MICHAEL, in profile looking downward. He holds out his hand and ROCCO kissing it.
DISSOLVE TO: A remote mountainside area of Sicily. We hear a marching band playing in the background. The introduction is overlaid:
THE GODFATHER WAS BORN VITO ANDOLINI IN THE TOWN OF CORLEONE IN SICILY. IN 1901 HIS FATHER WAS MURDERED FOR AN INSULT TO THE LOCAL MAFIA CHIEFTAIN. HIS OLDER BROTHER PAOLO SWORE REVENGE AND DISAPPEARED INTO THE HILLS, LEAVING VITO, THE ONLY MALE HEIR, TO STAND WITH HIS MOTHER AT THE FUNERAL. HE WAS NINE YEARS OLD.
[The marching band is followed by a procession of mourners including VITO and his MOTHER. There is a casket, apparently containing the body of VITO's father. Two gunshots ring out; all run for cover. People are screaming.]
WOMAN (in Sicilian)
They've killed the boy! They've killed young PAOLO - they have killed your son PAOLO! Murders! Murders!
[Young VITO and his mother run over to PAOLO's body, in a prone position on the rocky ground]
VITO's MOTHER CICCIO (in Sicilian)
My son -- My son [more]
[She begins to cry. GAFFE: The actor who plays "dead" PAOLO moves his hand as he's hugged]
CUT TO: Young VITO and his mother approach the gate to DON CICCIO's villa and it is opened for them.
CUT TO: VITO and his MOTHER walking down a path.
CUT TO: DON CICCIO sitting drinking wine.
CUT TO: VITO and his mother walk down the path some more.
CUT TO: DON CICCIO puts down his glass and looks at VITO and his MOTHER.
CUT TO: VITO's mother kisses DON CICCIO's hand
VITO's MOTHER (in Sicilian)
All my respect DON CICCIO. DON CICCIO you killed my husband because he wouldn't give into you. And his oldest son PAOLO -- because he swore revenge. But VITO is only nine. And dumb-witted, He never speaks.
DON CICCIO (in Sicilian)
It's not his words I'm afraid of.
VITO's MOTHER (in Sicilian)
He's weak - he can't hurt anyone.
DON CICCIO (in Sicilian)
But when he grows, he'll grow strong.
VITO's MOTHER (in Sicilian)
Don't worry - this little boy can't do a thing to you.
[DON CICCIO stands up.]
DON CICCIO (in Sicilian)
When he is a man he'll come for revenge.
VITO's MOTHER (in Sicilian)
I beg you, DON CICCIO, spare my only son. He's all I have left. I swear to God that he'll never do any harm to you. Spare him!
DON CICCIO
No.
[She reveals a concealed knife and holds it to DON CICCIO's neck.]
MOTHER (in Sicilian)
Move and I'll kill him!
(then)
Run VITO!
[Young VITO watches as DON CICCIO's guards shoot his down, and he runs away.]
DON CICCIO (in Sicilian)
Kill him! Kill him! Kill him!
CUT TO: The streets of Corleone at night.
GUARD (yelling in Sicilian)
Any family who hides Vito Andolini will regret it! You understand? Yes or no!
(then)
Anybody who hides the boy Vito Andolini is in for trouble!
CUT TO: The guards walking down stairs.
CUT TO: A family hiding VITO in a donkey cart.
MAN [Probably ABBANDANDO] (in Sicilian)
VITO, we're praying for you.
CUT TO: The man gets on the donkey that's carrying VITO.
GUARD yelling (in Sicilian)
If anyone is hiding the boy VITO Andolini -- turn him over to us. DON CICCIO will thank you for it! It'll be better for the boy, and better for you! Any family who hides the boy Vito Andolini will regret it!
CUT TO: A courtyard. The donkey cart passes by the guards.
CUT TO: The donkey cart walking away.
DISSOLVE TO: "The Moshulu" entering New York Harbor, passing in front of the Statue of Liberty.
CUT TO: VITO on the ship. He stands up and walks behind everyone.
CUT TO: Everyone getting off the ship.
CUT TO: VITO still walking.
CUT TO: Immigrants looking at the Statue of Liberty.
CUT TO: VITO looking at the Statue of Liberty also.
CUT TO: Inside Ellis.
CUT TO: MAN inspects VITO's eyes and writes an encirled X on him.
INSPECTOR (pointing)
NURSE --
CUT TO: All the immigrants waiting. A man playing a violin as everyone is talking in different languages.
CUT TO: Immigrants trying to explain themselves. CAMERA pans left along counter.
INTAKE OFFICER 1
Interpreter
INTAKE OFFICER 2
Where are you from?
INTAKE OFFICER 3
What is your name?
[VITO walks up.]
INTAKE OFFICER 4
What is your name? Come on son, what is your name?
TRANSLATOR
["What is your name?" in Italian]
then, looking at the tag on VITO's coat:
VITO Andolini from Corleone.
INTAKE OFFICER 4
Corleone -- VITO Corleone. Okay over there. Next -- your name?
CUT TO: A doctor inspects VITO's chest with a stethoscope.
