The Godfather Part III

MARIO PUZO'S THE GODFATHER, PART III by Mario Puzo and Francis Ford Coppola

TRANSCRIPT

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



MICHAEL (OS)

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

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

MICHAEL (OS)

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



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

FREDO

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



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

ARCHBISHOP GILDAY

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



ARCHBISHOP GILDAY

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

MICHAEL

Yes I promise.

ARCHBISHOP GILDAY

In nomine Padris, fili, é Spiritus Sancti.

(he continues in Latin, then)

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

CONGREGATION: Amen.



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



LUCY

Vincent, our name’s not on the list.

VINCENT

Write it in. Mancini: M-A-N-C-I-N-I…

JOE

Hey, is there a problem here?

VINCENT

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

JOE

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



DAVE

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

JOE

Sorry Dave.

DAVE

It’s all right.

JOE

Sorry, sorry.

(Then, to Vincent):

Hey Vinnie. Welcome to the party.



ALTOBELLO

It’s good to see you.

KAY

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

ABBANDANDO (to reporters)

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

REPORTER (interrupting)

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

ABBANDANDO (continues)

Presskits have pictures of…

REPORTER (interrupting again)

What about his involvements with the underworld?

ABBANDANDO

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

CUT TO: Vincent sitting, watching the party.



GIRL

Vincent?

VINCENT

Yes?

GIRL

She loves you!

VINCENT

Yeah?

(then)

I love you, too!



MARY

Hi Vincent. I remember you.

VINCENT

You remember me? From where?

MARY

From the last time we had a party together.

VINCENT

Did you come down to the club?

MARY

No, it was a wedding.

VINCENT

A wedding?

MARY

I was 8; and you were 15

VINCENT

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

MARY

8 year olds?

VINCENT

Especially 8 year olds!

CUT TO: Connie.

CONNIE

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

CUT: Back to Mary and Vincent.

MARY

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

VINCENT (Laughs)

Oh, now we’re related?

MARY

I’m your little cousin.

VINCENT (thinking)

Who’s your father?

MARY

I’ll give you a hint: he’s Italian.



ABBANDANDO

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



MICHAEL

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



MARY

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



KAY:

Mary – Mary, I’m so proud of you…

CUT TO: Archbishop Gilday with Michael

ARCHBISHOP GILDAY

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

MICHAEL

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

ARCHBISHOP GILDAY

Amen.



FEMALE ANNOUNCER (OS)

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

JOHNNY

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



JOHNNY

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

MICHAEL

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

JOHNNY

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

MICHAEL

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

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

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

MICHAEL

Hello Kay.

KAY

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

MICHAEL

Cake?

KAY

No thank you.

MICHAEL

It’s been a long time, hasn’t it?

KAY

Uh huh. Yeah.

MICHAEL

Eight years.

KAY

Yeah.

MICHAEL

You look, wonderful

KAY

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

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

MICHAEL

What’s wrong with being a lawyer?

KAY

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

MICHAEL

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

(then)

Anthony...

ANTHONY

I’m going my own way.

MICHAEL

Your own way?

ANTHONY

Mmm Hmm.

MICHAEL

Professional singer?

ANTHONY

That’s right.

MICHAEL

And what happens -- what happens if you fail?

ANTHONY

I won’t fail.

MICHAEL

Men always believe that.

ANTHONY

I know.

MICHAEL

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

ANTHONY

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

MICHAEL

Every family has bad memories.

ANTHONY

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

MICHAEL

Anthony, finish the Law degree.

ANTHONY

No.

<Anthony leaves.>

KAY

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

MICHAEL

You could have helped me to convince him Kay.

KAY

Oh, convince him of what?

MICHAEL

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

KAY

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

MICHAEL

Kay, now can we talk common sense here?

KAY

All right.

MICHAEL

Okay.

KAY

Tony knows that you killed Fredo.

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

MICHAEL

What did you come here for?

KAY

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

MICHAEL

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

KAY

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

MICHAEL

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

KAY

No, I don’t hate you. I dread you.

MICHAEL

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

KAY

But you became my horror.

(Kay goes to leave, then)

The children still love you though. Especially Mary.

MICHAEL (sitting down)

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

KAY

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

MICHAEL

I’ll let Tony go.

KAY

Thank you.

<Kay leaves Michael alone in his office.>

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

VINCENT

Hi.

GRACE

Hi.

VINCENT (looking at Grace’s legs)

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

GRACE

Can you get me an interview with Michael Corleone?

VINCENT

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

GRACE

Handsome but useless.

VINCENT

Oh yeah?

GRACE

That’s okay. I’ll gamble.

VINCENT

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

GRACE

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

VINCENT

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

GRACE

Well…

<Grace stops herself as she spots someone.>

GRACE

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

VINCENT

That’s Joey Zasa’s bulldog.

GRACE

You know that guy?

VINCENT

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

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

<Altobello enters.>

MICHAEL

Don Altobello…

ALTOBELLO

I cam to pay my respects

<He hands Michael a wrapped gift.>

MICHAEL

Grazie.

(they kiss and embrace, then)

You honor my family’s friendship.

ALTOBELLO

Where is my goddaughter?

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

Constanzia…

CONNIE

Don Altobello…

ALTOBELLO

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

(then)

Michael…

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

ALTOBELLO

No, I stand; I stand.

(then)

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

(Altobello rips a check from his checkbook)

One million dollars…

<Connie and Michael "awe">

CONNIE

Godfather…

MICHAEL

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

CUT TO: Archbishop Gilday and B.J. Harrison

ARCHBISHOP GILDAY

The Vatican knows nothing of these shareholders…

HARRISON

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

ARCHBISHOP GILDAY

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

HARRISON

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

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

FRANK

Mr. Corleone…

MICHAEL

Frank, how are you?

FRANK

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

MICHAEL

We always can use a good judge…

FRANK

Thank you

MICHAEL (to Andrew Hagan)

Andrew!

(then, to Archbishop Gilday)

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

ANDREW

-- Bishop Greening --

MICHAEL

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

ARCHBISHOP GILDAY

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

CUT TO: Michael who is walking amongst his guests.

MICHAEL

His mother, Theresa Hagen.

(then, to Theresa)

Archbishop Gilday…

THERESA

Honored to meet you.

<Grace approaches Michael.>

GRACE

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

<Michael keeps walking, ignoring Grace.>

MICHAEL (to Al Neri)

Vincent Mancini called about her?

AL NERI

No…

<Abbandando approaches Grace.>

ABBANDANDO

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

GRACE

I know.

ABBANDANDO

Twice.

GRACE

I know.

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

NERI

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

MICHAEL

Do I have to see him?

NERI

He says you’re his patrone and he only wants a minute.

CUT TO: Connie sees Vincent coming towards her…

CONNIE

Hey Vinnie! Who’s your favorite Aunt?

VINCENT

You are.

CONNIE

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

VINCENT

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

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

ZASA

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

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

MICHAEL

Meucci -- Who’s Meucci?

ZASA

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

MICHAEL

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

ZASA (to The Ant, in Italian)

[something like "go feed the fish"]

(then, to Michael)

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

<Michael looks over to Neri.>

AL NERI

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

MICHAEL

Well bring him in.

ZASA

I think it’s good we talk.

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

(then)

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

MICHAEL

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

ZASA

Good. Then it’s my problem.

<Vincent enters with Connie.>

CONNIE

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

VINCENT

How you doin’ Mr. Corleone?

MICHAEL

How you doing?

VINCENT

I’m doin’ good. How you doin’?

MICHAEL

Good.

VINCENT

Good party.

MICHAEL

Oh you like it?

VINCENT

Yeah, I had to sneak in.

MICHAEL

Well, you’re dressed for it.

<Vincent looks embarrassed, Zasa looks disgusted.>

MICHAEL

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

VINCENT

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

MICHAEL

That’s foolish of you.

VINCENT

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

MICHAEL (to himself)

Temper like his father.

