The Godfather









Based on a Novel by Mario Puzo





Screenplay by Mario Puzo



Francis Ford Coppola





Produced by Albert S. Ruddy





Directed by Francis Ford Coppola









Cast List:





Marlon Brando Don Vito Corleone



Al Pacino Michael Corleone



James Caan Sonny Corleone



Harry Dean Stanton Brett



Richard Castellano Clemenza



Robert Duvall Tom Hagen



Sterling Hayden McCluskey



John Marley Jack Woltz



Richard Conte Barzini



Diane Keaton Kay Adams



John Cazale Fredo Corleone





--------------------------------------------------------------------------------



















FADE FROM BLACK







Int. Don Corleone's home office ? day





BONASERA



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



I believe in America. America has made my fortune. And I raised my daughter in
the American fashion. I gave her freedom, but ? I taught her never to dishonor
her family. She found a boyfriend; not an Italian. She went to the movies with
him; she stayed out late. I didn't protest. Two months ago, he took her for a
drive, with another boyfriend. They made her drink whiskey. And then they tried
to take advantage of her. She resisted. She kept her honor. So they beat her,
like an animal. When I went to the hospital, her nose was a'broken. Her jaw was
a'shutted, held together by wire. She couldn't even weep because of the pain.
But I wept. Why did I weep? She was the light of my life ? beautiful girl. Now
she will never be beautiful again.





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





BONASERA



Sorry...





Bonasera, taking the drink, sips from the shot glass.





BONASERA



I-I went to the police, like a good American. These two boys were brought to
trial. The judge sentenced them to three years in prison ? suspended sentence.
Suspended sentence! They went free that very day! I stood in the courtroom like
a fool. And those two bastard, they smiled at me. Then I said to my wife, "for
justice, we must go to Don Corleone."





VITO CORLEONE



(sitting behind his desk, petting a cat)



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





BONASERA



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





VITO CORLEONE



What is that?





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





VITO CORLEONE



That I cannot do.





BONASERA



I'll give you anything you ask.





VITO CORLEONE



We've known each other many years, but this is the first time you came to me for
counsel, for help. I can't remember the last time that you invited me to your
house for a cup of coffee, even though my wife is godmother to your only child.
But let's be frank here: you never wanted my friendship. And uh, you were afraid
to be in my debt.





BONASERA



I didn't want to get into trouble.





VITO CORLEONE



I understand. You found paradise in America, had a good trade, made a good
living. The police protected you; and there were courts of law. And you didn't
need a friend of me. But uh, now you come to me and you say ? "Don Corleone give
me justice." ? But you don't ask with respect. You don't offer friendship. You
don't even think to call me Godfather. Instead, you come into my house on the
day my daughter is to be married, and you uh ask me to do murder, for money.





BONASERA



I ask you for justice.





VITO CORLEONE



That is not justice; your daughter is still alive.





BONASERA



Then they can suffer then, as she suffers.



(then)



How much shall I pay you?





VITO CORLEONE



(stands, turning his back toward Bonasera)



Bonasera... Bonasera... What have I ever done to make you treat me so
disrespectfully? Had you come to me in friendship, then this scum that ruined
your daughter would be suffering this very day. And that by chance if an honest
man such as yourself should make enemies, then they would become my enemies. And
then they would fear you.





BONASERA



Be my friend ?



(after bowing and the Don shrugs)



? Godfather?





VITO CORLEONE



(after Bonasera kisses his hand)



Good.



(then)



Some day, and that day may never come, I'll call upon you to do a service for m
e. But uh, until that day ? accept this justice as a gift on my daughter's
wedding day.





BONASERA



(as he leaves the room)



Grazie, Godfather.





VITO CORLEONE



Prego.



(to Tom Hagen, after Bonasera leaves the room)



Ah, give this to ah, Clemenza. I want reliable people; people that aren't gonna
be carried away. I'm mean, we're not murderers, despite of what this undertaker
says.





CUT TO:







Connie's Wedding reception ? Day





We hear the music "Connie's Wedding (The Godfather Tarantella)".





CUT TO:







Connie and Carlo at the head table





CUT TO:







The family gathers for a family portrait





VITO CORLEONE



Where's Michael?





SONNY CORLEONE



Don't worry; it's early.





VITO CORLEONE



We're not taking the picture without Michael



(he tells the photographer, in Italian)





TOM HAGEN



What's the matter, Sonny?





SONNY CORLEONE



It's Michael





The Don meets some guests outside.





Mama dances with Sonny's twin girls.





Connie and Carlo laughs with guest at head table.





Clemenza dances with his wife.





FBI arrives and take license plate numbers.





Tessio sits at a table, tosses himself an orange.





FBI continues to take license plate numbers.





Don Barzini arrives.





VITO CORLEONE



Eh, Don Barzini.





Vito introduces Barzini to someone, in Italian.





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





CLEMENZA



(after dancing)



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





PAULIE (O.S.)



(to someone)



Scusi, please.



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



Hey, you look terrif'' on the dance floor





CLEMENZA



Hey, what are you a dance judge or something? Go take a walk around the
neighborhood ? do your job.





