"THE GODFATHER PART III" (1990)

Fa.MfCIS FORD COPPOLA

D The PARAMOUNT LOGO is presented austerely over a black bacicground. We HEAR the SOUND of a trumpet playing a waltz. There is a moment's hesitation, and then the simple words in white lettering: ·

Mario Puzo's THE GODFATHER

While this remains, we-HEAR:

"Alas Constantine, how much misfortune you caused ••• "

SUDDENLY, we are watching in CLOSE VIEW, a man in his sixties. Emotional and a little nervous.

As he speaks,, the VIEW imper(:eptibly begins to LOOSEN. We SEE hands resting on a table;. a large jeweled ring.

Finally, we reveal the man is an ARCHBISHOP, ROCCO GRAZIADEI. Member of the Holy See, confidant of the Pope, and head .of the IOR, the Institute per le Opere di Religione. He is dressed in dark suit, Roman collar. on his head is a magenta skullcap.

_We reveal MICHAEL CORLEONE. He hands some papers out of frame. Inni~ sixties, whir.P. hair; the face of~ bulldog. He is the epitome of the American businessman. Richly dressed, exquisitely barbered.

ARCHBISHOP· s.ometimes interests coincide, ·sometimes not.

- MICHAEL One asset, partly owned by the Vatican Bank is International Immobiliare. Your vote is decisive concerning who controls that company.

The two men face one another in a colossal negotiation. Other men sit quietly around the room. Michael's chief financial advisor, B.,J. HARR.ISON' "ClI, is a middle-aged, good-looking, waspy, investment banker. over ten years, B.J. has made Michael a great deal of monei. Arbitrageurs -- taking big positions and then greenmailing to give it back. or keeping it. But he has never caused the loss of jobs, nor the taking on of impossible debt. He didn't have to -- he had billions of

dollars of corleone money to play with.

Also there ar• AL NERI, KEINSZIG, a Swiss banker, a MONSIGNOR, and another ADVISOR.

Hands come in to light the Archbishop's cigarette. He sighs.

will be redeemed. You will be absolved of your sins.

MUSIC in. Bells, organ, choir.

TITLE CARD IN:

Michael kneels in front of the Archbishop. The Archbishop holds the beautiful gold medal on ribbon collar. He blesses it with the holy water, then ties it around Michael's neck. He reads the proclamation on the certificate.

AL NERI in his fifti-s, always a few steps away from Michael. Standing near some bankers~ businessman~

VIEW on JOEY ZASA. 35 veat"s old, a "Dapper Dan" who·wears hand-tailored clothes, ash~ entets the cathedral, followed by ANTHONY' "THE 'ANT" SQUIGLIARO •. They make a big show of genuflecting in the aisle, crossing themselves, •nd then take a seat.

(IIPope Paul the Sixth.willing grants you, after. requests were made of me, the following honor. You have well deserved the following reward from the Roman .catholic Church, and we thankfU1ly express this clear testimony. We choose, make and· declare you, Michael Corleone, from the diocese of New York, knight and keeper of the papal order of saint· Benedict, and t,;e grant you the power and authority to enjoy all privileges which are connected with this honor.") ·

("I knight you in the name of the father, son and holy spirit.")

HIS EYES· failing him.

MICHAEL'S POV: KAY CORLEONE MICHELSON, in her early fifties, entering the catl'iedral, followed by her husband. Kay, not seeing Michael, stares at the world she had almost forgotten.

This is the first time they have caught a glimpser of each other · in eight years. Relatives. greet Kay and her husband without disturbing the ceremony. Then Kay looks up and sees Michael looking at her~ People are talking t~ her, kissing her.

VIEW ON MARY CORLEONE AND HER BROTHER ANTHONY joining Kay. Michael's children, in their twenties.

VIEW ON O~HER RELATIVES making the sign o.f the cross. The ceremony completed, the Archbishop blesses all in the church.

The family is met by chauffeurs and escorted off to the luncheon·. and party. Some of the less well-heeled have their station wagons arid cars b~ought by valets, hired by the family.

VIEW ON PRESS . A group of photoc.,raphers and press notice. They rush en masse to them. We notice one of the photographers, a young woman. Her name is GRACE DAMIANI. The cameras she carries, three of them slung around her neck and a pouch of film in a Gucci bag, are very professional. She takes the opportunity to give Michael her card.

·GRACE Please, Mr. Corleone, can I speak to you one moment? (lying) I'm Grace Madison.

Michael disregards her after• a look.

· GRACE Johnny Fontane promised he'd call you about me. He said you'd see me.

Some of Michael's PR people politely intercept her. Neri is at Michael's side.

Neri, surprised, jots down a note. He had not expected Michael to get that sore. Michael joins his daughter in the limousine.

Nicely dressed Italian-Americans. A third generation of grandchildren, great,-grandchildren. Irish and German and American wives and an abundance of babies. Some of the grandchildren are ·already in their teens;, students, the sons and daughters cf Corleones who are dentists, lawyers, professors, and small legitimate businessmen.

Fifteen members of the·press are well-managed by the corleone P.R. people. They ask questions at the P.R. table, get IO cards. Grace is determined to scoop the others.

Someone is handing out press packages. DOMINIC "DOM" PACELLI, age 40, is Michael's aide~ He addresses thepress.

6 VIEW OFF MAIN AREA Michael prepares to introduce Mary. Photos are taken.

The Archbishop is charming, relaxed. He is accompanied by a monsignor. Mary presents a check to him and more photos are taken.

MARY

one hundred million dollars for the poor of Sicily. Right out front giving help to the villages of Sicily for social services, to buy land, and improve schools~ To teach social responsibility.

Applause. The Archbishop kisses Mary on both cheeks, pinches her cheek.

More pho.tos ... The Archbishop is posed with Michael.

7 VIEW ON THE BAND AND PARTY as the family gets to mingle flirtations going on, as a young NEPHEW asks a NIECE of 17 to go off and have a drink together.

The boy looks astonished and goes off dejected.

VIEW ON MRS. SONNY CORLEONE TABLE Connie approaches her le.ast favorite sister-.in-lat-1, SANDRA.

They kiss coldly. Connie leaves, smirking to herself.

9 VIEW NEAR MA!N TABLE Michael with Archbishop and family .. He introduces ANDREW HAGEN, age 35, a handsome young .priest.

' - t

10 MOVING VIEW - Michael's shadow slides down stairs, revealing Michael and B.J. walkin<f through crowd, receive series of requests from rich-lo~king types, lobbyists coming to curry favor with Michael Corleone,· the Vito Corleone.Foundation with its support for Italian-American culture and patriotic causes.

11 VIEW Michael goes on to family, leaving B.J. and Archbishop.

12 VIEW NEAR BAND on Connie.

Delighted applause. JOHNNY FONTANE, the family celebrity, is a little loaded, kids around with the family and·guests. Crowd ad libs with Johnny.

Applause at the selection. He signals to the band, then begins to sing in Italian. The guests are delighted; some of the older ones sing along.

13 VIEW NEAR MAIN TABLE Michael notices D.ONALTOBELLO, an old friend of the family, and Connie's Godfather. He is in his eighties, looks .like an angel, very fragile. In his hand is a box of chocolates.

He turns, Connie is there. He hugs he~.

I am in Sicily most of the year.

Don Altobello takes out a check, and remembers his speech.

Michael escorts the fragile Don Altobello to a seat as the photographer Grace is still trying to get Michael's attentior.. Bodyguards push her, ma.king her more determined. ·

Neri moves toward Michael, a slightly worried expression on his face.

you and show his respect.

Michael looks at the foyer, where the press is the audience.

· MICHAEL· Do I have to see him? He'll understand.

Kay is alone waiting. We HEAR Johnny's sad song in the b.g.

She takes a couple of steps forward, takes his hand.

/ MICHAEL It's been eight years. You're still thin.

Silence.

We HEAR Johnny singing.

Michael leads her to his den.