(then, to Vincent)

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

VINCENT

No, you’re not a gangster….

CONNIE (interrupts)

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

MICHAEL

That’s the past Connie.

ZASA

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

MICHAEL

Yes.

VINCENT

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

MICHAEL

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

VINCENT

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

(then, to Zasa)

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

ZASA

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

VINCENT

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

MICHAEL

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

ZASA (pauses, then)

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

MICHAEL (to Vincent)

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

VINCENT

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

CONNIE

Michael -- He needs your support, Michael.

VINCENT

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

MICHAEL

For me?

VINCENT

Yeah.

MICHAEL

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

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

MICHAEL (to Joey)

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

<Michael and Zasa embrace.>

(then, to Vincent)

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

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

ZASA (quietly to Vincent)

Bastardo.

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

MICHAEL

Oh, Jesus…

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

VINCENT (still explaining)

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

(then)

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

MICHAEL

And you can?

VINCENT

Yeah, I can do that.

MICHAEL

And why should I be afraid of Joe Zasa?

VINCENT

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

MICHAEL

You’ll take care of it?

VINCENT

Yeah.

MICHAEL

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

VINCENT

Okay.

MICHAEL

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

VINCENT

I won’t let you down.

<Connie leads Vincent from the room.>

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

PHOTOGRAPHER

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

<Vincent approaches his mother, Lucy Mancini.>

LUCY

So what happened?

VINCENT

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

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

MICHAEL

Hold it…

(then, to Vincent)

Vincent –

VINCENT

Yeah?

MICHAEL

Take the picture with me – c’mon…

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

MARY (to Vincent)

Nice jacket.

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

SOMEONE

Beautiful!

ENZO

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

MICHAEL

Grazie.

<The cake is cut to applause.>

MICHAEL (to a little girl)

You want to do it? All right…

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

MICHAEL (to LITTLE GIRL)

You lead…

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

FADE TO: Vincent’s apartment.

< Vincent is in bed with Grace Hamilton.>

GRACE

Vincent?

VINCENT

What do you want, sweetheart?

GRACE

Do you love me?

VINCENT

C’mon, go to bed.

GRACE

C’mon, say it.

VINCENT

C’mon, go to bed.

GRACE

No, say it.

VINCENT

I love you, I love you.

GRACE

I love you, too.

<They both hear a noise>

GRACE

You got a cat?

VINCENT

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

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

GRACE (to herself)

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

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

VINCENT

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

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

VINCENT (to GOON #1)

Hey. C’mon, let her go.

GOON #2 (to GOON #1)

Cut her fucking throat, man!

<Vincent rips the mask from Goon #2.>

VINCENT (to GOON #2)

What’d you say?

GOON #2

I said cut her fucking throat…

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

VINCENT (to Goon #1)

Okay, chief, let her go.

GOON #2

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

VINCENT

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

GOON #2

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

VINCENT

You hurt her and I’ll kill you both.

(then, to Goon #1)

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

GOON #2

You cut her throat man, RIGHT NOW!

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

VINCENT

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

GOON #1

Yeah.

VINCENT

Okay.

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

GOON #1

Oh, shit!

VINCENT

Drop the knife -- g’head, DROP IT!

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

VINCENT

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

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

VINCENT

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

GOON #1 (sputters)

No one.

VINCENT (motioning to the body of Goon #2)

Take a good look at this guy?

GOON #1

Yeah

VINCENT

So who sent you?

GOON #1

It was Joey -- Joey Zasa.

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

VINCENT

You Okay?

GRACE

You were gonna let them kill me!

VINCENT

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

GRACE

You pig! You sick fuck!

VINCENT

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

GRACE

You killed the other guy too?

VINCENT

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

GRACE

I’m gonna take some pictures first…

VINCENT

No pictures.

CUT TO: Michael’s house.

MICHAEL (to Vincent)

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

VINCENT

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

MICHAEL

Now he has to send you a message back.

VINCENT (flicking his ear)

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

CONNIE

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

MICHAEL

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

(then)

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

VINCENT

Understood.

MICHAEL

I got problems with the Commission, young man.

VINCENT

I know that.

MICHAEL

Yes. You don’t make them easier.

VINCENT

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

MICHAEL

All right. Go on, get out of here.

CONNIE

Michael…

MICHAEL

Yes?

CONNIE

Now they’ll fear you.

MICHAEL

Maybe they should fear you.

(then, OS)

B.J., excuse me – what’s up?

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

HARRISON

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

MICHAEL

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

HARRISON

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

<Phone rings.>

MICHAEL (answering phone)

Yes -- Right.

<Hangs up. Andrew Hagen enters.>

ANDREW

Godfather?

MICHAEL

Andrew --

ANDREW

Godfather…

MICHAEL

Off to Rome.

ANDREW

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

MICHAEL

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

ANDREW

No thanks I can’t.

MICHAEL

All right. How’s your Italian.

ANDREW

In fare di podi practico…

MICHAEL (to Harrison)

His father was a great lawyer.

HARRISON

I know…

MICHAEL

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

HARRISON

No.

MICHAEL

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

HARRISON

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

MICHAEL

Oh no, no. Andrew has the true faith.

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

ARCHBISHOP GILDAY

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

MICHAEL

Friendship and money – oil and water…

ARCHBISHOP GILDAY

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

MICHAEL

Seven-hundred and sixty-nine million.

(then)

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

HARRISON

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

ARCHBISHOP GILDAY

That’s true…

MICHAEL

And the Vatican vote is necessary for control.

ARCHBISHOP GILDAY

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

MICHAEL

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

HARRISON

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

MICHAEL

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

ARCHBISHOP GILDAY

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

MICHAEL (smiles)

Don’t overestimate the power of forgiveness.

ARCHBISHOP GILDAY

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

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

CUT TO: Arial shot of New York City.

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

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

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

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

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

MICHAEL (to shareholders in meeting)

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

SHAREHOLDER

Mr. Corleone…

MICHAEL (continuing)

…and unlimited…

SHAREHOLDER

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

MICHAEL

This is true, why not?

SHAREHOLDER

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

HARRISON (interrupts)

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

MICHAEL

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

(then, continuing his speech)

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

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

SHAREHOLDER #2

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

CHAIRMAN

Order! Order!

SHAREHOLDER #2

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

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

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

BOARD MEMBER (to chairman)

The Hamilton Investor’s group cannot support this proposal.

CHAIRMAN (to Archbishop Gilday)

Your Excellency?

ARCHBISHOP GILDAY

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

CHAIRMAN (to shareholders)

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

<Applause.>

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

MARY

Dad?

MICHAEL

Uh huh?

MARY

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

MICHAEL

Oh come on, please.

MARY

…to shine up your public image.

MICHAEL

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

MARY

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

MICHAEL

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

MARY

This Foundation is supposed to help, all people

MICHAEL

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

<Michael kisses Mary’s hand.>

MARY

Dad I want this to bring me closer to you.

<Michael and Mary embrace.>

MICHAEL

I would burn in hell, to keep you safe.

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

DON ALTOBELLO (to bodyguard)

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

<The cars drive off.>

DON ALTOBELLO

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

MICHAEL

Tell me, Don Altobello.

DON ALTOBELLO

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

MICHAEL

This I cannot do. Immobiliare, must be legitimate.

DON ALTOBELLO

I know. But they’re unhappy…

MICHAEL

And you?

DON ALTOBELLO

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

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

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

RADIO BROADCASTER (in Italian)

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

ABBANDANDO (to Michael)

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

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

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

KEINSZIG (in German)

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

SHAREHOLDER:

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

HARRISON

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

KEINSZIG

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

ARCHBISHOP GILDAY

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

HARRISON

What if he dies?

KEINSZIG

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

ARCHBISHOP GILDAY

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

MICHAEL

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

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

HARRISON

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

KEINSZIG

Please sit down.

HARRISON

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

KEINSZIG

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

MICHAEL

I understand. Your tactics are despicable.

KEINSZIG

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

ARCHBISHOP

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

MICHAEL

What is it, that you want?