Sonny pinches Lucy Mancini's cheek as he walks towards his wife, Sandra.





SONNY



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






SANDRA



Well, you watch yourself, all right?





Reception continues with Part 2 of Connie's Wedding Song (The Godfather
Mazurka). We first see Tessio dancing with a young girl standing on his feet.






OFF SCREEN



Eh Tessio...



(something in Italian)



... buona fai.





Don Corleone dances with his wife, Carmella (Mama).





Connie collects gifts for her bridal purse. Paulie is watching.





PAULIE



Twenty... Thirty-grand. In small bills, cash. In that little silk purse. Maron,
i f this was someone else's wedding, sweet tonato!





BUTTONMAN



(from afar, tossing him sandwiches)



Hey, Paulie! I got two gavagool? Gabagone?... and a...





PAULIE



Eh, you stupid jerk!





A news photographer takes Barzini's picture. Barzini motions to his men to get
the camera.





PHOTOGRAPHER



Eh, what's the matter?





The men bring the camera to Barzini, who removes and crumples the film.





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





TOM



I have to go back to work.





THERESA



Oh, Tom.





TOM



(after he kisses his wife)



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





LUCA



(rehearsing his lines as Tom passes him)



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





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





SONNY



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



(then to FBI guy in car)



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



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



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



(to photographer)



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



(smashes camera, which Paulie kicks, and flips cash to him)





CUT TO:







Nazorine and Enzo in Don Corleone's office ? day





NAZORINE



(seated in front of the Don's desk)



But towards the end, he was uh paroled to help with the American uh war effort.
So for the last six months he's been working in my pastry shop.





VITO CORLEONE



(seated)



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





NAZORINE



Well now that the war is over, this boy, Enzo ? they want to repatriate him back
to Italy. Godfather, I have a daughter. You see, she and Enzo...





VITO CORLEONE



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





NAZORINE



(stands)



You understand everything.





They shake hands, Nazorine turns to leave.





VITO CORLEONE



Bene.





NAZORINE



(with Mr. Hagen now, by the door)



Mr. Hagen, thank you.



(turning to Don Corleone)



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



(gestures)



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





TOM



(after Nazorine exits)



Who should I give this job to?





VITO CORLEONE



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





CUT TO:







OUTSIDE





Michael and Kay arrive, make some introductions. They dance to "Ev'rytime I Look
In Your Eyes" as the Don watches from his window.





CUT TO:







The Don's office ? day





TOM



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





VITO CORLEONE



(looking out the window)



Is this ? is this necessary?





TOM



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





VITO CORLEONE



All right.





CUT TO:







Outside of the Corleone residence





Luca sits, rehearsing his lines.





LUCA BRASI



(rehearsing his lines aloud)



Don Corleone, I am honored and grateful that you have invited me to your home on
the wedding day of your daughter. And may there first child be a masculine
child.



(starting over, which continues throughout the following dialogue)



Don ? Don Corleone...





KAY



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





LUCA'S VOICE



... On the wedding day of your daughter...





MICHAEL



(after glancing over at Luca)



He's a very scary guy.





KAY



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





MICHAEL



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





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





KAY



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





TOM



Mike!





MICHAEL



Oh!





TOM



(embracing Michael)



Heh...! You look terrific!





MICHAEL



My brother, Tom Hagen ? this is Kay Adams.





TOM



How do you do.





KAY



How do you do, Tom





TOM



(into Michael's ear)



Your father's been asking for you.



(to Kay, before he leaves)



Very nice to meet you.





KAY



Nice to meet you.



(after Tom exits)



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





MICHAEL



Oh, ah, that ? when my brother Sonny was a kid, he found Tom Hagen in the
street. And he had no home ? and so my father took him in ? and he's been with
us ever since . He's a good lawyer. Not a Sicilian, but ? I think he's gonna be
consiglieri.





KAY



What's that?





MICHAEL



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



(then)



You like your lasagna?





CUT TO:







Luca Brasi in Don Corleone's office ? day





LUCA BRASI



Don Corleone, I am honored and grateful that you have invited me to your
daughter's wedding...



(after realizing he messed up his rehearsed lines, he fails to re cover)



... on the day of your daughter's wedding. And I hope that their first child be
a masculine child. I pledge my ever-ending loyalty.





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





LUCA BRASI



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



For your daughter's bridal purse.





VITO CORLEONE



Thank you, Luca, my most valued friend.





LUCA BRASI



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





VITO CORLEONE



Thank you.





Tom escorts Luca out.





Bride & groom dance to "The Godfather Fox Trot".





Sonny moves closer to Lucy to whisper into her ear.





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





Sandra turns to see Lucy get up to meet Sonny.





Singing and dancing on stage.





VOICE



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



Signora Corleone!





MAMA



(laughingly)



No ? no ? no!



(once on stage)



Assesta stori!



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





Sonny goes upstairs.





An old man continues "Luna Mezz'a Mare" while Nazorine dances a nd laughs on
stage.





Lucy Mancini goes upstairs.





The old man who was singing is now dancing.





CUT TO:







Don's office





TOM



Senator Cauly apologized for not coming personally ? he said you'd understand.
Also, some of the judges. They've all sent gifts.



