GF 3 Transcript

The Godfather, Part III - Transcript
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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. NOT TO BE REPOSTED ON ANY OTHER SITE!
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
<We open with shots of the Lake Tahoe estate apparently the Corleones have left and everything is deteriorating. We come to a shot of New York with the Text Over reading: NEW YORK CITY, 1979. We hear Michael Corleone speaking> MICHAEL (OS) "My dear children. It is now better than several years since I moved to New York, and I havent seen you as much as I would like to. I hope you will come to this ceremony of Papal Honors, given for my charitable work. The only wealth in this world is children, more than all the money and power on Earth. You are my treasure. Anthony and Mary, although I entrusted your education to your mother for your own best interests, you know how I look forward to seeing you, and to a new period of harmony in our lives" CUT TO: A church. Michael is receiving papal honors. MICHAEL (OS) "Perhaps you might prevail upon your mother to come to this celebration, and then from time to time, we can all see each other at family functions. Anyway, I remain, your loving father." <Archbishop Gilday speaks in Latin. Priests reply as the Archbishop leads the ceremony.> CUT TO: To Scene from Godfather 2. Fredo is saying a Hail Mary in the fishing boat FREDO Hail Mary full of grace, the Lord is with thee. Blessed art thou amongst women, and blessed is the fruit of thy womb, Jesus. Holy Mary, mother of God, pray for us sinners <As Fredo speaks we can still hear the Archbishop continuing in Latin. The gunshot fires and Michael, watching from the boathouse, bows his head.> CUT TO: Church. Then back to lake, as Neri stands in fishing boat. Then back to church. ARCHBISHOP GILDAY Almighty God. Bless the insignia of Saint Sebastian the martyr. That it may contribute to the sacredness of him to whom it is given.
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<The cross is placed around Michaels neck.> ARCHBISHOP GILDAY Do you, Michael, promise to be faithful to the noble purposes of this order, [here we see Joey Zasa and The Ant entering the church] to have a special care to the poor, the needy, and those who are ill? MICHAEL Yes I promise. ARCHBISHOP GILDAY In nomine Padris, fili, Spiritus Sancti. (he continues in Latin, then) May the blessing of Almighty God, Father, Son, and Holy Spirit, descend upon you, and remain with you, forever. CONGREGATION: Amen. <Ceremony is ending. We see Kay entering with her husband, Douglas, and they shake hands with other guests. We see the kids, Mary and Tony. The congregation files out.> CUT TO: Michael Corleones house in New York. <A celebration party is underway. Connie is leading the singing of Eh Cumpari. Someone yells out "Don Altobello!" whos sitting, singing, waving his cane. Vincent enters with his mother, Lucy Mancini. He is dressed in a leather jacket.> LUCY Vincent, our names 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 names not on the list. JOE Hey, youre not on the list, youll have to leave immediately. Theres no two ways about it! <Vincent pushes Joe and the two begin to struggle.> DAVE Joe! Joe! Its Vinnie. Vinnie, its Okay, these are our guests. JOE
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Sorry Dave. DAVE Its all right. JOE Sorry, sorry. (Then, to Vincent): Hey Vinnie. Welcome to the party. <Connie is still leading the singing. Joey Zasa and Anthony Squigliaro enter and poke fun by singing sarcastically ("za-zoom, za-zoom, za-zoom, za-zoom!"), halting everyones fun.. The room goes quiet as Zasa leaves. Connie manages to get the song going again. The party continues and we hear Kay introducing her son, Anthony, and her new husband, Douglas, to Don Altobello.> ALTOBELLO Its good to see you. KAY Its 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. Corleones connections with Las Vegas gambling? ABBANDANDO (continues) Presskits have pictures of REPORTER (interrupting again) What about his involvements with the underworld? ABBANDANDO Hey, cut the crap, huh? The Pope -- the Holy Father himself -- has this very day blessed Michael Corleone; and you think you know better than the Pope? CUT TO: Vincent sitting, watching the party. <A group of young girls are giggling behind him.> GIRL Vincent? VINCENT
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Yes? GIRL She loves you! VINCENT Yeah? (then) I love you, too! <Mary Corleone walks over to Vincent.> MARY Hi Vincent. I remember you. VINCENT You remember me? From where? MARY From the last time we had a party together. VINCENT Did you come down to the club? MARY No, it was a wedding. VINCENT A wedding? MARY I was 8; and you were 15 VINCENT Well I, I had a lot of girlfriends when I was 15. MARY 8 year olds? VINCENT Especially 8 year olds! CUT TO: Connie. CONNIE
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Wheres Mary? Would somebody please hail Mary. Excuse me your Excellency. CUT: Back to Mary and Vincent. MARY You know? You havent kissed me hello yet. Relatives always kiss. VINCENT (Laughs) Oh, now were related? MARY Im your little cousin. VINCENT (thinking) Whos your father? MARY Ill give you a hint: hes Italian. <They are interrupted by Abbandando.> ABBANDANDO Mary, Mary. Weve been waiting for you. Remember remember now, keep your voice low, right? And smile! Dont forget to smile. <Mary is led from Vincent into the main dining room. A fanfare welcomes her. Michael welcomes his guests in Italian.> MICHAEL the honorary chairman of the Vito Corleone Foundation, my daughter, Mary Corleone. <Applause.> MARY Thanks; I dont think I inherited my fathers 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. Dont spend it all in one place! <Applause. Mary and Michael embrace. Mary walks over to where Kay is.> KAY: Mary Mary, Im so proud of you CUT TO: Archbishop Gilday with Michael ARCHBISHOP GILDAY Michael, youve done a wonderful thing for Sicily.