16 VIEW MAIN AREA Johnny singing.

The song in the.b.g. Kay sits, looks up at.the portrait of Vito Corleone~

Door opens, .. and ANTHONY. CORLEONE steps in. Michael ' s son, big dark eyes, beautiful black hair -- a very. sweet .disposition. Michael looks at him.· He's always had tremendous influence over his son. He embraces him, kisses him on the cheek.

· He takes out some papers from an envelope.

Michael takes the engraved tissue letter out of the envelope, reads it. ·

That• s wonde.rful, Tony -- no one was prouder than I was when you sang in boy's choir. You can sing all you want. But does this mean you can't work for me? Does it mean I can't help you?

Michael looks at the two of them.

'rONY I know that.

0 other.

Pause.

Tony turns and leaves. The VIEW TIGHTENS on Kay and Michael; alone.

KAY

0 things. I still care about you.

For some reason Michael is truly shocked.by these las~ words.

MUSIC overlay, "Waltz."

The reporters open the boxes. Inside are Rolex watches.

Grace turns quickly and leaves.

19 MED VIEW BUFFET Uncles and aunts, surrounded by children, nieces, nephews, cousins and friends, are at the buffet filling their plates with lobster and prawns. From the group of striking young men with the unmistakable look of Corleones, emerges one in particular, VINCENT .MANCINI. The press pay no attention to him. The way he swaggers, his Italianate gestures, and his way with girls reminds. us of his. real father, SONNY CORLEONE.

20 NEW VIEW reveals ROSARY CORLEONE holding an album. She and her twin sister ANNE MARIE are at a table talking to their mother and relatives. ·

Vincent approaches them.

THEIR POV: LUCY MANCINI, the brunette bridesmaid with Sonny during Connie's wedding. She is avoiding Sandra at her family table.

Anne Marie turns away coldly and continues filling her plate, ignoring Vincent.

He goes.

She hits her sister as they turn away.

21 MOVING VIEW Vincent approaches Grace, who is sitting dejectedly with her cameras around her neck. He is a young hood -- sure of himself around girls.

,•' ''"'\

'-<..!'

VINCENT

~

Hi. .· You work too hard. Let me show you around.

\

Johnny exits. Lucy and Connie.

· LUCY That afternoon we made him, Sonny was a giant, an animal, and he made Vincent in his image. - (a gesture)

The women laugh lewdly. Vincent bounces up, breaking away fron Grace. He gives Connie a big hug and kiss.

23 NEW VIEW The other side of the room. Kay, DOUGLAS, Tony, and Don Altobello drinking champagne that Tony has brought to them. Kay is obviously very upset with tears in her eyes.

Tony deliberately puts his g1ass down on a nearby table~ But Kay picks it ·up -and hands it to him. Then she clinks glasses with Don Altobello and they drink the toast to Michael.

• She smiles at him through her tears. ~

Michael and Connie. The blinds are shut. Neri enters, followed by Joey Zasa and The 'Ant, who is carrying a flat· trophy box, and BIG MIKE.

He OJ?ens the case, revealing an engraved gold dish, presents it to Michael.

She exits.

Joey -- I've taken my last percentage from your businesses. It's all yours now. I'm out.

JOEY

Good. Then this fedend' is my problem •

I'm sentimental about my family, Joey. The old neighborhood •. Sometimes I hear rotten things.

Michael hits his arm dramatically causing 'The Ant and Big Mike to flinch. Joey takes this as an accusation, his eyes dart around.·

The door opens -- Connie enters with a nervous, smiling Vincen-:. Mancini. The smile turns sour when he sees Joey and his enforcers.

He says this acknowledgement of the introduction sardonically. This gets Michael's complete attention.

Connie smiles; ~ichael is serious.

Joey laughs.

· VINCENT He goes around saying bad things about the family, about you. He sars, "Fuck Michael Corleone," things like that.

Walking closer to Joey.

They look at each other. After a while, Joey lowers his eyes.

· Michael .studies V.incent for a long moment.

VINCENT

look to you for decisions. You're like the supreme Court.

He takes the engraved dish and makes a show of embracing Joey. Vincent is astounded.

Vincent embraces Joey.

Vincent lunges at him, and ferociously bites a chunk of Joey's ear off. Joey screams, cursing, bleeding. The bodyguaFds separate them.

MUSIC plays. A photo of the occasion is being staged professionally by the photographer. Some of the press are

watching the photo being taken, some are playing Mora with Dom. We SEE them wearing new shiny watches. They never notice JoeyZasa's hurried exit .. Meanwhile, Vincent is told to wait. The little children are staged up the double staircase. The Archbishop is.brought in to it by Michael, who introduces.him· to relatives.· · ·

26 VIEW Vincent is told to wait a little distance apart on the stairs. After a moment Mary sits next to him.

_ MARY It was a wedding -- and you swung me around·. the dance floor. - I was nine. You were thirteen.

They come for Mary to be placed in the picture.

---_.-·-·-)·

"'··...

27 VIEW ·oN MICHAEL watching Vincent, making up his mind what he should do with him. Finally, Vincent boldly approaches him ..

Michael studies Vincent for a long moment.

Vincent is emotional, moved. Connie is pleased, too.

VIEW ON THE FAMILY PICTURE A celebrity photo~rapher arranges the picture. Mary stands next to the_Archb1.shop. Next to her comes Michael. Don Al:tobello sits ·in a chair in a place of honor. Andrew and the Hagen family; Teresa,. other children, and grandchildren -- well dressed WASPS. Then the rest of the relatives in the groups they represent by the family tree. Tony prefers not to stand by his father, but near to Kay and her husband.·

Michael gets Vincent and brings him into the picture, put.ting him at his side. Many in the family are shocked. The photographs are taken.

The crowd starts to clink their 9lasses. The band breaks into music and everyone joins in, rising to their feet. A large cake is brought out.

There is more clinking of forks against glasses, and cry of. "speech." There is a spurt of applause from all generations, who stay on their feet. Italian ad~lib from the crowd. Michael waves, kisses, and thanks them all.·

TWO SHOT Connie kissirig and talking to all as they leave.

Michael stands with Don Altobello, talking earnestly. Neri and Vincent are nearby.

DISSOLVE TO:.

MICHAEL

ALTOBELLO

- \ I -ask nothing for myself. Only \ peace in my old age. But I must

please the world around me. Your father was a reasonable man. Learn from him.

' j Th~ car makes its way toward Staten Island. MUSIC IN.

FADE IN:

An.apartment building under bridge. VIEW MOVES CLOSER. Mysterious MUSIC in.

She gets up and goes to the balcony. She sees nothing but the curtain over the balcony door is fluttering. As Grace stares at it two hands close over her mouth. She is jerked against the wall with ';Jreat force. Another man comes out of the foye::: and he is holding a gun. . Both are wearing stocking MASKS.

1ST MASK (whispering). Don't scream or I'll cut your throat.

2ND MASK Hold her, I'll get him.

2nd Mask goes softly down the hall to the bedroom. The door is closed but there is a light shining through the crack. He kitks the door open and rushes in with gun ready. Vincent has

been just behind the.door.holding his own gun. He hits the man ,,,,--.,. in the side of the head with his gun and when the man sags, relieves him of his gun then jerks him to his f ee.t. Pushes him out in the hall a.nd marches him into the living room. Vincent s$,es 1st Mask holding a knife on Grace's throat. She is absolutely terrified. Vincent has his prisoner in front of him •. His gun is at the man I s neck.

2ND MASK Cut her throat.

Vincent club~ 2nd Mask to the flodr and tears off hi• mask.

1ST MASK Throw your gun down or I cut her throat.

Grace looks at him with horror.

1ST MASK Throw your gun down and we'll leave. Nobody gets hurt.

1ST MASK You have no choice. This lady will be dead .

Cut her. Show this bastard some blood.

Vincent looks down at him with almost thoughtful kindness, ·then he speaks to 1st Mask.

