《教父》剧本

剧本语言：英文

transcript includes the missing scenes found in the epic. someday, and that day may

never come, it will include the scenes from the saga and trilogy as well.

screenplay by mario puzo and francis ford coppola

based on the novel by mario puzo.

fade from black: int. of don corleone's home office -day

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

i believe in america. america has made my fortune. and i raised my daughter in the

american fashion. i gave her freedom, but -- i taught her never to dishonor her family. she

found a boyfriend; not an italian. she went to the movies with him; she stayed out late. i

didn't protest. two months ago, he took her for a drive, with another boyfriend. they made

her drink whiskey. and then they tried to take advantage of her. she resisted. she kept her

honor. so they beat her, like an animal. when i went to the hospital, her nose was a'broken.

her jaw was a'shattered, held together by wire. she couldn't even weep because of the pain.

but i wept. why did i weep? she was the light of my life -- beautiful girl. now she will

never be beautiful again.

[bonasera breaks down. the don gestures to sonny to give bonasera a drink]

sorry...

[bonasera, taking the drink, sips from the shot glass]

i -- i went to the police, like a good american. these two boys were brought to trial. the

judge sentenced them to three years in prison -- suspended sentence. suspended sentence!

they went free that very day! i stood in the courtroom like a fool. and those two bastard,

they smiled at me. then i said to my wife, 'for justice, we must go to don corleone.'

vito corleone (sitting behind his desk, petting a cat)

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

bonasera

what do you want of me? tell me anything. but do what i beg you to do.

vito corleone

what is that?

[bonasera gets up to whisper his request into don corleone's ear]

that i cannot do.

bonasera

i'll give you anything you ask.

vito corleone

we've known each other many years, but this is the first time you came to me for counsel,

for help. i can't remember the last time that you invited me to your house for a cup of

coffee, even though my wife is godmother to your only child. but let's be frank here: you

never wanted my friendship. and uh, you were afraid to be in my debt.

bonasera

i didn't want to get into trouble.

vito corleone

i understand. you found paradise in america, had a good trade, made a good living. the

police protected you; and there were courts of law. and you didn't need a friend of me. but

uh, now you come to me and you say -- 'don corleone give me justice.' -- but you don't ask

with respect. you don't offer friendship. you don't even think to call me godfather. instead,

you come into my house on the day my daughter is to be married, and you uh ask me to do

murder, for money.

bonasera

i ask you for justice.

vito corleone

that is not justice; your daughter is still alive.

bonasera

then they can suffer then, as she suffers.

(then)

how much shall i pay you?

vito corleone (stands, turning his back toward bonasera)

bonasera... bonasera... what have i ever done to make you treat me so disrespectfully? had

you come to me in friendship, then this scum that ruined your daughter would be suffering

this very day. and that by chance if an honest man such as yourself should make enemies,

then they would become my enemies. and then they would fear you.

bonasera

be my friend --

(then, after bowing and the don shrugs)

-- godfather?

vito corleone (after bonasera kisses his hand)

good.

(then)

some day, and that day may never come, i'll call upon you to do a service for me. but uh,

until that day -- accept this justice as a gift on my daughter's wedding day.

bonasera (as he leaves the room)

grazie, godfather.

vito corleone

prego.

(then, to tom hagen, after bonasera leaves the room)

ah, give this to ah, clemenza. i want reliable people; people that aren't gonna be carried

away. i'm mean, we're not murderers, despite of what this undertaker says.

cut to: connie's wedding reception. we hear the music 'connie's wedding (the

godfather tarantella)' -day

cut to: connie and carlo at the head table

cut to: the family gathers for a family portrait

vito corleone (to sonny)

where's michael?

sonny corleone

don't worry; it's early.

vito corleone

we're not taking the picture without michael

(then, he tells the photographer, in italian)

tom hagen

what's the matter, sonny?

sonny corleone

it's michael

cut to: the don meeting some guests outside

cut to: mama dancing with sonny's twin girls

cut to: connie and carlo laughing with guests at head table

cut to: long shot of guests dancing

cut to: fbi arrive at entrance

cut to: clemenza dancing with his wife

cut to: fbi take license plate numbers

cut to: tessio sitting at a table with carmella & twins, tossing himself an orange

cut to: fbi continuing to take license plate numbers

cut to: don barzini arrives

vito corleone

eh, don barzini.

(then, vito introduces barzini to someone, in italian)

cut to: clemenza is dancing, gets tired, and spins off the dancefloor, laughing.

clemenza (after dancing)

hey, paulie! let me have some wine. paulie! more wine...

paulie (os to someone)

scusi, please

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

ah, you look teriff' on the dance floor

clemenza

hey, what are you a dance judge or something? [something in italian] go take a walk

around the neighborhood -- do your job.

cut to: sonny pinches lucy mancini's cheek as he walks towards his wife, sandra

sonny

hey sandra, do me a favor, huh; watch the kids -- don't let'em run wild, all right?

sandra

well, you watch yourself, all right?

cut to: reception continues with part 2 of connie's wedding song (the godfather

mazurka). we first see tessio dancing with a young girl standing on his feet.

os: eh tessio, buona fai

cut to: don corleone dancing with his wife, carmella (mama)

cut to: connie collecting gifts for her bridal purse. paulie is watching.

paulie

twenty- thirty-grand. in small bills, cash. in that little silk purse. maron, if this was

someone else's wedding, sweet tonato!

buttonman (from afar, tossing him sandwiches)

hey, paulie! i got two [gavagool?], [gabagone?], and a ...

paulie

eh, you stupid jerk!

cut to: a photographer takes barzini's picture. barzini motions to his men to get the

camera

photographer

eh, what's the matter?

[the men bring the film to barzini, who exposes and crumples it]

cut to: tom going up to his wife, theresa, who's sitting at a table at the reception

tom

i have to go back to work

theresa

oh, tom

tom (after he kisses his wife)

it's part of the wedding: no sicilian can refuse any request on his daughter's wedding day.

luca (rehearsing his lines as tom passes him)

don corleone, i am honored and grateful that you have invited me to your home...

cut to: sonny goes out into the driveway to see the fbi guys. the mazurka ends.

sonny

eh -- what's this -- get outta here; it's a private party, go on!

(then, to fbi man in car)

what's is it? hey, it's my sister's wedding

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

goddamn fbi don't respect nothing [jazz music begins to play from party]

(then, to photographer)

eh, come here; come here; come here; come here, come here; come here; come here...

