El Padrino 3 Critical Thinking


“The Godfather” is told entirely within a closed world. That’s why we sympathize with characters who are essentially evil. The story by Mario Puzo and Francis Ford Coppola is a brilliant conjuring act, inviting us to consider the Mafia entirely on its own terms. Don Vito Corleone (Marlon Brando) emerges as a sympathetic and even admirable character; during the entire film, this lifelong professional criminal does nothing of which we can really disapprove.

During the movie we see not a single actual civilian victim of organized crime. No women trapped into prostitution. No lives wrecked by gambling. No victims of theft, fraud or protection rackets. The only police officer with a significant speaking role is corrupt.

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The story views the Mafia from the inside. That is its secret, its charm, its spell; in a way, it has shaped the public perception of the Mafia ever since. The real world is replaced by an authoritarian patriarchy where power and justice flow from the Godfather, and the only villains are traitors. There is one commandment, spoken by Michael (Al Pacino): “Don’t ever take sides against the family.”

It is significant that the first shot is inside a dark, shuttered room. It is the wedding day of Vito Corleone’s daughter, and on such a day a Sicilian must grant any reasonable request. A man has come to ask for punishment for his daughter’s rapist. Don Vito asks why he did not come to him immediately.

“I went to the police, like a good American,” the man says. The Godfather’s reply will underpin the entire movie: “Why did you go to the police? Why didn’t you come to me first? What have I ever done to make you treat me so disrespectfully? If you’d come to me in friendship, then this scum that ruined your daughter would be suffering this very day. And if, by chance, an honest man like yourself should make enemies . . . then they would become my enemies. And then they would fear you.”

As the day continues, there are two more scenes in the Godfather’s darkened study, intercut with scenes from the wedding outside. By the end of the wedding sequence, most of the main characters will have been introduced, and we will know essential things about their personalities. It is a virtuoso stretch of filmmaking: Coppola brings his large cast onstage so artfully that we are drawn at once into the Godfather’s world.

The screenplay of “The Godfather” follows no formulas except for the classic structure in which power passes between the generations. The writing is subtly constructed to set up events later in the film. Notice how the request by Johnny Fontane, the failing singer, pays off in the Hollywood scenes; how his tears set up the shocking moment when a mogul wakes up in bed with what is left of his racehorse. Notice how the undertaker is told “someday, and that day may never come, I will ask a favor of you. . .” and how when the day comes the favor is not violence (as in a conventional movie) but Don Vito’s desire to spare his wife the sight of their son’s maimed body. And notice how a woman’s “mistaken” phone call sets up the trap in which Sonny (James Caan) is murdered: It’s done so neatly that you have to think back through the events to figure it out.

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Now here is a trivia question: What is the name of Vito’s wife? She exists in the movie as an insignificant shadow, a plump Sicilian grandmother who poses with her husband in wedding pictures but plays no role in the events that take place in his study. There is little room for women in “The Godfather.” Sonny uses and discards them, and ignores his wife. Connie (Talia Shire), the Don’s daughter, is so disregarded that her husband is not allowed into the family business. He is thrown a bone--”a living”--and later, when he is killed, Michael coldly lies to his sister about what happened.

The irony of the title is that it eventually comes to refer to the son, not the father. As the film opens Michael is not part of the family business, and plans to marry a WASP, Kay Adams (Diane Keaton). His turning point comes when he saves his father’s life by moving his hospital bed, and whispers to the unconscious man: “I’m with you now.”

After he shoots the corrupt cop, Michael hides in Sicily, where he falls in love with and marries Appolonia (Simonetta Stefanelli). They do not speak the same language; small handicap for a Mafia wife. He undoubtedly loves Appolonia, as he loved Kay, but what is he thinking here: that he can no longer marry Kay because he has chosen a Mafia life? After Appolonia’s death and his return to America, he seeks out Kay and eventually they marry. Did he tell her about Appolonia? Such details are unimportant to the story.

What is important is loyalty to the family. Much is said in the movie about trusting a man’s word, but honesty is nothing compared to loyalty. Michael doesn’t even trust Tom Hagen (Robert Duvall) with the secret that he plans to murder the heads of the other families. The famous “baptism massacre” is tough, virtuoso filmmaking: The baptism provides him with an airtight alibi, and he becomes a godfather in both senses at the same time.

Vito Corleone is the moral center of the film. He is old, wise and opposed to dealing in drugs. He understands that society is not alarmed by “liquor, gambling . . . even women.” But drugs are a dirty business to Don Vito, and one of the movie’s best scenes is the Mafia summit at which he argues his point. The implication is that in the godfather’s world there would be no drugs, only “victimless crimes,” and justice would be dispatched evenly and swiftly.

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My argument is taking this form because I want to point out how cleverly Coppola structures his film to create sympathy for his heroes. The Mafia is not a benevolent and protective organization, and the Corleone family is only marginally better than the others. Yet when the old man falls dead among his tomato plants, we feel that a giant has passed.

Gordon Willis’ cinematography is celebrated for its darkness; it is rich, atmospheric, expressive. You cannot appreciate this on television because the picture is artificially brightened. Coppola populates his dark interior spaces with remarkable faces. The front-line actors--Brando, Pacino, Caan, Duvall--are attractive in one way or another, but those who play their associates are chosen for their fleshy, thickly lined faces--for huge jaws and deeply set eyes. Look at Abe Vigoda as Tessio, the fearsome enforcer. The first time we see him, he’s dancing with a child at the wedding, her satin pumps balanced on his shoes. The sun shines that day, but never again: He is developed as a hulking presence who implies the possibility of violent revenge. Only at the end is he brightly lit again, to make him look vulnerable as he begs for his life.

The Brando performance is justly famous and often imitated. We know all about his puffy cheeks, and his use of props like the kitten in the opening scene. Those are actor’s devices. Brando uses them but does not depend on them: He embodies the character so convincingly that at the end, when he warns his son two or three times that “the man who comes to you to set up a meeting--that’s the traitor,” we are not thinking of acting at all. We are thinking that the Don is growing old and repeating himself, but we are also thinking that he is probably absolutely right.

Pacino plays Michael close to his vest; he has learned from his father never to talk in front of outsiders, never to trust anyone unnecessarily, to take advice but keep his own counsel. All of the other roles are so successfully filled that a strange thing happened as I watched this restored 1997 version: Familiar as I am with Robert Duvall, when he first appeared on the screen I found myself thinking, “There’s Tom Hagen.”

Coppola went to Italy to find Nino Rota, composer of many Fellini films, to score the picture. Hearing the sadness and nostalgia of the movie’s main theme, I realized what the music was telling us: Things would have turned out better if we had only listened to the Godfather.

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Transcribed by Matthew Hamill – Many, many thanks!
Edited by J. Geoff Malta for TheGodfatherTrilogy.com

 

 

<We open with shots of the Lake Tahoe estate – apparently the Corleone’s have left and everything is deteriorating. We come to a shot of New York with the Text Over reading: NEW YORK CITY, 1979. We hear Michael Corleone speaking…>

MICHAEL (OS)

"My dear children. It is now better than several years since I moved to New York, and I haven’t seen you as much as I would like to. I hope you will come to this ceremony of Papal Honors, given for my charitable work. The only wealth in this world is children, more than all the money and power on Earth. You are my treasure. Anthony and Mary, although I entrusted your education to your mother for your own best interests, you know how I look forward to seeing you, and to a new period of harmony in our lives…"

CUT TO: A church. Michael is receiving papal honors.

MICHAEL (OS)

"…Perhaps you might prevail upon your mother to come to this celebration, and then from time to time, we can all see each other at family functions. Anyway, I remain, your loving father."

<Archbishop Gilday speaks in Latin. Priests reply as the Archbishop leads the ceremony.>

CUT TO: To Scene from Godfather 2. Fredo is saying a Hail Mary in the fishing boat…

FREDO

Hail Mary full of grace, the Lord is with thee. Blessed art thou amongst women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners…

<As Fredo speaks we can still hear the Archbishop continuing in Latin. The gunshot fires and Michael, watching from the boathouse, bows his head.>

CUT TO: Church. Then back to lake, as Neri stands in fishing boat. Then back to church.

ARCHBISHOP GILDAY

Almighty God. Bless the insignia of Saint Sebastian the martyr. That it may contribute to the sacredness of him to whom it is given.

<The cross is placed around Michael’s neck.>

ARCHBISHOP GILDAY

Do you, Michael, promise to be faithful to the noble purposes of this order, [here we see Joey Zasa and The Ant entering the church] to have a special care to the poor, the needy, and those who are ill?

MICHAEL

Yes I promise.

ARCHBISHOP GILDAY

In nomine Padris, fili, é Spiritus Sancti.

(he continues in Latin, then)

May the blessing of Almighty God, Father, Son, and Holy Spirit, descend upon you, and remain with you, forever.

CONGREGATION: Amen.

<Ceremony is ending. We see Kay entering with her husband, Douglas, and they shake hands with other guests. We see the kids, Mary and Tony. The congregation files out.>

CUT TO: Michael Corleone’s house in New York.

<A celebration party is underway. Connie is leading the singing of Eh Cumpari. Someone yells out "Don Altobello!" who’s sitting, singing, waving his cane. Vincent enters with his mother, Lucy Mancini. He is dressed in a leather jacket.>

LUCY

Vincent, our name’s not on the list.

VINCENT

Write it in. Mancini: M-A-N-C-I-N-I…

JOE

Hey, is there a problem here?

VINCENT

No problem, our name’s not on the list.

JOE

Hey, you’re not on the list, you’ll have to leave immediately. There’s no two ways about it!

<Vincent pushes Joe and the two begin to struggle.>

DAVE

Joe! Joe! It’s Vinnie. Vinnie, it’s Okay, these are our guests.

JOE

Sorry Dave.

DAVE

It’s all right.

JOE

Sorry, sorry.

(Then, to Vincent):

Hey Vinnie. Welcome to the party.

<Connie is still leading the singing. Joey Zasa and Anthony Squigliaro enter and poke fun by singing sarcastically ("za-zoom, za-zoom, za-zoom, za-zoom!"), halting everyone’s fun.. The room goes quiet as Zasa leaves. Connie manages to get the song going again. The party continues and we hear Kay introducing her son, Anthony, and her new husband, Douglas, to Don Altobello.>

ALTOBELLO

It’s good to see you.