LUCCHESI

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

MICHAEL

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

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

MICHAEL

We’re back to the Borgias!

<They run into Andrew Hagan>

ANDREW

Uncle Michael --

MICHAEL

Andrew --

ANDREW

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

(then, to Vincent)

Vincent --

VINCENT

How are you, Andrew?

ANDREW

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

MICHAEL

Yes, well…

<They walk away talking as the scene fades>

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

VINCENT

Recognize it?

MARY

Yeah.

VINCENT

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

MARY

Only in America.

VINCENT

That's it.

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

OLD LADY #1

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

VINCENT

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

OLD LADY #2

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

OLD LADY #1

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

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

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

OLD LADY #1

I trust you.

VINCENT

Don't worry about it.

OLD LADY #1

Thank you very much.

MARY

Bye bye.

VINCENT

Enjoy yourself.

<The old ladies leave.>

MARY

What was that?

VINCENT

The neighborhood's in trouble…

MARY

You keep your eye out for it?

VINCENT

That's right.

MARY

And for me?

VINCENT

From now on.

MARY

I missed you all this time.

VINCENT

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

MARY

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

VINCENT

Yeah, what do you wanna know?

MARY

What was Sonny like?

VINCENT

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

MARY

What about my father?

VINCENT

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

MARY

Vincent…?

VINCENT

What?

MARY

Did he kill his own brother?

VINCENT (pauses)

No.

MARY

So those’re all lies?

VINCENT

Just stories, sweetheart. Okay?

MARY

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

VINCENT

I'm glad you're here, too.

<Vincent and Mary kiss.>

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

VINCENT

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

MICHAEL

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

VINCENT

We should kill him before he kills --

MICHAEL

No!

(then)

Never hate your enemies. It affects your judgment.

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

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

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

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

DON ALTOBELLO (addressing Michael to the Commission)

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

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

MICHAEL

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

<There are murmurs of protest.>

MICHAEL

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

(then, to Neri)

Al?

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

MICHAEL

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

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

A DON

Fifty million dollars!

<Vincent is passing out envelopes.>

MICHAEL

Not everyone gets the same…

VINCENT (whispering into Joey Zasa’s ear)

Nothing for you…

MICHAEL

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

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

A DON

Michael, this is really generous!

A DON

Hey, Perisi, how much did you invest?

DON PERISI (putting his envelope in his jacket pocket)

I don’t remember…

DON ALTOBELLO

Michael, you're blessed.

<Joey Zasa has heard enough.>

ZASA

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

MICHAEL

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

ZASA

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

MICHAEL

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

ZASA

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

DON ALTOBELLO

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

MICHAEL

Who can refuse, Don Altobello…

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

DON ALTOBELLO

Joey...

JOEY (interrupts)

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

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

ALTOBELLO

Hey Joey – no – Joey – no – Joey …

(then, to Michael)

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

MICHAEL

No, Altobello…

<Altobello exists the room>

PERISI

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

<The Dons begin talking at once.>

A DON

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

A DON

Listen to me, Michael…

A DON

Michael, why shouldn’t…

A DON

We should wet our beaks a little…

A DON

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

A DON

We could wash our money clean … with holy water…

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

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

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

VOICE (to a Don)

Forget your coat!

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

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

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

AL NERI

Mikey, this way!

<Michael and Vincent escape through this door.>

A DON (laying, bleeding, on the floor)

Zasa! You son of a bitch!

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

VINCENT

Come on. We're outta here.

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

CUT TO: Michael's house.

MICHAEL

You did good, Vincent.

VINCENT

Grazie.

NERI

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

MICHAEL

Altobello?

NERI

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

MICHAEL

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

VINCENT

I say we hit back and take Zasa OUT!

MICHAEL (leaning over to Vincent)

Never let anyone know what you're thinking.

(then, to Al Neri and the group)

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

VINCENT

How can you do business with this guy?

MICHAEL (ignores Vincent)

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

VINCENT

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

MICHAEL

Vincent will you SHUT UP!

<Vincent leaves the room.>

MICHAEL

That’s it.

(then)

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

(then)

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

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

CONNIE

Michael! Michael!

NERI

Has he taken his medicine?

CONNIE

I don't know – get him some water!

MICHAEL (breathing heavily)

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

(then)

Run! Run!

CONNIE

Vincent!

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

MICHAEL

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

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

MICHAEL (screaming)

Fredo! Fredo!

<Michael collapses to the ground.>

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

MARY

Oh God! Dad!

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

CONNIE (to Vincent)

I'll call Kay.

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

DOORMAN

Good evening, sir.

HARRISON

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

DOORMAN

Certainly, sir.

CUT TO: Archbishop Gilday's suite.

ARCHBISHOP GILDAY

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

HARRISON

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

ARCHBISHOP GILDAY

Oh, no.

HARRISON

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

ARCHBISHOP GILDAY

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

HARRISON

We have to ratify this deal as soon as possible.

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

We have an understanding.

HARRISON

Good.

HARRISON

I'm going to the hospital.

ARCHBISHOP GILDAY

I'll, pray, for Mr. Corleone.

HARRISON

Thank you.

<Harrison is leaving.>

FATHER JOHN

Our thoughts are with Mr. Corleone…

HARRISON

Thank you, Father John…

<Keinszig appears.>

KEINSZIG (to Archbishop Gilday)

Everything will be out in the open if Corleone dies.

ARCHBISHOP GILDAY

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

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

NERI

Just forget about it, Vinnie.

VINCENT

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

NERI

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

VINCENT

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

NERI

How?

VINCENT

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

<Connie enters.>

CONNIE

He may not survive anyway.

(then)

How would you do it?

VINCENT

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

CONNIE (with authority)

Do it!

NERI

What would you need?

VINCENT

Just a couple guys…

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

KAY

Hello Michael…

MICHAEL

Huh?

KAY

…it's Kay.

MICHAEL

Kay. I never expected you.

KAY

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

MICHAEL

I'm glad.

KAY

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

MICHAEL

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

KAY

Yeah?

MICHAEL

Oh yeah.

KAY

The sicker you get the wiser you get huh?

MICHAEL

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

KAY

Michael?

MICHAEL

Yeah?

KAY

I want to thank you for Tony.

MICHAEL

Oh?

KAY

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

MICHAEL

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

(then)

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

KAY (addressing the kids outside)

Mary, Tony. Go see dad.

MARY

Daddy, you're all right.

MICHAEL (embracing Mary from his bed)

Oh, sweetheart.

MARY

Everything's going to be all right.

ANTHONY

Hey, dad.

MICHAEL

Tony.

ANTHONY

How you doin' pop?

MICHAEL (embracing Tony)

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

ANTHONY

About Palermo? I really wanted you to be there.

MICHAEL

Of course. Of course.

(then, to Tony)

Kiss me – kiss me…

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

MARY

Cousin Vinnie…

DOORMAN

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

<Vincent appears inside.>

DOORMAN (to Vincent)

It's your cousin Mary.

VINCENT

Let her in.

<Doorman opens the door.>

MARY

Thanks.

(then, to Vincent)

Hey, cuz.

VINCENT

Hi.

MARY

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

DOORMAN (exiting)

I'm gonna go get the guys.

VINCENT

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

(then, the kiss)

You look beautiful, cuz.

MARY

So this is your club. Your hideout.

VINCENT

Yeah.

MARY

I came to check it out.

<they walk around the club.>

MARY

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

VINCENT

What’s wrong, sweetheart?

MARY

I’m really scared about my father.

VINCENT

Don't be scared.

MARY

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

VINCENT

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

(they kiss again, then)

Don't worry, okay?

MARY

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

VINCENT

Not like that, sweetheart.

MARY

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

VINCENT

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

MARY

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

VINCENT

You can help me make gnocchi here for the boys.

MARY

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

VINCENT

Okay.

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

MARY

I love you cuz.

VINCENT

I love you too, cuz.