(toasting to the Don)



Salute!





Off screen: screaming of joy from the party outside.





VITO CORLEONE



What is that outside?





CUT TO:







Outside





Johnny Fontane enters the party.





CONNIE



(while running up to Johnny, then hugging him)



Johnny! Johnny! Johnny! I love you!





CUT TO:







Don's office





The Don is looking out the window.





VITO



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





TOM



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





VITO



He's a good godson.





CUT TO:







Bandstand area ? day





MAMA CORLEONE



Johnny, Johnny!



(in Italian)



"Sing a song".



(in English)



Sing a song.





The crowd encourages Johnny, and he gives in.





CUT TO:







Michael and Kay's table ? day





KAY



Mike, you never told me you knew Johnny Fontane!





MICHAEL



Sure... You wanna meet him?





KAY



Huh? Oh, well, sure!





MICHAEL



My father helped him with his career.





JOHNNY (O.S.)



For my Connie...





KAY



He did? How?





JOHNNY (O.S.)



(singing "I Have But One Heart")



"I have but one heart..."





MICHAEL



Let's listen to the song...





PAN to the crowd cheering and screaming as Johnny sings.





JOHNNY

(singing, continues)



"... this love I bring you



I have but one heart



To share with you



I have but one dream



That I can cling to



You are the one dream..."





KAY



Oh, Michael...





JOHNNY



(singing, finishing the verse)



"...I dream comes true..."





KAY



Please, Michael, tell me.





JOHNNY (O.S.)



(continues the song)



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





MICHAEL



Well, when Johnny was first starting out, he was signed to this personal service
contract; with a big band leader. And as his career got better and better, he
wanted to g et out of it. Now, Johnny is my father's godson. And my father went
to see this band leader, and he offered him $10,000 to let Johnny go. But the
band leader said no. So the next day, my father went to see him; only this time
with Luca Brasi. And within an hour, he signed a release, for a certified check
for $1,000.





KAY



How'd he do that?





MICHAEL



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





KAY



What was that?





MICHAEL



Luca Brasi held a gun to his head, and my father assured him that either his
brains ? or his signature ? would be on the contract.



(then)



That's a true story.



(then)



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





CUT TO:







Bandstand area ? day





MAMA (O.S.)



Bene! Bene!





The song is finished, and we hear applause. The Don goes out to meet Johnny, and
they, and other guests, toast. The Mazurka music and dancing continue.





VOICE (O.S.)



Salute!





Johnny whispers into the Don's ear that he wants to talk to him.





VITO CORLEONE



I'll take care of it.



(to Tom)



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





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





CUT TO:







Michael and Kay's table at the reception





MICHAEL



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



Oh!



(noticing Fredo)



How are you, Fredo?



(then)



Fredo ? my brother Fredo ? this is Kay Adams





KAY



Oh, hi





FREDO



How'ya doing?



(after Fredo kisses Kay on the cheek)



This is my brother, Mike.





MICHAEL



Are you having a good time?





FREDO



Huh? yeah...



(then)



This your friend, huh?





CUT TO:







Johnny Fontane in the Don's office ? DAY





JOHNNY



I don't know what to do. My voice is ? is weak. It's weak. Anyway, uh, if I ha d
this part in the picture, ya'know, it puts me right back up on top again. But
this, uh ? this man out there, he won't give it to me; the head of the studio.






VITO CORLEONE



What's his name?





JOHNNY



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





CUT TO:







Tom looking for Sonny inside the house





TOM



(at the bottom of the stairs)



Sonny? Sonny?





Sonny and Lucy are going at it, standing against a door in an upstairs bedroom.
Tom goes upstairs, then knocks on the bedroom door.





TOM



Sonny? Sonny you in there?





SONNY



(stopping the action)



What?





TOM



Your old man wants to see you.





SONNY



Yeah, one minute.





Tom smiles, and walks away, as Sonny and Lucy continue.





CUT TO:







OUTSIDE





A woman singing Italian song, opera-like, on the stage.





CUT TO:







The Don's office





JOHNNY



(as Tom quietly enters the Don's office)



A month ago he bought the movie rights to this book. A bestseller ? and the main
character, it's a guy just like me. I uh ? I wouldn't even have to act ? just be
myself. Oh, godfather, I don't know what to do. I don't know what to do.





VITO CORLEONE



You can act like a man!



(after the Don slaps him on the face)



What's the matter with you? Is this how you turned out? A Hollywood...?.... that
ah cries like a woman?



(imitating Johnny)



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



(then)



What is that nonsense? Ridiculous.





Sonny enters the room.





VITO CORLEONE



(to Johnny, after glancing to see Sonny enter)



You spend time with your family?





JOHNNY



Sure I do.





VITO CORLEONE



(to Johnny, but toward and about Sonny)



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



(to Johnny)



Come're.



(then)



You look terrible. I want you to eat. I want you to rest a while. And in a month
from now, this ? Hollywood bigshot's gonna give you what you want.





JOHNNY



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





VITO CORLEONE



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



(then)



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





JOHNNY



(exiting)



All right





VITO CORLEONE



(after Johnny exits)



Well...