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MICHAEL Well, lets just hope the money gets to the people who need it. ARCHBISHOP GILDAY Amen. <We hear Johnny Fontane being introduced.> FEMALE ANNOUNCER (OS) We have some special folks to welcome you a special surprise from Las Vegas; the most important part, Johnny Fontane! JOHNNY Thank you very much. Im happy to be here with you, and Id like you to join me in honoring Commendatore Michael Corleone. <Applause. We see Michael and B.J. Harrison talking and walking across the room.> JOHNNY And I have something special for our host and Godfather: I just happen to know his favorite song. Michael, where you going? Its your favorite song! MICHAEL Uh, Im off here to the kitchen to hear some Tony Bennett records. JOHNNY Its your favorite song "Sausage" His Own MICHAEL Thats right; a sausage sandwich! Ill 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, thats really quite an honor. Its a little expensive, wouldnt you say? MICHAEL Cake? KAY No thank you.
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MICHAEL Its been a long time, hasnt 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: Michaels office. Anthony is waiting. Michael enters, looking annoyed. MICHAEL Whats wrong with being a lawyer? KAY Nothing, except he doesnt 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 Im going my own way. MICHAEL Your own way? ANTHONY Mmm Hmm. MICHAEL Professional singer? ANTHONY
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Thats right. MICHAEL And what happens -- what happens if you fail? ANTHONY I wont fail. MICHAEL Men always believe that. ANTHONY I know. MICHAEL If you have a Law degree, youre 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
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Of what? He throws his life away. He throws greatness away. KAY This is greatness? You know Michael, now that youre so respectable I think youre 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 didnt 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 Lets be reasonable, Okay? Thats your big thing isnt it Michael. Reason. Backed up by murder. MICHAEL Oh, God -- You hate me, you hate me. KAY No, I dont 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)
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The children still love you though. Especially Mary. MICHAEL (sitting down) Thats something. We can build on that, for their sake. Lets try. KAY Only if you let Tony go free to have his own life. Away from you. MICHAEL Ill 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 Graces legs) You could hurt somebody with those. Youve been working too hard, let me show you around. GRACE Can you get me an interview with Michael Corleone? VINCENT Uh, no. Im a relative but I cant do that. What else can I do for you? GRACE Handsome but useless. VINCENT Oh yeah? GRACE Thats okay. Ill gamble. VINCENT You like to gamble? Why dont we go to Atlantic City? My town. Ill show you how to gamble. GRACE
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Yeah, but I like to win. How will I know what numbers to pick? VINCENT Do I look okay like a guy whos 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 Corleones house? VINCENT Thats Joey Zasas bulldog. GRACE You know that guy? VINCENT Yeah I know that guy. That guys 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 familys friendship. ALTOBELLO Where is my goddaughter? <Connie walks into view to kiss and embrace Don Altobello.> Constanzia
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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; lets 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. Weve 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
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Mr. Corleone MICHAEL Frank, how are you? FRANK Thank you very much for your contribution to the Boards swimming pool, and we need your help on Sam Wallaces 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 Hagans eldest boy. Hes been assistant to Bishop ANDREW -- Bishop Greening -MICHAEL -- for years now. Hoping for an assignment to the Vatican. ARCHBISHOP GILDAY Theres 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 hed tell you about me, that maybe youd
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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 youd 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. Weve 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 youre his patrone and he only wants a minute. CUT TO: Connie sees Vincent coming towards her CONNIE Hey Vinnie! Whos your favorite Aunt? VINCENT You are. CONNIE Today Im gonna talk to Michael about your little problem.