I'm ~oing to do something to convince you. ·oon't get frightened. Don't make any sudd•n movement or you'll be dead. Now watch.

fS,

Vinc~nt pulls his prisoner halfway to his feet by the hair of his head. Then he puts his gun in the man's face and pulls the :) trigger. 1st Mask watches in horror as his partner lays dead on the floor with his .face.blown away . ...__,I

1st Mask throws his knife a.way and pushes· Grace toward Vincent. She runs past him into the bedroom. Vincent looks at 1st Mask very coldly and points his gun.

1ST MASK Nobodi. I swear, nobody (frightened) Zasa •.. it was Joey Zasa.

Vincent walks toward him. 1st Mask holds out his arms to ward him off. Vincent shoots him through the palm of ::~c ::.a~{! a:v, th'! bullet hits th'Q man in the neck. Vincent stares down at l'lim for a moment then goes to the bedroom and kicks the door open. Grace is sitting on the bed holdihg a pillow to her mouth. She looks at him with fear.

Grace picks up a camera.

'rt is dawn and we can SEE the sun rising through the windows.

•Maybe. play part of it on a balcony with some breakfast on the table. CLOSE SHOT on Michael on telephone. Andrew Hagen is standing, waiting. Michael hangs up.

Michael hears some commotion from downstairs. Connie and Vincent's voices. He gets up.

He .exits.

-..,v

We HEAR over a loudspeaker:

~ . B. J ~ . (V. 0. )

•.. 800 million dollars in new American capital, invested directly in this company .•.

FADE IN:

A great hall during a shareholder's meetirtg of the New York branch of International Immobiliare. A stage with microphone where sit the Archbishop, Keinszig, a HAMILTON BANKER, and two oth.ers. At. front of audience. floor is a podium with microphone

and Dom next to him.

Michael gets up, goes to podium. Some applause~

suddenly there is a commotion in the crowd. A man has stood up and calls for the floor microphone. It is brought to him by an usher. .He shouts:

1ST UNRULY STOCKHOLDER How can we let this criminal run our company? With his family? He's a gangster, a big ..•

commotion in the audience.

2ND UNRULY STOCKHOLDER. Mr. Corleone. Is it true you recently deposited 500 million in the Vatican- Bank, which is affiliated with International Immobiliare?

CLOS.E VIEW ON A HAND flicking a switch. The floor mike goes dead.

Lots of commotion. The HAMILTON BANKER steps to the podium.

The Archbishop.steps forward.

·ARCHBISHOP Times change, and we must change with them. Mr. corleone is a dynamic businessman who brin9s us vast c~pital resources which will expand the opportunities available to us. Additionally, I've knd~n the corleone family for many years, and they are a respected and worthy business partner.

The Archbishop :has spoken wi.th authority; . arguments are closed. one of the front row shareholders raises his hand. The Chairman acknowledges this man.

2ND SHAREHOLDER I second.

l - • t .._

Many in the audience raise their hands. several ushers stand at either side of the audience, each one canvas-ing different brooks of shareholders. They count. the YES votes, beginning with the large shareholders at the front. The ushers write down their totals on pads, and signal to the Chairman that they have finished counting.

Many hands are raised. The vote is obviously close. Ushers retreat to a separate area for counting. A buzzing .of excitement and uncertainty amongst the shareholders. They group together and walk up to the stage. The individual ushers total sheets .are added up.

The chairman addresses the crowd:

The audience shouts, variously approving and disapproving.

Grace waits and appears beside Michael, walking with him.

Michael looks at her -- she is very winning -- he acquiesces.

·39 INT. NIGHTCLUB - DAY

Vincent with fri~nds, mostly good-lociking girls, and his bodyguard, LOU PENNINO. Mary surprises him.

He's happy she's there.

He exits.

· · (looking around) So this is your place? Do you live around here?

Vincent is nervous with her. They realize they don't know much about each other.

with my mother and stepfather. That's when I became Katherine Hepburn. Really I did. (looking around club) It's exciting to come here.

A long electric pause.

MUSIC. An old Sicilian love theme begins with a sad verse.

They look at each other, tempted to kiss. Then he pulls her softly and kisses her on the cheek. She kisses him back on the mouth. MUSIC in.

·vrNCENT Are you taking advantage of me because I'm smashed?

She leans forward to kiss him again.

They kiss again.

She rushes out.

The "Waltz" plays.

Grace Madison is ushered into Michael's den by Al Neri. She is wearing a shirt ahd tie with jacket over it~. But she is wearing a skirt. She looks·very sexy and is carrying about four or five different cameras over her shoulder with a pouch ·11ke bag for· film, etc ..

She is shedding a couple of cameras .and starts taking pictures with one of them.

( '( ,

Grace disregards him and keeps.taking pictures of him and the l;,Oom. Very efficient and.chatting all the while. ·Michael doesn't say anything more but just watches her with a little smile until she finishes and then settles down.

She arranges herself on the sofa to show her .charms. Unbuttons her.jacket and tries to pull down her skirt.

Michael laughs out loud at this~

·she comes over to where he is sitting and kisses him on the mouth.

He gives her no encouragement except an amused smile. -

Grace waits ~hen shrugs.

He is amused and fascinated by her.

Michael smiles.

dangerous man. I'm not a bit afraid of you.

Michael goes to the bar and pours her a drink. Gives it to her and she drinks. Michael has a smile on his face. They are standing close to~ether. Michael takes her tie in his hand and admires it. He tightens the knot around her throat so that the knot is not so big and smooths it.

Hote.l people. are staffing the bar. Televisions are set up with basketball games ·and other sporting events. There is a large terrace, with food and .drinks; even a barbecue setup outside.

Present are members oft.he Commission: Don Altobello, LEO CUNEO, FRANK ROMANO,.the West Coast Mafia chief, MATTY PARISI who controls the Southern states and ALBERT VOLPE who controls the Midwest. There are a few women. A lot of players who are old friends getting.together.

At the center is Joey Zasa, with bandage on ear, and 'The Ant. Joey.'s suits are hand-cut and his hair is razor"".'styled. Wherever he goes he is.accorded prolific courtesies .. People hold do6rs open for him, help him put on and take off his coat and hold umbrellas over his head~

Michael enters with Vincent and Neri -- it sets a slight tremor through the room. Altobello looks like an angel in a painting. He is introducing people and playing the peacemaker. He looks up and sees Michael. The women leave with the bartender and waiters.

Everyone in the room gives an earnest round of thank you applause to Michael, who acknowledges it.

He motions to Neri. Neri reaches inside his jacket and takes out a stack of very striking envelopes with names typed on · them. Michael takes the envelopes and starts handing them out to members of the Commission.

Members of the commission are ripping open their envelopes and are obviously overjoyed. Joey looks on enviously, he does not get an envelope.

Cuneo eyes Parisi's check enviously.

But they are .all very pleased with their checks.

There is such contempt and derision in this speech t.hat the audience is sobered. The checks disappear, their faces become stern.

Silence. They are intimidated by Michael's cold delivery.

(gently) Excuse me, Joey is young and inexperienced. He needs sometimes to•hear some good advice about his future.

He gestures that Joey should step out of the room with him. Parisi and the others nod their heads.

Joey turns to face the group.

As Don Altobello is about to leave room with Joey, he stops at: the door and gazes at Michael with a sad affection.

Michael shakes his head no. Vincent is watching Altobello. Altobello gives a regretful smile and he and Joey exit.

MED. VIEW MOVES IN ON MAFIOSI as they leave.

Slowly, the men feel something. The room begins to shake~ Glasses begin to ⇒ ingle; the spoons against some cups. Now the older Mafiosi begin to ~eel it, and they are terrified.

The helicopter noise becomes terrible, and then. a hell fire of mach.ine gun bullets rain down through the canopy of the suite's porch area, where many of the Mafiosi had run. Bodies are riddled by .machine gun fire. Btillets strike the food, the barbecue.

The HUGE BLACK SHADOW of a helicopter appears on the clouds.

VIEW ON·THE AGED MAFIOSI shouting, panickin~, trying to escape but to no avail -- they are cut down. Neri can't make it to Michael is pinned under a falling object.