KAY

It’s good to see you again. This is my husband; and this is my son…

ABBANDANDO (to reporters)

The order of Saint Sebastian is one of the highest honors the Catholic Church can bestow upon a layman. The award was first granted by Pope Gregory…

REPORTER (interrupting)

What about Mr. Corleone’s connections with Las Vegas gambling?

ABBANDANDO (continues)

Presskits have pictures of…

REPORTER (interrupting again)

What about his involvements with the underworld?

ABBANDANDO

Hey, cut the crap, huh? The Pope -- the Holy Father himself -- has this very day blessed Michael Corleone; and you think you know better than the Pope?

CUT TO: Vincent sitting, watching the party.

<A group of young girls are giggling behind him.>

GIRL

Vincent?

VINCENT

Yes?

GIRL

She loves you!

VINCENT

Yeah?

(then)

I love you, too!

<Mary Corleone walks over to Vincent.>

MARY

Hi Vincent. I remember you.

VINCENT

You remember me? From where?

MARY

From the last time we had a party together.

VINCENT

Did you come down to the club?

MARY

No, it was a wedding.

VINCENT

A wedding?

MARY

I was 8; and you were 15

VINCENT

Well I, I had a lot of girlfriends when I was 15.

MARY

8 year olds?

VINCENT

Especially 8 year olds!

CUT TO: Connie.

CONNIE

Where’s Mary? Would somebody please hail Mary. Excuse me your Excellency.

CUT: Back to Mary and Vincent.

MARY

You know? You haven’t kissed me hello yet. Relatives always kiss.

VINCENT (Laughs)

Oh, now we’re related?

MARY

I’m your little cousin.

VINCENT (thinking)

Who’s your father?

MARY

I’ll give you a hint: he’s Italian.

<They are interrupted by Abbandando.>

ABBANDANDO

Mary, Mary. We’ve been waiting for you. Remember – remember now, keep your voice low, right? And smile! Don’t forget to smile.

<Mary is led from Vincent into the main dining room. A fanfare welcomes her.Michael welcomes his guests in Italian.>

MICHAEL

…the honorary chairman of the Vito Corleone Foundation, my daughter, Mary Corleone.

<Applause.>

MARY

Thanks; I don’t think I inherited my father’s love for speech making, but here it goes. The Vito Corleone Foundation helps the impoverished of every country, gives grants to artists, funds medical research, and is particularly dedicated to the resurrection of Sicily. Archbishop Gilday, here is, $100,000,000 for the poor of Sicily in the name of Vito Corleone. Don’t spend it all in one place!

<Applause. Mary and Michael embrace. Mary walks over to where Kay is.>

KAY:

Mary – Mary, I’m so proud of you…

CUT TO: Archbishop Gilday with Michael

ARCHBISHOP GILDAY

Michael, you’ve done a wonderful thing for Sicily.

MICHAEL

Well, let’s just hope the money gets to the people who need it.

ARCHBISHOP GILDAY

Amen.

<We hear Johnny Fontane being introduced.>

FEMALE ANNOUNCER (OS)

We have some special folks to welcome you … a special surprise from Las Vegas; the most important part, Johnny Fontane!

JOHNNY

Thank you very much. I’m happy to be here with you, and I’d like you to join me in honoring Commendatore Michael Corleone.

<Applause. We see Michael and B.J. Harrison talking and walking across the room.>

JOHNNY

And I have something special for our host and Godfather: I just happen to know his favorite song. Michael, where you going? It’s your favorite song!

MICHAEL

Uh, I’m off here to the kitchen to hear some Tony Bennett records.

JOHNNY

It’s your favorite song – "Sausage" His Own

MICHAEL

That’s right; a sausage sandwich! I’ll be back.

<Johnny starts singing "To Each His Own".>

CUT TO: A room in the house. Kay is looking at old photos of the family on the wall. Michael enters with cake.

MICHAEL

Hello Kay.

KAY

Well congratulations, Michael, that’s really quite an honor. It’s a little expensive, wouldn’t you say?

MICHAEL

Cake?

KAY

No thank you.

MICHAEL

It’s been a long time, hasn’t it?

KAY

Uh huh. Yeah.

MICHAEL

Eight years.

KAY

Yeah.

MICHAEL

You look, wonderful

KAY

Your son has something he wants to talk to you about. I came here for him.

CUT TO: Michael’s office. Anthony is waiting. Michael enters, looking annoyed.

MICHAEL

What’s wrong with being a lawyer?

KAY

Nothing, except he doesn’t want it. He loves music, he wants his life to be in music.

MICHAEL

Well music is great. I love music. But he should finish what he started.

(then)

Anthony...

ANTHONY

I’m going my own way.

MICHAEL

Your own way?

ANTHONY

Mmm Hmm.

MICHAEL

Professional singer?

ANTHONY

That’s right.

MICHAEL

And what happens -- what happens if you fail?

ANTHONY

I won’t fail.

MICHAEL

Men always believe that.

ANTHONY

I know.

MICHAEL

If you have a Law degree, you’re taking out insurance. After that you can do whatever you want. You can work for me…

ANTHONY

I will never work for you. I have bad memories.

MICHAEL

Every family has bad memories.

ANTHONY

I will always be your son. But I will never have anything to do with your business.

MICHAEL

Anthony, finish the Law degree.

ANTHONY

No.

<Anthony leaves.>

KAY

Well, that he got from you. That "no."

MICHAEL

You could have helped me to convince him Kay.

KAY

Oh, convince him of what?

MICHAEL

Of what? He throws his life away. He throws greatness away.

KAY

This is greatness? You know Michael, now that you’re so respectable I think you’re more dangerous than you ever were. In fact, I preferred you when you were just a common Mafia hood.

MICHAEL

Kay, now can we talk common sense here?

KAY

All right.

MICHAEL

Okay.

KAY

Tony knows that you killed Fredo.

<This catches Michael off guard. He gathers himself.>

MICHAEL

What did you come here for?

KAY

I came here to protect my son. I didn’t come here to see you disguised by your church. I think that was a shameful ceremony.

MICHAEL

I spent my life protecting my son. I spent my life protecting my FAMILY!

KAY

Let’s be reasonable, Okay? That’s your big thing isn’t it Michael. Reason. Backed up by murder.

MICHAEL

Oh, God -- You hate me, you hate me.

KAY

No, I don’t hate you. I dread you.

MICHAEL

I did what I could Kay. To protect all of you, from the horrors of this world.

KAY

But you became my horror.

(Kay goes to leave, then)

The children still love you though. Especially Mary.

MICHAEL (sitting down)

That’s something. We can build on that, for their sake. Let’s try.

KAY

Only if you let Tony go free to have his own life. Away from you.

MICHAEL

I’ll let Tony go.

KAY

Thank you.

<Kay leaves Michael alone in his office.>

CUT TO: The party. Vincent approaches Grace Hamilton, a reporter who is in the process of fixing her tights.

VINCENT

Hi.

GRACE

Hi.

VINCENT (looking at Grace’s legs)

You could hurt somebody with those. You’ve been working too hard, let me show you around.

GRACE

Can you get me an interview with Michael Corleone?

VINCENT

Uh, no. I’m a relative but I can’t do that. What else can I do for you?

GRACE

Handsome but useless.

VINCENT

Oh yeah?

GRACE

That’s okay. I’ll gamble.

VINCENT

You like to gamble? Why don’t we go to Atlantic City? My town. I’ll show you how to gamble.

GRACE

Yeah, but I like to win. How will I know what numbers to pick?

VINCENT

Do I look okay like a guy who’s gonna lose?

GRACE

Well…

<Grace stops herself as she spots someone.>

GRACE

Spooky looking guy there. What is a guy like that doing at Michael Corleone’s house?

VINCENT

That’s Joey Zasa’s bulldog.

GRACE

You know that guy?

VINCENT

Yeah I know that guy. That guy’s name is Anthony Squigliaro. They call him The Ant. He dips his bullets in Cyanide.

CUT TO: Michael in his office, looking out the window.

<Altobello enters.>

MICHAEL

Don Altobello…

ALTOBELLO

I cam to pay my respects

<He hands Michael a wrapped gift.>

MICHAEL

Grazie.

(they kiss and embrace, then)

You honor my family’s friendship.

ALTOBELLO

Where is my goddaughter?

<Connie walks into view to kiss and embrace Don Altobello.>

Constanzia…

CONNIE

Don Altobello…

ALTOBELLO

It was not so long ago I held you in these old hands…

(then)

Michael…

<Michael invites Altobello to sit down [sounds like "Piachere? Cominar"].>

ALTOBELLO

No, I stand; I stand.

(then)

Michael, I lost all the venom, all the juice of youth. I lost the lust for women, and now my mind is clear. My duty to God is clear. I – I have a special favor to ask. Can I – Can I attach my name to the Vito Corleone Foundation so that you and I can be joined in name and spirit…

(Altobello rips a check from his checkbook)

One million dollars…

<Connie and Michael "awe">

CONNIE

Godfather…

MICHAEL

Don Altobello, you have such heart. Come; let’s go and sample some of Italy – vino.

CUT TO: Archbishop Gilday and B.J. Harrison

ARCHBISHOP GILDAY

The Vatican knows nothing of these shareholders…

HARRISON

Good; I have a tendency to worry. We’ve increased our position substantially and naturally I worry.

ARCHBISHOP GILDAY

Come along now, stop worrying. We have an agreement.

HARRISON

Good. How do you think I got this grey hair?

CUT TO: Michael, approached by some board member named Frank.

FRANK

Mr. Corleone…

MICHAEL

Frank, how are you?

FRANK

Thank you very much for your contribution to the Board’s swimming pool, and we need your help on Sam Wallace’s candidacy for judgeship.

MICHAEL

We always can use a good judge…

FRANK

Thank you

MICHAEL (to Andrew Hagan)

Andrew!

(then, to Archbishop Gilday)

Your Excellency, my Godson, Andrew Hagan – my brother Tom Hagan’s eldest boy. He’s been assistant to Bishop –

ANDREW

-- Bishop Greening --

MICHAEL

-- for years now. Hoping for an assignment to the Vatican.

ARCHBISHOP GILDAY

There’s always a place in Rome for a fine young priest.

CUT TO: Michael who is walking amongst his guests.