CUT TO:







OUTSIDE





The cake comes out. Nazorine, the baker, takes a proud bow. The Tarantella plays
again.





CUT TO:







The Don's office





VITO CORLEONE



What time does my daughter leave with the bridegroom?





TOM



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



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



Now you're new son-in-law; give him something important?





VITO CORLEONE



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





TOM



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





VITO CORLEONE



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





TOM



(laughing)



When am I going to California?





VITO CORLEONE



Want you to go tonight; I want you to talk to this ? movie bigshot, and settle
this business for Johnny. Now, if there's nothing else, I'd like to go to my
daughter's wedding.





CUT TO:







OUTSIDE





Family portrait scene in the yard the clinking glasses have stopped.





MAMA



(seeing Carlo and Connie kissing)



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





MICHAEL



(as he goes to get Kay for the photo)



Wait a minute...





KAY



No, Michael, not me.





PHOTOGRAPHER



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





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





CUT TO:







Tom arriving in Hollywood ? DAY





By plane, takes a cab, then walks by foot through Woltz International Studios.
Music: "Manhattan Serenade" plays.





WOLTZ



(who's just walked toward Tom)



All right, start talking.





TOM



Uh, I was sent by a friend of Johnny Fontane's ? His friend is my client, who' d
give his undying friendship to Mr. Woltz, if Mr. Woltz would grant us a small
favor.





WOLTZ



Woltz is listening.





TOM



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





WOLTZ



(laughs)



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





TOM



You're gonna have some union problems; my client could make then disappear.
Also, one of your top stars has just moved from ah marijuana to heroin...





WOLTZ



Are you trying to muscle me?





TOM



Absolutely not.





WOLTZ



Now listen to me, you smooth-talking son-of-a-bitch! Let me lay it on the line
for you and your boss, whoever he is. Johnny Fontane will never get that movie!
I don't car e how many ? daigo guinea WOP greaseball gumbahs come out of the
woodwork!





TOM



I'm German-Irish...





WOLTZ



Well let me tell you something my Kraut Mick friend, I'm gonna make so much
trouble for you, you won't know what hit you!





TOM



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





WOLTZ



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





TOM



I have a special practice; I handle one client ? Now you have my number; I'll
wait for your call ? by the way, I admire your pictures very much.





Tom shakes Woltz' hand, then leaves.





WOLTZ



(to a staff member)



Check him out...





CUT TO:







LATER ? EARLY EVENING





Tom and Woltz walking around Woltz' estate. "Manhattan Serenade" plays again.






TOM



This is really beautiful.





WOLTZ



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





TOM



Oh, yeah; very nice.





WOLTZ



Why didn't you say you worked for Corleone, Tom? I thought you were just some c
heap two-bit hustler Johnny was running in trying to bluff me.





TOM



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





WOLTZ



How's your drink, Tom?





TOM



Fine





WOLTZ



Hey, come on over here with me; I wanna show you something really beautiful. You
do appreciate beauty, don't you?



(then)



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



(toward the horse)



Khartoum. Khartoum.



(to Tom)



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





TOM



He's beautiful.





WOLTZ



(to stablehand)



Thanks, Tony.





TONY



You're welcome...





WOLTZ



(to Tom)



Let's get something to eat, huh?





CUT TO:







INT. WOLTZ'HOUSE ? EARLY EVENING





Woltz' dinner table.





TOM



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





WOLTZ



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





TOM



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





WOLTZ



You don't understand. Johnny Fontane never gets that movie. That part is perfect
for him; it'll make him a big star. And I'm gonna run him out of the business,
and let m e tell you why.



(after he stands)



Johnny Fontane ruined one of Woltz International's most valuable proteges. For
five years we had her under training. Singing lessons; acting lessons, dancing
lessons. I spent hundreds of thousands of dollars on her. I was gonna make her a
big star! And let me be even more frank, just to show you that I'm not a
hard-hearted man, and it's not all dollars and cents. She was beautiful; she was
young, she was innocent. She was the greatest piece of ass I ever had, and I
had'em all over the world! And then Johnny Fontane comes along with his
olive-oil voice, and guinea charm. And she runs off. She threw it all away just
to make me look ridiculous! And a man in my position can't afford to be made to
look ridiculous ! Now you get the hell outta here! And if that gumbah tries any
rough stuff, you tell him I ain't no band leader! Yeah, I heard that story...





TOM



Thank you for the dinner and a very pleasant evening. If your car could take me
to the airport; Mr. Corleone is a man who insists on hearing bad news
immediately.





Tom nods, then exits.





CUT TO:







pan of exterior of Woltz' estate ? DAWN





Music is a variation of the Title Theme, then we see the interior of Woltz'
bedroom. Woltz awakens in a pool of blood, and finds Khartoum's severed head in
his bed; and SCREAMS ah - ah - ah - ah - ah!





CUT TO:







closeup of Vito Corleone's face





He nods.





VITO CORLEONE



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





TOM



No, no. I slept on the plane.