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VINCENT I wish you would have warned me Conn, I could have worn a better suit. CUT TO: Michaels 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 -- Whos Meucci? ZASA Hes the Italian-American who invented the telephone. He did it one year before Alexander Graham Bell. MICHAEL Oh And this is the reason youve 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 hes related to you. A bastard. <Michael looks over to Neri.> AL NERI Hes here. Vincent Mancini. Hes at the party. MICHAEL Well bring him in. ZASA I think its 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 Im out ZASA
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Good. Then its my problem. <Vincent enters with Connie.> CONNIE Michael, you know Vincent Mancini -- Sonnys boy. VINCENT How you doin Mr. Corleone? MICHAEL How you doing? VINCENT Im doin good. How you doin? MICHAEL Good. VINCENT Good party. MICHAEL Oh you like it? VINCENT Yeah, I had to sneak in. MICHAEL Well, youre dressed for it. <Vincent looks embarrassed, Zasa looks disgusted.> MICHAEL So, whats the trouble between you and Mr. Joe Zasa? VINCENT Theres trouble. Ill take care of it. MICHAEL Thats foolish of you. VINCENT Foolish of ME? Its a little foolish of this guy, dont you think? Right? RIGHT? MICHAEL (to himself)
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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. Id 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, youre not a gangster. CONNIE (interrupts) Thats was Papas neighborhood, now its a sewer. Zasa runs it like a disgrace thats what the women tell me. MICHAEL Thats 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 -- Im not here to ask for any kind of help. I could just kill this bastard, hes the one who needs the help. MICHAEL So kill him. What has all this have to do with me? VINCENT Well, hes going around behind your back saying fuck Michael Corleone all time. Thats it, see, thats 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 theres some guy running around this city saying "fuck Michael Corleone", what do we do, with a piece of shit like that? Hes a fucking dog, no?
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ZASA (pauses, then) Yes its true. If anyone would say such a thing, they would not be a friend. They would be a dog. MICHAEL (to Vincent) My interests dont conflict with Mr. Joe Zasas VINCENT Oh you dont know how much your interests conflict with Mr. Joe Zasas, Uncle Michael. CONNIE Michael -- He needs your support, Michael. VINCENT Dont 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 dont 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. Cmon <Vincent reluctantly goes to embrace Joey. As they do so, Joey mutters into Vincents ear.> ZASA (quietly to Vincent) Bastardo. <Vincent retaliates by biting Zasas 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.>
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VINCENT (still explaining) Uncle Michael, I told Connie it wasnt the right time for this thing (then) Uncle Michael, listen -- I know youre into banks and Wall Street, but everyone knows youre the final word, youre like the Supreme Court. All I want to do is protect you from these guys and your lawyers cant 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 youre stopping him from rising up in the commission, Uncle Mike. I say we make him dead. You give me the order, Ill take care of it. MICHAEL Youll 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, well talk about your future. VINCENT I wont let you down. <Connie leads Vincent from the room.> CUT TO: The stairway where the family are getting a photo taken. PHOTOGRAPHER Were just about ready .. no, its all right
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<Vincent approaches his mother, Lucy Mancini.> LUCY So what happened? VINCENT What happened? They put me in a room with Joey Zasa -- whats gonna happen? I bit the guys 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 cmon <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 Godfathers 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 Godfathers waltz, while the little girl tried to get in.> MICHAEL (to LITTLE GIRL)
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You lead <DON ALTOBELLO starts a cry of "Centanni" as the guests applaud.> FADE TO: Vincents apartment. < Vincent is in bed with Grace Hamilton.> GRACE Vincent? VINCENT What do you want, sweetheart? GRACE Do you love me? VINCENT Cmon, go to bed. GRACE Cmon, say it. VINCENT Cmon, 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, Im thirsty. Cmon, cmon. <Grace gets up to go to the kitchen muttering to herself.> GRACE (to herself) I cant believe Im actually getting up to do this. Get me a glass of water, bake me a cake. Whatever happened
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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 Vincents 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 Cmon! Good boy, sock-face -- lets go for a walk. < Goon #2 is led into the kitchen at gunpoint by Vincent. Goon #1 still has the knife to Graces throat.> VINCENT (to GOON #1) Hey. Cmon, let her go. GOON #2 (to GOON #1) Cut her fucking throat, man! <Vincent rips the mask from Goon #2.> VINCENT (to GOON #2) Whatd you say? GOON #2 I said cut her fucking throat <Vincent responds to this by smashing the butt of the gun against Goon #2s head.> VINCENT (to Goon #1) Okay, chief, let her go. GOON #2 Drop your gun man, or hes 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 chicks gonna be dead. VINCENT You hurt her and Ill kill you both. (then, to Goon #1) You give up that knife, Ill let you go. GOON #2
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You cut her throat man, RIGHT NOW! <Goon #1 starts to cut her throat, but is halted by Vincents shout.> VINCENT HEY! Im gonna do something to convince you. Dont get frightened, dont 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 #2s head and puts a bullet through him Goon #1 is now terrified.> GOON #1 Oh, shit! VINCENT Drop the knife -- ghead, 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 Whos idea was this? Who sent you? Cmon 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