MICHAEL

His mother, Theresa Hagen.

(then, to Theresa)

Archbishop Gilday…

THERESA

Honored to meet you.

<Grace approaches Michael.>

GRACE

Mr. Corleone. Hi -- Grace Hamilton. Vincent Mancini promised that he’d tell you about me, that maybe you’d see me.

<Michael keeps walking, ignoring Grace.>

MICHAEL (to Al Neri)

Vincent Mancini called about her?

AL NERI

No…

<Abbandando approaches Grace.>

ABBANDANDO

Grace, you promised me you’d stay up there…

GRACE

I know.

ABBANDANDO

Twice.

GRACE

I know.

<As Michael goes behind the table, Al Neri comes up behind him.>

NERI

Joey Zasa showed up. We’ve got him waiting in the lobby. Says he wants to personally congratulate you and show his respect.

MICHAEL

Do I have to see him?

NERI

He says you’re hispatroneand he only wants a minute.

CUT TO: Connie sees Vincent coming towards her…

CONNIE

Hey Vinnie! Who’s your favorite Aunt?

VINCENT

You are.

CONNIE

Today I’m gonna talk to Michael about your little problem.

VINCENT

I wish you would have warned me Conn’, I could have worn a better suit.

CUT TO: Michael’s office. Joey Zasa is in with Michael.

ZASA

The Meucci Association has elected you, their Italian-American Man of the Year.

<Zasa hands Michael the award. Michael reacts to its heavy weight.>

MICHAEL

Meucci -- Who’s Meucci?

ZASA

He’s the Italian-American who invented the telephone. He did it one year before Alexander Graham Bell.

MICHAEL

Oh… And this is the reason you’ve come to my home on this day.

ZASA (to The Ant, in Italian)

[something like "go feed the fish"]

(then, to Michael)

I umm, got a stone in my shoe, Mr. Corleone. A two-bit punk who works for me. The one who, thinks he’s related to you. A bastard.

<Michael looks over to Neri.>

AL NERI

He’s here. Vincent Mancini. He’s at the party.

MICHAEL

Well bring him in.

ZASA

I think it’s good we talk.

<Zasa offers Michael a cigarette. Michael refuses and asks Zasa to sit down.>

(then)

I have a problem; and I want to find out if it is my problem, or your problem.

MICHAEL

Joe, your business is your business. I have no interests or percentage – I’m out…

ZASA

Good. Then it’s my problem.

<Vincent enters with Connie.>

CONNIE

Michael, you know Vincent Mancini -- Sonny’s boy.

VINCENT

How you doin’ Mr. Corleone?

MICHAEL

How you doing?

VINCENT

I’m doin’ good. How you doin’?

MICHAEL

Good.

VINCENT

Good party.

MICHAEL

Oh you like it?

VINCENT

Yeah, I had to sneak in.

MICHAEL

Well, you’re dressed for it.

<Vincent looks embarrassed, Zasa looks disgusted.>

MICHAEL

So, what’s the trouble between you and Mr. Joe Zasa?

VINCENT

There’s trouble. I’ll take care of it.

MICHAEL

That’s foolish of you.

VINCENT

Foolish of ME? It’s a little foolish of this guy, don’t you think? Right? RIGHT?

MICHAEL (to himself)

Temper like his father.

(then, to Vincent)

Vincent. Mr. Joe Zasa now owns what used to be the Corleone family business, in New York. Out of the kindness of his heart he gave you a job in his family. Contrary to my advice, you took the job. I’d offered you something, better, in the legitimate world. You turned me down. Now, you both come to me with this bad blood. And what do you expect me to do? Am I a gangster?

VINCENT

No, you’re not a gangster….

CONNIE (interrupts)

That’s was Papa’s neighborhood, now it’s a sewer. Zasa runs it like a disgrace that’s what the women tell me.

MICHAEL

That’s the past Connie.

ZASA

I earned that territory with my talent. Commission gave it to me, and you approved…

MICHAEL

Yes.

VINCENT

Uncle Michael, I came to the party here -- I’m not here to ask for any kind of help. I could just kill this bastard, he’s the one who needs the help.

MICHAEL

So kill him. What has all this have to do with me?

VINCENT

Well, he’s going around behind your back saying fuck Michael Corleone all time. That’s it, see, that’s one thing it has to do with you.

(then, to Zasa)

Right? Say it to his face, one time say it to his face, one time!

ZASA

Mr. Corleone, all bastards are liars. Shakespeare wrote poems about it.

VINCENT

What am I gonna do with this guy, Uncle Michael? -- WHAT AM I GONNA DO WITH THIS GUY?!

MICHAEL

Joey. If there’s some guy running around this city saying "fuck Michael Corleone", what do we do, with a piece of shit like that? He’s a fucking dog, no?

ZASA (pauses, then)

Yes it’s true. If anyone would say such a thing, they would not be a friend. They would be a dog.

MICHAEL (to Vincent)

My interests don’t conflict with Mr. Joe Zasa’s…

VINCENT

Oh you don’t know how much your interests conflict with Mr. Joe Zasa’s, Uncle Michael.

CONNIE

Michael -- He needs your support, Michael.

VINCENT

Don’t let me work for this guy no more Uncle Michael, let me come work for you.

MICHAEL

For me?

VINCENT

Yeah.

MICHAEL

As what? Tough guy? I don’t need tough guys -- I need more lawyers.

<Michael smiles at Joey who smiles back. Michael extend his arms to Joey in friendship.>

MICHAEL (to Joey)

Since we have no conflicts, no debts, I accept your tribute. I wish you well.

<Michael and Zasa embrace.>

(then, to Vincent)

Vincent -- Make your peace with Mr. Joe Zasa. C’mon…

<Vincent reluctantly goes to embrace Joey. As they do so, Joey mutters into Vincent’s ear.>

ZASA (quietly to Vincent)

Bastardo.

<Vincent retaliates by biting Zasa’s ear. The two are separated and ZASA is led bleeding and screaming from the room by The Ant.>

MICHAEL

Oh, Jesus…

<Vincent tries to explain himself as Connie leads him outside but Michael tells him to stay.>

VINCENT (still explaining)

Uncle Michael, I told Connie it wasn’t the right time for this thing –

(then)

Uncle Michael, listen -- I know you’re into banks and Wall Street, but everyone knows you’re the final word, you’re like the Supreme Court. All I want to do is protect you from these guys and your lawyers can’t do that.

MICHAEL

And you can?

VINCENT

Yeah, I can do that.

MICHAEL

And why should I be afraid of Joe Zasa?

VINCENT

Well, he knows you’re stopping him from rising up in the commission, Uncle Mike. I say we make him dead. You give me the order, I’ll take care of it.

MICHAEL

You’ll take care of it?

VINCENT

Yeah.

MICHAEL

Maybe you should, uhh, come with me for a few weeks. See what happens.

VINCENT

Okay.


MICHAEL

See if you learn. And, umm, we’ll talk about your future.

VINCENT

I won’t let you down.

<Connie leads Vincent from the room.>

CUT TO: The stairway where the family are getting a photo taken.

PHOTOGRAPHER

We’re just about ready .. no, it’s all right…

<Vincent approaches his mother, Lucy Mancini.>

LUCY

So what happened?

VINCENT

What happened? They put me in a room with Joey Zasa -- what’s gonna happen? I bit the guy’s ear off.

<The photographer takes a photo. As he prepares for the next one, Michael fetches Vincent for the picture.>

MICHAEL

Hold it…

(then, to Vincent)

Vincent –

VINCENT

Yeah?

MICHAEL

Take the picture with me – c’mon…

<Vincent takes his place in the family portrait, by Mary. His mother, Lucy, looks on very proudly.>

MARY (to Vincent)

Nice jacket.

<The second picture is taken and the band strike up the familiar Godfather’s waltz as Enzo the baker wheels in a cake for Michael.>

SOMEONE

Beautiful!

ENZO

Godfather, this is the cake for you and your family, from Enzo the baker.

MICHAEL

Grazie.

<The cake is cut to applause.>

MICHAEL (to a little girl)

You want to do it? All right…

<Michael and the little girl cut the cake together, with Mary. Michael and Mary then dance to the Godfather’s waltz, while the little girl tried to get in.>

MICHAEL (to LITTLE GIRL)

You lead…

<DON ALTOBELLO starts a cry of "Cent’anni" as the guests applaud.>

FADE TO: Vincent’s apartment.

< Vincent is in bed with Grace Hamilton.>

GRACE

Vincent?

VINCENT

What do you want, sweetheart?

GRACE

Do you love me?

VINCENT

C’mon, go to bed.

GRACE

C’mon, say it.

VINCENT

C’mon, go to bed.

GRACE

No, say it.

VINCENT

I love you, I love you.

GRACE

I love you, too.

<They both hear a noise>

GRACE

You got a cat?

VINCENT

Go get us some water would you, I’m thirsty. C’mon, c’mon.

<Grace gets up to go to the kitchen muttering to herself.>

GRACE (to herself)

I can’t believe I’m actually getting up to do this. Get me a glass of water, bake me a cake. Whatever happened to "please"?

<Grace turns on the light and then hears another noise. She goes over to investigate and is suddenly grabbed by Goon #1, who clamps his hand over her mouth and holds a knife to her throat. He has a mask over his face. Goon #2, also masked, motions for her to be quiet. He moves towards Vincent’s room with a gun and fires at the mound in the bed. Vincent then appears from nowhere and punches Goon #2. They struggle with Vincent eventually overcoming Goon #2 and holding the gun to his head.>

VINCENT

C’mon! Good boy, sock-face -- let’s go for a walk.

< Goon #2 is led into the kitchen at gunpoint by Vincent. Goon #1 still has the knife to Grace’s throat.>

VINCENT (to GOON #1)

Hey. C’mon, let her go.

GOON #2 (to GOON #1)

Cut her fucking throat, man!

<Vincent rips the mask from Goon #2.>

VINCENT (to GOON #2)

What’d you say?

GOON #2

I said cut her fucking throat…

<Vincent responds to this by smashing the butt of the gun against Goon #2’s head.>

VINCENT (to Goon #1)

Okay, chief, let her go.

GOON #2

Drop your gun man, or he’s gonna cut her throat.

VINCENT

What are fucking crazy, I hardly know this broad. Go ahead, cut her, what the fuck do I care?