(then smashes camera, which paulie kicks, and flips cash to him) [music ends]

***extra dialogue from the saga only***

nazorine (off screen)

he was captured by the american army. then he was sent to new jersey, as a prisoner of

war...

***

cut to: nazorine and enzo in don corleone's office -day

nazorine (seated in front of the don't desk)

but towards the end, he was uh paroled to help with the american uh war effort. so for the

last six months he's been working in my pastry shop.

vito corleone (seated)

nazorine, my friend, what can i do for you?

nazorine

well now that the war is over, this boy, enzo -- they want to repatriate him back to italy.

godfather, i have a daughter. you see, she and enzo...

vito corleone

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

nazorine (stands)

you understand everything.

[they shake hands, nazorine turns to leave]

vito corleone

bene.

nazorine (now by the door with tom hagen)

mr. hagen, thank you.

(then, turning to don corleone)

an' wait til you see the beautiful wedding cake i made for your daughter! ooof! [gestures]

like this! the bride and the groom and the angel...

tom (after nazorine exits)

who should i give this job to?

vito corleone

not to our paisan. give it to a jew congressman, in another district. who else is on the list?

cut to: michael and kay arrive, make some introductions. kay says hello to one of the

guests, and someone says michael's name. they dance to 'ev'rytime i look in your eyes'

as the don watches from his window -day

cut to: the don's office -day

tom

he's not on the list, but luca brasi wants to see you

vito corleone

is this -- is this necessary?

tom

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

vito corleone

all right.

cut to: outside of the corleone residence, luca sits, rehearsing his lines -day

luca brasi (rehearsing his lines aloud)

don corleone, i am honored and grateful that you have invited me to your home on the

wedding day of your daughter. and may their first child be a masculine child.

(then, starting over, which continues throughout the following dialogue)

don -- don corleone...

kay

michael, that man over there is talking to himself. see that scary guy over there?

luca's voice

...on the wedding day of your daughter...

michael (after glancing over at luca)

he's a very scary guy.

kay

well, who is he? what's his name?

michael

his name is luca brasi -- an' he helps my father out sometimes.

[luca stands up, facing mike and kay, seemingly coming toward them]

kay

oh, michael, wait a minute; he's coming over here...

tom (appearing in view)

mike!

michael

oh!

tom (embracing michael)

heh...! you look terrific!

michael

my brother, tom hagen -- this is kay adams.

tom

how do you do.

kay

how do you do, tom

tom (into michael's ear)

your father's been asking for you

(then, to kay, before he leaves)

very nice to meet you

kay

nice to meet you

(then, after tom exits to bring luca into the don's office)

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

michael

oh, ah, that -- when my brother sonny was a kid, he found tom hagen in the street. and he

had no home -- and so my father took him in -- and he's been with us ever since. he's a good

lawyer. not a sicilian, but -- i think he's gonna be consiglieri.

kay

what's that?

michael

that's um, like a counselor -- an advisor -- very important to the family.

(then)

you like your lasagna?

cut to: luca brasi in don corleone's office -day

luca brasi (after kissing the don's left cheek)

don corleone, i am honored and grateful that you have invited me to your daugh-- ter's

wedding...

(then, after realizing he messed up his rehearsed lines, he fails to recover)

...on the day of your daughter's wedding. and i hope that their first child be a masculine

child. i pledge my ever-ending loyalty. --

[playing kids run into the room and then are escorted out by tom]

(then, as luca hands don corleone a cash-filled envelope)

for your daughter's bridal purse.

vito corleone

thank you, luca, my most valued friend.

luca brasi

don corleone, i'm gonna leave you now, because i know you are busy.

vito corleone

thank you.

[tom escorts luca out]

cut to: bride & groom dance to 'the godfather fox trot'

cut to: sonny moves closer to lucy to whisper into her ear

cut to: sandra gestures to other women about the size of sonny's manhood; they laugh;

sandra turns to see lucy get up to meet sonny

cut to: singing and dancing on stage

voice (urging mama corleone to come onto the stage to sing)

signora corleone! -- [more]

mama (laughingly)

no -- no -- no! [more]

(then, once on stage)

[sounds like] assesta stori!

(then sings the first verse to 'luna mezz'a mare')

(then, mama calls nazorine to the stage)

cut to: sonny goes upstairs

cut to: an old man continues 'luna mezz'a mare' while nazorine dances and laughs on

stage

cut to: lucy mancini goes upstairs

cut to: the old man who was singing is now dancing

cut to: don's office.

tom

senator cauly apologized for not coming personally -- he said you'd understand. also, some

of the judges. they've all sent gifts.

(then, toasting to the don)

salute!

[os: screaming of joy from the party outside]

vito corleone

what is that outside?

cut to: outside, johnny fontane enters the party, signing autographs

connie (while running up to johnny, then hugging him)

johnny! johnny! johnny! i love you!

cut to: don's office. the don is looking out the window

vito

he came all the way from california to come to the wedding; i told you he was going to

come.

tom

it's been two years; he's probably in trouble again.

vito

he's a good godson.

cut to: bandstand area -day

mama corleone

johnny, johnny! [in italian: 'sing a song']

(then, in english)

sing a song.

[the crowd encourages johnny, and he gives in]

cut to: michael and kay's table -day

kay

mike, you never told me you knew johnny fontane!

michael

sure... you wanna meet him?

kay

huh? oh, well, sure!

michael

my father helped him with his career.

johnny (os)

for my connie...

kay

he did? how?

johnny (os, singing 'i have but one heart')

'i have but one heart...'

michael

let's listen to the song...

kay

oh, michael...

cut to: johnny singing to connie, who's seated. then pan the crowd cheering and

screaming as johnny sings

johnny (singing, continues)

'...this heart i bring you / i have but one heart / to share with you / i have but one dream /

that i can cling to / you are the one dream/i pray comes true...'

kay

please, michael, tell me.

johnny (os, continues the song)

'my darling, until i saw you...'

michael

well, when johnny was first starting out, he was signed to this personal service contract;

with a big band leader. and as his career got better and better, he wanted to get out of it.

now, johnny is my father's godson. and my father went to see this band leader, and he

offered him $10,000 to let johnny go. but the band leader said no. so the next day, my

father went to see him; only this time with luca brasi. and within an hour, he signed a

release, for a certified check for $1,000.

kay

how'd he do that?

michael

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

kay

what was that?

michael

luca brasi held a gun to his head, and my father assured him that either his brains -- or his

signature -- would be on the contract.