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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 wasnt gonna let anything happen to you. GRACE You pig! You sick fuck! VINCENT Cmon sweetheart, thats gambling. You wanted gambling, thats 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 Im gonna take some pictures first VINCENT No pictures. CUT TO: Michaels 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 thats all. MICHAEL Now he has to send you a message back. VINCENT (flicking his ear)
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Joey Zasas gonna send ME a message back? Joey Zasas gonna send a message! CONNIE He did the right thing, he got Zasas name. MICHAEL What has Joey Zasa got to with anything, Joey Zasas a potzle. Joey Zasa. (then) All right, you are what you are. Its your nature. You stay close to me. You dont 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 dont make them easier. VINCENT I understand that, it wasnt my idea that this happened, you know? MICHAEL All right. Go on, get out of here. CONNIE Michael MICHAEL Yes? CONNIE Now theyll fear you. MICHAEL Maybe they should fear you. (then, OS) B.J., excuse me whats up?
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CUT TO: Conservatory in Michaels house. Michael has joined B.J. Harrison at the table for a meeting. HARRISON Michael, the Archbishop just called back. Hes arranged some amazing things for your bidding. Publicity is phenomenal. Youre the new Rockefeller of philanthropy . Sign right here please... MICHAEL Times do change dont they? My father hated, foundations. He loved doing it by himself. Man to man. But we, were different, huh? HARRISON Its 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 youve done for me. MICHAEL Cmon, you want to have some breakfast with us? ANDREW No thanks I cant. MICHAEL All right. Hows your Italian. ANDREW
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In fare di podi practico MICHAEL (to Harrison) His father was a great lawyer. HARRISON I know MICHAEL Didnt live to see him ordained. I did. You ever seen one of those? HARRISON No. MICHAEL Oh, beautiful. I was so proud. Cmon 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 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.
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ARCHBISHOP GILDAY Thats true MICHAEL And the Vatican vote is necessary for control. ARCHBISHOP GILDAY No. No, no. Youre mistaken. This isnt 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 Weve sold the casinos, all businesses having to do with gambling. We have no interests, or investments, in anything illegitimate. HARRISON The Corleones 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 todays world the power to absolve debt is greater than, the power of forgiveness. Six hundred million dollars. MICHAEL (smiles) Dont 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 groups 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"
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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. Isnt 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, wasnt there any questioning about the timing on, on this particular deposit, or wasnt there some talk about the the fact that HARRISON (interrupts) Mr. Chairman, if I may -- The Vito Andolini Corleone Foundation, of which Mr. Corleones 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? Hes got the map of Sicily on his face, cant you see it? CHAIRMAN Order! Order! SHAREHOLDER #2 Hes either a Catholic or a Mafiosi and I say how do you like them bananas?
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<Vincent flicks off the microphone power and Shareholder #2s 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 Investors 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. Corleones 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 Michaels house. Mary and Michael are sitting at a table. MARY Dad? MICHAEL Uh huh? MARY Tony says that Im a front for the foundation. That youre 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, its real. I wanted Anthony to be a part of this. I wanted -- I thought the two of you would be together on this. I wont interfere. Ill help, only, only if you ask MARY What is this really for? Why are you doing this? Why am I doing this? MICHAEL
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Im doing this for my children. Youre doing it for your children, too. MARY This Foundation is supposed to help, all people MICHAEL Of course, thats the purpose. This is legitimate; Mary, I swear this is legitimate. <Michael kisses Marys 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, Ill ride with Michael. Go, go, go. <The cars drive off.> DON ALTOBELLO As your familys oldest friend, Im always chosen to bring you messages. MICHAEL Tell me, Don Altobello. DON ALTOBELLO Your old partners, are grateful for the money youve 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 theyre 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
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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 Popes 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 Fathers recovery. CUT TO: a room in the Vatican. Some of the shareholders are still discussing. HARRISON
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Now we had an agreement! And this meeting was to be merely, a formality, that's all it was. KEINSZIG Please sit down. HARRISON Id 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, thats 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. Well 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? Its not personal, its 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 Were back to the Borgias! <They run into Andrew Hagan> ANDREW Uncle Michael -MICHAEL Andrew -ANDREW I heard you were here. Its so nice to see you.