GOON #2

You got no choice man, the chick’s gonna be dead.

VINCENT

You hurt her and I’ll kill you both.

(then, to Goon #1)

You give up that knife, I’ll let you go.

GOON #2

You cut her throat man, RIGHT NOW!

<Goon #1 starts to cut her throat, but is halted by Vincent’s shout.>

VINCENT

HEY! I’m gonna do something to convince you. Don’t get frightened, don’t do any sudden movements, just watch me, all right? You hear what I said?

GOON #1

Yeah.

VINCENT

Okay.

<Vincent puts the gun to Goon #2’s head and puts a bullet through him Goon #1 is now terrified.>

GOON #1

Oh, shit!

VINCENT

Drop the knife -- g’head, DROP IT!

<Goon #1 drops the knife and Grace runs back into the bedroom.>

VINCENT

Good boy. Sit down I wanna talk to you. That was a wise choice, sit down I wanna talk to you. Lose the mask. Relax, have a smoke, you smoke?

<Goon #1 sits down and takes his mask off. He tries to light a cigarette. He is still shocked and is now terrified. He can hardly breath.>

VINCENT

Who’s idea was this? Who sent you? C’mon tell me, who sent you?

GOON #1 (sputters)

No one.

VINCENT (motioning to the body of Goon #2)

Take a good look at this guy?

GOON #1

Yeah

VINCENT

So who sent you?

GOON #1

It was Joey -- Joey Zasa.

<Vincent points the gun at Goon #1 and, despite his plea, Goon #1 is shot dead. Vincent surveys the damage before returning to the bedroom.>

VINCENT

You Okay?

GRACE

You were gonna let them kill me!

VINCENT

No, I wasn’t gonna let anything happen to you.

GRACE

You pig! You sick fuck!

VINCENT

C’mon sweetheart, that’s gambling. You wanted gambling, that’s gambling. Call the police.

GRACE

You killed the other guy too?

VINCENT

Went for my gun. Self defense -- justifiable homicide. Go ahead, call the police. Where you goin’? Oh no, no, no. No pictures.

GRACE

I’m gonna take some pictures first…

VINCENT

No pictures.

CUT TO: Michael’s house.

MICHAEL (to Vincent)

You had a gun. They only had a knife. You could have talked them into surrendering; handed them over to the police.

VINCENT

Zasa sent these guys, I just sent him a message that’s all.

MICHAEL

Now he has to send you a message back.

VINCENT (flicking his ear)

Joey Zasa’s gonna send ME a message back? Joey Zasa’s gonna send a message!

CONNIE

He did the right thing, he got Zasa’s name.

MICHAEL

What has Joey Zasa got to with anything, Joey Zasa’s a potzle. Joey Zasa.

(then)

All right, you are what you are. It’s your nature. You stay close to me. You don’t do anything. You keep your mouth shut, and your eyes open. And you do what I tell you. Understand?

VINCENT

Understood.

MICHAEL

I got problems with the Commission, young man.

VINCENT

I know that.

MICHAEL

Yes. You don’t make them easier.

VINCENT

I understand that, it wasn’t my idea that this happened, you know?

MICHAEL

All right. Go on, get out of here.

CONNIE

Michael…

MICHAEL

Yes?

CONNIE

Now they’ll fear you.

MICHAEL

Maybe they should fear you.

(then, OS)

B.J., excuse me – what’s up?

CUT TO: Conservatory in Michael’s house. Michael has joined B.J. Harrison at the table for a meeting.

HARRISON

Michael, the Archbishop just called back. He’s arranged some amazing things for your bidding. Publicity is phenomenal. You’re the new Rockefeller of philanthropy . Sign right here please...

MICHAEL

Times do change don’t they? My father hated, foundations. He loved doing it by himself. Man to man. But we, we’re different, huh?

HARRISON

It’s no different than any large corporation. We control a lot of money with very little. Minimize taxes, with, no government control.

<Phone rings.>

MICHAEL (answering phone)

Yes -- Right.

<Hangs up. Andrew Hagen enters.>

ANDREW

Godfather?

MICHAEL

Andrew --

ANDREW

Godfather…

MICHAEL

Off to Rome.

ANDREW

I wanted to thank you for all you’ve done for me.

MICHAEL

C’mon, you want to have some breakfast with us?

ANDREW

No thanks I can’t.

MICHAEL

All right. How’s your Italian.

ANDREW

In fare di podi practico…

MICHAEL (to Harrison)

His father was a great lawyer.

HARRISON

I know…

MICHAEL

Didn’t live to see him ordained. I did. You ever seen one of those?

HARRISON

No.

MICHAEL

Oh, beautiful. I was so proud. C’mon let me walk you out.

HARRISON

Andrew, if you hear any rumors flying around the Vatican you let me know, all right?

MICHAEL

Oh no, no. Andrew has the true faith.

CUT TO: Archbishop Gilday's church, or perhaps the Vatican. Archbishop Gilday and Michael are sitting at a desk talking.

ARCHBISHOP GILDAY

Don Corleone. I need your help. And not just to light a little candle. My, gift, was to be able to persuade people, to give, to the Holy Church. Then, Rome decides, to put me in charge of the Vatican bank. But I was never a true banker. Mais á culpa, I trusted my friends.

MICHAEL

Friendship and money – oil and water…

ARCHBISHOP GILDAY

Indeed. But these, friends, use the good name of the Church, to feed their greed. If money was lost, then I am to blame. Oh, if only prayer could, pay off our seven-hundred million dollar deficit.

MICHAEL

Seven-hundred and sixty-nine million.

(then)

The Church owns 25% of a large corporation -- Immobiliare. You know the one I mean.

HARRISON

Largest landlord on earth, real estate all over the world worth six billion dollars.

ARCHBISHOP GILDAY

That’s true…

MICHAEL

And the Vatican vote is necessary for control.

ARCHBISHOP GILDAY

No. No, no. You’re mistaken. This isn’t a question of one person deciding, one deciding vote. This is like any other company in the world. We have directors, we have rules. We have very old rules. The Pope himself, would have to approve you.

MICHAEL

We’ve sold the casinos, all businesses having to do with gambling. We have no interests, or investments, in anything illegitimate.

HARRISON

The Corleone’s are prepared to deposit 500 million dollars in the Vatican bank at such time as Mr. Corleone receives majority control of Immobiliare.

MICHAEL

Immobiliare could be something new -- a European conglomerate. Few families, have control of such a company.

ARCHBISHOP GILDAY

It seems in today’s world the power to absolve debt is greater than, the power of forgiveness. Six hundred million dollars.

MICHAEL (smiles)

Don’t overestimate the power of forgiveness.

ARCHBISHOP GILDAY

Don Corleone. This deal with Immobiliare can make you one of the richest men in the world. Your whole past history, and the history of your family, will be washed away. Six hundred million.

<Michael considers this, looks over to B.J. Harrison, and then nods to Archbishop Gilday.>

CUT TO: Arial shot of New York City.

VOICE OVER as we see a Financial Times headline (dated Wednesday, November 15, 1979): "Building an Empire: Corleone Proposal for New Immobiliare"

"The motion and a discussion relates to the Corleone group’s proposal to acquire one hundred million newly issued, Class A, quoted shares…"

FADE IN: ANOTHER VOICE OVER as we see a New York Times Business Day headline: "Corleone Group to Bid to Take Over Immobiliare"

"…$600 million and Corleone capital invested directly into International Immobiliare, an old and respected European company that Michael Corleone has an ambitious program to expand this real estate holding company, into an international conglomerate that could meet the challenge…"

FADE IN: Headline from the Wall Street Journal (November 15, 1979): "Immobiliare Takeover Appears Likely. Stock Soars".

MICHAEL (to shareholders in meeting)

…not by political ideologies, but by Eastern techniques of efficiency, and focus,…

SHAREHOLDER

Mr. Corleone…

MICHAEL (continuing)

…and unlimited…

SHAREHOLDER

Mr. Corleone, excuse me. Isn’t it true that you recently deposited two hundred million in the Vatican bank which is affiliated with International Immobiliare.

MICHAEL

This is true, why not?

SHAREHOLDER

Well, wasn’t there any questioning about the timing on, on this particular deposit, or wasn’t there some talk about the… the fact that…

HARRISON (interrupts)

Mr. Chairman, if I may -- The Vito Andolini Corleone Foundation, of which Mr. Corleone’s daughter Mary is chairman, has established an endowment in the amount of one hundred million dollars. The money comes from his own family and will be administered by the Vatican. Answer your question?

MICHAEL

I have always believed helping your fellow man is profitable, in every sense, personally and bottom line.

(then, continuing his speech)

My fellow shareholders, if Europe and America can learn to cooperate -- if we can learn to pool our wealth, share our markets, we can defeat, any competition, anywhere in the world. Let me thank you for the time you have given me here today, and I hope, that you will look favorably upon my proposal. Thank you.

<Michael stands down to applause. At the back of the room another shareholder gets up and moves towards a microphone.>

SHAREHOLDER #2

Let me at this, microphone here. How can we let a criminal like that, run our company? He’s got the map of Sicily on his face, can’t you see it?

CHAIRMAN

Order! Order!

SHAREHOLDER #2

He’s either a Catholic or a Mafiosi and I say… how do you like them bananas?…

<Vincent flicks off the microphone power and Shareholder #2’s voice fades to nothing.>

This is for educational use only, and is not to be reposted, reproduced or sold. This document is copyright ©1990 Paramount Pictures. For your own personal academic use only. Transcribed exclusively for TheGodfatherTrilogy.com. NOT TO BE REPOSTED ON ANY OTHER SITE.

BOARD MEMBER (to chairman)

The Hamilton Investor’s group cannot support this proposal.

CHAIRMAN (to Archbishop Gilday)

Your Excellency?

ARCHBISHOP GILDAY

Mr. Chairman, the Vatican Bank feels, that International Immobiliare, will be safe, in Mr. Corleone’s hands.

CHAIRMAN (to shareholders)

Subject to audit and final ratification which must take place in Rome, please join me in welcoming Mr. Michael Corleone.

<Applause.>

CUT TO: the rooftop of Michael’s house. Mary and Michael are sitting at a table.

MARY

Dad?

MICHAEL

Uh huh?

MARY

Tony says that I’m a front for the foundation. That you’re using me just to pull the strings. To get the money where you want it...