VIEW The doo.r .flies open, and Don Altobello comes rushing ·in, shrieking. ·

Elevator doors open. Inside is a WAITER, who is taken by surprise as Vincent jumps from around the open door and blasts h_im with a blow to the face. The waiter flies back against the back wall of the elevator. Vincent pulls Michael inside and jams.the "door close" button, never slowing as he turns back on the waiter. Grabbing him by the jacket, Vincent smashes his head into the elevator wall again. The waiter is out cold, never having seen Vincent's charge -- Michael Co~leone.

Quickly, Vincent removes his jacket and tie. He then pulls the waiter's attire off, revealing a shoulder holster.

B¥ the time the elevator reaches the basement parking area, Vincent is outfitted as a waiter. ·

When the doors open, Michael is nowhere in sight and Vincent is behind the pushcart. Vincent finds a suitable getaway car -- kicks window in.

The lights and horn start blasting. Within seconds, Vincent waits for a response -- eerie quiet -- no footsteps -- no shouts. Vincent returns to business. A 30 second hot wire job -- .with sparks and all. Michael is placed in the back seat -I flat down. Vincent takes the wheel and follows the EXIT signs up one level then another towards "daylight".

On the main level, there is a great deal of acti~ity. The news of the atrocity is out. Vincent races for the EXIT.

Vincent heads i~to an alley, trying his best to keep the car in a straight .. line. He is about to turn. onto a street when sirens and lights SCREAM down the street~ Instinctively, .he hits the brakes, douses the lights, and ducks down in his seat. Sirens and lights pass. Calmly, Vincent sits up, turns his lights back on and exits onto the street in the opposite direction the sirens were headed and blends into the world Michael Corleone is safe and unseen.

FADE IN:

a. stormy night. Neri is searching through the newspapers like a seasoned detective. Michael doesn't seem well. He is there with Vincent and ROCCO LAMPONE, an older caporegime. They all have newspapers. Also Connie and Dom. B.J. is there as well .•

Michael turns to B.J.

\;'.. :-' B.J. exits, Michael sees him out. Then Michael returns, S"tlnoyed.

,-~ Michael is uncomfortable. His eyes wander. Turning to Neri .. r \_J: The VIEW STARTS TO MOVE IN.

· .• ••. fth:iAking) our.true enemy has not yet shown his.face.

The storm outside .·has continued throughout. MUSIC in .. Michael rises, feels sick, then sits back down and shakes his head. Ee looks very ill. 'THUNDER hi ts.

Dom bolts out to get water. Neri is on the telephone, calling· Miehael's doctor. Connie runs out of the room.

·VIEW ON CONNIE coming back in •.

MICHAEL· Neri, I am so sick now. (grasping at painful eyes} To be dreaded -- ·Fredo. Fredo.

Painfully he slumps back in his chair. Everyone .is astonished and ·intimidated by his rage·•

FADE IN:

MUSIC UP. An ambulance races across the park in the distance. The sky is dramatic.

Some press have.gathered outside, private guards.have been hired to reinforce the hospital. . Dem hands out a family statement -- "Mi.chael Corleone suffered· a massive diabetes attack, on critical list."

Connie, Vincent and Neri. Connie is praying, N~ri and Vincent talking.

•vrNCENT · I'd do it. I'd need great drivers.

VIEW to Neri, e~j.ts/ and then Connie~ She lights a candle before the.statue.of the bl.essed virgin, begins praying.·

VIEW TIGHTENS.ON·CONNIE AND VINCENT Speaking in awhispe:i:-,.she tuz-r;s to him.·

VINCENT

She kneels, looks at him. Vincent kneels.

'VINCENT What do you think when you light the candle?

Vincent·takes out a zippo lighter; lights· a candle.

· VINCENT That 1.s for Sonny Corleone .

Go on.

He crosses himself awkwardly, she hugs him tight.

MUSIC -- Family Theme.

vehicles and bodyguards. The Corleone family under siege hired private security guards.

VIEW ON · KAY· approaching.Michael. She is smiling sincerely, happy that he will survive. ·•

She is alone. She has done everything to look well.

,,....,,"

MICHAEL

~:. I didn't expect •...•

She nervously puts the pictures on his table. They are ·small, modest silver frames, each with a recent picture of Michael's daughter and son.

Silence.

Long silence from Kay.

Michael's .f.a.c:e :.brightens~ ... Kay walks. to the. d.oor and opens it,· l:>oth Tony ·an:d Mary. come forward, relieved and .happy to see their father will make it. · Smiling.. Ad lib warm greetings to him.. ·Michael is·suddenly filled with a rush of emotion, so· happy tobe alive c1.nd be surrounded by his family. He is not capable of shedding tears, he cannot speak well, so ·great is the love he feels for them.

Joey Zasa comes out of his team clubhouse which has an American flag outside it. He emerges with a strut, best-dressed gangster~• Has entourage of six men and a .limo waiting. Numerous people bypass others on the street and go directly to Joey and kiss him~

Joey waves and nods and smiles, accepting graciously the salutes of respect demanded by his position.· He shakes hands with all his supporters, much like a politician campaigning.

Gives a wave, walks with The 'An.t through street to applauding crowd. Big Mike is on the alert. ·

-~· (NOTE: .Throughout. the following sequence hundreds of runners ' are passing through the streets.)

A59 EXT. STREET - DAY

Joey is encouraged to walk amid the people. The 'Ant stays i:1 the car.

C59 ,INT. ZASA CAR ··~ DAY

VIEW Horse hooves on pavement.

The 'Ant·gtl!ts out. Enraged, a .giant in the middle of the street roaring curses.

H59 VIEW ON MOUNTED POLICEMAN

A woman throws her coat over her ten~yeat~old daughter. Others· throw themselves on the ground. The other bodyguard, the driver is wounded and is not particularly good with his pistol.

Gunmen shoot The 'Ant and Big Mike.

VINCENT AS A MOUNTED POLICEMAN COMING AT US

Suddenly, he holds out his arm rigidly and fires his revolver directly at Joey Zasa. Joey is hit and falls, al~ost getting trampled. He tries to get into an office '.building, blood splattering on the glass.

Traffic stands still on E. 46th Street and horns blare as gaping motorists and pedestrians block tr~ffic.

VIEW Vincent galloping away.

BLACKNESS. MUSIC in, once again solo trumpet.

FADE IN:

A very opulent penthouse hospital suite .. Millions of flowers with get well card•. We discover Michael in bed but getting into silk bathrobe and pajamas. He looks terrible. Connie is putting slippers on his feet. He can stand up but he cannot walk withouthe1p.

Vincent appears in FRAME and Michael puts his arm around him and walks very slowly to an armchair.

The VIEW WIDENS and we see Neri and Lou Pennino and Rocco Lampone. Michael.in armchair. He is in great pain but he smiles. Seems 'to be having trouble with his vision.

MICHAEL

scrambles the brain. Now listen alT: of you, I have what they call adult diabetes amytrophy. A couple of weeks here on their drugs·and I'll be.okay. But they tell me I .have to avoid stress.

VIEW·ON CONNIE seeing Vincent rise beyond her.

She hesitates. Michael gives her a Godfather look. She stops.

Bodyguards at the door allow nurses to bring in more flowers. They take Michae!,l's temperature and pulse. They leave ..

-NERI Ju.st get well.

- all I wish.

There is a long pause.

and bathrobe~ Vincent sits on the bed~ He knows what Michael is going to say.

Yes.

MICHAEL

MUSIC in. "Waltz."

Viricent arranges the covers of the bed carefully over·Michael.

Don Altobello ·comes into· hospital suite, embraces women who are leaving. This should be sincere. They love Altobello. He loves them. Then Altobello enters hospital bed area.

Don Altobello joins Michael and Vincent .. He walks with difficulty, one,side .seems slightly paralyzed.

• . .. . DON ALTOBELLO. .

treasures of this world ·are nothing. Let me help you. Who are your enemies,. I will destroy them. Is there work you have to do? I will do it. Do you need money? Mine i~ yours. Tell .me.

MICHAEL

,,,,--..,_ Your voice, your tears, your

prayers, they are enough.