(then)

that's a true story.

(then, after we see johnny ending the song)

that's my family, kay. it's not me.

cut to: bandstand area -day

mama (os)

bene! bene!

[the song is finished, and we hear applause. the don goes out to meet and hug

johnny, and they, and other guests, toast. the mazurka music and dancing continue]

vito (to the surrounding guests)

my godson comes all the way from california...give him a glass of wine

voice (os)

salute!

johnny (whispers into the don's ear that he wants to talk to him)

vito corleone

i'll take care of it.

(then, to tom)

tom, i want you to find santino. tell him to come to the office.

[tom looks up, as if knowing what sonny's up to]

cut to: michael and kay's table at the reception

michael (with kay, gets tapped in the head by fredo)

oh!

(then, noticing fredo)

how are you, fredo?

(then)

fredo -- my brother fredo -- this is kay adams

kay

oh, hi

fredo (apparently drunk)

how'ya doing?

(then, after fredo kisses kay on the cheek)

this is my brother, mike.

michael

are you having a good time?

fredo

huh? yeah...

(then)

this your friend, huh?

cut to: johnny fontane in the don's office. -day

johnny

i don't know what to do. my voice is -- is weak. it's weak. anyway, uh, if i had this part in

the picture, ya'know, it puts me right back up on top again. but this, uh -- this man out there,

he won't give it to me; the head of the studio.

vito corleone

what's his name?

johnny

woltz -- woltz. he -- he won't give it to me -- and ah, he says there's no chance. no chance.

cut to: tom looking for sonny inside the house

tom (at the bottom of the stairs)

sonny? sonny?

[sonny and lucy are going at it, standing against a door in an upstairs bedroom.

tom goes upstairs, then knocks on the bedroom door]

tom

sonny? sonny you in there?

sonny (stopping the action)

what?

tom

your old man wants to see you.

sonny

yeah, one minute.

[tom smiles, and walks away, as sonny and lucy continue]

lucy

oh, sonny!

cut to: a woman singing italian song, opera-like, on the stage -day

cut to: the don's office

johnny (as tom quietly enters the don's office)

a month ago he bought the movie rights to this book. a bestseller -- and the main character,

it's a guy just like me. i uh -- i wouldn't even have to act -- just be myself. oh, godfather, i

don't know what to do. i don't know what to do.

vito corleone

you can act like a man!

(then, after slapping johnny on the face)

what's the matter with you? is this how you turned out? a hollywood finocchio that ah cries

like a woman?

(then imitating johnny, as tom giggles)

what can i do?! what can i do?!

(then)

what is that nonsense? ridiculous.

[sonny enters the room]

vito corleone (to johnny, after glancing to see sonny enter)

you spend time with your family?

johnny

sure i do.

vito corleone (to johnny, but toward and about sonny)

good. 'cause a man who doesn't spend time with his family can never be a real man.

(then, to johnny)

come're.

(then)

you look terrible. i want you to eat. i want you to rest a while. and in a month from now,

this -- hollywood bigshot's gonna give you what you want.

johnny

it's too late, they start shooting in a week

vito corleone

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

(then)

now you just go outside and enjoy yourself, and ah, forget about all this nonsense. i want

you to leave it all to me.

johnny (exiting)

all right

vito corleone (after johnny exits)

well...

cut to: the cake comes out. nazorine, the baker, takes a proud bow. the tarantella plays

again.

cut to: the don's office

vito corleone

what time does my daughter leave with the bridegroom?

tom

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

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

now your new son-in-law; give him something important?

vito corleone

never. give him a living, but never discuss the family business with him. what else?

tom

virgil sollozzo called. now we're gonna have to give him a day sometime next week.

vito corleone

we'll discuss it when you come back from california.

tom (laughing)

when am i going to california?

vito corleone

i want you to go tonight; i want you to talk to this -- movie bigshot, and settle this business

for johnny. now, if there's nothing else, i'd like to go to my daughter's wedding.

***extra footage from the trilogy & saga***

tom

uh -- the hospital called. um --consiglieri genco -- he's not gonna last out the night.

vito corleone

santino, go tell your brothers that i went them to come with me to visit genco to pay their

respects. tell fredo to drive the big car... outside now.

sonny

uh, pop... michael?

vito corleone

all my sons

***

cut to: family portrait scene in the yard [the clinking glasses have stopped] -day

mama (seeing carlo and connie kissing)

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

michael (as he goes to get kay for the photo)

wait a minute...

kay

no, michael, not me.

photographer

okay, that's it. just like that; now, hold it.

cut to: connie and the don dance to 'the godfather waltz (come live your life with me)'

***extra footage from the trilogy & saga***

cut to: tom arrives in hollywood by plane, takes a cab, then walks by foot through woltz

international pictures. music: 'manhattan serenade' plays -day

***extra footage from the trilogy & saga***

***

janie's mother (after janie kisses woltz)

ah, isn't that nice...

woltz (who's just walked toward tom)

all right, start talking.

tom

uh, i was sent by a friend of johnny fontane's -- his friend is my client, who'd give his

undying friendship to mr. woltz, if mr. woltz would grant us a small -- favor.

woltz

woltz is listening.

tom

give johnny the part in that new war film you're starting next week.

woltz (laughs, then)

and ah, what favor would ah your friend ah grant mr. woltz?

tom

you're gonna have some union problems; my client could make then disappear. also, one of

your top stars has just moved from ah marijuana to heroin...

woltz

are you trying to muscle me?

tom

absolutely not.

woltz

now listen to me, you smooth-talking son-of-a-bitch! let me lay it on the line for you and

your boss, whoever he is. johnny fontane will never get that movie! i don't care how many -

- daigo guinea wop greaseball gumbahs come out of the woodwork!

tom

i'm german-irish...

woltz

well let me tell you something my kraut mick friend, i'm gonna make so much trouble for

you, you won't know what hit you!

tom

mr. woltz, i'm a lawyer, i have not threatened you.

woltz

i know almost every big lawyer in new york, who the hell are you?

tom

i have a special practice; i handle one client -- now you have my number; i'll wait for your

call -- by the way, i admire your pictures very much.