MICHAEL

Oh come on, please.

MARY

…to shine up your public image.

MICHAEL

Mary. Mary, this is real this foundation, it’s real. I wanted Anthony to be a part of this. I wanted -- I thought the two of you would be together on this. I won’t interfere. I’ll help, only, only if you ask…

MARY

What is this really for? Why are you doing this? Why am I doing this?

MICHAEL

I’m doing this for my children. You’re doing it for your children, too.

MARY

This Foundation is supposed to help, all people

MICHAEL

Of course, that’s the purpose. This is legitimate; Mary, I swear this is legitimate.

<Michael kisses Mary’s hand.>

MARY

Dad I want this to bring me closer to you.

<Michael and Mary embrace.>

MICHAEL

I would burn in hell, to keep you safe.

CUT TO: a street in New York, outside the China Bowl restaurant.

DON ALTOBELLO (to bodyguard)

No no, no, you go in the other car, I’ll ride with Michael. Go, go, go.

<The cars drive off.>

DON ALTOBELLO

As your family’s oldest friend, I’m always chosen to bring you messages.

MICHAEL

Tell me, Don Altobello.

DON ALTOBELLO

Your old partners, are grateful for the money you’ve made them, they, they worship you. But their hearts are broken, because, they think you abandoned them. They want to share your deal on Immobiliare. To be a family again. It can purify their money.

MICHAEL

This I cannot do. Immobiliare, must be legitimate.

DON ALTOBELLO

I know. But they’re unhappy…

MICHAEL

And you?

DON ALTOBELLO

I, I ask nothing for myself. Only peace in my old age. But I – I must please the world around me. Michael, your father was a reasonable man, learn from him.

MICHAEL: I learned, many things, from my father. Call a meeting my friend. So there are no debts, or grudges. We will make the peace. You and I.

FADE TO: Rome. A Text Over reads: Vatican City, Rome. We hear a radio broadcast in Italian.

RADIO BROADCASTER (in Italian)

"The Vatican announced today that Pope Paul VI has canceled his Sunday blessing due to ill health. His physician has ordered total bed rest, and cessation of all activities."

ABBANDANDO (to Michael)

They just had a press conference. They said the Pope’s condition was grave. Gravisimo, they said.

CUT TO: A boardroom in the Vatican. The Immobiliare shareholders are gathered for the ratification meeting.

<The shareholders pray for the Pope in Italian before sitting down.>

KEINSZIG (in German)

"The purpose of this meeting is to ratify the motion passed by our shareholders in New York."

SHAREHOLDER:

Please. Our group represents a consortium of Catholic businessmen, against the Corleone control.

HARRISON

The Vatican has cast its vote. The Corleone group already controls the board.

KEINSZIG

According to [legendry?]the Vatican support must be ratified here, in Rome, by the Pope.

ARCHBISHOP GILDAY

The Pope, is gravely ill. Until he recovers, I am powerless.

HARRISON

What if he dies?

KEINSZIG

Then, as you Americans say, all bets are off.

ARCHBISHOP GILDAY

Gentlemen please, this is a brief delay. Nothing more.

MICHAEL

Your excellency, gentlemen. I advise, you join us in our prayers for the Holy Father’s recovery.

CUT TO: a room in the Vatican. Some of the shareholders are still discussing.

HARRISON

Now we had an agreement! And this meeting was to be merely, a formality, that's all it was.

KEINSZIG

Please sit down.

HARRISON

I’d rather stand. Could someone just give me an answer? We have put ourselves on the line.

KEINSZIG

The Immobiliare has its roots in the European tradition. Please try to understand.

MICHAEL

I understand. Your tactics are despicable.

KEINSZIG

Well, that’s quite an indictment coming from a Corleone.

ARCHBISHOP

Gentlemen – gentlemen! Remember, you are in the Vatican, please.

MICHAEL

What is it, that you want?

LUCCHESI

Yes -- you will take control. We’ll gladly put you at the helm of our little fleet. But our ships, must all sail in the same direction. Otherwise, who can say how long, your stay with us will last? It’s not personal, it’s only business. You should know, Godfather.

MICHAEL

Very well. You want to do business with me. I will, do business, with you.

<Michael leaves, and is walking outside with B.J. Harrison and Vincent.>

MICHAEL

We’re back to the Borgias!

<They run into Andrew Hagan>

ANDREW

Uncle Michael --

MICHAEL

Andrew --

ANDREW

I heard you were here. It’s so nice to see you.

(then, to Vincent)

Vincent --

VINCENT

How are you, Andrew?

ANDREW

You look so nice. Listen, what is this with the Borgias? Those days are over Uncle Michael…

MICHAEL

Yes, well…

<They walk away talking as the scene fades>

CUT TO: New York. Vincent is back home and is standing with Mary in front of the Genco Olive Oil Company building.

VINCENT

Recognize it?

MARY

Yeah.

VINCENT

Genco Olive Oil. That's where our Grandfather got his start. Started as a delivery boy, made three bucks a week. Three years later, he owned the company.

MARY

Only in America.

VINCENT

That's it.

<Two old ladies in the street spot Vincent and stop to talk to him.>

OLD LADY #1

Hey Vincenzo, where have you been hiding? You deserted us, and we need your help so badly.

VINCENT

Well now I'm back, what can I do for you?

OLD LADY #2

Get rid of Joe Zasa. He sells dope to our children…

OLD LADY #1

Listen, when I was a young girl it was different. Now I'm an old woman I'm afraid to walk the streets at night, you know?.

<Vincent reassures the old ladies as he ushers them into a café.>

CUT TO: The cafe. We overhear some of Vincent’s men about a meeting which is supposed to be taking place but isn't due to the absence of a member. Vincent and Mary are at a table in the cafe with the old ladies who are just leaving.

OLD LADY #1

I trust you.

VINCENT

Don't worry about it.

OLD LADY #1

Thank you very much.

MARY

Bye bye.

VINCENT

Enjoy yourself.

<The old ladies leave.>

MARY

What was that?

VINCENT

The neighborhood's in trouble…

MARY

You keep your eye out for it?

VINCENT

That's right.

MARY

And for me?

VINCENT

From now on.

MARY

I missed you all this time.

VINCENT

I missed you, too, cousin. I missed growing up with all my cousins. I didn't even know you and I missed you.

MARY

Do you remember stories about, our fathers, the old days?

VINCENT

Yeah, what do you wanna know?

MARY

What was Sonny like?

VINCENT

He was the Prince of the city. Yeah -- he died before I was born but I heard a million stories about him, he was a legend.

MARY

What about my father?

VINCENT

A great man, your father. He's a hero, he saved the family.

MARY

Vincent…?

VINCENT

What?

MARY

Did he kill his own brother?

VINCENT (pauses)

No.

MARY

So those’re all lies?

VINCENT

Just stories, sweetheart. Okay?

MARY

Okay. I believe you. I'm glad you're around.

VINCENT

I'm glad you're here, too.

<Vincent and Mary kiss.>

CUT TO: A helicopter carrying Michael and Vincent. They are traveling to the meeting that Don Altobello had arranged at Michael's request.

VINCENT

I'd like to take Joey Zasa up for a ride in this and drop him.

MICHAEL

Joey Zasa is nothing. He's a small time enforcer – [sounds like: "mops"?],threats, nothing. We'll be able to see him coming, a mile away.

VINCENT

We should kill him before he kills --

MICHAEL

No!

(then)

Never hate your enemies. It affects your judgment.

CUT TO: Outside an Atlantic City casino where the Commission meeting is to take place, as set up by Don Altobello on Michael’s request. The Text Over reads: Atlantic City, New Jersey.

<Michael and Vincent are welcomed ["Nice to see you again, Mr. Corleone. Mr. Mancini."].

CUT TO: Suite where Commission meeting is to be held.

<A band is playing and women are milling about the busy room full of Dons. Joey Zasa enters and Michael and Vincent enter shortly after. On Michael's arrival the band stops playing and the women are ushered from the room. Vincent nods at Joey Zasa. Once the room is cleared of all but those at the meeting, Don Altobello begins proceedings.>

DON ALTOBELLO (addressing Michael to the Commission)

We entrusted you to manage our money in the casinos. It's not even, twenty years. You sold the casinos, and you made fortunes for all of us. Bravo Don Corleone!

<The room applauds Michael. Joey Zasa gives a half-hearted clap.>

MICHAEL

Thank you. Friends, I have come here, because, our business together is done. We have prospered, and now it is time for us, to dissolve, the business relationship between us.

<There are murmurs of protest.>

MICHAEL

That's it. But I do have a little surprise

(then, to Neri)

Al?

<Al removes a bundle of envelopes from his jacket.>

MICHAEL

Your shares, in the casinos. I thought I'd cut through all the red tape so you can get your money right away.

<This news is met with a more positive response.>

A DON

Fifty million dollars!

<Vincent is passing out envelopes.>

MICHAEL

Not everyone gets the same…

VINCENT (whispering into Joey Zasa’s ear)

Nothing for you…

MICHAEL

…It depends how much you invested, and how long for.

<The Dons all marvel at how much they have just received, "Wonderful! Woah! Grazie!">

A DON

Michael, this is really generous!

A DON

Hey, Perisi, how much did you invest?

DON PERISI (putting his envelope in his jacket pocket)

I don’t remember…

DON ALTOBELLO

Michael, you're blessed.

<Joey Zasa has heard enough.>

ZASA

My family has done much of the hard work; taken many risks. All to make money, for the rest of the families.

MICHAEL

You all know Joey Zasa. He is, I admit, an important man. His picture is on the cover of the New York Times magazine. He gets the Esquire magazine award, for the best-dressed gangster! The newspapers praise him, because, he hires Blacks into his family, which shows he has a good heart. He, is famous. Who knows? Maybe one day, he will make all of you, popular.

ZASA

It's true. I make more of a, bella figura, that is my nature. But I also want to make a move into, legitimate enterprises. I'd like to get a little pin from the Pope. Sure, I take the Blacks and the Spanish into my family, because, that's America.

MICHAEL

And you guarantee, they don't deal drugs in those neighborhoods.

ZASA

I don't guarantee that. I guarantee I'll kill anybody who does.

DON ALTOBELLO

Let me talk to him, let me talk to him.