MUSIC up.

Michael ·is much better. Mary. comes in to visit him.• She has a beautiful new bathrobe and pajamas for him. Michael kisses her.

Michael puts on bathrobe, walks by himself to armchair.

M.1\.RY You're so much better.

I.C> I <-

MICHAEL· And you know what happened. Your :aether. We ruined each

Michael sighs and then smiles at her. He closes his eyes. She is a joy to him.

·MARY I'm dying to see it, where the family came from.

He hugs her ,and she leaves. He daydreams.

FADE IN:

IIIntermezzo ··". .Early morning MONTAGE:

The.city of. Palermo on a bright sunrty·day. The camera travels over its cathedrals, the Greek and Arabic architecture of its buildings, the opera house.

,,.-...,

Behind the palazzo there is an enormous garden enclosed by a Tound curving wall and in that garden there is a huge party going on. Large tables covered with brightly colored huge umbrellas seat at least eight people at each table.

On a great marbled terrace of the palazzo sit the important characters of our story. At one table is seated Michael Corleone and his family. These include: Tony, Mary, Kay, Connie, Andrew Hagen, and Johnny Fontane. There is also Vincent who !:.its a little apart from the others but next to Connie. Neri sits with Vincent. Then CAMERA MOVES over the garden and we see the Archbishop at a table with his advis.ors and assistant. At another table is Don Altobello with Don Tommasino, having a great time.

66 VIEW On the side of the garden against the wall is a platform on which a SMALL ITALIAN BAND plays opera selections. The band gives a flourish and the people in the garden stop talking.

f

Michael Cor1eone gets up and addresses the people in. the garden as .he raises his wine glass.

Don Tommasino raises his glass ot wine to acknowledge the compliments~ · His.introduction is a mere formality. · He knows most·of the people present.

67 VIEW . . • Michael approaches Don Tommasino's table, and Don Altobello's,

This is good-humoredly sardonic. The Don knows very well what Vincent does.

In true Sicilian style he kisses the hand of Don Tommasino.

Michael is happy to be with his family.

Tony moves to the little combo that has been playing for the~, takes the guitar. Kay looks on approvingly from her table. He begins to play a Sicilian love song.

He begins to sing, to his fatheri .in a soft tenor voice.

Tony-goes on •. The guests are moved.

Tony happily finishes the song. All there are very moved~ Ha looks to his father for approval.

Don Altobello stands up. He raises his· glass.

VIEW. Mj.chael goes to the Archbishop 1 s table.

69 VIEW At a small table just :below the terrace are seated the Twins.· They are watching everything very carefully. They stand uo cas~ally as if to stretch their l~gs by walking around the· garden.

Vincent and Mary leave the party to walk the part of large garden where no one will see them.

• •Hav:;e.you ever been to Paris?

MARY

of our seeing each other. Besides our b~ing first cousins. What is it?

Mary kisses and embraces him.

Kay picks up the phone. She moves a slight distance away.

She. hangs up phone. Turns to Michael.

/~ sorry. '. g '. MICHAEL ,., .. ,~.

Would you like to take a little trip around Sicily?

Tony is singing· "E Vui Durmiti Ancora" Everybody. in the garden joins in and hums along. candles are lit for the evening.

CLOSE'VIE:W ON;MICHAEL

FADE OUT,

FADE IN:

Bells toll. The main gate of Vatican City inside Rome. This main gate is manned by S.WISS GUARDS in fancy uni forms.

/ l •

Through these gates come Michael, Vincent, Neri and B.J. in a car. It is a border to a foreign state.

They get out of the car. Michael sees how sob.er the guards are, listening attentively to portable radios. People are running. Press are leaving, having gotten a briefing. on the death of the Pope.

They enter the building.

The walls are covered.in a 16th century painting of the world.

I<EINSZIG Our purpose in this.meeting was to ratify the motion passed by our shareholders in New York. But now the matter has become more complex,' and... .

VIEW The Archbishop, shaking his head.

,,--.....,

Michael ·corners Archbishop in hall outside of meeting.

ARCHBISHOP· Please, a little patience. This is a brief delay, nothing more.

Michael re9ards him with his cold eye and the Archbishop is very nervous.

Michael and his group walk for a while. BELLS are TOLLING. People are gathering, crying over the death of the Pope. VIEW on newspaper headlines, proclaiming the death.

FADE OUT.·

FADE IN:

Michael and DON TOMMASINO are seated under the tree that is:..!"! front of Don Tommasino's house. The house in which.Michael lived in when he was in exil• in Sicily. They are seated at a wooden table which holds·a bowl of olives and. other huge wooden bowls and platters holding a variety o-f food, also some bottles of wine. Don Tommasino is in his nineties, in a wheelchair. He is eating with a hearty appetiti for a man •o old, but he is also listening intentl¥· Michael.sips wine but doesn't eat much though Don Tommasino urges him on.

Off in another part of the ~arden we·can see the two Best Bodyguards and Vincent walking the perimeter of the garden. The conversation is in Sicilian.

DON TOMMAS!NO Cardinal Lamberto. He is the Card.inal of Venice. A wise and good. man.

DON TOMMASINO· I remember him as a. boy, .he grew up in •Y little village in Sicily. Alas, our paths separated. But he will remember. He will see you.

,.-..,,,

you buy a farm like me a.nd live this life. Here I am, a man · over ninety, and I'm happy and healthy.

MUSIC in "Winter Theme. 11

Don Altobello and Vincent are sitting together in an.outdoor. cafe.

What dce.s that mean?

_VINCENT That's true.

ALTOBELLO· ·Never. But to help him and help yourself. Michael is ill, he doesn't see things clearly, he makes enemies he should not . make. With your help you and I can steer him in the right direction. Perhaps save him. Will you meet with me again and so~e of my friends so that we can make plans together?

They drink. Vincent is smiling at Don Altobello. It is a wolfish kind of smile. But we don't know which way he is really going to go.

~

MUSIC, descending, journey by water. Michael stands in a solitary boat moving through the mist in Venice. With him is Don Tommasino. The twins conduct the boat.

Don Tommasino and Michael are admitted into the cloister.

They are le<i into a small library where CARDINAL LAMBERTO is waiting for them. He is in the garb of a country priest and he greets them in the warm way of.a fellow villager, not a prince o ..f the church. He speaks English. ·

MICHAEL , He requested thisinterview as.a. favor to me.

He leads them out into a beautiful 9arden with statues of saints and Greek fountains. They sit in stone chairs, or mavbe marble. ·The garden is full of flowers. Also present is the- Cardinal1s assistant, a young monsignor.

He breaks it.

Michael is in some distress. He unloosens his collar and he is very pale. The Cardinal notices this.

MICHAEL· Is it possible that I coul.d- have a glas- of orange juice or anything sweet? I have a little trouble with diabetes~ My blood sugar goes too low.

· CARDINAL LAMBERTO Certainly.

He rings bell and a youn~ pri~st appea;-s·. cardinal gives hin an order and the priest immediately brings glass of orange juice and some candy bars on tray. Micha.el·. gulps the orange juice and his symptoms immediately disappear.

Don Tommasino is wheeled out by the monsignor~ The Cardinal and Michael are alone.

The Cardinal rises from his chair and leads Michael to anothe~ part of the garden.

✓,.. :· ~--:::

Here there are two chairs with a screen of plants between then, a weird approximation of the confessional box in church. ~ .

He hands Michael a candy bar he has. palmed from the tray.

Michael is amused by this approach. ·He sits in a chair.

He sits down in the other chair.

MICHAEL

Michael unwraps t;he candy bar and takes a bite. He speaks ~lmost insolently.

MICHAEL

·The cardinal bows his head.

There is a long pause.

Suddenly Michael is weeping. His voice breaks. The cardinil stares away impassively. Michael takes out a handkerchief and wipes his eyes.· The cardinal murmurs a prayer.and makes the sign_of the cross.

· The Cardinal rises briskly to his feet as if he had heard tha niost banal of .confessions.

FADE IN:

Vincent is brought by Don Ali;:.obello to meet the Archbishop.