[tom shakes woltz' hand, then leaves]

woltz (to a staff member)

check him out...

cut to: later, tom and woltz walking around woltz' estate. 'manhattan serenade' plays

again. -early evening

tom

this is really beautiful.

woltz

well, look at this. it used to decorate the palace of a king.

tom

oh, yeah; very nice.

woltz

why didn't you say you worked for corleone, tom? i thought you were just some cheap

two-bit hustler johnny was running in trying to bluff me.

tom

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

woltz

how's your drink, tom?

tom

fine

woltz

hey, come on over here with me; i wanna show you something really beautiful. you do

appreciate beauty, don't you?

(then)

there you are, $600,000 on four hooves. i bet a russian czar never paid that kind of dough

for a single horse.

(then, toward the horse)

khartoum. khartoum.

(then, to tom)

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

tom

he's beautiful.

woltz (to stablehand)

thanks, tony.

tony

you're welcome...

woltz (to tom)

let's get something to eat, huh?

cut to: woltz' dinner table -early evening

tom

mr. corleone is johnny's godfather. to the italian people, that's a very religious, sacred,

close relationship.

woltz

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

him.

tom

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

[gaffe: waiter fills tom's wine glass twice, shown in two camera angles]

woltz

you don't understand. johnny fontane never gets that movie. that part is perfect for him;

it'll make him a big star. and i'm gonna run him out of the business, and let me tell you why.

(then, after he stands)

johnny fontane ruined one of woltz international's most valuable prot間閟. for five years

we had her under training. singing lessons; acting lessons, dancing lessons. i spent hundreds

of thousands of dollars on her. i was gonna make her a big star! and let me be even more

frank, just to show you that i'm not a hard-hearted man, and it's not all dollars and cents.

she was beautiful; she was young, she was innocent. she was the greatest piece of ass i ever

had, and i had'em all over the world! and then johnny fontane comes along with his olive-

oil voice, and guinea charm. and she runs off. she threw it all away just to make me look

ridiculous! and a man in my position can't afford to be made to look ridiculous! now you

get the hell outta here! and if that gumbah tries any rough stuff, you tell him i ain't no band

leader! yeah, i heard that story....

tom

thank you for the dinner and a very pleasant evening. if your car could take me to the

airport; mr. corleone is a man who insists on hearing bad news immediately.

[tom nods, then exits]

***extra footage from the trilogy & saga***

***

cut to: pan of exterior of woltz' estate, music is a variation of the title theme, then we

see the interior of woltz' bedroom. woltz awakens in a pool of blood, and finds khartoum's

severed head in his bed; and screams ah - ah - ah - ah - ah! -dawn

dissolve to: close-up of vito corleone's face; he nods -evening

vito corleone

you're not too tired, are you, tom?

tom

no, no. i slept on the plane.

(then, as we see sollozzo entering the don's office from the street)

i have the sollozzo notes here. now -- sollozzo is known as 'the turk.' he's supposed to be

very good with a knife, but only in matters of business or some sort of reasonable complaint.

uh, his business is narcotics. he has fields in turkey where they grow the poppy. and in

sicily he has the plants to process them into heroin. now -- he needs cash, and he needs

protection from the police, for which he gives a piece of the action -- i couldn't find out how

much. the tattaglia family is behind him here in new york. now they have to be in it for

something.

cut to: sonny introducing himself to sollozzo, shaking hands -day

sonny

sonny corleone...

cut to: back to don, sonny and tom before the meeting -evening

vito corleone

what about his prison record?

tom

two terms. one in italy, one here. he's known as a top narcotics man.

vito corleone

santino? whattaya think?

sonny

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

vito corleone

tom?

tom [sollozzo scenes still intercut]

well, i say yes. there's more money potential in narcotics than anything else we're looking

at. now if we don't get into it, somebody else will. maybe one of the five families, maybe

all of them. now with the money they earn, they can buy more police and political power;

then they come after us. now we have the unions, we have the gambling; an' they're the best

things to have. but narcotics is a thing of the future. an' if we don't get a piece of that

action, we risk everything we have -- i mean not now, but ah ten years from now.

sonny

so, what's your answer gonna be, pop?

cut to: sollozzo meeting in don corleone's genco office. scene includes the don,

sollozzo, tom, sonny, fredo, clemenza, and tessio sitting in room #2 -day

sollozzo

bene. don corleone. i need a man who has powerful friends. i need a million dollars in

cash. i need, don corleone, those politicians that you carry in your pocket, like so many

nickels and dimes.

vito corleone

what is the interests for my family?

sollozzo

thirty percent. in the first year, your end should be three- four-million dollars. and then it

would go up.

vito corleone

and what is the interest for the tattaglia family?

sollozzo (to tom)

my compliments.

(then to don corleone)

i'll take care of the tattaglia's, outta my share.

vito corleone

so i receive thirty percent for finance -- political influence, and legal protection, that's what

your telling me?

sollozzo

that's right

vito corleone

why do you come to me? why do i deserve this generosity?

sollozzo

if you consider a million dollars in cash just finance, te salute, don corleone.

vito corleone (gets up to pour sollozzo another drink)

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

respect.

(then, after sitting)

but uh, i must say 'no' to you -- and i'll give you my reasons. it's true, i have a lot of friends

in politics, but they wouldn't be friendly very long if they knew my business was drugs

instead of gambling, which they rule that as a -- harmless vice. but drugs is a dirty business.

sollozzo

don corleone...

vito corleone

it -- makes -- it doesn't make any difference to me what a man does for a living, understand.

but your business is ah -- a little dangerous.

sollozzo

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

sonny

aw, you're telling me that the tattaglia's guarantee our investment?

vito corleone (to sonny)

wait a minute...

[clemenza and tom look at each other, realizing sonny's faux pas. sollozzo

notices]

vito corleone (to sollozzo)

i have a sentimental weakness for my children, and i spoil them as you can see; they talk

when they should listen. but, anyway, signor sollozzo, my no is final, and i wish to

congratulate you on your new business, and i know you'll do very well; and good luck to you

-- as best as your interests don't conflict with my interests. thank you.

[the group begins to leave the room: sollozzo, clemenza, tessio, then fredo]

vito corleone

santino, come're. whattsa matter with you? i think your brain is going soft from all that

comedy your playing with that young girl. never tell anybody outside the family what you're

thinking again!

(then)

go on...

(then, after sonny exits)

tom...