MICHAEL

Who can refuse, Don Altobello…

<The Dons are passing around a tray full of gold jewelry and pearls, and each take one.>

DON ALTOBELLO

Joey...

JOEY (interrupts)

NO! I say to all of you, I have been treated this day, with no respect. I've earned you all money. I've made you rich, and I asked for little. Good. You will not give, I'll take! As for Don, Corleone, well he makes it, very clear to me today, that he is my enemy. You must choose between us.

<Joey storms out. Don Altobello chases after him.>

ALTOBELLO

Hey Joey – no – Joey – no – Joey …

(then, to Michael)

We can reason together – no – Michael, Michael – please, let’s agreed, huh?

MICHAEL

No, Altobello…

<Altobello exists the room>

PERISI

Uh, Michael, Michael. The news is everywhere. Everyone is saying that, you control Immobiliare.

<The Dons begin talking at once.>

A DON

Immobiliare already is laundering money in Peru, in Nassau, we know that…

A DON

Listen to me, Michael…

A DON

Michael, why shouldn’t…

A DON

We should wet our beaks a little…

A DON

We want to do business with you, Michael – we’ve been together for many…

A DON

We could wash our money clean … with holy water…

<Michael stays silent as everyone talks to him, but the talking suddenly stops as a rumbling noise is heard and the room starts to shake. Vincent reacts first.>

VINCENT (to Michael): It’s a hit -- Let's go.

<The meeting disbands and everyone leaps up to leave. "Let’s get outta here!" On the outside of the room, someone snaps a pair of handcuffs over the doorknobs, locking the Dons in the room. A helicopter appears overhead and machine gun fire rips through the glass ceiling of the room. Vincent protects Michael as a massacre ensues.>

VOICE (to a Don)

Forget your coat!

A DON (trying to retrieve his coat before being riddled with bullets)

It’s my lucky coat! It’s my lucky coat!

<Al Neri retrieves a shotgun from behind the bar and blasts a door open.>

AL NERI

Mikey, this way!

<Michael and Vincent escape through this door.>

A DON (laying, bleeding, on the floor)

Zasa! You son of a bitch!

Vincent breaks into a car and opens the door for Michael.>

VINCENT

Come on. We're outta here.

<Vincent and Michael escape as we see shots of the remains of the room, and of the bodies that fill it.>

CUT TO: Michael's house.

MICHAEL

You did good, Vincent.

VINCENT

Grazie.

NERI

The old Dons were pretty much wiped out. The ones that survived, made deals with Joey Zasa.

MICHAEL

Altobello?

NERI

He survived. He's with his daughters now on Staten Island. Says he's gonna retire to Sicily.

MICHAEL

Joe Zasa, would never pull something like this without backing. He's just muscle, he's an enforcer, he's nothing. He doesn't have the wit, for that helicopter attack. He doesn't even have the ambition, to wipe out, the whole commission -- certainly not the balls.

VINCENT

I say we hit back and take Zasa OUT!

MICHAEL (leaning over to Vincent)

Never let anyone know what you're thinking.

(then, to Al Neri and the group)

All right, let's get a, let's get a message to Joey Zasa. I respect what he's done. The new overthrows the old, it's natural.

VINCENT

How can you do business with this guy?

MICHAEL (ignores Vincent)

I'm a businessman, first, foremost. I want no further conflict with anyone.

VINCENT

Well you tell him from me, that he can live, or he can die.

MICHAEL

Vincent will you SHUT UP!

<Vincent leaves the room.>

MICHAEL

That’s it.

(then)

Joey Zasa. He can't be doing this alone. Ugh -- just when I thought I was out, they pull me back in!

(then)

Our true enemy, has not yet, shown his face.

<Michael staggers, then slumps against the kitchen counter.>

CONNIE

Michael! Michael!

NERI

Has he taken his medicine?

CONNIE

I don't know – get him some water!

MICHAEL (breathing heavily)

I've got my wind back, I've got my wind back.

(then)

Run! Run!

CONNIE

Vincent!

<Connie rushes to get Vincent as Michael slumps back again, apparently suffering a diabetic stroke.>

MICHAEL

Thunder can't hurt! Harmless noise! Bullshit! Deceitful little fuck! Altobello! You fuck!

<Michael gets up and tries to walk, held by Vincent and Al Neri. He staggers and then doubles over.>

MICHAEL (screaming)

Fredo! Fredo!

<Michael collapses to the ground.>

CUT TO: Ambulance rushing to the hospital, where it parks. Michael is being loaded out the ambulance. He is unconscious. Seconds later, Vincent and Mary arrive by car. Mary sees her father.

MARY

Oh God! Dad!

<Mary starts crying. Vincent begins to lead her inside.>

CONNIE (to Vincent)

I'll call Kay.

CUT TO: Archbishop Gilday's hotel. A car pulls up, and BJ Harrison steps out.

DOORMAN

Good evening, sir.

HARRISON

Can we wait here? We'll be back in a few minutes.

DOORMAN

Certainly, sir.

CUT TO: Archbishop Gilday's suite.

ARCHBISHOP GILDAY

Mr. Harrison. You said it was urgent. Have you come, to confess your sins? [laughs]

HARRISON

Michael Corleone suffered a diabetic stroke. I thought you ought to know that before you read it in the papers.

ARCHBISHOP GILDAY

Oh, no.

HARRISON

He's in a coma, on the critical list. I'm here to insist the deal goes through in any event.

ARCHBISHOP GILDAY

The Pope has not much time left. So, as you, I am in a difficult position.

HARRISON

We have to ratify this deal as soon as possible.

ARCHBISHOP GILDAY (shaking hands with B.J. Harrison)

We have an understanding.

HARRISON

Good.

HARRISON

I'm going to the hospital.

ARCHBISHOP GILDAY

I'll, pray, for Mr. Corleone.

HARRISON

Thank you.

<Harrison is leaving.>

FATHER JOHN

Our thoughts are with Mr. Corleone…

HARRISON

Thank you, Father John…

<Keinszig appears.>

KEINSZIG (to Archbishop Gilday)

Everything will be out in the open if Corleone dies.

ARCHBISHOP GILDAY

Play for time, Keinszig. A habit born of, a long contemplation of eternity.

CUT TO: A chapel. Vincent and Al Neri are talking.

NERI

Just forget about it, Vinnie.

VINCENT

Why? Why would I forget about it? It's a simple hit.

NERI

Look! I'd love to smack Joey Zasa and then whack the bag, Okay? But it's impossible. He's always mingling with people. In front of TV cameras, in his own neighborhood, it's impossible.

VINCENT

It's not impossible. It'll work for us.

NERI

How?

VINCENT

You think he's gonna let Uncle Michael survive this thing? Would you?

<Connie enters.>

CONNIE

He may not survive anyway.

(then)

How would you do it?

VINCENT

I'd do it. I'd do it myself.

CONNIE (with authority)

Do it!

NERI

What would you need?

VINCENT

Just a couple guys…

CUT TO: Michael’s hospital suite. Kay is visiting Michael. She looks at him from afar, slowly walking towards him.

KAY

Hello Michael…

MICHAEL

Huh?

KAY

…it's Kay.

MICHAEL

Kay. I never expected you.

KAY

No, I know, I know. But I'm here.

MICHAEL

I'm glad.

KAY

You know? This is the first time I've seen you look so helpless.

MICHAEL

Eh -- not so bad really. I feel, I'm getting, wiser now.

KAY

Yeah?

MICHAEL

Oh yeah.

KAY

The sicker you get the wiser you get huh?

MICHAEL

When I'm dead, I'm gonna be really smart.

KAY

Michael?

MICHAEL

Yeah?

KAY

I want to thank you for Tony.

MICHAEL

Oh?

KAY

He's doing really well. He's gotten some very good notices, and he's going to be making his operatic debut, in Sicily in Palermo, this Easter. So, so thank you.

MICHAEL

Oh, that's a real honor -- in Sicily.

(then)

I will be there. I won't miss that. I won't miss that.

KAY (addressing the kids outside)

Mary, Tony. Go see dad.

MARY

Daddy, you're all right.

MICHAEL (embracing Mary from his bed)

Oh, sweetheart.

MARY

Everything's going to be all right.

ANTHONY

Hey, dad.

MICHAEL

Tony.

ANTHONY

How you doin' pop?

MICHAEL (embracing Tony)

Come here. Your mother told me. She told me what happened.

ANTHONY

About Palermo? I really wanted you to be there.

MICHAEL

Of course. Of course.

(then, to Tony)

Kiss me – kiss me…

CUT TO: Vincent's club. Mary arrives outside and rings the buzzer

MARY

Cousin Vinnie…

DOORMAN

No he isn't here. Why don't, why don't you call his apartment, leave a message on his machine.

<Vincent appears inside.>

DOORMAN(to Vincent)

It's your cousin Mary.

VINCENT

Let her in.

<Doormanopens the door.>

MARY

Thanks.

(then, to Vincent)

Hey, cuz.

VINCENT

Hi.

MARY

Just thought I'd drop by, is that okay?

DOORMAN (exiting)

I'm gonna go get the guys.

VINCENT

No, it's not okay. You shouldn't have come Mary. Couple of minutes only, okay?

(then, the kiss)

You look beautiful, cuz.

MARY

So this is your club. Your hideout.

VINCENT

Yeah.

MARY

I came to check it out.

<they walk around the club.>

MARY

It's so strange, just me and Aunt Connie in the house. I feel better when I'm with you.

VINCENT

What’s wrong, sweetheart?

MARY

I’m really scared about my father.

VINCENT

Don't be scared.

MARY

When I saw them take him out of that ambulance, I thought he was dead.

VINCENT

I know. Everybody says he's going to be better.

(they kiss again, then)

Don't worry, okay?

MARY

I remember them shooting at our house when I was little. And Al Neri came one time -- other bodyguards, which just took me and Tony away. Is it all happening again?

VINCENT

Not like that, sweetheart.

MARY

Why are you hiding here? Is something going to happen to you?

VINCENT

Nothing's gonna happen to me, [sounds like: "puchena"] -- I'll take care of you.

MARY

Can I stay here and hide out with you for a while?

VINCENT

You can help me make gnocchi here for the boys.

MARY

You know I don't know how to cook. But I'll help.

VINCENT

Okay.