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



I have the Sollozzo notes here. Now ? Sollozzo is known as 'The Turk.' He's
supposed to be very good with a knife, but only in matters of business or some
sort of reasonable complaint. Uh, his business is narcotics. He has fields in
Turkey where they grow the poppy. And in Sicily he has the plants to process
them into heroin. Now ? he needs cash, and he needs protection from the police,
for which he gives a piece of the action ? I couldn't find out how much. The
Tattaglia family is behind him here in New York. Now they have to be in it for
something.





CUT TO:







Sonny introducing himself to Sollozzo ? DAY





Shaking hands.





SONNY



Sonny Corleone...





CUT TO:







Back to Don, Sonny and Tom before the meeting ? evening





VITO CORLEONE



What about his prison record?





TOM



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





VITO CORLEONE



Santino? Whattaya think?





SONNY



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





VITO CORLEONE



Tom?





TOM



(Sollozzo scenes still intercut)



Well, I say yes. There's more money potential in narcotics than anything else
we're looking at. Now if we don't get into it, somebody else will. Maybe one of
the Five Families, maybe all of them. Now with the money they earn, they can buy
more police and political power; then they come after us. Now we have the
unions, we have the gambling; an' they 're the best things to have. But
narcotics is a thing of the future. An' if we don't get a piece of that action,
we risk everything we have ? I mean not now, but ah ten years from now .





SONNY



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





CUT TO:







Sollozzo meeting in Don Corleone's Genco office ? DAY





Scene includes the Don, Sollozzo, Tom, Sonny, Fredo, Clemenza, and Tessio
sitting in Room #2.





SOLLOZZO



Bene. Don Corleone. I need a man who has powerful friends. I need a million dol
lars in cash. I need, Don Corleone, those politicians that you carry in your
pocket, like so many nickels and dimes.





VITO CORLEONE



What is the interests for my family?





SOLLOZZO



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





VITO CORLEONE



And what is the interest for the Tattaglia Family?





SOLLOZZO



(to Tom)



My compliments.



(to Don Corleone)



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





VITO CORLEONE



So I receive thirty percent for finance ? political influence, and legal
protection, that's what your telling me?





SOLLOZZO



That's right





VITO CORLEONE



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





SOLLOZZO



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





VITO CORLEONE



(gets up to pour Sollozzo another drink)



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



(after sitting)



But uh, I must say no to you ? and I'll give you my reasons. It's true, I have a
lot of friends in politics, but they wouldn't be friendly very long if they knew
my business w as drugs instead of gambling, which they rule that as a ? harmless
vice. But drugs is a dirty business.





SOLLOZZO



Don Corleone...





VITO CORLEONE



It ? makes ? it doesn't make any difference to me what a man does for a living,
understand. But your business is ah ? a little dangerous.





SOLLOZZO



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





SONNY



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





VITO CORLEONE



(to Sonny)



Wait a minute...





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





VITO CORLEONE



(to Sollozzo)



I have a sentimental weakness for my children, and I spoil them as you can see;
they talk when they should listen. But, anyway, Signor Sollozzo, my no is final,
and I wish to congratulate you on your new business, and I hope you do very
well. and good luck to you ? as best as your interests don't conflict with my
interests. Thank you.





The group begins to leave the room: Sollozzo, Clemenza, Tessio, Fredo.





VITO CORLEONE



Santino, come're. Whattsa matter with you? I think your brain is going soft fro
m all that comedy your playing with that young girl. Never tell anybody outside
the family what you're thinking again!



(then)



Go on...



(after Sonny exits)



Tom...



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



What ? what is this nonsense?





TOM



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





VITO CORLEONE



Ah ? Well, take it away.





TOM



(to person holding flowers)



Take it over there.





VITO CORLEONE



And uh, tell Luca Brasi to come in.





CUT TO:







Luca sits down in front of the Don ? DAY





We hear scary Luca-like music.





VITO CORLEONE



I'm a little worried about this Sollozzo fella. I want you to find out what he'
s got under his fingernails, ya'know. Go to the ah Tattaglia's, and ah, make
them think that ah you're ? you're not too happy with our family and ? and ah
find out what you can.





FADE IN:







EXT. BEST & CO ? DAY





Michael and Kay Christmas shopping. "Have Yourself A Merry Little Christmas" is
playing.





KAY



I got something ? I got something for your mother, and for Sonny, and a tie for
Freddy, and Tom Hagen got the Reynolds pen...





MICHAEL



And what do you want for Christmas?





KAY



Me? Oh, just you.





CUT TO:







Luca Brasi getting ready for his meeting ? NIGHT





Putting on his vest and checking his gun.







INT. HOTEL ROOM ? DAY





Mike and Kay are in a hotel room bed. The phone rings, and Kay picks up.





VOICE ON THE PHONE



Good afternoon, it's 3 o'clock





KAY



(into phone)



Thank you....



(to Michael, after hanging up the phone)



Michael, it's 3 o'clock





MICHAEL



(barely awake)



Wha?





KAY



(laughs)



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





MICHAEL



Why do we have to?





KAY



(laughing)



Because we have to, ya know.





MICHAEL



If we go to my father's house ?





KAY



Uh-huh...





MICHAEL



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





KAY



(laughs)



Why not?