DOCTOR (to NURSE)
Tell him he has small pox quarantine three months.
NURSE (translating for VITO)
[In Italian, something like "you have small pox and will be quarantined for three months at Ellis Island"]
CUT TO: Two men walk down the hall looking for VITO
MAN Calling Out
Vito Corleone? Vito Corleone?
Other MAN, standing next to Young VITO
Here he is; this is him.
[Young VITO is placed in a room, looks out the window at the Statue of Liberty, places his suitcase on the bunk (#52), sits and then starts to sing]
VITO CORLEONE
ELLIS ISLAND
1907
CUT TO: A Church. ANTHONY is walking down the aisle during his first communion.
HIS GRANDSON
ANTHONY VITO CORLEONE
LAKE TAHOE NEVADA
1958
FATHER CARMELO [in Latin]
[Priest prays while giving out eucharist. Anthony is the third child. He turns toward the camera.]
CUT TO: Lake Tahoe Resort. Bandstand, music play
CUT TO: VALETs parking cars
VALET
Hey! bring the car keys.
WOMAN (OS)
Morey! Morey!
CUT TO: MAN takes drink to policeman in the parking lot.
CUT TO: MAN and WOMAN dance.
CUT TO: Watchman on roof lights a cigarette.
CUT TO: GUESTS sitting and talking.
CUT TO: CONNIE and MERLE Johnson walk, dodging guests, making their way to MAMA CORLEONE.
CONNIE:
MAMA -- whooh MAMA.
MAMA CORLEONE
[something in Italian, then]
Look who's here --
CONNIE
Oh, FATHER CARMELO.
MAMA CORLEONE
This is FATHER CARMELO --
MERLE
I'm MERLE Johnson --
MAMA CORLEONE
-- and the priest
FATHER CARMELO
Nice to meet you, how are you.
MAMA CORLEONE
-- family Priest.
CONNIE
MAMA --
[She kisses MAMA.]
-- here I am.
MAMA CORLEONE
Constanzia - finalmente -- after one week? I sent the car out to the airport last week to pick you up!
CONNIE
Oh -- it was chaos. Anyway, here I am, just one week late. And this is for my MAMA.
[She hands MAMA a wrapped jewelry box]
MAMA
What's this?
CONNIE
You remember MERLE, don't you?
MERLE (to MAMA)
Hello MAMA.
MAMA
Hello, how are you; thank you.
CONNIE
Where's MICHAEL? I gotta to talk to him, and um, get a few things straight, and I can't wait on line.
MAMA
You go see your children first! And then you worry about waiting on line to see your brother -- like everybody else.
[The band gives a musical introduction to the CONDUCTOR]
CUT TO: A napping FRANK PENTANGELI napping outside. WILLIE CICCI wakes him and they walk off.
CONDUCTOR
Ladies and Gentlemen a most distinguished guest would like to say a few words. Would you please welcome SENATOR Pat GEARY of the state of Nevada, and there is Mrs. GEARY.
[SENATOR GEARY walks up onto the stage]
GEARY
Thank you very much, Ladies and Gentlemen -- and this is a very very happy day for me and ugh -- my wife, Mrs. GEARY. We see Nevada far too seldom -- but particularly today when we can -- we can join with old friends -- we can make new friends -- and we help celebrate -- a young man's first communion. And also, to thank that boy's family for a magnificent contribution to the state. I have here in my hand, a check -- made out to the University, and it is a magnificent endowment in the name of - uh, ANTHONY VITO Corleone -- and the check is signed by that young man's parents -- whom I think we should recognize Mike -- Pat -- uh, KAY -- stand up please -- stand up, let the folks see you. Folks, I want you to join with me in giving a real Nevada -- thank-you to Mr. and Mrs. MICHAEL Corleone!
[The crowd claps. The conductor whispers something to GEARY.]
We also have as a special added attraction, the Sierra Boys Choir. Who have, uh, chosen a certain special song, in a special arrangement, to honor their host, Mr. MICHAEL Corleone. Boys.
CUT TO: Mike and KAY getting up for a photo.
[The choir begins to sing.]
CUT TO: A long shot of the boys singing.
CUT TO: A close up of the boys singing.
CUT TO: MICHAEL at a photo session accepting a plaque
DIRECTOR
Relax.
[MICHAEL holds the plaque.]
Okay fellas we got that one.
[MICHAEL and GEARY shake hands.]
Okay, that's good. Alright. Now SENATOR, this is you and Mrs. Corleone.
[The director comes over and gives GEARY the check and places him next to KAY. They also shake hands.]
Okay that's enough, Senator --
[MICHAEL an GEARY shake hands for one more picture, holding the check]
CUT TO: EVERYONE listening to the choir.
CUT TO: The interior of MICHAEL's office.
MICHAEL
This is my lawyer, TOM HAGEN; SENATOR GEARY. He's the one who arranged this whole thing through your man Turnbull.
GEARY
Yes -- Yes.
MICHAEL
Sit down.
GEARY
Well I was under the impression that you and I would talk alone.
MICHAEL
I trust these men with my life, SENATOR. If I were to ask them to leave, it would be an insult.