<Vincent takes Mary's hand to show her how to roll the pasta dough into gnocchi. It becomes very sensuous.>

MARY

I love you cuz.

VINCENT

I love you too, cuz.

<Vincent and Mary kiss.>

VINCENT

Let’s go [continue making gnocchi]

(then, once it’s too much, they stop and start kissing romantically)

Hold me.

<Vincent and Mary continue kissing and we see Vincent carrying Mary off screen.>

CUT TO: A street in New York. Astreet fair and procession are underway. We see Joey Zasa walking down the street with his goons.

ZASA

You know the people like you in the press, the police, use words like Mafia, Cosa Nostra. This is a fantasy. The Italian Americans are great people. We laid the bricks that built this city, we have the artists. We have Meucci who invented the telephone, we have Don Ameche who played the guy who invented the telephone, eh? So listen, c’mon. Buy yourself a nice raffle ticket, maybe win yourself a Cadillac.

(then, biting into a sausage sandwich)

This sausage, is wonderful.

(then, handing the sandwich to someone)

Here, have a sandwich…

(then, to his goons)

…let's go.

<Joey and his men walk through the streets.>

PASSER BY

Nice to see you, Mr. Zasa.

ZASA

Have a nice time.

(then, to someone else as they continue walking)

Don't forget you buy your raffle tickets, huh?

<Joey is hit with a soccer ball. A kid runs to retrieve it and The Ant grabs him.>

ANT

Hey! What you doin'?

<The boy's father appears.>

FATHER

The kid didn't mean nothing. He's sorry. Come here son, tell him you're sorry.

KID

Sorry…

ZASA

Okay. Let's go.

<They walk on. Another passer by spots Joe.>

PASSER BY

Joey! [something in Italian?], how are you, pal?

ZASA

Hey, how are you, Buddy Boy!

<Armand, one of Vincent’s twin bodyguards, spots Joey and calls to him.>

ARMAND

Hey, Joey Zasa! Joey! Up your ass!

ANT

Hey!

ZASA

Who is this?

JOEY'S BODYGUARD

Ah, ignore him.

<Armand sits on the Cadillac that’s up for raffle.>

ARMAND

Hey Joe! Who's gonna win the car, eh? Your aunt?

ANT

Hey!

ZASA

This is the thing that gives the Italian-Americans a bad name, huh? A caponi like this, huh?

ARMAND

Hey Joey! Up your ass.

ZASA

Hey. hey, why don't you get off of the fucking car, huh? You got a raffle ticket?

ARMAND

Hey Joe, take, take a good look at my raffle ticket, here we go.

<Armand takes out a set of keys and scratches them down the side of the Cadillac.>

ANT

HEY!

ARMAND

Here's what I think of you, and your raffle ticket.

THE ANT

I told you, get the fuck outta here before I break your fucking jaw, you understand you son-of-a-bitch! Now why don’t you get the fuck outta here! Get outta here! Get outta here!

<Armand looks over to the street where the procession is and then suddenly obliges and rushes off. The Ant looks to see what it was. One of the hooded icon bearers has pulled out a shotgun from under his robe. He shoots The Ant causing a commotion to break out. Shots are fired as the icon bearer drops his side of the statue and runs.>

SOMEONE (chasing after Zasa)

Run Joey! You piece of shit!

<Zasa runs down the street and tries to get into a building for safety. Vincent, dressed as a policeman, appears on horseback and draws level with Zasa, who’s pounding on a shop door made of glass. He takes his gun out.>


ZASA

Open the door! Open the door!

VINCENT: Hey Joe –

<Vincent puts two bullets though Zasa’s chest, then fires a third.>

VINCENT

Zasa!

<Vincent rides off leaving Zasa dead on the doorstep.>

FADE TO: Michael's house. Michael is talking to Vincent, Al Neri and Connie.

MICHAEL

Don't ever, again, give that kind of order. Not while I'm alive. Understand?

VINCENT

You were too sick to make a decision. I got a go-ahead from Neri; I got a go-ahead from Connie.

MICHAEL

Connie?

VINCENT

It was the right decision, Uncle Michael.

MICHAEL

It was the wrong decision. I command this family, right or wrong! It was not, what I WANTED!

(then)

Do you understand?

<Vincent nods his head. Michael looks at Neri.>

NERI

Yes.

<Michael looks at Connie.>

CONNIE

Come on Michael…

<Michael waits intently on her answer>

CONNIE (after a while)

Yes.

MICHAEL

Good. Vincent, help me to my bed. I wanna talk to you, alone, for a minute.

<Vincent helps Michael to bed>

MICHAEL

You know, I always felt responsible for you. You know that. Your father, my brother, we were, opposites. We would fight and argue. But I never doubted his love. He would do anything for me. But his temper -- too much -- clouded his reason.

(then, after Vincent nods)

And I don't want you to make that mistake. Also, he too, had a way with women. Vincent…

VINCENT

So I hear.

MICHAEL

What are you doing with my daughter? What are you doing?

(then, as Vincent smiles and looks up)

It's too dangerous. You hear me?

<Vincent nods>

MICHAEL

Okay.

(then)

Vincenzo -- When they come, they’ll come at what you love.

CUT TO: Later, in another room in Michael's house. Michael is speaking with Don Altobello.

DON ALTOBELLO

Michael, you must lead another life. You have everything a man could desire. It's time for you to retire.

MICHAEL

I have too much responsibility.

DON ALTOBELLO

Immobiliare?

MICHAEL

Si.

DON ALTOBELLO

Too difficult now. You should really get out.

MICHAEL

What do you know about those pezzonovante in Italy?

DON ALTOBELLO

I'm too old to know anything about those new people. I must accept my age and grow my olives and tomatoes.

MICHAEL

We're not that old.

DON ALTOBELLO

But you're very ill. Michael, Michael. Let me see what can be done. Let me work to make your path a little easier.

MICHAEL

Your friendship, does that always.

DON ALTOBELLO (sitting down on the couch)

That makes me happy.

MICHAEL

Joey Zasa -- you were wrong about him.

<Neri enters to place a cup of orange juice in front of Altobello. Neri remains standing next to Altobello.>

DON ALTOBELLO

I trust too much, that's always been my fault. I…

(then, after looking up at Neri who then walks away)

…Michael, treachery is everywhere.

MICHAEL

You still have your fingers on the strings, even now. Let's see more of each other.

DON ALTOBELLO

Michael -- in Sicily?

MICHAEL

In Sicily. In Sicilia.

DON ALTOBELLO (to Connie)

In Sicilia.

CUT TO: Sicily. A Text Over reads: Bagheria, Sicily. Michael's motorcade arrives at Don Tommasino’s Compound. A large welcome party is present including a band, and a banner that reads "Benvenuto Commendatore Michael Corleone". Mary hands out gifts to the children.

SOMEONE (embracing another)

How are you, Don [Bandito?]…

ANTHONY (going to embrace his father, Michael)

Pop!

CUT TO: a courtyard in the compound.

MICHAEL

I wanted to bring you here, so that my old friend and protector, Don Tommasino, could advise us.

(then, to Don Tommasino, in Italian)

"Don Tommasino, what do you think about Altobello?"

DON Tommasino (in Italian)

"A very talented man. He has kept the peace between our Sicilian and American friends. The saint of reason."

VINCENT (holding an orange, looking very much Godfather-like now in posture and dress)

The bloodbath in Atlantic City, left New York a mess. Now, Joey Zasa at least was running a very tight ship, but now that he's out of the picture, we're obligated to step in.

MICHAEL

Step back in.

VINCENT

If we don't, the Chinese, the Colombians will.

CALO (to Don Tommasino, in Italian)

"The Corleone's left drugs, so New York is weak, and Palermo is strong."

DON Tommasino (in Italian)

"Your enemies always get strong on what you leave behind."

MICHAEL (in Italian)

"Don Tommasino, who could give the order for that massacre, and still pressure the Vatican deal?"

DON Tommasino (in Italian)

"Only Lucchesi can reach between these two worlds."

MICHAEL (imitating Lucchesi)

‘Our ships must all sail in the same direction…’

(then)

Italian politics have had these kind of men for centuries. They're, the true Mafia.

HARRISON

The Archbishop and the Vatican bank, that's the big problem.

MICHAEL

They're the same problem. B.J., they're connected. The Archbishop has very powerful friends. They totally protect him.

(then, to Don Tommasino, in Italian)

"Is there someone in the church we can turn to? Someone we can tell our problem to."

DON Tommasino (in Italian)

"Cardinal Lamberto. A wise and good man, very influential. He will see you."

MICHAEL

Bene. I will go see this Cardinal Lamberto, and see if we can work things out in a civilized way.

VINCENT

You honor your agreements. But these people you're dealing with are crooks; they have no honor.

MICHAEL

My word is final.

<Michael gets up and wheels Don Tommasino away in his wheelchair.>

MICHAEL (in Italian)

"Politics and crime. They're the same thing…"

CUT TO: A large room where a party is taking place. Music is playing and a song finishes to applause.

CONNIE

Bravo! Bravo, Bravo!

MICHAEL

I have invited you all here, to celebrate, my son's first appearance in an opera house. He will be appearing, in about three weeks, in the Theatre Maximo, in the opera, Cavalleria Rusticana.

<Michael mispronounces the name of the opera, so Anthony corrects him.>

ANTHONY

It's Cavalleria Rusticana dad.

MICHAEL (pronouncing correctly, if not exaggerated)

Cavalleria.

(then, jokingly)

I think I've got tickets to the wrong opera. I've been in New York too long.

(then)

Anyway, you will all receive tickets. So come on down.

ANTHONY

Uh, dad, I've got a present for you…

(then, as Anthony borrows a guitar from one of the musicians)

It comes from the town of Corleone and uh, it's authentic Sicilian. And uh, I learned it for you.

<Anthony starts playing and singing "Bruccia La Terra". We see a flashback to The Godfather, with Apollonia handing out candy to children at her and Michael's wedding, and then a shot of Michael and Apollonia dancing. When we return to the present, we see that Michael is crying. Vincent is stroking Mary's hair, but when Mary sees Michael looking at them disapprovingly, she gets up and leaves Vincent.>

CUT TO: a courtyard on the compound. Michael is talking with Mary and Anthony. [Gaffe: Anthony is holding a piece of paper not given to him until later in the film.]