MICHAEL



Because they're in separate rooms.





KAY



(laughs)



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





MICHAEL



Okay...





KAY



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





MICHAEL



I can't do that...





KAY



Then Michael, get outta bed.





MICHAEL



We'll go tomorrow...





KAY



Michael, they're expecting us!





MICHAEL



Oh, Kay ? get the phone...





KAY



What are you gonna do?





MICHAEL



Just get the phone...





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





OPERATOR



(over the phone)



Yes, may I help you?





MICHAEL



(into phone)



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





KAY



What are you doing? ? What are you doing?





MICHAEL



(to Kay)



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



(after Kay laughs)



Come on...





KAY



(laughing)



I can't do this.





MICHAEL



You gotta ? come on...





TOM'S VOICE



(over phone)



Hello?





KAY



(pretending to be an operator, into phone)



Hello, this is long distance calling ? I have a collect call from Mr. Michael
Corleone ? um, will you accept the charges?





TOM'S VOICE



(over phone)



Yes...





KAY



(pretending to be an operator, into phone)



One moment, please...





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





MICHAEL



(into phone)



Hello?





TOM'S VOICE



Hello?





MICHAEL



(into phone)



Hello, Tom, how are you?





TOM'S VOICE



Hi, Mike, how are you?





MICHAEL



(into phone)



Listen ? we're up in New Hampshire still ? we're gonna drive down tomorrow mo
rning...





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





TOM



Is there anything I can do for you?





MICHAEL'S VOICE



No, ah ? we're fine. Now, I'm ? I'm gonna see you Christmas ? everybody's go in'
out to the mall?





TOM'S VOICE



Right...





MICHAEL



Okay...





TOM'S VOICE



Right, Mikey...





MICHAEL



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



Bye, Tom...





CUT TO:





Don Corleone's office on Mott Street ? early evening





VITO CORLEONE



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





FREDO



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





VITO CORLEONE



Huh?!





FREDO



(exiting)



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





The office manager helps the Don with his coat.





VITO CORLEONE



(to office manager)



Buon nateli, Dano. Grazie





CUT TO:







Luca Brasi walking down hallway to the bar ? night





CUT TO:







Luca Brasi's meeting at Tattaglia's bar ? night





BRUNO TATTAGLIA



Luca, I'm Bruno Tattaglia.





LUCA



I know





BRUNO TATTAGLIA



Su bequero Scotch? Pre-war...





LUCA



Io no bib' "I don't drink".





SOLLOZZO



You know who I am?





LUCA



(in Italian)



I know you.





SOLLOZZO



(in Italian)



You have been talking to the Tattaglia family... right? I think you and I can do
business. I need someone strong like you. I heard you are not happy ? with the
Corleone family. Want to join me?.





LUCA



(in Italian)



What's in it for me?.





SOLLOZZO



(in Italian)



$50,000 ? to start with..





LUCA



(in Italian)



Not bad.





SOLLOZZO



(offering his hand to Luca; in Italian)



Agreed?





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





LUCA



Grazie.





Bruno grabs Luca's hand to the bar, Sollozzo rams a knife into it, and Luca is
garroted by an unidentified buttonman.





CUT TO:







EXT. CITY STREET ? EARLY MORNING





Sollozzo kidnaps Tom Hagen on the city street while Tom's Christmas shopping.





Tom is carrying a sled and some tied-up boxes. "Santa Claus Is Coming To Town"
is playing.





SOLLOZZO



Tom! Tom Hagen! Merry Christmas!



(after Tom nods)



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





TOM



Well I haven't got time





SOLLOZZO



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



(then)



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



(then)



Get in.





DISSOLVE TO:







The Don and Fredo leaving the Genco office ? late afternoon





VITO CORLEONE



Aspetta, Fredo; I'm gonna buy some fruit aspetta ? wait.





FREDO



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



Okay, Pop





VITO CORLEONE



(to merchant)



Hi, merry Christmas; I wan some fruit over there. What is this? Gimme three. And
that one...





After the don gets some oranges and a green pepper, he hears footsteps , then
running. He begins to run toward the car, he stumbles and falls onto the car.
The shooters shoot about 10 shots at him. The Don screams Uh!, falls over, the
assassins run, and the Don falls to the curb.





FREDO



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



I can't ? I can't ? Papa!!





CUT TO:







EXT. RADIO CITY MUSIC HALL ? EVENING





Michael and Kay walking outside of Radio City Music Hall, which is showing Leo
McCarey's "The Bells of St. Mary's" which Michael and Kay just saw. Music
playing is "Bells of St. Mary's".





KAY



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





MICHAEL



(after pausing)



No.





KAY



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





MICHAEL



Now that's a thought...





KAY



(shaken)



Michael...





MICHAEL



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





KAY



(upset)



Michael...





MICHAEL



What's the matter?





KAY



Michael...





They walk back to a newsstand they just passed, and Michael picks up The Daily
Mirror which has the headline: "VITO CORLEONE FEARED MURDERED". He flips the
pages to reveal an inside article: "Assassins Gun Down Underworld Chief".