<Vincent and Mary kiss.>

VINCENT

Let’s go [continue making gnocchi]

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

Hold me.

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

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

ZASA

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

(then, biting into a sausage sandwich)

This sausage, is wonderful.

(then, handing the sandwich to someone)

Here, have a sandwich…

(then, to his goons)

…let's go.

<Joey and his men walk through the streets.>

PASSER BY

Nice to see you, Mr. Zasa.

ZASA

Have a nice time.

(then, to someone else as they continue walking)

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

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

ANT

Hey! What you doin'?

<The boy's father appears.>

FATHER

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

KID

Sorry…

ZASA

Okay. Let's go.

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

PASSER BY

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

ZASA

Hey, how are you, Buddy Boy!

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

ARMAND

Hey, Joey Zasa! Joey! Up your ass!

ANT

Hey!

ZASA

Who is this?

JOEY'S BODYGUARD

Ah, ignore him.

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

ARMAND

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

ANT

Hey!

ZASA

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

ARMAND

Hey Joey! Up your ass.

ZASA

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

ARMAND

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

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

ANT

HEY!

ARMAND

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

THE ANT

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

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

SOMEONE (chasing after Zasa)

Run Joey! You piece of shit!

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

ZASA

Open the door! Open the door!

VINCENT: Hey Joe –

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

VINCENT

Zasa!

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

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

MICHAEL

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

VINCENT

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

MICHAEL

Connie?

VINCENT

It was the right decision, Uncle Michael.

MICHAEL

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

(then)

Do you understand?

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

NERI

Yes.

<Michael looks at Connie.>

CONNIE

Come on Michael…

<Michael waits intently on her answer>

CONNIE (after a while)

Yes.

MICHAEL

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

<Vincent helps Michael to bed>

MICHAEL

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

(then, after Vincent nods)

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

VINCENT

So I hear.

MICHAEL

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

(then, as Vincent smiles and looks up)

It's too dangerous. You hear me?

<Vincent nods>

MICHAEL

Okay.

(then)

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

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

DON ALTOBELLO

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

MICHAEL

I have too much responsibility.

DON ALTOBELLO

Immobiliare?

MICHAEL

Si.

DON ALTOBELLO

Too difficult now. You should really get out.

MICHAEL

What do you know about those pezzonovante in Italy?

DON ALTOBELLO

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

MICHAEL

We're not that old.

DON ALTOBELLO

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

MICHAEL

Your friendship, does that always.

DON ALTOBELLO (sitting down on the couch)

That makes me happy.

MICHAEL

Joey Zasa -- you were wrong about him.

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

DON ALTOBELLO

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

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

…Michael, treachery is everywhere.

MICHAEL

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

DON ALTOBELLO

Michael -- in Sicily?

MICHAEL

In Sicily. In Sicilia.

DON ALTOBELLO (to Connie)

In Sicilia.

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

SOMEONE (embracing another)

How are you, Don [Bandito?]…

ANTHONY (going to embrace his father, Michael)

Pop!

CUT TO: a courtyard in the compound.

MICHAEL

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

(then, to Don Tommasino, in Italian)

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

DON Tommasino (in Italian)

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

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

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

MICHAEL

Step back in.

VINCENT

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

CALO (to Don Tommasino, in Italian)

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

DON Tommasino (in Italian)

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

MICHAEL (in Italian)

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

DON Tommasino (in Italian)

"Only Lucchesi can reach between these two worlds."

MICHAEL (imitating Lucchesi)

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

(then)

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

HARRISON

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

MICHAEL

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

(then, to Don Tommasino, in Italian)

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

DON Tommasino (in Italian)

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

MICHAEL

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

VINCENT

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

MICHAEL

My word is final.

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

MICHAEL (in Italian)

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

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

CONNIE

Bravo! Bravo, Bravo!

MICHAEL

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

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

ANTHONY

It's Cavalleria Rusticana dad.

MICHAEL (pronouncing correctly, if not exaggerated)

Cavalleria.

(then, jokingly)

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

(then)

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

ANTHONY

Uh, dad, I've got a present for you…

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

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

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

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

MICHAEL (OS)

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

ANTHONY

Why is such a beautiful country, so violent?

MICHAEL

History.

MARY

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

MICHAEL

Yes it was, then.

MARY

I worry about you now.

MICHAEL

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

MARY

I love my family.

MICHAEL

Even your cousin Vincent?

MARY

I really love him.

MICHAEL

He's your first cousin.

MARY

Then I love him first.

MICHAEL

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

ANTHONY

He’s right – it’s too dangerous…

MICHAEL

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

MARY

No.

MICHAEL

Please promise me…

MARY

No!

MICHAEL

Obey me on this Mary!

MARY (runs off)

No, dad!

ANTHONY

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

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

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

VINCENT

You wanted to see me?

MICHAEL

Yeah. I want you to do something for me.

VINCENT

Okay.

MICHAEL

It’s dangerous.

VINCENT

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

MICHAEL

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

VINCENT

He'll never believe me.

(then, as he offers to shave Michael)

Here…

MICHAEL

That depends.

VINCENT (begins to shave Michael with the razor)

Sit down.

MICHAEL

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

VINCENT

What problems?

MICHAEL

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

VINCENT

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

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

MICHAEL (OS)

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

DON ALTOBELLO (to Vincent)

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

MICHAEL (OS)

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

VINCENT (to Altobello)

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

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

A Corleone, knows the value of such a friend.

DON ALTOBELLO

So, then, you would work for me?

VINCENT

Si.

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

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

MICHAEL

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

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

DON ALTOBELLO

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

VINCENT (turning to Altobello)

You leave the girl out of this.

DON ALTOBELLO

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

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

CUT: Back to the balcony with Altobello and Vincent.

DON ALTOBELLO

I guessed it Vincenzo, huh?

VINCENT

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

DON ALTOBELLO

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

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

DON ALTOBELLO

It's my duty to make the introductions.

(then, introducing Don Lucchesi to Vincent)

Don Lucchesi…

DON LUCCHESI (to Vincent)

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

DON ALTOBELLO (to Lucchesi)

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

DON LUCCHESI

No one wants another Joe…

(then, to Vincent)

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

VINCENT

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

DON LUCCHESI

You understand guns?

<Vincent nods in the affirmative.>

DON LUCCHESI (smiling)

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

VINCENT

How can I help?

DON LUCCHESI (in Italian)

"Come…"

<Vincent and Don Lucchesi walk away.>

DON ALTOBELLO

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

DON LUCCHESI (to Vincent, in Italian)

"Can you speak Italian well?"

VINCENT

"Yes."

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

AL NERI (in Italian)

"The wheelchair, for Don Tommasino."

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

MICHAEL

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

CARDINAL LAMBERTO

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

<Cardinal Lamberto moves towards a fountain.>

CARDINAL LAMBERTO

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

<He breaks the stone.>

CARDINAL LAMBERTO

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

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

CARDINAL LAMBERTO

What's happened?

MICHAEL

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

CARDINAL LAMBERTO (to a priest, in Italian)

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

MICHAEL

Trouble with diabetes. Blood sugar levels must be low.

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

CARDINAL LAMBERTO

I understand.

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

MICHAEL

When I'm under stress sometimes this happens.

CARDINAL LAMBERTO

I understand.

MICHAEL

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

CARDINAL LAMBERTO

The mind suffers and the body, cries out.

MICHAEL

That's true.

CARDINAL LAMBERTO

Would you like, to make your confession?

MICHAEL (laughs)

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

CARDINAL LAMBERTO

I always have time to save souls.

MICHAEL

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

<Don Tommasino and a priest wheeling him approach>

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

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

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

CARDINAL LAMBERTO

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

MICHAEL

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

CARDINAL LAMBERTO

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

(then, after a long pause)

Go on.

MICHAEL

I uh, I betrayed my wife.

CARDINAL LAMBERTO

Go on, my son.

MICHAEL

I betrayed myself.

(then)

I killed men.

