Information
| Year: | 1972 |
| Rating: | 9.2(410008) |
| Listed in: | Crime, Drama, Thriller |
| Directed by: | Francis Ford Coppola |
| Actors: | Marlon Brando Al Pacino James Caan Richard S. Castellano Robert Duvall Sterling Hayden |
| "An offer you can't refuse." | |
Cast
| Directed by | |
|---|---|
| Francis Ford Coppola | |
| Actors | |
| Marlon Brando | as Don Vito Corleone |
| Al Pacino | as Michael Corleone |
| James Caan | as Santino 'Sonny' Corleone |
| Richard S. Castellano | as Peter Clemenza |
| Robert Duvall | as Tom Hagen |
| Sterling Hayden | as Capt. McCluskey |
| John Marley | as Jack Woltz |
| Richard Conte | as Don Emilio Barzini |
| Al Lettieri | as Virgil 'The Turk' Sollozzo |
| Abe Vigoda | as Sal Tessio |
| Gianni Russo | as Carlo Rizzi |
| John Cazale | as Fredo Corleone |
| Rudy Bond | as Don Carmine Cuneo |
| Al Martino | as Johnny Fontane |
| Lenny Montana | as Luca Brasi |
| John Martino | as Paulie Gatto |
| Salvatore Corsitto | as Bonasera |
| Richard Bright | as Al Neri |
| Alex Rocco | as Moe Greene |
| Tony Giorgio | as Bruno Tattaglia |
| Vito Scotti | as Nazorine |
| Victor Rendina | as Don Philip Tattaglia |
| Angelo Infanti | as Fabrizio |
| Corrado Gaipa | as Don Tommasino |
| Franco Citti | as Calo |
| Saro Urzì | as Vitelli |
| Max Brandt | as Extra in Furniture-Moving Scene |
| Carmine Coppola | as Piano Player in Montage |
| Gian-Carlo Coppola | as Baptism Observer |
| Roman Coppola | as Boy on Street Who Attended Funeral |
| Don Costello | as Don Victor Stracci |
| Gray Frederickson | as Cowboy on the Set at Woltz's Studio |
| Ron Gilbert | as Usher in Bridal Party |
| Anthony Gounaris | as Anthony Vito Corleone |
| Joe Lo Grippo | as Sonny's Bodyguard |
| Sonny Grosso | as Cop Outside Hospital |
| Louis Guss | as Don Zaluchi |
| Merril E. Joels | as Toll Both Collector |
| Randy Jurgensen | as Sonny's Killer #1 |
| Peter Lemongello | as Singer |
| Tony Lip | as Wedding Guest |
| Frank Macetta | |
| Lou Martini Jr. | as Boy at Wedding |
| Raymond Martino | as Corleone Family Member |
| Joseph Medeglia | as Priest at Baptism |
| Rick Petrucelli | as Man in Passenger Seat |
| Burt Richards | as Floral Designer |
| Sal Richards | as Drunk |
| Tom Rosqui | as Rocco Lampone |
| Nino Ruggeri | as Mobster at Funeral with Barzini |
| Frank Sivero | as Street Extra |
| Joe Spinell | as Willi Cicci |
| Gabriele Torrei | as Enzo the Baker |
| Nick Vallelonga | as Wedding Party Guest |
| Ed Vantura | as Wedding Guest |
| Matthew Vlahakis | as Clemenza's Son |
| Actresses | |
| Diane Keaton | as Kay Adams |
| Talia Shire | as Connie Corleone Rizzi |
| Morgana King | as Mama Corleone |
| Tere Livrano | as Theresa Hagen |
| Jeannie Linero | as Lucy Mancini |
| Julie Gregg | as Sandra Corleone |
| Ardell Sheridan | as Mrs. Clemenza |
| Simonetta Stefanelli | as Apollonia Vitelli Corleone |
| Tybee Brascia | as Dancer in Wedding Scene |
| Italia Coppola | as Extra |
| Sofia Coppola | as Michael Francis Rizzi |
| Carol Morley | as Night Nurse |
| Filomena Spagnuolo | as Extra in Wedding Scene |
Movie info
| Languages: | English, Italian, Latin |
| Filming dates: | 29 March 1971 - 6 August 1971 |
| Budget: | USD 6,000,000 |
| Gross: |
USA - 81,500,000 USD (1972) UK - 58,854 GBP (8 August 1996) Worldwide - 245,066,411 USD (11 May 1997) |
| Plot: | Vito Corleone is the aging don (head) of the Corleone Mafia Family. His youngest son Michael has returned from WWII just in time to see the wedding of Connie Corleone (Michael's sister) to Carlo Rizzi. All of Michael's family is involved with the Mafia, but Michael just wants to live a normal life. Drug dealer Virgil Sollozzo is looking for Mafia Families to offer him protection in exchange for a profit of the drug money. He approaches Don Corleone about it, but, much against the advice of the Don's lawyer Tom Hagen, the Don is morally against the use of drugs, and turns down the offer. This does not please Sollozzo, who has the Don shot down by some of his hit men. The Don barely survives, which leads his son Michael to begin a violent mob war against Sollozzo and tears the Corleone family apart. |
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Original Soundtracks