·-

itself?

We REVEAL that Lucchesi has been seated in the shadows nearly behind the Arras.

Vincent is in the presence of truly great POWER.

DISSOLVE TO: ·

Altobello and Vincent move quickly past a large grot..p of thirty young priests. One of them is Andrew Hagen, who notices and smiles -- trying to greet them. Then he stops.

FADE IN:

A car is parked outside waiting. Ari open touring car. In the driver's seat is a nan dressed in Sicilian peasant style. Cap on head, rough clothes, red bandana around his neck. He is waiting patiently.

Servants come out·of the house to put picnic baskets and wir:e in the trunk of the car. Kay comes out dressed in picnic clothes. She looks younger than in previous shots. With he:::- are her children, ·Tony and Mary. They are all next to the ca::::-.

At that moment the driver lifts his cap and turns his head to the camera.

Kay and Mary and Tony laugh as Michael goes into an imitation of a Sicilian servitor, respectful but proud.

,-~

~J;

MARY

~ Have a good time.

Tony, his throat wrapped in a scarf, waves goodbye. Michael a~d Kay drive away in the snazzy touring car with its top down. Kay looks back and waves.

The¥ are driving in the countryside and Kay takes a long look behind them. She is thoughtful. Michael looks at the mountains, sheep grazing, colorful flowers, lemon trees.

NOTE: .:\11 through this day Michael and Kay spend together the audience should be reminded that Michael is in danger. We see a band of men with Luparas but they are only hunters etc. The threat is always underneath the romanticism of the scenes.

They come ,to a l.ittle village and they come upon a peasant . wedding in progress. Mi.chael stops the ,car for the procession and then drives on. A priest on a bicycle appears in the

features under his hat. There is a long sheath on the handlebars which could be a gun.

Tl?,e priest approaches.them on a narrow .r9ad~one of his hands picks up the sheath·and suddenly we see it .isa long bouquet of flowers which he waves at them in greeting ?).She passes by. Ee is obv.io.usly on his· way to the wedding, in thevillage~

~

KAY

t-! Did you have a wedding like that "!"' when you were married in Sicily?

They• drive on without looking at each other.

Then .Michael parks the car beneath a grove of lemon trees. They get out of the car~ Michael takes the picnic basket out of the trunk and leads Ka.y to a place deeper in the orchard where there is a marble fountain.

Running water and flowers growing all around. There is also a Greek statue, almost in complete ruin but still beautiful.

Michael unpacks the picnic basket, throws aside his cap.

They arrange themselves on the ground to eat and drink the bottle of w:ine ·· that Michael· has also brought.

"(:.}'

Was she beautiful?·

They are both silent. Then Michael accidentally spills some food on hi.s clothes. Kay lau9hs. Michael takes off his shi:::-: and goes to the marble fountain. Very carefully he washes his face and arms and scrubs his· shirt. Then he comes back·to where Kay is sitting and watching.

Michael and Kay in the open touring car.

They drive on into the hills of Sicily until they come to the guarded.villa of Don Tommasino.

Guards at the gate of the villa recognize Michael and let hi~ through. Inside the gates on the steps of the villa, they a:::-e greeted by another well dressed guard, CALO, Michael's old bodyguard :when he was in Sicily •. He recognizes Michael and greets him with a warm hug. Michael introduces Kay.

They enter the villa.

·A huge.sitting room which has a large glass window through which we see the countryside. A woman servant brings in jugs o.f wine and glasses and a tray of Sicilian food appetizers. The servant leaves. Kay and Michael .. are alone.

They sit at table looking at the mountains of Sicily through big glass window.

It's worth it.

She taps her fo~ehead irt imitation of Vito.Corleone~

)

MICHAEL

t:<

All through history, terrible thin~s ha~pened to these people. Terrible injustices. But they still.expect good rather than bad will happen to them.

Michael picks upa knife and puts it. to his.heart.

Michael puts the knife.down.

MICHAEL

,,,-- (seriously)

I want you to forgive me.

MlJSIC in. "Michael's Theme. "

(coolly} I won't hold it against you. It was a lovely day.

Michael pauses. He is on the brink of complete surrender.

Kay doesn't answer.

Kay gets up and Michael leads her upstairs and down a hall to the corner bedroom.

It is quite large and full of light, the.soft light of very late afternoon~ Michael is overcome by memories of Appolonia. Kay goes to the window to lookout. Michael sits on the bed.

Michael get up and stare? out the window for a long moment.

Kay is touched. She puts her arms around Michael and they gently kiss.

Kay goe~ over to the bed, takes off her shoes and lies down. Michael lowers the .shutters of the window so the room is dark. He goes o:ver to the bed and kisses Kay gently on the cheek.· She reaches up and .holds him and finally they are in each other's arms. They lie down on the bed together .and make love. The love scene shouldpe more in remembrance of the tragedies they shared than anything else.

FADE OUT ..

FADE IN:

The square of a small village. A festival going on~ Don Tommas.ino is, attending the baptism party in a small Sicilian village. He is the patria.rch and the baby is brought for his inspection. He blesses.it and kisses the parents, accepts the respectful homage of the crowd .and then hands over a gift for the baby. . .

Then his two bodyguards wheel his chair to a waiting car and put him into it. · ·

The car with the Don and the two guards goes down a lonely road. As it makes a turn it is stopped by a flock of sheep just at a<. cros:sroads. one of the bodyguards .gets out. to shoo the sh;eep out 'of th'e way.. When he does ·. so he .. is cut down by gunfire. At the same time about ten men appear to surround the car. :Mosca is 'their lead.er. They are all carrying luparas. Mosca opens both doors of the car so that the Don and his remaining bodyguard can get out. Don Tommasino refuses to get out. The bodyguard is dis.armed and led away into the surrounding forest. Another car pulls.out of a sideroad. The car.stops. The door opens and Don Altobello steps out.

Altobello gets into the back seat of the other car so that he is sitting beside Don Tommasino. Meanwhile Mosca gets into -driver's seat of car.

DON TOMMASINO· And what is the carrot ·.on your stick?

DON•·. TOMMASINO I ask that your soul burn in hell forevermore.

( - , '

Don Altobello leans over and kisses him on the mouth.

Calo enters the villa and finds Kay and Michael waiting for him in the living room.

MICHAEL· That seems to upset you.

The preceding dialogue is in Sicilian so that Kay is again shut out and walled off from the. family troubles.

Calo escorts Kay and Michael to their.car and the Villa Gates swing open. As Michael's car goes through we SEE two cars down the road. In them are the two· Best Bodyguards .who wait until · Michael's. car passes and then swing in behind it.

FADE IN:·

Michael, Neri and Vincent are meeting. Also present are the Twins and Dom.

Michael looks at Neri. Then turns to Dom.

He hands him a small whi.te box. M.ichael hands the box to Neri.

NERI

Neri opens the box:. Inside is a dead canary. He looks at the canary, then at Michael. Michael motions to the Twins to frisk him.

MICHAEL

person to betray me, Al. You break my heart. You stab my soul.

·MICHAEL You shouldn't have stopped.

MICHA:EL I had my reasons.

Let's go, Al.

The Twins firmly get ahold of Neri .

So this is how it ends?

The Twins exit with Neri.

MUSIC in.· "Godfather Waltz II with mandolin.

·-

want ne to do. I want only one reward. When you really retire, you· help me keep the Family. That's all I want.

Michael smiles through his tears. Then:

MICaAEL Give up Mary.

VIEW MOVES IN on Vincent.

FADE IN:

Mary and Vincent are sitting at.the table of an outdoor cafe near the m.arket. They are a beautiful Italian couple and attract attention.

~>

Vincent and Mary get out of car that holds driver and bodyguard. Another car with two other bodyguards behind them. V_incent and Mary go into the Capuchin Convent.

· A. MONK is collecting money. Vinc.ent pays and they descend into the catacombs.