(then)

And I ordered men to be killed.

CARDINAL LAMBERTO

Go on, my son, go on.

MICHAEL

Nah, it's useless.

CARDINAL LAMBERTO

Go on, my son.

MICHAEL

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

<He breaks down in tears.>

CARDINAL LAMBERTO

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

<He prays in Latin, absolving Michael.>

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

RADIO BROADCASTER (in Italian)

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

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

MICHAEL

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

<Connie hands Michael his insulin injection.>

MICHAEL

I made confession, Connie. I confessed my sins.

CONNIE

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

MICHAEL

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

CONNIE

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

(then, after Michael sighs)

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

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

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

MOSCA (in Italian)

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

DON ALTOBELLO (in Italian)

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

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

MOSCA (in Italian)

"It's been some time since we did business together."

DON ALTOBELLO (in Italian)

"You are my ‘ace in the hole,’ as we say in America. I have a stone in my shoe. You can remove it."

MOSCA (in Italian)

"Only one stone?"

DON ALTOBELLO (in Italian)

"It's dangerous. A famous man. You will have to take precautions."

MOSCA (in Italian)

"Tell me what to do. Then I will tell you my price."

<This pleases Don Altobello who then turns to the food on the table.>

DON ALTOBELLO (in Italian)

"Ah, what bread! Ah, olive oil – virgin – only in Sicily."

<They raise their glasses.>

MOSCA

A salute!

DON ALTOBELLO

A morte!

CUT TO: A Bagheria train station. A train pulls in and Kay gets off. Connie, Mary and Michael are on the platform to meet her.

CONNIE

Kay!

KAY (embracing Connie)

Oh, Connie! How are you?

KAY

Mary! I've missed you!

MARY (embracing Kay)

I've missed you too.

KAY

Well, hello Michael.

MICHAEL (shaking Kay’s hand)

Hello Kay.

MARY (showing Kay a poster of Cavalleria Rusticana, Anthony’s opera)

Mom, look at this.

KAY

What, let me see – oh! My – wow!

CONNIE

You know it's too bad that Douglas couldn't be with us.

KAY

No, no, I know. He wanted to come very much, but he had a very important trial.

MICHAEL

I know he wanted to come.

KAY

I know.

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

<Michael starts to lead Kay to the cars.>

KAY

Well, your son's an artist, huh?

MICHAEL

Oh yes. Thanks to you.

KAY

Oh, what for?

MICHAEL

For making me, let him go.

KAY

Oh.

(then)

After all these years, here I am in Sicily for the first time.

MARY (to Michael and Kay)

I want to get a picture of you together.

KAY

Oh, Okay.

<Mary walks in front of Michael and Kay and takes the picture.>

MARY

Hey dad, smile.

KAY (approaching the car sees Al Neri)

I see you still have Al Neri. Why?

MICHAEL (laughing)

Well, I need him. He helps me get in and out of the car. Carry my briefcase.

KAY (laughing)

You're still a liar Michael.

MICHAEL

Let me show you Sicily. The real Sicily. Maybe you'll understand the family history a little better.

KAY

Oh I think I understand it well enough.

CUT TO: A dark passageway. Lupe leads Mosca to a wardrobe full of costumes. Mosca sifts through the costumes and selects a policeman’s outfit and hands it to Lupe. Then he find a bishop's outfit.

CUT TO: A courtyard on the compound. Michael is talking to Anthony.

MICHAEL

Anthony, I have something you made for me a very long time ago. It may bring you luck.

<Michael hands Anthony a piece of paper. Anthony opens it to find the drawing that he drew for Michael, as seen in The Godfather Part II.>

ANTHONY

You saved it, huh?

MICHAEL

Remember?

ANTHONY

I remember. Thank you dad.

MICHAEL (kissing Anthony)

I'm proud of you.

ANTHONY

Thank you.

CUT TO: A drawing room on the compound. Vincent is playing pool with Michael's new bodyguards. Connie enters and the bodyguards leave.

CONNIE

Are they as good as they look?

VINCENT

They're better. They're the best. As long as they're around, Uncle Michael is safe.

CUT TO: The front of the compound. There’s a cab. Apparently Kay is going into town.

MARY

Bye.

KAY

Bye. Tell your father I'll be back for dinner.

MARY

Okay. Have fun.

KAY

And tell Tony to be sure to wait for me.

MARY

Okay. I will. Bye mom.

<Kay gets into the car that is waiting for her at the foot of the steps. The driver turns around and takes his cap off and says to Kay: "Buon giorno, Signora. At your service." It is Michael.>

MARY (playfully)

If I see dad, I'll tell him you left!

<Michael and Kay drive off.>

CUT: Back to the drawing room. Vincent and Connie are still talking.

CONNIE

You are the only one left in this family with my father's strength. If anything happens to Michael, I want you to strike back.

VINCENT

I'll have everything ready.

CONNIE

You swear?

VINCENT

I swear to you.

<Vincent embraces Connie’s hand, and kisses it respectfully.>

CUT TO: A road in Corleone, Sicily. Michael is showing Kay around.

MICHAEL

Here it is. The house where my father was born. This is where they came, to take him when he was a boy. To kill him.

KAY (noticing music playing in the distance)

Wait. Listen to that.

<Kay and Michael follow the music and arrive at a church. A wedding has just ended and the music comes from a band that is playing as the bride and groom leave the church. This is the church that Michael had married Apollonia in.>

KAY

You know, Mary's in love.

MICHAEL

Yes, I know.

KAY

With a handsome young Italian man. Dark eyes.

MICHAEL

I won't allow it. It's wrong. It's wrong and it's dangerous.

CUT TO: A square. Michael and Kay are watching a puppet show. A man standing beside the puppet tent provides the dialogue in Italian to accompany the actions of the puppets.

PUPPETEER (as female puppet)

"Oh father, my father! Give me some time to pray to the Lord."

(then, to the audience)

"The Baroness of Carini had betrayed her husband and fallen in love with her cousin."

(then, as male puppet)

"There will be no forgiveness!"

(then, to the audience)

"Her father stabbed her through the heart."

(continues, in Italian…)

KAY

Honor, huh?

CUT TO and PAN: A courtyard in Corleone. Michael and Kay are dancing at the party of the wedding they had see earlier.

KAY

You know, I remember the time that you came to my parent's house. And you took me into that room. And you told me about the family business and how you were never going to have anything to do with it. You sounded like Tony.

MICHAEL

I was a lot like Tony.

CUT TO: Another street in the town. Michael and Kay have returned to their car.

MICHAEL

And there we see it. Kay -- you mind driving?

KAY

No, what's wrong.

MICHAEL

My eyes. Sometimes they're all right. But --

KAY

Okay.

MICHAEL

Listen, I have to see Don Tommasino --

<Michael is interrupted by a priest on a bike who throws a bouquet of flowers into Kay's arms and shouts [sounds like: "benday, signora"] as he passes her by.>

KAY (startled)

Oh! Oh, my God – well.

(then)

There's no bodyguards today.

MICHAEL

I really snuck away.

CUT TO: A road leading to the compound. Don Tommasino's car is driving back home. Two priests are walking up the road ahead of it. The car stops and Don Tommasino opens his door.

DON Tommasino (in Italian)

"Father, where are you going? Would you like a ride?"

<The two priests turn around and Don Tommasino recognizes that they are not real priests.>

DON Tommasino (in Italian)

"I know you. You're Mosca of Montelepre. You were an assassin then, and you're an assassin now!"

MOSCA (in Italian)

"I know Michael Corleone is at your house. I will pass through the gates with you."

<Don Tommasino refuses this order and closes his door. Mosca takes a shotgun from under his robes and fires two shots into the car before running with Lupe.>

CUT TO: Don Tommasino's house. Michael and Kay arrive. Michael sees Calo.

MICHAEL (in Italian)

"Calo, how are you?"

CALO (in Italian):

"Hi. Nice to see you."

MICHAEL

How are you?

CALO

Bene.