GEARY
Well uh, it's perfectly all right with me, but I should tell you that I am a blunt man and I intend to speak very frankly to you -- maybe -- more frankly than anyone in my position's ever spoke to you before.
[MICHAEL lights a cigarette]
The Corleone family has done very well here in Nevada. You own, or, you control, two major hotels in Vegas -- one in Reno. The licenses were grandfathered in, so there is no problem with the gaming commission. Now, my sources tell me that -- you plan to make a move against the Tropicalla. They tell me within a week -- you're gonna move Klingman out. That's quite an expansion. However it will leave with one little technical problem. Ahh -- The license will still be in Klingman's name.
MICHAEL
Turnbull is a good man.
GEARY
Yeah, well let's cut out the bullshit. I don't want to spend any more time here than I have to. You can have the license, the price is 250,000 dollars. Plus a monthly payment of 5% of the gross -- of all four hotels. Mister -- Corleone.
MICHAEL
Now the price of the license is less than 20,000 dollars, am I right?
GEARY
That's right.
MICHAEL
Now why would I ever consider paying more than that?
GEARY
Because I intend to squeeze you. I don't like your kind of people. I don't like to see you come out to this clean country in your oily hair -- dressed up in those silk suits - and try to pass yourselves off as decent Americans. I'll do business with you, but the fact is, I despise your masquerade -- the dishonest way you pose yourself. Yourself, and your whole fucking family.
MICHAEL
SENATOR - we're both part of the same hypocrisy. But never think it applies to my family.
GEARY
All right, all right -- some people have to play little games. You play yours. So lets just say that you'll pay me because it is in your interest to pay me. But I want your answer and the money by noon tomorrow. And one more thing: don't you contact me again -- ever. From now on you deal with Turnbull.
(then, to Al)
Open that door son.
[He starts to leave]
MICHAEL
Uh, senator -- you can have my answer now if you like. My offer is this -- nothing. Not even the fee for the gaming license, which I would appreciate if you would put up personally.
GEARY (laughing)
Good afternoon, gentlemen.
[He opens the door and walks out]
KAY, I didn't know you were out here. Honey, we have to go -- we're 30 minutes late.
KAY
Oh really? I'm sorry.
GEARY
Mrs. Corleone, I've been delighted.
KAY
Oh, no --
GEARY
Thank you.
KAY
-- It was our pleasure. Thank you so much; it was wonderful talking with you.
CUT TO: People dancing. Music plays outside.
CUT TO: FREDO's boat pulls up to the dock.
CUT TO: BUTTONMAN looks around.
CUT TO: More BUTTONMEN look around at the party.
CUT TO: FREDO and JOHNNY OLA and others get off the boat and onto the dock
CUT TO: PENTANGELI drinking out of the hose held by WILLIE CICCI.
PENTANGELI
FREDO! FREDO, you son of a bitch, you look great!
[PENTANGELI runs toward him.]
FREDO
FRANK PENTANGELI, I thought you was never coming out west you big bum!
[They give each other a hug.]
PENTANGELI
I gotta check on my boys, uh? Hey, FREDO what's with the food around here?
FREDO
What's the matter.
PENTANGELI
A kid comes up to me in a white jacket, gives me a Ritz cracker, and uh, chopped liver, he says Canapés. I say uh, uh, can o' peas my ass, that's a Ritz cracker and chopped liver!
[FREDO laughs]
PENTANGELI
[Something in Italian, then] Bring out the peppers and sausage.
FREDO
Ah, seeing you reminds me of New York -- the old days, huh!
PENTANGELI
Hey, FREDO -- you remember, uh, WILLIE CICCI, he was with old man CLEMENZA in Brooklyn. Yeah, look here --
FREDO
Look, we were all upset about that, Frankie. Heart attack, huh?
WILLIE CICCI
No - No, that was no heart attack.
PENTANGELI
Tha's -- Tha'sa -- That's what I'm here to see your brother Mike about. But wha' -- what's with him?
FREDO
What do you mean?
PENTANGELI
I mean, what do I hafta do, get a letter of introduction to get a sit-down?
FREDO
You, you can't get in to see Mike?
PENTANGELI
He's got me waiting in a lobby!
CUT TO: MICHAEL's office. JOHNNY OLA enters.
JOHNNY OLA (shaking hands with AL)
JOHNNY OLA.
AL NERI
AL NERI .
MICHAEL
Sit down. You know my lawyer, TOM HAGEN -- JOHNNY OLA.
JOHNNY OLA
Sure, I remember TOM from the old days.
MICHAEL
ROCCO -
(then)
What's this?
JOHNNY OLA
It's an orange -- from Miami.
MICHAEL
Why don't you take care of JOHNNY's men -- they look like they might be hungry. JOHNNY -- sit down. TOM isn't gonna sit in with us -- he only handles specific areas of the family business. TOM --
TOM
Sure, Mike.
MICHAEL
What are you drinking, JOHNNY?
JOHNNY OLA
Anisette.
MICHAEL
Anisette.
TOM
If you need anything, Mike, I'll be outside, alright?
[TOM walks out the door.]