MICHAEL



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





They run across the street to a phone booth to call Sonny, as "Mystery Music"
plays, an excerpt from the Title Theme.





MICHAEL



(into the phone)



Sonny ? Michael.





SONNY'S VOICE



(over the phone)



Michael, where you been?





MICHAEL



(into the phone)



Is he all right?





SONNY'S VOICE



(over the phone)



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



(after a sigh)



He was hit bad, Mikey...



(then)



Are you there?





MICHAEL



(into the phone)



Yeah, I'm here.





SONNY'S VOICE



(over the phone)



Where you been? I was worried.





MICHAEL



(into the phone)



Didn't Tom tell you? I called.





SONNY'S VOICE



(over the phone)



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





MICHAEL



(into the phone)



Alright...





CUT TO:







INT. SONNY'S HOUSE ? NIGHT





Just after talking to Michael on the phone. Sonny hangs up.





SANDRA



(sadly hugging Sonny)



Oh my God...





There's a loud crash heard off screen from outside the house.





SANDRA



(as the baby starts to cry)



Oh! Sonny!





Sonny searches for and finds his gun from a drawer.





SONNY



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



Get back ? go.



(to the door)



Who is it?





CLEMENZA'S VOICE



(through the door)



Open up ? It's Clemenza.





SONNY



(after letting him in)



What?





CLEMENZA



(entering)



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





SONNY



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





CLEMENZA



(after being pushed up against the wall)



Jesus Christ; take it easy ? take it easy





SONNY



Where was Paulie?





CLEMENZA



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





SONNY



How many times has he been sick?





CLEMENZA



Only maybe three or four times. I mean ?





SONNY



3, 4 times?





CLEMENZA



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





SONNY



Listen, do me a favor, pick him up right now, I don't care how sick he is. If
he's breathing, I want you to bring him to my father's house. Now, you
understand? Now.





CLEMENZA



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





SONNY



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





Clemenza leaves.





SONNY



(to Sandra, who's holding the crying baby)



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





Sonny's phone rings, and he picks up.





SONNY



(into the phone)



Hello?





SOLLOZZO'S VOICE



(over the phone)



Santino Corleone?





SONNY



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



Yeah...





SOLLOZZO'S VOICE



(over the phone)



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





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





SOLLOZZO'S VOICE



(over the phone, continues)



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



(then)



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





SONNY



(into the phone)



No, I'll wait...





Sollozzo hangs up, then Sonny hangs up.





CUT TO:







INT. An abandoned diner ? NIGHT





Sollozzo with kidnapped Tom Hagen.





SOLLOZZO



(drinking coffee, to Tom)



Your boss is dead. I know you're not in the muscle-end of the family, Tom, so I
don't want you to be scared. I want you to help the Corleone's, and I want you
to help me.



(handing Tom a drink)



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




(then)



Drink it.



(then)



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



(then)



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





TOM



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





SOLLOZZO



That'll be his first reaction, sure. That's why you gotta talk some sense into
him. The Tattaglia family is behind me with all their people. The other New York
Families will go along with anything that will prevent a full-scale war. Let's
face it, Tom, and all due respect, the Don, rest in peace, was ? slippin'. Ten
years ago could I have gotten to him?



(then)



Well ? now he's dead. He's dead, Tom, and nothing can bring him back. So you
gotta talk to Sonny, you gotta talk to the caporegimes, that Tessio and Fat
Clemenza.



(then)



It's good business, Tom.





TOM



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





SOLLOZZO



Yeah, well, let me worry about Luca.



(then)



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





TOM



I'll to my best.





SOLLOZZO



Good. Now, you can go.



(while walking out)



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





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





SOLLOZZO



He's still alive. They hit 'em with five shots, and he's still alive! Well that'
s bad luck for me, and bad luck for you if you don't make that deal!





CUT TO:







Michael arrives at Corleone compound ? NIGHT





A car drop him off at the gate, and he goes inside, seeing family and friends.






CLEMENZA



(sitting with his wife, stands to greet Michael)



Mike ? Your mother's over in the hospital with your father; looks like he's
gonna pull through, thank God.





CUT TO:







The Don's office ? NIGHT





With Sonny, Tom, Mike, Tessio, & Clemenza.





SONNY



(b.g., to Tom)



Whattaya think ?





TOM



(b.g., to Sonny)



Too much...





SONNY



(b.g., to Tom)



Huh?





CLEMENZA



(b.g., to Tessio)



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





TOM



(b.g., to Sonny)



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





MICHAEL



(to Clemenza)



You kill all those guys?





SONNY



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





TOM



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





SONNY



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





TOM



Has anyone been able to get in touch with Luca?





CLEMENZA



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





SONNY



Hey, Mick, do me a favor ?





TOM



(b.g., to Clemenza)



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






SONNY



(to Michael)



? try ringing him...



(to Tom)



Well, Tom ? you're consiglieri, now what do we do if the old man dies, God for
bid.





TOM



If we lose the old man ? we lose our political contacts and half our strength.
The other New York Families might wind up supporting Sollozzo just to avoid a
long ? destructive war. This is almost 1946, nobody wants bloodshed anymore. If
your father dies...



(then)



... you make the deal, Sonny.