MICHAEL

Kay, this is Calo, my old friend. One of my bodyguards in the old days.

CALO (in Italian to Michael)

"Don Tommasino hasn't arrived back yet. He should be back soon."

KAY

We can wait here.

CALO (in English)

You want drink?

KAY

Yeah.

CALO

Yeah.

KAY

Shall we go?

CALO (in Italian, to a maid)

"Maria! Get some food and drink ready."

CUT TO: A room in Don Tommasino's house. Michael and Kay are talking.

MICHAEL

I spent a lot of time in this room, thinking of you.

KAY

And then you got married.

MICHAEL

I still thought of you.

KAY

What's in that room?

<They walk into another room where a meal has been laid out.>

KAY (now eating)

You know this is dangerous for you, Michael. This is Sicily.

MICHAEL

I love this country.

KAY

Why?

MICHAEL

Well, all through history, terrible things have happened to these people. Terrible injustice. But they still expect good, rather than bad will happen to them.

KAY

Sort of like me and you, huh?

MICHAEL

How so?

KAY

Well I'm still here, right? We do have a bad history, but I'm still here.

MICHAEL

Oh yes you are. But with dread.

(then, with a bread knife to his throat)

Gimme the order! C’mon! Give it to me.

KAY

What’s that supposed to do, is that supposed to make me not dread you?

MICHAEL

We’re in Sicily – it opera.

(then)

Okay, what do we do now?

KAY

Be reasonable. Let's try not to hurt each other.

MICHAEL

I want you to forgive me.

KAY

For what?

MICHAEL

Everything.

KAY

Oh, like God, huh?

MICHAEL

Oh, I – I need something a little closer. You couldn’t understand, back in those days. I love my father – I swore I would never be, a man like him – but I loved him. And he was in danger; what could I do? And then later, you were in danger. Our children, we in danger. Look at it. You were all that I loved, valued, most in the world. And, I’m losing you – I lost you – anyway. You’re gone, and it was all for nothing – so – you have to understand, I had a whole different destiny planned.

(then, as Kay begins to cry)

All right, I’ll stop…

KAY

I really don’t know what you want from me, Michael – I really don’t know. I mean…

MICHAEL

I'm not the man that you think I am.

KAY

I don’t know…

MICHAEL

I love you, Kay. Don't dread me, anymore. You know, every night here in Sicily. I dream, about my wife and my children. And how I lost them.

KAY

I guess, if it’s any consolation, I want you to know that – that -- I always loved you, Michael. I always – I always will.

<There is a knock at the door. It is Calo. There is crying in the background.>

MICHAEL (in Italian to Calo)

"What is it? What's wrong?"

CALO (in Italian)

"They found Don Tommasino shot."

MICHAEL (in Italian)

"Is he dead?"

CALO (in Italian)

"My master is dead. Blood calls for blood. I must have revenge!"

MICHAEL (in Italian)

"Some day, you may have to do a difficult service for me."

CALO (in Italian)

"Command me. I will avenge him!"

KAY (to herself, looking on)

It never ends…

CUT TO: The Vatican City. The votes for the new Pope are being announced.

CHAIRMAN (in Italian)

"Totals: Lorscheider, 1 vote. Siri, 11 votes, Lamberto, 99 votes."

<Lamberto stands, to applause.>

CHAIRMAN (in Italian)

Do you accept your election as supreme pontiff?

LAMBERTO (in prayer, in Italian)

"My God, shed light on the decision they have taken on my behalf."

(to Chairman)

"I accept."

CHAIRMAN (in Italian)

"By what name do you wish to be called?"

LAMBERTO (in Italian)

"John Paul the First."

<Lamberto removes his skull cap, and white smoke is emitted from the Vatican to show the crowds that a new Pope has been appointed.>

CUT TO: Back to the Vatican.

LAMBERTO (in Italian)

"I will do things ‘right away’, rather than in ‘a little while.’"

CUT TO: Shots of newspaper headlines about the disappearance of Frederik Keinszig.

The first newspaper headline is from the New York Times (Wednesday, March 22, 1980): "John Paul I Outlines Administrative Overhaul – Vatican Bank Being Restructured: Secretary of State to Initiate Investigation Immediately."

Then, the Herald Tribune (Friday, March 27, 1980): "New Pope Announces Investigation Into Vatican Bank Affairs: Calls for Meeting with Chief Accountant F. Keinszig.:

Then, the headline: "Vatican Accountant Missing: ‘God’s Banker’ Disappears Without Word From Home in Rome."

Meanwhile, a Voice Over is heard in the form of a radio broadcast in English:

VOICE OVER

"Frederik Keinszig, known for a decade as "God's banker," has been reported missing. He was last seen three days ago, leaving the Rome offices of the Vatican owned corporation International Immobiliare. Also missing was a large sum of money, and several documents."

<We then see a shot of Archbishop Gilday trying to phone Keinszig and getting no answer.>

ARCHBISHOP GILDAY(into the receiver)

Come on, Keinszig, you fool.

<Next we see a shot of Keinszig in a room with a phone ringing. He does not pick it up. The Voice Over continues.>

VOICE OVER

"Mr. Keinszig's absence casts further suspicion on the dealings of the Vatican bank. For several years the bank and its subsidiary companies have been the object of allegations of disreputable business practices."

<We see Archbishop Gilday on the phone again.>

ARCHBISHOP GILDAY (on the phone)

Lucchesi, will you please try and understand. I have phoned him. I have waited here by the phone. You would do well to remember, Mr. Lucchesi, that this Pope, has very, different ideas from the last one.

<We see another shot of Keinszig in the room, then a shot of Lamberto making the sign of the cross, and then a shot of Archbishop Gilday praying, before the scene ends.>

CUT TO: Don Tommasino's house. Don Tommasino's body has been brought back to his home. Michael sits by his coffin, alone, with tears in his eyes.

MICHAEL

Goodbye my old friend. You could have lived a little longer, I could be closer to my dream.

(then)

You were so loved, Don Tommasino. Why was I so feared, and you so loved? What was it? I was no less honorable. I wanted to do good.

(then, as Michael cries)

What betrayed me? My mind? My heart? Why do I condemn myself so?

(then, in prayer)

I swear, on the lives of my children: Give me a chance to redeem myself, and I will sin, no more.

<The door opens and Vincent enters>

MICHAEL (rises and walks over to Vincent)

You look pale. Bad news. Tell me right away

VINCENT

It's not just a bad banking deal. These guys are butchers.

MICHAEL

What guys?

VINCENT

Lucchesi. He controls all of them -- Altobello, the Archbishop, other people higher up, P2* maybe, secret unknown. They're running things. [*Propaganda Due. This is a reference to a (real-life) Masonic lodge, based in Rome, and alleged(known?) to be comprised of only the highest echelon of elite power players including Italy's major political and corporate figures, high-ranking Vatican clergy, and of course Mafiosi. There are a number of conspiracy theories connected with this group. (Thanks to "Don Rico" for this info).]

MICHAEL

I'm in their way?

VINCENT

He's hired a professional assassin to kill you. He's Sicilian. I don't know his name. They say he never fails.

MICHAEL

Then no one is safe. Even the Pope is in danger.

VINCENT

No. We still have time. We can prevent this.

MICHAEL

I tried Vincent. I tried, to keep everything from coming to this. But it's not possible. Not in this, world.

VINCENT

Give me the order.

MICHAEL

You won't be able to go back. You'll be like me.

VINCENT

Good.

MICHAEL

All my life I wanted out. I wanted the family, out.

VINCENT

Well I don't want out. I want the power to preserve the family.

(then)

I'm asking for the order.

<Michael doesn’t say anything, but it’s apparent he’s given the order. The door opens and Connie enters.>

VINCENT (to Connie)

It's done.

MICHAEL

Because I can't do it any more.

CONNIE

It doesn't matter. Vincent knows what to do. Come on outside. Take a rest and -- and don't think about it.

MICHAEL

All I do is think about it.