MICHAEL
Just tell ROCCO we're waiting, TOM
JOHNNY OLA
I just left, uh, Mr. ROTH in Miami.
MICHAEL
How's his health?
JOHNNY OLA
Ahh -- it's not good.
MICHAEL
Is there anything I can do -- anything I can send?
JOHNNY OLA
He appreciates your concern, MICHAEL -- and your respect. The casino you're interested in -- the registered owners are Jacob Lawrence, Allen Barclay - they're both Beverly Hills Attorneys. The real owners are the old Lakeville Road group from Cleveland, and our friend in Miami. Meyer Klingman runs the store -- he runs a piece of it, too -- he does alright. But I've been instructed to tell you that if you move Klingman out, our friend in Miami will go along.
MICHAEL
That is very kind of him. You tell him, that's greatly appreciated.
JOHNNY OLA
HYMAN ROTH always makes money for his partners. One by one, our old friends are gone. Death -- natural or not - prison -- deported. HYMAN ROTH is the only one left -- because he always made money for his partners.
CUT TO: Outside, PENTANGELI runs up to the stage.
PENTANGELI
Wha'? Wha'? I can't believe, out of thirty professional musicians, there isn't one Italian in, in the group here. Come, let's have a tarantella. Come on --
[PENTANGELI begins to hum the tune, piano joins in]
You! Up! Clarinet up , up, up!
[He hums some more]
What's da matta? What's da matta?
[ He is still humming when the clarinet begins to play "Pop Goes The Weasel." PENTANGELI gets mad as the whole group joins in]
CUT TO: MICHAEL's boathouse. CONNIE and MERLE walk in.
MICHAEL (to MERLE)
I'll see my sister alone.
MERLE
It concerns me, too. Is it okay, Mike, if I stay?
CONNIE
How are you, honey? You met MERLE -- he was with me in Vegas.
MICHAEL
I saw him with you
MERLE
Could I have a drink or something?
MICHAEL
Que voi?
CONNIE (to AL NERI)
Al, would you please get him a drink!
(then, to MICHAEL)
We're going to Europe next week. I'd like to book passage on The Queen
MICHAEL
So what do you come to me for -- why don't you go to a travel agent?
MERLE
We're getting married first.
MICHAEL
The ink on your divorce isn't dry yet and your getting married? You see your children on weekends -- You know your oldest boy, Victor, was picked up in Reno for some petty theft that you don't even know about--
CONNIE
MICHAEL!
MICHAEL
-- You fly around the world with men who don't even care about you, and use you like a whore!
CONNIE
MICHAEL, you're not my father!
MICHAEL
Then what do you come to me for?
CONNIE
'Cause I need money.
MICHAEL
CONNIE - CONNI, CONNIE, CONNIE, CONNIE, CONNIE -- I wanna be reasonable with you. Now, why don't you stay with us - with the family. You can live here on the estate with your kids. You won't be deprived of anything and you can have everything you want. Now -- I don't know this MERLE -- I don't know what he does -- I don't know what he lives on. Now why don't you tell him that marriage is out of the question, and you don't want to see him anymore. Now he'll understand, believe me.
[CONNIE and MERLE reach out to hold hands]
CONNIE -- if you don't listen to me -- and marry this man -- you'll disappoint me.
CUT TO: Outside, nighttime. A bonfire is burning and a man throws a log down.
CUT TO: A boat passes by.
CUT TO: People walk along the boardwalk
CUT TO: Band playing on the stage.
CUT TO: Outside the family sits at a table.
MAMA Corleone
Avive.
MICHAEL
Cent' anni
Everyone
Cent' anni
DEANNA
What's "Chen dandy"?
FREDO
Cent' anni -- It means a hundred years.
CONNIE
It means we should all live happily for a hundred years -- the family. That'd be true if my father were still alive.
MAMA CORLEONE
CONNIE --
CONNIE
MERLE, you've met my sister-in-law, DEANNA.
[They shake hands]
FREDO's wife.
DEANNA
Pleasure
MERLE
How do you do.
MAMA CORLEONE [to Tom, in Italian]
[A reference to DEANNA and MERLE]
TOM HAGEN [in Italian]
[Responds]
MERLE (to CONNIE)
What did she mean by that?
PENTANGELI (in Sicilian)
Hey, Michael - excuse me. [laughs] With all respect I didn't come here to eat dinner!
MICHAEL
I know, I know.
[PENTANGELI knocks over a glass of wine, everyone looks at him.]
Bene!
CUT TO: DEANNA and another man dance. She is obviously drunk.
CUT TO: FREDO looking on.
CUT TO: DEANNA falls onto the dance floor.
CUT TO: MICHAEL looking on.
CUT TO: FREDO jogging to take her away.
CUT TO: MICHAEL whispering something to ROCCO.
CUT TO: FREDO grabbing her.
DEANNA
What's the matter? I just, I just want to dance!
FREDO
Dancing is one thing -- you're fallin' all over the floor.
DEANNA
I know what's the matter with you - you're just jealous because he's a real man.
FREDO
I swear to God, DEANNA, I'm gonna belt you right in the cheek.