MICHAEL (OS)

She was, wonderful, beautiful. I loved her. And then she died. My trusted bodyguard planted a bomb in my car; she drove it before I did.

ANTHONY

Why is such a beautiful country, so violent?

MICHAEL

History.

MARY

You know, mom was telling me about the old days, when her biggest worry was just passing exams.

MICHAEL

Yes it was, then.

MARY

I worry about you now.

MICHAEL

Oh Mary. Mary you're such a warm-hearted girl, you always were.

MARY

I love my family.

MICHAEL

Even your cousin Vincent?

MARY

I really love him.

MICHAEL

He's your first cousin.

MARY

Then I love him first.

MICHAEL

Mary, you can't see him. Just don’t see him any more…

ANTHONY

He’s right – it’s too dangerous…

MICHAEL

Mary, listen to me. You can't see him anymore. Not in that fashion.

MARY

No.

MICHAEL

Please promise me…

MARY

No!

MICHAEL

Obey me on this Mary!

MARY (runs off)

No, dad!

ANTHONY

Mary's smart, dad, she'll understand eventually.

CUT TO: a room in the compound. Mary and Vincent are kissing again to Elvis Costello’s "Miracle Man" blasting in the room. Vincent says something to Mary in Italian.

CUT TO: Michael's Room on the compound. Michael is shaving. Vincent enters.

VINCENT

You wanted to see me?

MICHAEL

Yeah. I want you to do something for me.

VINCENT

Okay.

MICHAEL

It’s dangerous.

VINCENT

Good. I'm in. What do you need?

MICHAEL

I want you to sell your soul to Don Altobello. To betray me.

VINCENT

He'll never believe me.

(then, as he offers to shave Michael)

Here…

MICHAEL

That depends.

VINCENT (begins to shave Michael with the razor)

Sit down.

MICHAEL

I have an idea. See if you can learn how high Altobello is connected. Arrange a meeting. You say how devoted you are to me. Tell him your problems. You ask for his help.

VINCENT

What problems?

MICHAEL

That you want to run away with my daughter. Only you know that if you do, I will become your enemy.

VINCENT

You know I'd never do that, Uncle Mike.

CUT TO: Altobello’s residence. Vincent is doing as Michael asked, and talking to Don Altobello. As they talk we can still hear Michael's instructions as a voice over mixed in.

MICHAEL (OS)

I know. You ask Altobello to speak to me. To further the marriage.

DON ALTOBELLO (to Vincent)

You’re cousins … Michael was always a little old fashioned.

MICHAEL (OS)

Explain to him how, you can never be part of my, legitimate world. That you want your own family.

VINCENT (to Altobello)

…straighten out with Joey Zasa… If you could use your friendship to persuade him. I would be indebted to you forever.

(then, gesturing like Young Vito Corleone from Godfather Part II, with fingers tapping his temple)

A Corleone, knows the value of such a friend.

DON ALTOBELLO

So, then, you would work for me?

VINCENT

Si.

<Vincent kisses Don Altobello's hand and says something in Italian.>

CUT TO: Back to present, with Vincent shaving Michael.

MICHAEL

Remember, if he hints that he wants you to betray me, get insulted. Because that's his trap.

CUT TO: Future, Altobello and Vincent talking. Vincent has his back to Altobello.

DON ALTOBELLO

You're not telling me the whole truth, Vincenzo. Isn't it true, with Michael gone, the girl controls everything?

VINCENT (turning to Altobello)

You leave the girl out of this.

DON ALTOBELLO

Of course, you love her. And she loves you.

CUT TO: Mary's room. Mary is looking at pictures of Apollonia and Michael in a photo album.

CUT: Back to the balcony with Altobello and Vincent.

DON ALTOBELLO

I guessed it Vincenzo, huh?

VINCENT

You're a wise man, Don Altobello. I'm going to be learning a lot from you.

DON ALTOBELLO

The richest man is the one with the most powerful friends.

<We see Don Lucchesi, flanked by guards. Don Altobello leads Vincent towards him.>

DON ALTOBELLO

It's my duty to make the introductions.

(then, introducing Don Lucchesi to Vincent)

Don Lucchesi…

DON LUCCHESI (to Vincent)

Don Altobello tells me you have good character, strong, a man of respect.

DON ALTOBELLO (to Lucchesi)

This is the hero who put Joey Zasa in his grave. If we'd known of his existence, we would never have backed Joey.

DON LUCCHESI

No one wants another Joe…

(then, to Vincent)

Let me be your friend. Even the strongest man needs friends.

VINCENT

I'm flattered. But you're a man of finance and politics, Don Lucchesi, these are things I don't understand.

DON LUCCHESI

You understand guns?

<Vincent nods in the affirmative.>

DON LUCCHESI (smiling)

Finance is a gun. Politics, is knowing when to pull the trigger.

VINCENT

How can I help?

DON LUCCHESI (in Italian)

"Come…"

<Vincent and Don Lucchesi walk away.>

DON ALTOBELLO

Blessed is the peacemaker, for he can be can be called a child of God.

DON LUCCHESI (to Vincent, in Italian)

"Can you speak Italian well?"

VINCENT

"Yes."

CUT TO: An abbey. A car pulls up and stops.

AL NERI (in Italian)

"The wheelchair, for Don Tommasino."

CUT TO: The courtyard of the abbey. Michael and Cardinal Lamberto are talking.

MICHAEL

I trusted this business arrangement with the archbishop. I trusted him, I was sure his honesty was beyond a doubt. But, as you see, I'm now the victim of a swindle. They're stalling me. Vast moneys have gone to the pezzonovante in high political places, and the Vatican bank is the guarantor.

CARDINAL LAMBERTO

If uh, what you say is true, there will be a great scandal.

<Cardinal Lamberto moves towards a fountain.>

CARDINAL LAMBERTO

Look at this stone. It has been lying in the water for a very long time, but the water has not penetrated it.

<He breaks the stone.>

CARDINAL LAMBERTO

Look. Perfectly dry. The same thing has happened to men in Europe. For centuries they have been surrounded by Christianity, but Christ has not penetrated. Christ doesn't breathe within them.

<Michael suddenly has to sit down. He loosens his collar to help him breath.>

CARDINAL LAMBERTO

What's happened?

MICHAEL

Is it possible, that you could get me something sweet? Orange juice, anything, candy.

CARDINAL LAMBERTO (to a priest, in Italian)

"Please get some orange juice and candy..."

MICHAEL

Trouble with diabetes. Blood sugar levels must be low.

<The priest returns promptly with orange juice and candy.>

CARDINAL LAMBERTO

I understand.

<Michael drinks the juice and eats some candy. It helps him.>

MICHAEL

When I'm under stress sometimes this happens.

CARDINAL LAMBERTO

I understand.

MICHAEL

I come to you, on such a delicate matter -- accusations against your Archbishop -- was difficult for me.

CARDINAL LAMBERTO

The mind suffers and the body, cries out.

MICHAEL

That's true.

CARDINAL LAMBERTO

Would you like, to make your confession?

MICHAEL (laughs)

Your Eminence, I’m uh – I’m uh -- it's been so long, I wouldn't – wouldn’t – wouldn’t know where to uh, it's been thirty years, I'd – I’d – I’d use up too much of your time, I think.

CARDINAL LAMBERTO

I always have time to save souls.

MICHAEL

Well, I'm -- I'm beyond redemption.

<Don Tommasino and a priest wheeling him approach>

CARDINAL LAMBERTO (to the priest looking after Don Tommasino, in Italian)

"Give us a couple of minutes alone please – thanks…"

<The priest leaves with Don Tommasino. Cardinal Lamberto leads Michael to a corner of the courtyard.>

CARDINAL LAMBERTO

I hear the confessions of my young priests here. Sometimes the desire to confess is overwhelming. And we must seize the moment.

MICHAEL

What is the point of confessing, if I don't repent?

CARDINAL LAMBERTO

I hear you are a practical man. What have you got to lose? Huh?

(then, after a long pause)

Go on.

MICHAEL

I uh, I betrayed my wife.

CARDINAL LAMBERTO

Go on, my son.

MICHAEL

I betrayed myself.

(then)

I killed men.

(then)

And I ordered men to be killed.

CARDINAL LAMBERTO

Go on, my son, go on.

MICHAEL

Nah, it's useless.

CARDINAL LAMBERTO

Go on, my son.

MICHAEL

I killed -- I ordered the death of my brother. He injured me. I killed my mother’s son. I killed my father's son.

<He breaks down in tears.>

CARDINAL LAMBERTO

Your sins are terrible, and it is just that you suffer. Your life, could be redeemed, but I know that you don't believe that. You will not change.

<He prays in Latin, absolving Michael.>

CUT TO: The Vatican City in Rome. Another Voice Over is heard in the form of an Italian radio broadcast.

RADIO BROADCASTER (in Italian)

"Pope Paul VI, the Supreme Pontiff of the Roman Catholic Church, died last night at 9:40pm. The Pope was 81 years old, and had been in poor health for the last several months."

CUT TO: A balcony on the compound, where Michael is sitting. Connie joins him and prepares his insulin injection.

MICHAEL

Connie, all my life I, kept trying to go up in society, where everything higher up was legal, straight. But the higher I go, the crookeder it becomes. How in the hell does it end? Ahh -- been killing each other for centuries here. For money, for pride, family. To keep from becoming the slaves of the rich pezzonovante.

<Connie hands Michael his insulin injection.>

MICHAEL

I made confession, Connie. I confessed my sins.

CONNIE

Why Michael, that's not like you. You don't have to confess your sins to a stranger.

MICHAEL

It was the man. A good man. A true priest. He changed things.

CONNIE

Michael, you know, sometimes I think of poor Fredo, drowned. It was God's will. It was a terrible accident. But it's finished.

(then, after Michael sighs)

Michael, I love you. I'll always help you.

<They hug. Connie starts crying and Michael comforts her.>

CUT TO: Mosca's house. Don Altobello arrives in a car and is greeted "Benvenuto, Don Altobello". They sit at an outside table full of fruit, bread and olive oil.

MOSCA (in Italian)

"I am honored, Don Altobello, that you've come from Palermo to visit me."

DON ALTOBELLO (in Italian)

"Hey, the little kid! He's grown. Do the donkey for me."

<Lupe does a donkey impression for Don Altobello who throws him an orange.>

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