VINCENT

I am your son. Command me on all things.

MICHAEL

Give up my daughter. That's the price you pay, for the life you choose.

<Vincent nods. Michael goes to the door and motions for Calo, Al Neri and Armand to come in.>

MICHAEL (to Vincent)

Nephew, from this moment on, call yourself Vincent Corleone.

<Vincent kisses Michael's hand. Michael motions for him to sit down as Calo, Al Neri and Armand acknowledge their new Don.>

CALO (kissing Vincent's hand)

Vincenzo.

VINCENT

Grazie, Calo.

AL NERI (kissing Vincent's hand)

Don Corleone.

ARMAND (kissing Vincent's hand)

Don Vincenzo Corleone.

<Michael, watching, turns away and leaves with Connie, the door closes.>

CUT TO: The Theatre Maximo Opera House. It is Saturday, April 14, 1980, the opening night of Anthony's performance in Cavalleria Rusticana by Pietro Mascagni. We see the Corleone’s arriving amongst the other audience members. Michael's bodyguards are also present. Don Altobello arrives and sees Vincent at the entrance to the building.

SOMEONE

Ciao, Don Altobello!

DON ALTOBELLO (meeting up with Vincent at the entrance)

Et Tu, Vincenzo? I know how you feel about Michael, but you, you can't save him. He's lost. Think of yourself. What's your answer, Vincent?

VINCENT

Enjoy the opera.

(then, leaning toward Altobello)

It's all taken care of.

<Vincent walks off. We see the bodyguards talking.>

BODYGUARD (to another bodyguard)

You check the balcony [or, bottom?], I'll check the top floor.

CUT TO: The foyer of the opera house.

<Kay is reading a message to Michael and Andrew Hagen.>

KAY (reading)

"Here's hoping Tony sings better at Theatre Maximo than he does in the shower. Love, Douglas."

CUT TO: Connie approaching Altobello.

DON ALTOBELLO

My darling, Constanzia.

CONNIE

Oh, Don Altobello.

DON ALTOBELLO

This is a great occasion.

CONNIE (holding a pastry box behind her back)

Come and sit down.

DON ALTOBELLO (now seated, as is Connie)

Grazie.

CONNIE

Happy birthday. You're eighty years old -- you don't look more than sixty.

DON ALTOBELLO

You're the only one who remembered.

CUT TO: Harrison leading Michael to a corner of the foyer.

HARRISON

Michael, we just got the word. The Pope's ratified the Immobiliare deal. We've won. Congratulations.

MICHAEL

How strange, the way things work.

HARRISON

The Pope's doing exactly what you said he'd do, he's cleaning house.

MICHAEL

He should be careful. It's dangerous to be an honest man.

CUT TO: Abbandando is telling guests about Mary's charitable work.

CUT TO: Vincent with his bodyguards in a dark corner.

BODYGUARD (to Vincent)

I wanna put a little more muscle backstage with Tony…

<Vincent turns and walks away>

CUT TO: Back to Connie and Altobello.

CONNIE

On your birthday, you used to shower me with treats.

DON ALTOBELLO

Tootsie Rolls!

<Connie produces a box of cannoli for Don Altobello.>

CUT TO: Mary and Vincent meet up.

MARY

Hey.

VINCENT

Hey, Cuz.

MARY (playful)

Hi.

VINCENT

Hi

MARY

Where's your leather?

VINCENT

Stop it.

CUT TO: Back to Connie and Altobello.

DON ALTOBELLO

You're so thin. You eat it.

<Connie seems reluctant, but barely nibbles on the cannoli. Don Altobello, seemingly assured, then takes a bite.>

DON ALTOBELLO

E buono. Grazie, grazie.

CUT TO: Back to Mary and Vincent. Mary now has tears in her eyes.

VINCENT

It's over, Mary. There are things I have to do that you can't be a part of.

(then, when Vincent notices Mary looking at her father in disgust)

Don't look at your father, it's not your father's decision, it's mine. Don't hate your father. There are things I'm going to be part of, you can't be around. After tonight, you won't see me anymore.

MARY

No.

VINCENT

You gotta understand, Mary -- you gotta understand…

MARY

I'll always love you.

VINCENT (holding back emotion)

Love somebody else.

<Vincent walks away. Mary notices that Michael was looking on and starts crying.>

CUT TO: The main theater. People are taking their seats.

<The opera begins as the Corleone party toasts to Tony in their balcony box. As the Corleone’s sit and listen, we notice Michael whispering into Kay’s ear, and they laugh. We see Mary turning to Vincent, who then looks down to avoid eye contact. Tony is now singing, offstage, watching the conductor on closed-circuit monitor. A harpist is playing. We see Mosca, dressed as a priest, sneaking in with a party of priests. We then see a shot of Al Neri on a train before we return to the opera. Don Altobello is in a box, surprisingly far from the Corleone’s, watching the opera and eating Connie's cannoli. Connie is watching him intently from the Corleone’s box with a pair of opera glasses. As the priests begin sitting in their seats, Mosca leaves them. Vincent goes outside the Opera house. The bodyguards tell Vincent that everything is okay.>

VINCENT (to bodyguards)

They won’t try anything…

BODYGUARD

Yeah, everything’s fine – it’s all clear out here.

VINCENT

I've already sent Al Neri to the Vatican.

CUT TO: Don Lucchesi's house.

CALO (to doorman, in Italian)

"Mr. Lucchesi's house?"

DOORMAN

Si.

CALO

"I bring a message from Michael Corleone."

DOORMAN (to another guard)

Let him in.

CUT TO: Back to the opera.

<Mosca, dressed as a priest goes to enter an empty box. He is stopped by one of the twin bodyguards, either Armand or Francesco, but Mosca stabs him and drags his body into the empty box with him. He unrolls a cloth and takes out a gun which he had hidden amongst some large candles. He begins to assemble the gun. We see another bodyguard noticing that the twin wasn’t at his posts and walks away.>

CUT TO: Don Lucchesi's office. Calo enters and is frisked at once by a bodyguard.

CUT TO: Back to the Opera, where Anthony is singing on stage.

<All the while -- Mosca is still assembling the gun. The bodyguards have realized that one of them is missing. We see another shot of Neri on the train. He has a box of biscuits. He takes the top level of the box off to reveal a gun hidden in the bottom level. We see the opera scene where Tony bites off another character’s ear, a-la Vincent. Someone whispers to Harrison, who leaves the box. A second bodyguard enters the box where Mosca is positioned. He sees the body of the first bodyguard, but on his way out of the box he is attacked by Mosca who was hiding. A third bodyguard then enters. He sees Mosca being held by the throat by the second bodyguard and drops his guard, saying "Good, you got’im". Mosca then stabs him and lets the body of the second bodyguard fall when he moves away from it. It is apparently the end of an Act in the opera, and we hear applause. We see Mosca’s boy, Lupe, walking through a corridor with a shot gun, seemingly dressed as one of the actors.>

VINCENT (OS)

"Tonight the Corleone family settles its accounts. Keinszig -- that little Swiss banker fuck -- he's been swindling everyone from the beginning. Fuck ‘im."

CUT TO: Back to Lucchesi’s office, where Calo is being searched with a metal detector.

VINCENT (OS)

"Don Lucchesi. My friend. Calo will pay him a visit at his home."

CUT TO: Al Neri, riding on a train.

VINCENT (OS)

"Neri, take a train to Rome. Light a candle for the Archbishop."

CUT TO: The Vatican. Archbishop Gilday is drinking a cup of tea. He pauses and thinks. We then see a shot of a priest bringing a cup of tea to The Pope, Lamberto.

PRIEST

Tea, your holiness? It will help you sleep.

<We see a shot of Archbishop Gilday walking through a corridor. We then see Keinszig in his room lying on a bed. He closes his eyes, and a set of Rosary beads are dropped on his face by an assassin, working for Vincent. Then the a pillow is pressed over his face and he is suffocated.>

ASSASSIN

This is from Vincent Corleone.