DEANNA
Ah, you couldn't belt your MAMA. You know something, those daigos are crazy when it comes to their wives.
[ROCCO walks up to FREDO]
ROCCO (to FREDO)
MICHAEL says that if you can't take care of this -- I have to.
FREDO
Maybe you better.
DEANNA
Never marry a WOP! they treat their wives like shit!
[ROCCO runs over and gabs he]
I didn't mean to say WOP. Ahh, Ahh woo! ROCCO! Oh! What are you doing to me -- help -- FREDO!
FREDO (to MICHAEL)
I can't control her, Mikey.
MICHAEL
You're my brother, FREDO, you don't have to apologize to me.
CUT TO: MICHAEL's boathouse.
MICHAEL
CLEMENZA promised the Rosato brothers three territories in the Bronx after he died. You took over, and you didn't give it to them.
PENTANGELI
I weltched?
MICHAEL
You weltched.
PENTANGELI
Yeah, CLEMENZA promised them [something in Italian] CLEMENZA promised them nothing. He hated those son of a bitches more than I do.
MICHAEL
Frankie, they feel cheated.
PENTANGELI
MICHAEL, your sitting high up in the Sierra mountains. And your drinkin' - uh, what's he drinkin'?
WILLIE CICCI
Champaign
PENTANGELI
Champaign, Uh, Champaign Cocktails -- and you're passing judgment on how I run my Family.
MICHAEL (in Sicilian)
Your Family -- Your Family's still called Corleone. And you'll run it like a Corleone.
PENTANGELI (in Sicilian)
My family doesn't eat here; doesn't eat in Las Vegas -- and doesn't eat in Miami -- with HYMAN ROTH.
MICHAEL
Frankie -- you're a good old man -- and I like you. And you were loyal to my father for years.
PENTANGELI
The Rosato brothers - they're taking hostages. Hey, Mike, they spit right in my face. All because they're backed up by that Jew in Miami.
MICHAEL
I know -- that's why I don't want them touched.
PENTANGELI
You don't want 'em touched.
MICHAEL
No, I want you to be fair with them
PENTANGELI
You want me to be fair with them? TOM -- how can you be fair to animals? TOM -- for Crissakes, listen -- They recruit spics -- they recruit niggers -- and they do violence in their, in their Grandmother's neighborhoods. And everything with them is whores -- whores! [something in Italian] junk dope! And they leave the gambling to last. Now I want to run my family without you on my back, and I want those Rosato brothers dead!
MICHAEL
No!
PENTANGELI
Mort'
MICHAEL
Now I have business that's important with HYMAN ROTH -- I don't want it disturbed.
PENTANGELI
And you give your loyalty to a Jew before your own blood.
MICHAEL
Come on, Frankie, you know my father did business with HYMAN ROTH -- he respected him.
PENTANGELI
Your father did business with HYMAN ROTH, your father respected HYMAN ROTH. But your father never trusted HYMAN ROTH -- or his Sicilian messenger boy, JOHNNY OLA!
(then, in Sicilian)
You'll have to excuse me -- I'm tired, and I'm a little drunk!
(then, in English)
And I want everyone here to know -- there's not gonna be no trouble from me! Don Corleone. Cicc', a porta!
NERI
You want him to leave now?
MICHAEL
Let him go back to New York -- I've already made my plans. That old man had too much wine.
[He drinks, then looks at his watch.]
It's late
CUT TO: Outside. MICHAEL and KAY dance.
MICHAEL
How's the baby?
KAY
Sleeping inside me.
MICHAEL
Does it feel like a boy?
KAY
Yes, yes it does MICHAEL.
MICHAEL
KAY -- I'm sorry about all the people today -- bad timing -- it couldn't be helped, though.
KAY
It made me think of what you once told me - "in five years the Corleone Family will be completely legitimate." That was seven years ago.
MICHAEL
I know -- I'm trying, darling.
CUT TO: A boat passes by the Corleone Estate once more.
CUT TO: MICHAEL walks into his bedroom and sees a picture drawn by ANTHONY of MICHAEL in a car. It has boxes to check if he likes it or not.
MICHAEL
Did you see this?
KAY
Uh huh.
(then)
MICHAEL? Why are the drapes open?
[MICHAEL looks at the drapes and then gunshots ring out and bust through the window just missing MICHAEL. MICHAEL crawls on the floor towards KAY. He pulls her from the bed onto the floor and covers her with his body]
Are you all right? Are you hit? It's over It's over.
CUT TO: Outside a siren rings and dogs bark.
CUT TO: GUARDs shutting the gate
CUT TO: The lights being turned on.
CUT TO: A man turning on the power to the lights.
CUT TO: ROCCO running up to MICHAEL.
ROCCO
They're still on the property. Please, MICHAEL, please stay inside.
MICHAEL
Keep them alive.
ROCCO
We'll try.
MICHAEL
ROCCO! Alive!
ROCCO
Stay by the door.
CUT TO: The dogs are released and run into the drains.
CUT TO. A light searching.
CUT TO: People searching.
CUT TO: People outside MICHAEL's room.
CUT TO: MICHAEL, KAY and the kids inside; everyone is quiet.