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

what -- what is this nonsense?

tom

it's from ah johnny, starring in that new ah film.

vito corleone

ah -- well, take it away.

tom (to person holding flowers)

take it over there

vito corleone

and uh, tell luca brasi to come in.

cut to: luca sits down in front of the don at the genco office. -day

vito corleone

i'm a little worried about this sollozzo fella. i want you to find out what he's got under his

fingernails, ya'know. go to the ah tattaglia's, uh, and ah, make them think that ah you're --

you're not too happy with our family and -- and ah find out what you can.

fade from black: michael and kay christmas shopping outside of best & co. 'have

yourself a merry little christmas' is playing -day

kay

i got something -- i got something for your mother, and for sonny, and a tie for um um

freddy, and tom hagen got the reynolds pen...

michael

and what do you want for christmas?

kay

me? oh, just you.

cut to: luca brasi getting ready for his meeting: putting on his vest and checking his gun

-night

***extra scene from the epic, trilogy & saga: mike and kay are in a hotel

room bed. the phone rings, and kay picks up. 'have yourself a merry little christmas'

continues-day

kay (into phone)

hello?

voice on the phone

good afternoon, it's 3 o'clock

kay (into phone)

thank you....

(then, to michael, after hanging up the phone)

michael, it's 3 o'clock

michael (barely awake)

wha?

kay (laughs)

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

michael

why do we have to?

kay (laughing)

because we have to...

michael

ya'know, if we go to my father's house --

kay

uh-huh...

michael

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

kay (laughs)

why not?

michael

because they're in separate rooms

kay (laughs)

well, alright then -- i -- then we won't go -- we won't tell your father...

michael

okay...

kay

you know, we'll just get married first -- and we'll tell'em later...

[music changes to 'all through the night']

michael

i can't do that...

kay

then michael, get outta bed

michael

let's go tomorrow...

kay

michael, they're expecting us!

michael

oh, kay -- get the phone...

kay

what are you gonna do?

michael

just get the phone...

[kay gives michael the phone, and he picks up the receiver and the operator

responds]

operator (over the phone)

yes, may i help you?

michael (into phone)

hi, may i please have uh, orchard-9-9539 please...

kay

what are you doing? -- what are you doing? are you doing something...?

michael (to kay)

you're going to be the long-distance operator from new hampshire

(then, after kay laughs)

come on...

kay (laughing)

i can't do this

michael

you gotta -- come on...

tom's voice (over phone)

hello?

kay (pretending to be an operator, into phone)

hello, this is long distance calling -- i have a collect call from mr. michael corleone -- um,

will you accept the charges?

tom's voice (over phone)

yes...

kay (pretending to be an operator, into phone)

one moment, please...

[kay hands michael the receiver. he inaudibly asks kay who it is, but she doesn't

know]

michael (into phone)

hello?

tom's voice (over phone)

hello?

michael (into phone)

hello, tom

tom's voice (over phone)

hi, mike, how are you?

michael (into phone)

listen -- we're up in new hampshire still -- we're gonna drive down tomorrow morning...

[the beds on which michael and kay are laying, pushed together, begin to

separate]

tom

is there anything i can do for you?

michael's voice (over phone)

no, ah -- we're fine. now, i'm -- i'm gonna see you christmas -- everybody's goin' out to the

mall?

tom's voice (over phone)

right...

michael (into phone)

okay...

tom's voice (over phone)

right, mikey...

michael (as the beds separate, and michael and kay fall between them)

bye, tom...

***

cut to: don corleone's office on mott street -early evening

vito corleone

andiamo, fredo. tell paulie to get the car; we're going.

fredo

okay, pop -- i'll have to get it myself, pop; paulie called in sick this morning.

vito corleone

huh?!

fredo (exiting)

paulie's a good kid, i don't mind getting the car.

[the office manager helps the don don his coat]

vito corleone (to office manager)

[sounds like] buon nateli, dano. grazie

cut to: luca brasi walking down hallway to the bar. the trilogy shows some extra

footage -night

cut to: luca brasi's meeting at tattaglia's bar -night

bruno tattaglia

luca, i'm bruno tattaglia.

luca

i know

bruno tattaglia

su bequero scotch? pre-war...

luca

io no bib' ['i don't drink']

sollozzo

you know who i am?

luca

[in italian: i know you]

sollozzo

[in italian: you have been talking to the tattaglia family...right? i think you and i can do

business. i need someone strong like you. i heard you are not happy -- with the corleone

family. want to join me?]

luca

[in italian: what's in it for me?]

sollozzo

[in italian: $50,000 -- to start with.]

luca

[in italian: not bad]

sollozzo (offering his hand to luca)

[in italian: agreed?]

[luca doesn't shake. he takes out a cigarette, which bruno lights]

luca

grazie.

[bruno grabs luca's hand to the bar, sollozzo rams a knife into it, and luca is

garroted by a buttonman]

cut to: tom hagen exits a store while christmas shopping. tom is carrying a sled and

some tied-up boxes. 'santa claus is coming to town' is playing. -early evening

sollozzo

tom! tom hagen! merry christmas!

(then, after tom nods)

heh, i'm glad i run into you; i want to talk to you.

tom

well i haven't got time

sollozzo

aw, make time, consiglieri. get in the car.

(then)

what are you worried about? if i wanted to kill you, you'd be dead already

(then)

get in.

{the trilogy tape #1 ends here}

dissolve to: the don and fredo leaving the genco office -late afternoon

vito corleone

ah, aspetta, fredo; i'm gonna buy some fruit

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

okay, pop

vito corleone (to merchant)

ah, hi, merry christmas; i wan' some fruit over there. what is this? gimme three. and that

one...

[after the don gets some oranges and a green pepper, he hears footsteps, then

running. he begins to run toward the car, screaming fredo! fredo! and stumbles and falls

onto the car. the two gunmen shoot about 10 shots at him. the don screams uh!, falls over,

the assassins run, and the don falls to the curb]

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

i can't -- i can't -- papa!!

***extra footage from the trilogy & saga***

***

cut to: michael and kay walking outside of radio city music hall, which is showing

leo mccarey's 'the bells of st. mary's' which michael and kay just saw. the music

playing is 'bells of st. mary's' -evening

kay

mike, would you like me better if i were a nun? like in the story, you know?

michael (after pausing)

no.

kay

then would you like me better if i were ingrid bergman?

michael

now that's a thought...

kay (shaken)

michael...

michael

no, i would not like you better if you were ingrid bergman.

kay (upset)

michael...

michael

what's the matter?

kay

michael...