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(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,
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you know?. <Vincent reassures the old ladies as he ushers them into a caf.> CUT TO: The cafe. We overhear some of Vincents 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
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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 thosere 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.
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<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 Michaels 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?
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<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 Zasas 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 dont 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
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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, lets 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
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Listen to me, Michael A DON Michael, why shouldnt A DON We should wet our beaks a little A DON We want to do business with you, Michael weve 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): Its a hit -- Let's go. <The meeting disbands and everyone leaps up to leave. "Lets 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) Its my lucky coat! Its 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
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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 Thats it.
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(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)
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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
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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?
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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: Michaels 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.
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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
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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?
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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 Whats wrong, sweetheart? MARY Im 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?
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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 Lets go [continue making gnocchi] (then, once its 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, cmon. Buy yourself a nice raffle ticket, maybe win yourself a Cadillac.
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(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 Vincents twin bodyguards, spots Joey and calls to him.> ARMAND
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Hey, Joey Zasa! Joey! Up your ass! ANT Hey! ZASA Who is this? JOEY'S BODYGUARD Ah, ignore him. <Armand sits on the Cadillac thats 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 dont 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.>
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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, whos 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 Zasas 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
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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, theyll 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?
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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.
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DON ALTOBELLO (to Connie) In Sicilia. CUT TO: Sicily. A Text Over reads: Bagheria, Sicily. Michael's motorcade arrives at Don Tommasinos 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."
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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.
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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
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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 dont see him any more ANTHONY Hes right its 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 Costellos "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.
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VINCENT You wanted to see me? MICHAEL Yeah. I want you to do something for me. VINCENT Okay. MICHAEL Its 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: Altobellos 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.
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MICHAEL (OS) I know. You ask Altobello to speak to me. To further the marriage. DON ALTOBELLO (to Vincent) Youre 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?
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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.>
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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
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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, Im uh Im uh -- it's been so long, I wouldn't wouldnt wouldnt know where to uh, it's been thirty years, I'd Id Id 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.
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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 mothers 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.
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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."
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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 Kays hand) Hello Kay. MARY (showing Kay a poster of Cavalleria Rusticana, Anthonys opera) Mom, look at this.
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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.>
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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 policemans 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.
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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. Theres 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 Connies hand, and kisses it respectfully.>
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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.
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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)
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"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."
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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! Cmon! Give it to me. KAY
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Whats that supposed to do, is that supposed to make me not dread you? MICHAEL Were 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 couldnt 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, Im losing you I lost you anyway. Youre 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, Ill stop KAY I really dont know what you want from me, Michael I really dont know. I mean MICHAEL I'm not the man that you think I am. KAY I dont 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.
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KAY I guess, if its 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?"
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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: Gods 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.
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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
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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 doesnt say anything, but its apparent hes 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)
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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 Corleones 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.
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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
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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.
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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 Corleones sit and listen, we notice Michael whispering into Kays 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 Corleones, watching the opera and eating Connie's cannoli. Connie is watching him intently from the Corleones 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 wont try anything BODYGUARD Yeah, everythings fine its 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
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see another bodyguard noticing that the twin wasnt 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 characters 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 gotim". 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 Moscas 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 Lucchesis 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 Corleones 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.
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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.
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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 Corleones stand to acknowledge him. We see a shot of someone, perhaps one of Don Altobello's men, shaking Altobellos 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
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<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 Corleones 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
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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. Michaels 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, cmon 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
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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.
-------- DO NOT REMOVE: Transcribed by Matthew Hamill and edited by J. Geoff Malta for The Godfather Trilogy website, located at: http://www.TheGodfatherTrilogy.com/ Enjoy! Of course, I'd like to thank Mario Puzo, Francis Ford Coppola, and Paramount Pictures for making this all possible. Grazie! I've tried to make this the most accurate transcript of The Godfather Part III available, but small errors here and there are bound to have happened especially with the Italian and Latin. If you have any corrections or contributions to this transcript, please email them to me at: jgeoff@jgeoff.com 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. NOT TO BE REPOSTED ON ANY OTHER SITE! I'm sorry I have to repeat it -- but stupid people have a habit of stealing content and removing the credits. Infamita!
2011/08/13

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The Godfather, Part III - Transcript

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The Godfather, Part III - Transcript

The Godfather, Part III - Transcript

The Godfather, Part III - Transcript

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The Godfather, Part III - Transcript

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