~----,l-0-S-I-N-~-CllACOMBS...~~~-----

VIEW IN VAULTED CHAM~ER The mummified bodies of those who have been the most .powerful people in Sicil.y. The mummies are attired in costumes of the.ir day. A prince of the. church, a Cardinal in full regalia. Beautiful women in elegant gowns. Some are encased in glass coffins or glass boxes, young women, young men. Children . dressed formally. It is. a startling sight. .Mary seems focused on·their troubled love.

They leave.

They sit together on a stone bench in the convent grounds.

She becomes emotional.

She runs away. Vincent is left in the cemetery.

MUSIC in.

Two men and a teenage boy are out hunting. We see the boy up ahead of them, motioning for them to come look. We see the men approach a body on the ground, look, then tu.rn away.

We SEE Neri dead, with the canary in his mouth. Its feathers blowing in the wind.

FADE OUT •.

FADE IN:

Kay is sittin9" alone playing an upright piano. She is looking at the mountains around Palermo. She stops playing, as Tony approaches .. She rises up from her bench to greet him. She puts Tony's scarf around·his throat. She is the fond mother overcome by memories.

He takes Kay's arm, and they walk, linked together.

TONY· Still·crying in her room.

Michael and Vincent approach them.

He embraces his son. Vincent remains off to the side.

Michael starts to walk off with Connie.

Tony goes on his way to the house with Kay and Vincent.

109 NEW VIEW Michael and Connie sit down. She takes out a small needle, and begins to prepare it .. She begins to give Michael the shot.

·MICHAEL It seemed a good idea. After all these years.

Suddenly Connie reaches over to embrace Michael.

She finishes th~·shot:, ·puts her things awa,y.

(f L. I

FADE IN:

MONTAGE OF PAPAL ELECTION:

CLOSE DETAILS OF SISTINE CHAPEL

As the totals are announced, there is a tremendous burst of applause from the gathering. The CAMERLENGO cardinal approaches Lamberto.

All eyes upon cardinal Lamberto. He.is astonished that he has been elected Pope.

the voting, ca·rd·s :are stuffed into the antiquated stove, and t::e bianco (white) han¢lle is pulled.

VIEW from st. Peter's square .. White smoke comes from the chimney. Bells RING. A new Pope has been elected.

Al.10 CLOSE UP Cardinal Lamberto. The new Pope.

(AUTHORS' NOTE: IN ORDER TO PROTECT THE SURPRISE ENDING TO THE STORY, THE NEXT 10 PAGES ARE AVAILABLE ONLY ON A NEED-TO-KNOW BASIS. M.P. & F.C.)

)

J 14- •.

-·

FADE IN,

Kay is sitting alone playing an upright piano·. She's looking at the mountains around Palermo.· "

Tony comes in through the far corner of the garden and Kay rises from her bench to greet him. She puts Tony's scarf around his throat. She is the fond mother overcome by memories ••

He takes Kay's arm and they walk linked together

(laughing) Your grandfather would approve. If he had been at the scene, we wouldn't be in this fix. How's Mary'?

Still crying in her room.

Michael and Vincent approach them.

MICHAEL

~ony looks at him. Tony smiles.

TONY

wish me l.uck?.

·VINCENT ,Good luck. With all my heart.

He embraces him •.. Music continues

FADE OUTs

FADE IN1

The garden outside the house. Connie and Michael are sitting beside each other. Michael ls looking very tired and ill, 7 1

,f\Co,

....

Connie, we can't be -lucky forever

Michael kisses Connie and embraces her.

•

-· MICHAEL (smiling) Ah, Vincent. You know, the old man was right about ·something. He said, every man has one destiny. Now 'that· is true about Vincent. But you know, a long time ago, I believed I had another destiny. The cardinal made me believe that again for one moment, that's all, finished. de can· make believe it all never ,;happened. Now we can be happy. Our children are safe and tomorrow we'll hear Tony sing. We'll all grow old together. And we '.11 just think of the times when we·were happy. That's all we have t.o do. (laughing) It's a cinch.

Outside the opera house, Streets are jammed with people and cars. rie see armed men in some of the cars in the corners of the sq.uare •.

Vincent goes to each of the cars to give last minute instructions. He keeps watching the people in the square. He ts .very alert. Me goes to the final car containing four men in police uniforms.

More cars arrive. D>n ,Altobello's car pulls up. He gets out and go•.es up the. steps. Vincent watches cl_osely..

VIEW,

Michael, Kay, Johnny Fontaine, Connie and Mary get out · of their long limousine. The driver of the limo is also very alert. Michael leads his party up the steps of the opera house.

Connie waves at Vincent.when she sees him in the street.

Connie· Hurry, Vincent, the opera will start soon.

As he speaks, a flock of about twenty young priests come up the steps, led by a big burly monsignor. we see that this .is the hired killer. Moska, who under the pretense of the young priests is giving the square a quick study. He sees the cars parked so they block all the entrances to the square. He sees Vincent studying his ta.ce, suspicious of him, so he hurries in but notes the four policemen get out of one of the cars, taking their posts on the steps of the opera house. The other police on duty seem a little different from these four. Mosca enters the opera house with his flock of priests, who chatter with eager anticipation. They are obvJ.ously what they seem to, be, not part of any plot •

INTERIOR. POPE'S BEDROOM - EVENING

From over his shoulder, we see Pope LQmberto's hands folded together on the desk. Glasses are nearby, there is a cup of expresso and a glass of water on the table, His hands unclasp and he picks up his eyeglasses and turns them over and then puts them·down. His fingers drum the table,

INTERIOR, OPERA HOUSE - NIGHT

CJ People are settling into their seats. Michael and his :Rarty up. front. Vincent comes in 1io sit b~si de Conni !9 • 1,:wo sectJ.ons away, Mosca is ushering his innocent priests into their seats. · •. · .

r Mosca observes Michael and gives him. a speculative look. He sits down.

Vincent is seated so that he's guarding Michael's row of seats. He leans forward to see the man seated at the opposite end of the row. Their eyes meet and Vincent leans back.

Tony is· sing,ing his opening serenade to Lola.

We watch the opening of the opera. Shots of Michael, Kay and the rest of the family applauding. Shot of Mosca and the priests. Camera on Vincent as at inter- mission he slips out.

CUT TO

INTERIOR, OUTSIDE POPE !Al.VlBERTO 'S BEDROOM - EVENING

Two priests walk towards the end of the hall, ~~ey walk fast, they're hunched over. There is tension.

INTERIOR, _POPE LAMBERTO' S BEDROOM· - . EVENING

c.u. ~ Pope L@berto's hands resting on the desk. We hear a knock at the door. After a moment, the hands unclasp and with the right hand he makes a movement . to wave them in.

The two priests come in, look at the sister. She points ·to two chairs and they.sit down.

He pauses, looks again at the other priests and then at the sister. She stands up as if to leave. Lomberto's hand rises to ask her to stay. She sits down.

CU - .. on Slster's face. She is pale with ·fright. Sounds of shuffling and we see the two priests get up and leave. The door clicks quietly shut. .·•.

Tight shot of the very front of Pope's face. We only see his eyes and his nose on the thumb and forefinger of his right hand. This is a gesture of sadness and resignation. The sister quietly stands up and leaves the room. Then we see Lambert's left hand coming down slowly on to the desk. This is a gesture of' finality. we see the Pope '.s profile one last time in the evening light.

EXTERIOR, PALEh.MO, ORFEO: BANK BUILDING - DAY

Camera pans sl'owly upward, exterior of the building, pausing high on the window of the eighth floor. Vanni's face becomes visible through the net curtains. de see that he is clutching the edge of the,·.curtains as if to protect himself.

EXTERIOR, VATICAN BALCONY - D!\Y

We mov~ in over'.a vast crowd of people to see Pope Lamberto stepping out slowly on the balcony. He begins the reading of the :F)aster Mass

INTERIOR, ·TF.ATRo· MASSIMO - VIEW. ON OPERA

The villagers come from church. Terito invites them to the tavern to drink. He lifts his glass to a toast.

