Robert Duvall, Al Pacino, Diane Keaton
_____________________________________________
One of my favorite scenes, at Don Corleone's funeral, in Godfather 1
TOM (after Michael sits besides him again)Do you know how they're gonna come at you?
MICHAELThey're arranging a meeting in Brooklyn. Tessio's ground, where I'll be "safe"
TOMI always thought it would've been Clemenza, not Tessio...
MICHAEL It's a smart move -- Tessio was always smarter. But I'm gonna wait -- after the baptism. I've decided to be Godfather to Connie's baby. And then I'll meet with Don Barzini -- and Tattaglia -- all of the heads of the Five Families...
_____________________________________________
The Godfather 2 is just about my favorite movie. Both I and II have much to recommend them, and even III, which I disliked for many years, is not as bad as I initially thought when it came out (you can definitely call that one a sequel, in the worst sense of the word). 2, however, is often recognized as the best movie sequel of all time. Actually, the film is half sequel and half prequel. The internet movie database (IMDB.COM) rates it as the 3rd best movie of all time (with The Godfather being No. 1). It is the only sequel ever to win Best Picture at the Academy Awards (although some consider The Return of The King a sequel--really, 'though, it was the third part of one Big Movie).
The Godather (1) includes this spooky exchange between Tom Hagen and Salvatore Tessio. Michael Corleono and Tom Hagen have discovered that Tessio is a traitor. This dialogue and vid-cap show the moment he knows they know. And that he will be killed.
TESSIO: Tell Mike it was only business. I always liked him.
TOM HAGEN: He understands that.
TESSIO: ...Tom, can you get me off the hook? For old time's sake?
TOM HAGEN: Can't do it, Sally.
Hagen and Corleone at Don Corleone's funeral
One of my favorite characters in I and II is Robert Duvall's Tom Hagen. According to the backstory (which you can only really elicit through the novel), Hagen first encountered the eleven-year-old Sonny Corleone in the winter of 1927, according to the film's timeline.
Sonny and two older boys had wandered into a dangerous alley in the Irish part of Hell’s Kitchen, an alley in which Hagen was hiding. They encountered a man selling switchblades and tried to buy one. The man pulled a knife and dragged Sonny into the alley, while the other two boys ran. Hagen knew that this man was mentally unbalanced and would often drag young boys into the alley, make them perform oral sex on him, and then kill them. Hagen grabbed a board with a nail sticking out of it and brought it down on the back of the man’s head, impaling and killing him. Sonny and Hagen looked at each other and laughed nearly to the point of tears. They introduced themselves to each other, and walked away from the alley together, arms looped around each other’s shoulders.
Sonny asked about the eye infection, and about Hagen’s parents. Hagen just said his mother was dead and his father was gone. Sonny took him home and persuaded his father to take him into the family. Although the Don never formally adopted him, thinking that this would have been an act of disrespect to Hagen's parents, Hagen thought of Vito Corleone as his true father. Hagen, of course, eventually becomes the consiglieri of the Corelone crime family.
The opening scenes in The Godfather Part II:
The opening scenes in The Godfather Part II:
from THE GODFATHER PART II
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 her 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
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: 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.
That's right.
MICHAEL
Now why would I ever consider paying more than that?
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.
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.
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.
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.
---o0o---