[they walk back to a newsstand they had just passed, and michael picks up the

daily mirror which has the headline: 'vito corleone feared murdered.' he

flips the pages to reveal an inside article: 'assassins gun down underworld chief']

michael

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

[they run across the street to a phone booth to call sonny]

michael (into the phone)

sonny -- michael.

sonny's voice (over the phone)

michael, where you been?

michael (into the phone)

is he all right?

sonny's voice (over the phone)

we don't know yet. there's all kinds of stories.

(then, after a sigh)

he was hit bad, mikey...

(then)

are you there?

michael (into the phone)

yeah, i'm here.

sonny's voice (over the phone)

where you been? i was worried.

michael (into the phone)

didn't tom tell you? i called.

sonny's voice (over the phone)

no -- look, come home, kid. you should be with mama, ya'hear?

michael (into the phone)

alright...

cut to: sonny's house just after talking to michael on the phone. sonny hangs up. -night

sandra (sadly hugging sonny)

oh my god...

[there's a loud crash heard os from outside the house]

sandra (as the baby, santino jr, starts to cry)

oh! sonny!

[sonny searches for and finds his gun from a drawer]

sonny (to sandra, at the door, after hearing knocking)

get back -- go

(then, to the door)

who is it?

clemenza's voice (through the door)

open up -- it's clemenza

sonny (after letting him in)

what?

clemenza (entering)

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

sonny

watch your mouth -- what's the matter with you?

clemenza (after being pushed up against the wall)

jesus christ; take it easy -- take it easy

sonny

where was paulie?

clemenza

paulie was out sick. he been calling sick all winter.

sonny

how many times has he been sick?

clemenza

only maybe three, four times. i mean --

sonny

3, 4 times?

clemenza

-- i asked freddy if he wants me to get a different bodyguard and he said 'no.'

sonny

listen, do me a favor, pick him up right now, i don't care how sick he is. if he's breathing, i

want you to bring him to my father's house. now, you understand? now.

clemenza

yeah. you want me to send any people over here?

sonny

no. no. no -- just you and him. ga'head.

clemenza (exiting)

alright...

sonny (to sandra, who's holding the crying santino jr)

look, uh... i'll be having a couple people come over to the house. a couple of our people...

[sonny's phone rings, and he picks up]

sonny (into the phone)

hello?

sollozzo's voice (over the phone)

santino corleone?

sonny (into the phone, and sandra leaves the room with the baby)

yeah...

sollozzo's voice (over the phone)

we have tom hagen. in about three hours he'll be released with our proposition --

[sonny checks his watch, then writes the time onto the kitchen cabinet]

sollozzo's voice (over the phone, continues)

-- listen to everything he has to say before you do anything. what's done is done.

(then)

and don't lose that famous temper of yours, huh sonny?

sonny (into the phone)

no, i'll wait...

[sollozzo hangs up, then sonny hangs up]

***extra footage from the trilogy & saga***

***

cut to: an abandoned diner / sollozzo with kidnapped tom hagen -night

sollozzo (drinking coffee, to tom)

your boss is dead. i know you're not in the muscle-end of the family, tom, so i don't want

you to be scared. i want you to help the corleone's, and i want you to help me.

(then, handing tom a drink)

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

(then)

drink it.

(then)

so now it's up to you to make the peace between me and sonny.

(then)

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

tom

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

sollozzo

that'll be his first reaction, sure. that's why you gotta talk some sense into him. the

tattaglia family is behind me with all their people. the other new york families will go

along with anything that will prevent a full-scale war. let's face it, tom, and all due respect,

the don, rest in peace, was -- slippin'. ten years ago could i have gotten to him?

(then)

well -- now he's dead. he's dead, tom, and nothing can bring him back. so you gotta talk to

sonny, you gotta talk to the caporegimes, that tessio and that fat clemenza.

(then)

it's good business, tom.

tom

i'll try, but even sonny won't be able to call off luca brasi.

sollozzo

yeah, well, let me worry about luca.

(then)

you just talk to sonny -- and the other two kids.

tom

i'll to my best.

sollozzo

good. now, you can go.

(then, while walking out)

i don't like violence, tom. i'm a business man. blood is a big expense.

[outside, a car, sounding its horn, pulls up; sollozzo goes to talk to them, and

returns]

sollozzo

he's still alive. they hit'em with five shots, and he's still alive! well that's bad luck for me,

and bad luck for you if you don't make that deal!

cut to: michael arrives at corleone compound. a car drops him off at the gate, and he

goes inside, seeing family and friends. the trilogy has some extra footage at the

beginning of this scene, in the car. -night

clemenza (sitting with theresa hagen, stands to greet michael)

mike -- your mother's over in the hospital with your father; looks like he's gonna pull

through, thank god.

***extra footage from the trilogy & saga***

***

cut to: the don's office with sonny, tom, mike, tessio, & clemenza -night

sonny (background, to tom)

whattaya think --

tom (background, to sonny)

too much...

sonny (background, to tom)

huh?

clemenza (background, to tessio)

...it's a lot of bad blood. sollozzo, philip tattaglia, bruno tattaglia; garbone,...

tom (background, to sonny)

it's too far -- i think it's too personal... the don'll consider this all...

michael (to clemenza)

you kill all those guys?

sonny

hey, stay out of it, mickey; do me a favor.

tom

sollozzo's the key. you get rid of him, every falls into line. now what about luca? sollozzo

didn't seem to be worried about luca...

sonny

aw --i don't know -- if luca sold out we're in a lot of trouble, believe me. a lot of trouble.

tom

has anyone been able to get in touch with luca?

clemenza

eh, i've been trying all night. he might be shacked up.

sonny

hey, mick, do me a favor --

tom (background, to clemenza)

luca never sleeps over with a broad -- he always goes home when he's through...

sonny (to michael)

-- try ringing him...

(then, to tom)

well, tom -- you're consiglieri, now what do we do if the old man dies, god forbid.

tom

if we lose the old man --

tessio (background)

... sollozzo, philip tattaglia, ...

tom

-- we lose our political contacts and half our strength. the other new york families might

wind up supporting sollozzo just to avoid a long -- destructive war. this is almost 1946 --

tessio (background)

... my people...

tom

-- nobody wants bloodshed anymore. if your father dies,

(then)

you make the deal, sonny.

sonny

that's easy for you to say, tom, he's not your father!

tom

i'm as much a son to him as you or mike.