INTERIOR, ORFED BANK - D!\Y

Vanni is asleep, snoring. Hired bodyguard watching him · attentively. He rises slowly, bringinJ a string of nylon twine out of his pocket. He slips this gently over Vanni's face and around hi.s neck without waking him.

EXTERIOR, VATICAN Jl\Y - D!\Y

CU - On Pope Lamberto. He raises his right hand

POPE

i (Latin)

I nommeni •••

INTERI~R, 1.2!,TRO MASSIMO - NIGHT

View of family present1 Michael, Kay, etc.

View on opera.

Terido left alone with Alfio admits his guilt. Alfio

EXTERIOR, VATICAN BALCONY - DAY

Pope Lamberto continues mumbling in &atin. In this·and each suocesive shot we get closer to him.

EXTERIOR, fEATRO - NIGHT

Mosco rai·ses his right hand holding the revolver. He aims at Michael.

EXTERIOR, VATICAN BALCONY - DAY

CU - On Pope Lamberto. The pope's hand falls slowly.

· INTERIOR, BANK - DAY

The door bursts open. Vanni starts to wake up. Bodyguard pins him down. Two men seen only from behind leap on Vanni and cover his face with a pillow.

EXTERIOR. VATICAN BALCONY - DAY

CU.;. On Pope. His arm to the left.

( \ l

/22 ..

•·

INTERIOR, BANK - DAY

Hired bodyguard using all his strength lifts the blue cord, hoisting Vanni halfway out of the bed killing him.

EXTERIOR, VATICAN BALCONY - DAY

CU - On Pope. we see his left hand come down flat on the rail of the balcony making the same gesture we saw earlier in the bedroom. This is the gesture of finality.

EXTERIO:k, TEATRO - NIGHT

His bodyguards materialize and we see them both shoot· Mosca simultaneusly.

EXTERIOR. VATICAN BALCONY - DAY

CU - On Pope who is now waving to loudly cheering crowd and turning away. As he retreats. with his'back to the crowd he enters the shadows of the Vatican. It is n~arly 8 evening. we hear less and less of the crowd and more · and more of footsteps of the inner sanctums of the Vatican. The footsteps lead us to

EXTERIOR, BRIOOE - EVENING

we hear footsteps of people walking on the bridge. we reveal Vanni's body hanging from the scaffolding with · the blue nylon cord ·hanging around his neck.

EXTERIOR, TF..liTRO - -NITE

Intermezzo

EXTERIOR, PALERMO STREETS - NIGHT

Vincent"s men at different points in the •City under the interrmeza

EXTERIOR, ~F.ATRO - NIGHT

ci;rs, tra~.f'ic, excitement after big opera per.f'ormance. Vincent-comes down the stairs and addresses the intruders.

· VINCENT we know why you'rd here. You're very lucky men • .If it were my decision you'd already be dead. I'll let you go in peace with this warning, don't try it again. Now get back in your cars ana I ..:advise you to drive a long way

The·intruders get back in their car.and drive away. Vincent goes back into the Opera house.

INTERIOR, TF.ATRO - Night

View on Ndchael. Shouting is heard in the distance. Some women come rushing into the square with the news that Torito has been killed.

INTERIOR, VATICAN, POPE'S BEDROOM - DAY

We see the shadow move out of the room. ~he sister enters · the room. She looks, the new pope, Pope Lamberto is ·dead- She rushes out crying.

Close shot of the dead pope, mouth open, spectacles still on,

INTERIOR, TF.ATRO - NIGHT

Finale of opera. Performance ending with a cry. Big finale A:pplause. Tony taking his bows withhis other cast members. Michael and Kay applauding, faces happy. Connie and Mary· are weeping with joy. Johnny Fontaine is yelling "Bravo"

Connie leans over to Vincent

He applauds but heis watching the crowd of people milling to get out of the opera house. The two Best Bodyguards are aleo standing up and watching everything very carefully.

EXTERIOR, CATHEDRAL - DAY

The cars arrive at the cathedral. Everybody gets out. They go .up the ste,p.s. Vincent lags behind in his. eye search for the bodyguards. Michael is on the .top of the steps. He lets the others go by as he waits for Vincent. Old women sing a Sicil.ian song in dialect. Theo and Michael on the steps. He sees a little girl, the grandchild on the steps. He takes several steps to reach for her and picks her up. New View on Mi9hael with the little girl. He stumbles on •the steps, staggers and falls. The child cries. Kay leans over. Michael lays on the pavement looking at her.

'\ Michael is dead,

Slowly, she nods her head.

mSSOLVE TOa

EXTERIOR, PALERMO - DAY

Music, tragic theme. A funeral procession is forming. A long · line .of horse drawn vehicles,. the hearse containing the body, th.e wagons. We see the Corleone family, Vincent, Connie, Kay, Tony and Mary come ou.t of the house. Again the different characters are around. Black horses leading the way behind them, people from the country with their painted carts. 'lie see the funeral procession go to the cathedral to be blessed by the archbishop himself.

EXTERIOR, ROME, KEINSZIG'S HOUSE - DAY

Keinszig leaving his palatial home with his driver, He waves to his wife. He's in a cheerful mood. He.gets into the car and drives off.

INTERIOR, KEINSZIG''S CAR - DAY

Keinszig gets busy with his briefcase checking papers. He finally looks up and is surprised to see an unfamiliar section of Rome he does not recognize.

Keinszig Drive.-, driver? This is not the way to the Vatican.

DRIVER· I thought you might like to see whe.re ,the poor live, the ones your banks have robbea.

Keinszig i.s a.mazed. Car stops. Immediately two cars pull up alongside. Four men get out. They open the door of

_)

Keinszig's. car and get in with him. we see a struggle as the men hold the banker and stab him to death. Then the men get out, so does the driver who throws his chauffeurs hat back.

Funeral winding its way to the cathedral. The mourners are going up the steps to the cathedral.

INTERIOR, CATHEDRAL - DAY

Mass is being said and ritual is being performed. Vincent is staring bard at the Archbishop. Connie and Kay are there dressed in black.

CUT TOa

EXTERIOR, MOSCA 'S FARM AND VILLA ... DAY

Mosca ls outside as before when ·the.long car comes up. Then gunfire comes from the car and Mosca is riddled with bullets.

CUT TOa

EXTERIOR, CATHEDRAL - DAY

Funeral procession leaving Cathedral to go to the cemetary. There are shots of the family and Kay. Mary is there, somber.

EXTERIOR, ROAD - DAY

Funeral procession. View of the oemetary, maybe it is winding it's way through Sicily to the town of .Corleone, which is an hour from Palermo. The whole countryside pays homage with their carts, etc.

Now on this cut to the· funeral procession, we must notice an ominous things Vincent has disappeared. Nacy looks back ·and sees Connie walking alone •

Where's Vincent? ..

-· CONNIE

0 He'll meet us again at the cemetary. • I

The archbishop in his full regale is walking'down a

He is on his way to the living quarters. Along the quarters are niches which hold holy statuesi These niches are in darkness. we just barely see the saints · in them •.

The archbishop walks past the first niche. He.glances around uneasily. He feels something is wrong. He passes the second. niche and then he turns his head. There is a dead body in the niche where the saint should be. It is I:bn Altobello. .

The archQishop stands absolutely still and c·rosses himself and faces the third niche. Vincent steps out. The archbishop makes the sign of the cross a_gain.

VIEW

The shadow his hand makes.

Vincent fires thre.e times, the archbishop fal.ls. Vincent runs down the marble corridor.

EXTERIOR, CEMEI'ARY - ~y

Shots of the casket going into the ground. Then camera on Connie and suddenly Vincent appears besides her. Then the·reeremony is over:.and the order~y line of mourning break up as. people go away.

DISSOLVE TOa

INTERIOR, CAP'1.1CH:C:N CONVENT - DftY

The catecomes of Palermo. Revealing view of mummies. There ia full regale is the corpse of the archbishop.

EXTERIOR, CEMETARY - MY

Final Shot

...

The mountains. An ancient town of Palermo with its crooked streets.

CU~ On Kay in widows veil walking slowly

FADE OUTa