CUT TO: Dogs sniff the docks
CUT TO: Men armed with machine guns escort MICHAEL around.
CUT TO: Boat, now equipped with a strobe light, searches.
CUT TO: A room in the estate; TOM knocks.
MICHAEL
Yeah, come in.
TOM
Mikey, you all right?
MICHAEL
Yeah -- there's a lot I can't tell you -- and I now that's upset you in the past.
TOM
A little.
MICHAEL
Yeah -- you felt it was because of some lack of trust of confidence -- but it's -- it's, because I admire you and I love you that I kept things secret from you. That's why at his moment you're the only one I completely trust. FREDO -- ah, he's got a good heart -- but he's week, and he's stupid, and this is life and death. TOM, you're my brother.
TOM
I always wanted to thought of as a brother by you, Mikey -- a real brother.
MICHAEL
I know. You're gonna take over -- you're gonna be the Don. If what I think has happened has happened, I'm gonna leave here tonight. I give you complete power, TOM -- over FREDO and his men, ROCCO, NERI, everyone. I am trusting you with the lives of my wife and my children -- the future of this family.
TOM
If we catch these guys do you think we'll be able to find out who's backing them?
MICHAEL
That's not the catch -- unless I'm very wrong, they're dead already. They're killed by somebody close to us -- inside. Very, very scared they botched it.
TOM
What about your people ROCCO and NERI? You don't think that they had something to do with this.
MICHAEL
You see -- all our people are business men, their loyalty is based on that. Now, one thing that I learned from Pop was to try to think as people around you think. Now on that basis, anything's possible.
CUT TO: Outside, DEANNA screams
DEANNA
Right out my window! I want to get out of here! They're lying there dead!
CUT TO: BUTTONMEN running to the drain.
BUTTONMAN
Over here there's two of them. Looks like they were hired out of New York, I don't recognize them. We won't get anything out of them now.
MICHAEL
Fish 'em out.
[Two BUTTONMEN fish out the bodies]
TOM
Alright, get rid of the bodies.
ROCCO
Where's Mike?
TOM
ROCCO.
[TOM walks off.]
CUT TO: MICHAEL walks into ANTHONY's room.
MICHAEL
ANTHONY, everything's gonna be all right. Try and sleep.
[He kisses ANTHONY on the cheek]
Did you like your party?
ANTHONY
I got lots of presents.
MICHAEL
I know. Did you like them?
ANTHONY
I didn't know the people who gave them to me.
MICHAEL
They were friends.
ANTHONY
Did you see my present for you?
MICHAEL
It was on my pillow. ANTHONY, I'm gonna be leaving very early tomorrow.
ANTHONY
Will you take me?
MICHAEL
No, I can't ANTHONY.
ANTHONY
Why do you have to go?
MICHAEL
'Cause I have to do business.
ANTHONY
I could help you.
MICHAEL
Someday you will.
VITO CORLEONE
NEW YORK CITY
1917
[We see a baby (SANTINO) playing in a playpen. VITO picks him up and rocks him.]
CUT TO: A playhouse with VITO and GENCO.
GENCO
She's really beautiful. You've got to see her.
[The first part of the play finishes]
Wait till you see her, words can't describe her.
Performer (PEPINO) [in Italian]
I left Naples, I left my mama, for a no-good tramp. Now, here I am, in America, in New York. Alone! Thinking of my mother. Without news from home --
[there's a knock at the door]
Enter!
GIRL (entering stage) [in Italian]
Pepino, a letter for you!
Performer (PEPINO) [in Italian]
Finally, a letter from Naples!
GENCO [in Italian]
VITO, how do you like my little angel? Isn't she beautiful?
VITO [in Italian]
She's very beautiful. To you, she's beautiful. For me, there's only my wife and son.
Performer (PEPINO) [in Italian]
Our dear mother -- is dead!
[He cries]
Mama! Mama Mia!
[He pulls out a gun and starts to sing "Senza Mama" ("Without Mama")]
GENCO [in Italian]
We'll go backstage later and take her out to eat.
[Don FANUCCI stands up.]
Sit down, you Bum.
[Don FANUCCI turns and looks at GENCO]
Oh, excuse me, Don FANUCCI
[Don FANUCCI leaves]
We'll go see her backstage
VITO [in Italian]
Who was that?
GENCO [in Italian]
The Black Hand.
[The girl exits the stage]
VITO
Come on come on let's go see her backstage. [in Italian]
CUT TO: They enter the backstage area.
GENCO [in Italian]
That's FANUCCI -- The Black Hand.
MANAGER [in Italian]
We'll talk about it tomorrow.
FANUCCI [in Italian]
Tomorrow -- always tomorrow. You'll pay me today! You'll pay me today
[FANUCCI grabs the girl ad puts a knife to her face.]
GENCO [in Italian]
Let's go.
MANAGER [in Italian]
Not my daughter! Let her go! Here take all my money!
[FANUCCI takes money out of the box offered by the manager]
GENCO [in Italian]
VITO, come here, come on.
[They walk outside.]