[knock on door]

sonny

what is it?

[paulie enters]

clemenza

hey, paulie, i thought i told you to stay put.

paulie

well, the guy at the gates say -- say they got a package.

sonny

yeah? hey, tessio, go see what it is.

paulie (to sonny, after tessio exits)

you want me to hang around?

sonny

yeah, hang around. you all right?

paulie

yeah, i'm fine

sonny

yeah? --

[paulie coughs, perhaps deliberately]

sonny

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

paulie

nah, it's alright -- thanks...

sonny

how 'bout a drink? have a little brandy -- that'll help sweat it out. huh? go'ahead, baby...

paulie

alright, sure -- that might be a good idea...

sonny

yeah, right.

(then to clemenza, after paulie exits)

i want you to take care of that sonofabitch right away. paulie sold out the old man, that

stronz'. i don't want to see him again. make that first thing on your list, understand?

clemenza

understood.

sonny

hey, mickey, tomorrow -- get a couple of guys, you go over to luca's apartment; hang

around, waitin' for him to show up...

tom

uh maybe we shouldn't get mike uh mixed up in this too directly

sonny

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

(then)

try luca again -- ga'head

[tessio enters with package, which he places on sonny's lap]

sonny (unwrapping the package of luca's bulletproof vest-wrapped fish]

what the hell is this?

clemenza

it's a sicilian message. it means luca brasi sleeps with the fishes.

[michael hangs up the phone]

***extra footage from the trilogy & saga***

***

cut to: clemenza leaves his house in the morning. some boys are playing, one is pushing

the other in a toy car as the latter yells ah! -morning

clemenza (to his wife, on his front stoop)

i'm goin' now...

mrs. clemenza (standing in the door)

what time will you be home tonight?

clemenza (walking to the car)

i don't know, probably late.

mrs. clemenza (os)

don't forget the cannoli!

clemenza (getting into the car, as is rocco)

yeah, yeah, yeah, yeah...

paulie (in the driver's seat)

rocco, sit on the other side. you block the rearview mirror.

clemenza

that sonny's runnin' wild. he's thinkin'a going to the mattresses already. we gotta find a

spot over on the west side. ya try -- 309 west 43rd street. you know any gooda spots on

the west side?

paulie

yeah, i think about it.

clemenza

well think about it while you're drivin', will ya? i wanna hit new york sometime this

month.

(then)

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

***extra footage from the trilogy & saga***

***

cut to: driving under the el tracks -day

clemenza's voice

hey, paulie, i want you to go down 39th street -- carlo santos -- you pick up 18 --

paulie's voice

yeah...

clemenza's voice (continuing)

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

paulie's voice

uh-huh, yeah, alright... that...[?]...bill

clemenza's voice

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

time, ya'know?

paulie's voice

they're clean. they told me they exterminate them

clemenza's voice (as rocco laughs)

exterminate? that's a bad word to use: exterminate! get this guy. watch out we don't

exterminate you [laughs]

paulie's voice

you think that's funny, or what?

clemenza's voice (laughs with rocco)

hey, paulie -- [in italian: did you fart?]

paulie's voice

hey, rocco, what did you do?

rocco's voice (laughs)

not me -- nothin' -- it wasn't me

paulie's voice (laughs)

it's gotta be him, then...

clemenza's voice

pull over, will yah? i gotta take a leak.

[paulie pulls over, and clemenza gets out to relieve himself. rocco shoots paulie

three times as we hear a variation of the 'title theme' music]

clemenza (back at the car)

leave the gun. take the cannoli.

cut to: outdoors, outside the don's kitchen, michael is sitting on a bench. -day

clemenza's voice (os)

hey, mike! hey, mikey?

michael

yeah?

clemenza's voice (os)

you're wanted on the telephone.

michael (entering the kitchen)

who is it?

clemenza

some girl... [the music fades out]

michael (into phone)

hello, kay?

kay's voice (over the phone)

how's your father?

michael (into the phone)

he's good. he's gonna make it.

kay's voice (over the phone)

i love you.

michael (into the phone)

huh?

kay's vo

[nextpage甲骨文剧本网]

ice (over the phone, louder)

i love you.

(then)

michael?

michael (into the phone)

yeah, i know.

kay's voice (over the phone)

tell me you love me...

michael (into the phone)

i can't talk...

kay's voice (over the phone)

can't you say it?

michael (into the phone)

eh -- i'll see you tonight

kay's voice

okay

[michael hangs up the phone]

clemenza

hey, mikey, why don't you tell that nice girl you love her?

(then, in an exaggerated italian accent)

i love you with all-a my heart! if i don't see you again soon, i'm a-gonna die! [laughs]

(then)

heh, come over here, kid, learn something. you never know, you might have to cook for

twenty guys someday. you see, you start out with a little bit of oil. then you fry some

garlic. then you throw in some tomatoes, tomato paste, you fry it; ya make sure it doesn't

stick. you get it to a boil; you shove in all your sausage and your meatballs; heh?... and a

little bit o' wine. an' a little bit o' sugar, and that's my trick.

sonny (after entering the kitchen)

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

(then)

how's paulie?

clemenza

oh, paulie? won't see him no more...

sonny (nods)

(then to michael, who's walking out of the kitchen)

where you going?

michael

to the city.

sonny

no... wanna send some bodyguards with him -- alright?

michael

no, i'm just going to the hospital to see pop

sonny

never mind; send somebody with him

clemenza

aw, he'll be alright -- sollozzo knows he's a civilian

sonny

alright; be careful, huh?

michael (as he exits)

yes, sir...

sonny

send somebody with him, anyway...

clemenza (chuckles)

cut to: michael goes to the city, driven by bodyguards -early evening

dissolve to: kay's hotel room. michael and kay are eating dinner, while 'all of my

life' plays

michael (as he gets up to get his coat)

i have to go...

kay

can i go with you?

michael

you know, kay, there's gonna be detectives there -- people from the press...

kay

well, i'll ride in the cab...

michael

i don't want you to get involved...

kay

when will i see you again?

michael (after a long pause)

go back to new hampshire, and i'll call you at your parents' house.

kay

when will i see you again, michael?

michael

i don't know...