<We the cut back to the opera where we are shown a shot of the dead bodyguards. Mosca is back in the box with his gun. Harrison enters the Corleone’s box and whispers something to Michael. Both men get up and leave and when Mosca trains his gun on Michael's seat he sees that it is now occupied by Andrew Hagen. He curses, "fica!">

CUT TO: A corridor in the opera house. Harrison, Michael and Vincent are talking.

HARRISON

Michael, it's serious. Our man inside the Vatican says there's a plot against the Pope.

MICHAEL

You mean he's going to have a heart attack in the night.

<We see Mosca, who has given up on sniping from the box and is leaving it.>

MICHAEL

This Pope has powerful enemies. We may not be in time to save him.

(then)

Now let's go back to the opera.

<We see Mosca moving down a corridor. He meets Lupe who gives him a handgun.>

CUT TO: The Vatican. A nun enters Lamberto's bedroom to wake him. She shakes him, but he does not move.

NUN

Posso? Posso? Eminenza? Eminenza? Eminenza?

(then, when she realizes that the Pope is dead, she runs from the room)

"The Holy Father is dead!"

CUT TO: Back to the Opera.

<Vincent, Michael and Harrison return to their seats. Vincent sees that Mary is still crying and puts his hand on her shoulder. Connie is still watching Don Altobello intently through her opera glasses. He is still eating the cannoli. He seems to notice her watching him. She shifts her gaze to the stage but then returns to Don Altobello. He is now struggling to breathe as we see a large crucifix raised on stage.>

CONNIE (whispers)

Sleep. Sleep, Godfather.

<Don Altobello slumps down in his seat still holding Connie's cake. We then shot of Calo being shown into Don Lucchesi's office, and then a shot of Archbishop Gilday walking up a flight of stairs. Al Neri follows him. We then see a shot of Vincent, and then of Connie, both watching the opera.>

CUT TO: Don Lucchesi's office. Calo is talking to Don Lucchesi.

DON LUCCHESI (in Italian)

"Speak...tell me."

CALO (in Italian)

"You have lost the faith of the people."

DON LUCCHESI (in Italian)

"He who builds on the people builds on mud. And Michael Corleone's message?"

CUT TO: The Vatican. Archbishop Gilday is still walking up the stairs. Al Neri hides in the shadows to wait for him.

CUT TO: Don Lucchesi's office.

CALO (in Italian)

"It's very important. I must whisper it in your ear."

<Lucchesi looks toward his bodyguard.>

BODYGUARD

He's clean.

<Don Lucchesi agrees and Calo approaches him.>

CUT TO: The Vatican. Al Neri steps out of the shadows with a gun. Archbishop Gilday sees him from the stairway but can do nothing. Al Neri shoots him three times.

CUT TO: Don Lucchesi's office.

CALO (whispering in Don Lucchesi's ear)

"Power wears out those who don't have it."

<Don Lucchesi laughs. Calo grabs Don Lucchesi's glasses from his face and then stabs them, folded, into Don Lucchesi's neck. We then see a shot of Michael watching the opera. Then a shot of Archbishop Gilday's body being thrown down the gap between the flights of stairs he had just climbed. A final shot of the opera follows. We see a shot of Keinszig's body, hanged from a bridge. We then see a final shot of Lucchesi, lifeless with a very bloody neck.>

CUT TO: The opera house.

<The opera has finished and the audience is applauding. Anthony comes out to take a bow on the stage and the Corleone’s stand to acknowledge him. We see a shot of someone, perhaps one of Don Altobello's men, shaking Altobello’s body. Altobello slumps to the side. The curtain parts and the rest of the cast take their curtain call.>

CUT TO: The foyer of the opera house. Anthony comes to meet his family, still in costume. He hugs Vincent.

VINCENT (apparently noticing the biting of the ear scene)

I like this opera.

ANTHONY

Yeah I figured you would.

VINCENT

Bravo.

ANTHONY

Thank you.

VINCENT (motioning to the rest of the family)

Say hello…

<Anthony goes to greet his family. They walk off talking. Vincent watches them as they move off. Mary does not go with them. She walks over to Vincent.>

MARY

Can I please talk to you now?

VINCENT

Not now Mary, it's not a good time.

MARY

You're just like my father.

VINCENT

Come on, stay with the family. Go on.

<Mary walks off to join her family. A bodyguard approaches Vincent.>

VINCENT

Talk to me.

BODYGUARD

The twins are dead. In about one minute there's going to be carbanieri [sp] crawling all over this place.

VINCENT

Okay. Let's get everybody to the cars.

BODYGUARD

Okay…

VINCENT

Nice and quiet.

BODYGUARD

Got it.

VINCENT

Quiet.

<Bodyguard and Vincent walk off. Mosca appears.>

CUT TO: The entrance to the opera house. The Corleone’s are at the top of the steps leading to the cars that wait at the bottom.

MICHAEL

When they hear the name Corleone, they're going to think [of that voice?]

<Michael begins to make his way down the steps. We see Mosca watching him from the entrance to the opera house. The party of priests he came in with pass him by and call him. He talks to one of the priests. Mary is walking behind Michael and calls him.>

MARY

Dad?

<Members of the press are everywhere as the opera house empties. Mosca is coming down the steps with the other priests.>

MARY

Dad? Why are you -- You don't have to do this to me, please.

<Lupe is standing by the steps doing the donkey impression. He has a gun. Michael’s bodyguard runs towards him and takes the gun to check that it is empty. Lupe is then moved away from the stairs. We hear a voice telling people to "move back, move back; hey, move…">

MICHAEL (to Mary)

Doing what, sweetheart. What do you mean?

<While Mary is talking to Michael, Anthony is trying to get her to come and be introduced to someone.>

ANTHONY (excited)

Mary, c’mon – I want you to meet… Mary, please…

<MARY is not listening to him. Mosca takes a gun from his robes. He fires two shots. There are screams of panic and everybody on the stairs throws themselves to the ground. Michael winces as a bullet hits him on the shoulder. Lupe runs from the scene as the party of priests pin Mosca down. Vincent takes out his gun and shoots Mosca. Mary and Michael remain standing. When the commotion has died down, Michael sees that Mary has a bullet hole through her liver, and that the front of her dress is stained red. Everything goes silent. Mary falls to her knees.>

MARY

Dad?

<She slumps to the ground. There is a few seconds of shocked silence. Kay then starts to cry.>

MICHAEL

Oh, God.

KAY (screams)

NO!

<Kay is held back by Anthony who is crying.>

VINCENT

NO! Mary!

MICHAEL

Oh, God. Oh, God, NO! Oh, God, no -- PLEASE!

<Connie is crying, Andrew Hagen is saying prayers. We see a shot of Armand being handed a gun. He quickly takes it and puts it in his pocket. Kay takes Mary's body in her arms. Anthony eventually pulls his mother away from Mary's body. Michael sits on the steps with his head in his hands. He is bleeding from his shoulder wound. As Harrison puts a hand on his shoulder, Michael throws his head back and lets out a scream of anguish which is silent to the audience. Despite their own misery, everyone is struck by how much pain is present in Michael's scream. The scream becomes audible to the audience, as Michael then slumps forward again. Connie puts her shroud over her head, as she cries uncontrollably. The police arrive and swarm the opera house.>

<We then see flashbacks of Michael dancing with the three women in his life that he has lost. We are shown a flashback of Michael and Mary dancing at the celebration party for Michael's Papal honors. Then a flashback of Michael and Apollonia dancing at their wedding in The Godfather. And then a shot of Michael and Kay dancing at the party to celebrate Anthony's first communion, in The Godfather Part II.>

CUT TO: A courtyard in Don Tommasino's Villa.

<Michael is sitting in a chair. Many years have passed and he is now a very old man. He puts on his sunglasses and sits for a few moments before slumping down dead in his chair, an orange falls from his hand. He then topples off his chair and lies on the ground as a dog investigates.>

CUT TO: BLACK.

THE END.