I know what you're thinking. But you don't know how things are. FANUCCI's with the Black Hand. The whole neighborhood pays him. Even my father in the, in the grocery store.
VITO [in Italian]
If he's Italian -- why does he bother other Italians?
GENCO [in Italian]
He knows they have nobody to protect them. Forget that. Did you like my angel?
VITO [in Italian]
If you're happy, I'm happy
CUT TO: Outside the Abbandando Groceria, VITO walks a basket of fruit down the street.
CUT TO: Inside the Corleone home, VITO and MAMA are having dinner.
MAMA
Don't you feel well? Is your boss treating you all right?
VITO
Forget it.
[A stone hits the window. We hear a voice outside.]
CLEMENZA (O.S.)
Hey! Paisan!
(then)
You speak Italian?
[VITO looks out the window, then goes into the bathroom. He opens the window to see CLEMENZA.]
CLEMENZA [in Italian]
Hide this for me! Next week I'll come and get it!
[He tosses VITO a bag. VITO shuts the door to the bathroom. Then he puts the bag in the bathtub and unravels the rags. The wad of rags hides an assortment of guns.]
CUT TO: Inside of the ABBANDANDO grocery store. FANUCCI enters.
FANUCCI [in Italian]
ABBANDANDO, meet my nephew! How's business?
[ABBANDANDO shrugs. FANUCCI reaches inside the cash register and pulls out some coins.]
It's good, it's good.
CUT TO: VITO sits down at a table with GENCO.
GENCO [in Italian]
FANUCCI's mad. Says the neighborhood's getting sloppy. People don't pay on time, don't pay the full amount. Says he's been to nice to everybody.
[We see ABBANDANDO and FANUCCI fighting.]
VITO [in Italian]
So FANUCCI's changing?
GENCO [in Italian]
Sure. He wants double from everybody. Even from my father.
FANUCCI (to ABBANDANDO) [in Italian]
I'm a friend, right? So you'll let him work here?
[FANUCCI pats ABBANDANDO on the cheek in gratitude. ABBANDANDO paces around.]
ABBANDANDO [in Italian]
VITO, come here.
[VITO walks over to ABBANDANDO]
VITO -- I've got some bad news. I feel rotten about telling you this -- but FANUCCI -- he's got a nephew --
[ABBANDANDO searches for the right word.]
VITO
And you have to give him my job. You've always been good to me, ever since I came here. You looked after me like a father. I thank you. And I won't forget it.
[VITO hugs him]
CUT TO: Outside VITO walks down the street.
ABBANDANDO (out of picture)
VITO.
[VITO sees ABBANDANDO walking up with a basket of fruit.]
VITO
No, No, No.
ABBANDANDO [in Italian]
Take this to your family.
VITO [in Italian]
Thanks anyway. But please, I can't accept.
[They argue in Italian but VITO still refuses the gift. He walks off.]
CUT TO: The Corleone home. VITO walks in. He takes off his hat and unwraps a pear that he places on the Dinner table.
MAMA
What a nice pear!
[VITO removes his coat and sits down and kisses his wife.]
CUT TO: Outside on the street Peter CLEMENZA walks up to VITO.
CLEMENZA [in Italian]
I'm CLEMENZA, you still have my goods?
[VITO nods.]
Did you look inside?
VITO
I'm not interested in things that don't concern me.
CUT TO: Inside a Café. CLEMENZA and VITO sit and drink esspresso.
CLEMENZA [in Italian]
A friend of mine has a nice rug. Maybe your wife would like it.
VITO [in Italian]
Sure, she would. But who has the money for a rug?
CLEMENZA [in Italian]
It would be a present. I know how to return a favor.
VITO [in Italian]
Yea sure -- my wife would like it.
CUT TO: Outside CLEMENZA and VITO walk down the street.
CLEMENZA
VITO [In Italian "Let's go"]
CUT TO: Outside a house's door. CLEMENZA rings the buzzer and nobody answers.
CLEMENZA [in Italian]
The son of a bitch! He isn't home.
[He says something in Italian then looks under the rug.]
Damn, he didn't even leave the key.
[He reaches into his coat and pulls out a small lever.]
Well, he won't mind.
[He pries the door open.]
Come on in. Hey VITO come on in.
[CLEMENZA walks over and puts his arm around VITO. VITO looks then enters.]
CUT TO: Inside a well lavished house.
VITO [in Italian]
This is your friend's place?
CLEMENZA
Si [Something in Italian.]
VITO [in Italian]
This is a real palace.
CLEMENZA [in Italian]
Only the best.
[CLEMENZA begins to move furniture off of the rug. Then he move towards the table in the center of the room.]
CLEMENZA [in Italian]
VITO give me a hand, will you?
[VITO looks around again then helps CLEMENZA carry the table off the rug. CLEMENZA begins to roll the rug as VITO looks around. Someone knocks on the door. CLEMENZA walks to the door and looks out. He holds a gun to the edge of the door, at head height, as a POLICE OFFICER looks in. The POLICE OFFICER tries the door knob to no avail, then leaves.]
CUT TO: Outside of VITO's apartment. CLEMENZA and VITO carry the rug up the stairs.