[michael kisses kay, then exits]

cut to: michael exiting the hotel

cut to: the hospital (10:30pm). michael arrives by cab. he enters the quiet hospital to

find no one at the nurse's station. he walks down the hall to check an office, and only sees a

half-finished sandwich on a desk. he runs down the hall and up the stairs towards his

father's room. he pauses, noticing there is no guard outside the don's door. he walks around

the corner up to room #2 and hesitates before he pushing the door open. his father is in the

bed, and michael wonders if he's alive. he walks up to the don. -night

nurse (entering the room)

what are you doing here? you're not supposed to be here now!

michael

i'm michael corleone -- this is my father.

(then)

there's nobody here. what happened to the guards?

nurse

your father just had too many visitors. they interfered with hospital service. the police

made them leave about ten minutes ago.

[as the nurse checks the don's pulse, michael picks up the phone]

michael (into phone)

ah, get me, ah, long beach-4-5620, please...

(then, to nurse, who was leaving the room)

nurse, wait a minute. stay here.

(then, into phone)

sonny -- michael. i'm at the hospital.

sonny's voice (over the phone)

yeah?

michael (into the phone)

listen -- i got here late. there's nobody here.

sonny's voice (over the phone)

what? nobody?

michael (into the phone)

nobody... no no no tessio's men, no detectives, nobody. papa's all alone.

sonny's voice (over the phone)

don't panic -- i'll send somebody...

michael (loudly)

i won't panic!

[hangs up the phone]

[nextpage]

nurse

i'm sorry; but you will have to leave.

michael (as he checks to see if the bed would fit through the doorway)

uhh... you and i are gonna moo -- move my father to another room. now can you

disconnect those tubes so we can move the bed out?

nurse

that's out of the question!

michael

you know my father? men are coming here to kill him. you understand? now help me,

please.

[michael and the nurse roll the don's bed to another room. we hear a door close,

then footsteps are heard coming up the stairs as michael peers from the doorway. a man

holding flowers seems to be looking for a room]

michael (coming out of hiding)

who are you?

enzo

i am enzo, the baker -- do you remember me?

michael

enzo...

enzo

yes, enzo...

michael

you better get out of here, enzo; there's gonna be trouble...

enzo

if there is trouble, i stay here to help you. for your father -- for your father

michael

alright... listen, wait for me outside in front of the hospital. alright? i'll be out in a minute.

go ahead...

enzo

okay... okay.

[michael returns to the don's room, at his bedside. the nurse is still in the room]

michael

just lie here, pop. i'll take care of you now. i'm with you now. i'm with you...

[michael kisses the don's hand; the don smiles, with a tear in his eye. michael

leaves to meet enzo outside of the hospital]

michael (grabbing and tossing the flowers that enzo is still holding)

get rid of these

(then, as michael turns enzo's collar up)

come 'ere... put your hand in your pocket like you have a gun. you'll be alright.

(then, after he sighs)

you'll be okay...

[a black sedan pulls up to the front of the hospital. the occupants look at michael

and enzo, as michael undoes a button of his coat and puts his hand in, as if he had a gun.

the car then drives off]

michael

you did good.

[enzo, very scared, takes out a cigarette and has trouble lighting it with his zippo

lighter. his hands are shaking. michael takes the lighter and lights his cigarette, noticing

that his hands are not shaking. sirens are heard as police cars screech to a halt in front of the

hospital. michael shoos enzo away as he is grabbed by an officer]

officer (grabbing michael)

now hold still...

captain mccluskey (entering the scene)

i thought i got all you guinea hoods locked up! what the hell are you doing here?

michael

what happened to the men who were guarding my father, captain?

mccluskey

why you little punk! what the hell are you doing telling me my business? i pulled them

guys off of here, eh! -- now you get outta here -- and stay away from this hospital!

michael

i'm not moving until you put some guards around my father's room

mccluskey

phil, take him in!

officer phil

the kid's clean, captain. he's a war hero. he's never been busted for the rackets...

mccluskey (overlaps)

goddamn it, i said take him in!

michael

what's the turk paying you to set up my father, captain?

mccluskey

take a hold of him. stand him up. stand'im up straight.

[mccluskey punches michael in the jaw as a corleone car screeches up. men get

out and run up the steps toward the don's room. tom and a couple of men go to get

michael]

tom (to mccluskey)

i'm attorney for the corleone family. these men are private detectives hired to protect vito

corleone. they're licensed to carry firearms. if you interfere, you'll have to appear before a

judge in the morning and show cause.

mccluskey (to his officers)

alright... let'im go. [inaudible 'shit!' as he turns away] come on!

dissolve to: corleone mall, during the day. tom, clemenza and michael get out of the

car and walk through the gate, noticing armed men all over the mall. tessio greets them.

-day

clemenza

what's with all the new faces?

tessio

we'll need'em now. after the hospital thing, sonny got mad. we hit bruno tattaglia 4

o'clock this morning.

clemenza

jesus christ...

(then, motions to michael to come on)

it looks like a fortress around here...

cut to: inside the corleone office -day

sonny (to tom)

tom-anuch! hey, a hundred button men on the street twenty-four hours a day; that turk

shows one hair on his ass, he's dead --

tom (going to sit down)

yeah?

sonny

-- believe me...

(then, to michael, whose face is bruised from mccluskey's punch)

hey, michael, come're, let me look at you. you look beautiful! beautiful! just gorgeous!

(then, to tom)

hey, listen to this -- the turk wants to talk. eh gosh -- imagine the nerve of the sonofabitch,

eh? craps out last night, and wants a meetin' today...

tom

what did he say?

sonny

what did he say -- badda-beep, badda-bap, badda-boop, badda-beep -- he wants us to send

michael here to proposition. and the promise is, that the deal is so good, that we can't

refuse. eh...

tom (as tessio enters the room)

what about bruno tattaglia?

sonny

that's part of the deal -- bruno cancels out what they did to my father...

tom

sonny, we ought to hear what they have to say...

sonny (standing in front of tom, who's seated)

no; no; no! no more! not this time, consiglieri. no more meetin's, no more discussions, no

more sollozzo tricks. you give'em one message: i want sollozzo -- if not, it's all-out war --

we go to the mattresses...

tom (stands)

some of the other families won't sit still for all-out war!

sonny

then they hand me sollozzo!

tom<