SONNY



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





TOM



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





knock on door.





SONNY



What is it?





Paulie enters.





CLEMENZA



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





PAULIE



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





SONNY



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





PAULIE



(to Sonny, after Tessio exits)



You want me to hang around?





SONNY



Yeah, hang around. You all right?





PAULIE



Yeah, I'm fine





SONNY



Yeah? ?





Paulie coughs, perhaps deliberately.





SONNY



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





PAULIE



Nah, it's alright ? thanks...





SONNY



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





PAULIE



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





SONNY



Yeah, right.



(to Clemenza, after Paulie exits)



I want you to take care of that sonofabitch right away. Paulie sold out the old
man, that stronz'. I don't want to see him again. Make that first thing on your
list, understand?





CLEMENZA



Understood.





SONNY



Hey, Mickey, tomorrow ? get a couple of guys, you go over to Luca's apartment;
hang around, waitin' for him to show up...





TOM



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





SONNY



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




(then)



Try Luca again ? go'head





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





SONNY



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



What the hell is this?





CLEMENZA



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





Michael hangs up the phone.





CUT TO:







Clemenza leaves his house ? morning





Some boys are playing, one is pushing the other in a toy car as the latter yells
"ah!".





CLEMENZA



(to his wife, on his front stoop)



I'm goin' now...





MRS. CLEMENZA



(standing in the door)



What time will you be home tonight?





CLEMENZA



(walking to the car)



I don't know, probably late.





MRS. CLEMENZA (O.S.)



Don't forget the cannoli!





CLEMENZA



(getting into the car, as is Rocco)



Yeah, yeah, yeah, yeah...





PAULIE



(in the driver's seat)



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





CLEMENZA



That Sonny's runnin' wild. He's thinkin'a going to the mattresses already. We g
otta find a spot over on the West Side. Ya try ? 309 West 43rd Street. You know
any gooda spots on the West Side?





PAULIE



Yeah, I think about it.





CLEMENZA



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



(then)



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





CUT TO:







Driving under the El Tracks ? day





CLEMENZA'S VOICE



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





PAULIE'S VOICE



Yeah...





CLEMENZA'S VOICE



(continuing)



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





PAULIE'S VOICE



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





CLEMENZA'S VOICE



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





PAULIE'S VOICE



They're clean. They told me they exterminate them .





CLEMENZA'S VOICE



(as Rocco laughs)



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





PAULIE'S VOICE



You think that's funny, or what?





CLEMENZA'S VOICE



(laughs with Rocco)



Hey, Paulie ?



(in Italian)



Did you fart?.





PAULIE'S VOICE



Hey, Rocco, what did you do?





ROCCO'S VOICE



(laughs)



Not me ? nothin' ? it wasn't me





PAULIE'S VOICE



(laughs)



It's gotta be him, then...





CLEMENZA'S VOICE



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





Paulie pulls over, and Clemenza gets out to relieve himself. Rocco shoots Paulie
three times as we hear a variation of the "Title Theme" music.





CLEMENZA



Leave the gun. Take the cannoli.





CUT TO:





Outside the Don's kitchen ? DAY





Michael is sitting on a bench.





CLEMENZA'S VOICE (O.S.)



Hey, Mike! Hey, Mikey?





MICHAEL



Yeah?





CLEMENZA'S VOICE (O.S.)



You're wanted on the telephone.





MICHAEL



(entering the kitchen)



Who is it?





CLEMENZA



Some girl... the music ends.





MICHAEL



(into phone)



Hello, Kay?





KAY'S VOICE



(over the phone)



How's your father?





MICHAEL



(into the phone)



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





KAY'S VOICE



(over the phone)



I love you.





MICHAEL



(into the phone)



Huh?





KAY'S VOICE



(over the phone, louder)



I love you.



(then)



Michael?





MICHAEL



(into the phone)



Yeah, I know.





KAY'S VOICE



(over the phone)



Tell me you love me...





MICHAEL



(into the phone)



I can't talk...





KAY'S VOICE



(over the phone)



Can't you say it?





MICHAEL



(into the phone)



Eh ? I'll see you tonight.





KAY'S VOICE



Okay





Michael hangs up the phone.





CLEMENZA



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



(in an exaggerated Italian accent)



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




(laughs)



Heh, come over here, kid, learn something. You never know, you might have to
cook for twenty guys someday. You see, you start out with a little bit of oil.
Then you fry some garlic. Then you throw in some tomatoes, tomato paste, your
fry it; ya make sure it doesn't stick. You get it to a boil; you shove in all
your sausage and your meatballs; heh?... And a little bit o'wine. An a little
bit o'sugar, and that's my trick.





SONNY



(after entering the kitchen)



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



(then)



How's Paulie?





CLEMENZA



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





SONNY



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



Where you going?





MICHAEL



To the city.





SONNY



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





MICHAEL



... no, I'm just going to the hospital to see pop.





SONNY



Never mind; send somebody with him





CLEMENZA



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





SONNY



Alright; be careful, huh?





MICHAEL



(as he exits)



Yes, sir...





SONNY



Send somebody with him, anyway...





Clemenza chuckles.





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