CUT TO: Inside the Corleone home. CLEMENZA lays the rug down and grabs SANTINO. He starts to play with him. He puts him on the rug as SANTINO begins to cry.
MAMA
Look how pretty it is, SANTINO!
CUT TO: A train with MICHAEL blows it's horn as it passes by.
CUT TO: Inside the train. MICHAEL's BODYGUARD pours some water then sits down.
CUT TO: Outside view of the train we see MICHAEL taking pills for his Diabetes.
CUT TO: Florida. JOHNNY OLA is followed by MICHAEL and his BODYGUARD drive up to HYMAN ROTH's house. JOHNNY runs into the house. MICHAEL steps out of his car and walks to the ROTH house. MRS. ROTH walks into view.
MRS. ROTH
Come on in. It's all right come on in. HYMAN's in there. I was just making some lunch -- would you like a tuna sandwich?
MICHAEL
Uh, no thank you.
[He walks out of the room and into a room that occupies HYMAN ROTH watching television]
HYMAN ROTH
Come in, MICHAEL. Sit down, make yourself comfortable. It's almost over -- you following the football game?
MICHAEL
Nope, not for a while I haven't.
ROTH
I enjoy watching football in the afternoon, one of the things I enjoy about this country; baseball, too. I've loved baseball ever since Arnold Rothstein fixed the World Series in 1919.
[They both chuckle.]
I heard you had some trouble. Stupid -- people behaving like that with guns Important thing is, that you're alright. Good health -- the most important thing in the world. More than success, more than money -- more than power.
[MICHAEL stands up and shuts the door; moves the chairs closer as ROTH turns up the TV.]
MICHAEL
I came here because there is gonna be more blood shed. I want you to know about it before it happens so that there's no danger of starting another war.
ROTH
Nobody wants another war.
MICHAEL
FRANK PENTANGELI came to my home and he asked my permission to get rid of the Rosato brothers. When I refused, he tried to have me killed. He was stupid, I was lucky; I'll visit him soon. The important thing is that nothing interferes with our plans for the future. Yours and mine.
[ROTH shakes his head.]
ROTH
Nothing is more important.
[There is a long pause between them, then.]
You're a wise and considerate young man
MICHAEL
And you're a great man, Mr. ROTH. There's much I can learn from you.
ROTH
Whatever I can do to help, MICHAEL.
[At that moment MRS. ROTH opens the door and walks in with lunch.]
MRS. ROTH
Excuse me -- lunch.
ROTH
Come in.
MRS. ROTH
Honey Bunny, you're gonna break you eardrums.
[She turns down the TV then begins to walk out.]
Okay, enjoy it.
ROTH
Thanks.
[She shuts the door behind her on the way out.]
You're young, I'm old and sick. What we'll do together in the next few months will make history, MICHAEL -- history. It's never been done before. Not even your father would dream that such a thing could be possible.
MICHAEL
Then PENTANGELI is a dead man, you don't object.
ROTH
He's small potatoes.
CUT TO: Outside of the old Corleone compound in New York. PENTANGELI steps out of his car.
BUTTONMAN (O.S.)
Hey Cicc'
PENTANGELI (to BODYGUARDS)
What's up? We got company Huh.
[ He walks past MICHAEL's BODYGUARD and into the house where his wife is.]
[Something in Italian]
MRS. PENTANGELI [in Italian]
MICHAEL Corleone is here. He's in the den. You better hurry. He's been waiting a half hour.
[He takes off his coat and scarf, and brushes back his hair.]
Is something wrong?
[He opens the door to see MICHAEL looking out the window.
PENTANGELI
Don Corleone, I wish you would o' let me know you were coming; I could o' prepared something for you.
MICHAEL
I didn't want you to know I was coming.
[PENTANGELI shuts the door.]
You heard what happened in my home?
PENTANGELI
Mike, I almost died myself -- we was all so relieved --
MICHAEL (shouting)
In my home! In my bedroom, were my wife sleeps! Where my children come and play with their toys. In my home.
[A long pause, MICHAEL sits down.]
I want you to help me take my revenge.
PENTANGELI
MICHAEL, anything -- what can I do?
MICHAEL
Settle these troubles with the Rosato brothers.
[PENTANGELI is confused.]
PENTANGELI
Mike, I don't understand, I don't -- look -- I don't have your brain -- uh -- for big deals -- but this is a street thing. That HYMAN ROTH in Miami -- he's backing up those son of a bitches.
MICHAEL
I know he is.
PENTANGELI
Why do you ask me to lay down to them Mike?
[A long pause.]
MICHAEL
It was HYMAN ROTH that tried to have me killed. I know it was him.
PENTANGELI
Now -- Jesus Christ, Mike, Jesus Christ. Look, let's get 'em all -- let's get 'em all now, while we got the muscle.
[Another long pause then MICHAEL stands up.]
MICHAEL
This used to be my father's old study -- it's changed. I remember there used to be a big desk, righthere. I remember when I was a kid, Frankie, we had to be very quiet when we played near here. I was very happy that this house never went to strangers -- first CLEMENZA took it over, now you. My father taught me many things here -- he taught me in this room.
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