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"Mall Wedding Sequence" Composed by Carmine Coppola "I Have But One Heart" Written by Johnny Farrow Lyrics by Marty Symes Performed by Al Martino "Che La Luna" Composed by Paolo Citarella "Have Yourself A Merry Little Christmas" Written by Hugh Martin and Ralph Blane Performed by Bing Crosby "Santa Claus Is Coming To Town" Composed by Haven Gillespie, J. Fred Coots "The Bells of St. Mary's" Composed by A.E. Adams, Douglas Furber "All Of My Life" Written by Irving Berlin "Mona Lisa" Lyrics by Jay Livingston Composed by Ray Evans "Non so più" (Cherubino's Aria) from opera "Le nozze di Figaro" Act I, Scene V by Wolfgang Amadeus Mozart "Manhattan Serenade" Written by Louis Alter Performed by Tommy Dorsey & His Orchestra (as Tommy Dorsey and His Orchestra) "Passacaglia and Fugue in C minor" by Johann Sebastian Bach "Brindisi (Libiamo ne' lieti calici)" from La Traviata Composed by Giuseppe Verdi Libretto by Francesco Maria Piave "This Loneliness" Composed and Performed by Carmine Coppola |
Goofs
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Continuity: A glass of wine in the wedding scene. Continuity: When Don Coreleone is talking to the pastry shop owner during the wedding scene, the man is holding a small shot glass. As he is getting up to grab Don Coreleone's hands, the glass is still in his hand but in the next shot it is gone. DATE: In several scenes wine bottles are shown with the DOC Italian wine classification designation shown on the bottle. DOC designations did not come in effect until 1963. Continuity: The waiter fills Tom Hagen's glass twice within seconds during his dinner with Woltz. Continuity: Kay's hands when she asks Michael when she will see him again. DATE: A building reflected in the window of the police car during the assassination of Barzini would not be built until more than ten years after the supposed time frame of the assassination. Continuity: Level of wine in the glasses while Michael and Kay are having dinner following the attempted assassination of Vito Corleone. Continuity: The windshield of Sonny's car is shattered by machine-gun fire, but is whole again by the time his bodyguards arrive. DATE: 50 star U.S. flag in 1947 (on the building where the "peace conference" is held). DATE: At the airport at night, a swept tail Cessna 182 is shown. Production of this airplane didn't start until approximately the mid-1960s. Continuity: The placement of Moe Green's drink during his meeting with Michael. Crew: During the scene of the meeting between Moe Green and Michael, The boom mic can be seen clearly, as Moe sits down for the first time. A shadow also reflects a hurried movement behind the camera. Continuity: Fredo removes his sunglasses twice during Michael's meeting with Moe Green. Crew: During Vito's funeral, when Michael stands up to talk to Tessio, the face of Mama can be briefly seen under his arm, tinted orange-red and chewing gum. After Roger Ebert reported this in his "Movie Answer Man" column in 2001, Francis Ford Coppola and Kim Aubry investigated: they confirmed that Morgana King was not supposed to be in the shot, but had gotten into it by an accidental reflection in the optics, probably off a filter (hence the tint) in the matte box. Continuity: The level of wine in Vito Corleone's glass when he is discussing Barzini's move to kill Michael. Continuity: When the dons meet, one of them sits back twice: once before and once after an edit. Continuity: When Sonny is machine-gunned on the causeway, bullet holes appear at the roof line of his car, then disappear, then appear again. Fact errors: When Michael Corleone calls home after his father is shot, the dial on the pay phone is clearly out of alignment. Continuity: The death of Barzini: During the string of shootings during the baptism, Don Barzini (Richard Conte) is shot on the courthouse steps. In the medium close shot, the squib bullet-hits are clearly visible. In the long shot, however, Conte's stunt double tumbles down the stairs without any bullet holes on the back of his jacket. Continuity: During the string of shootings during the baptism, the guy in the bed with the woman falls down twice. Just before and after the cut from far to close. Continuity: When McCluskey is harassing Michael at the hospital, Michael's jacket changes. Michael's jacket is open a few inches near his tie as McCluskey is puling back his arm to hit Michael. After the cut his jacket is closed and straight when he gets punched. FAIR: The exterior set-up shot for the summit meeting of all families is of the Federal Reserve Bank of New York. While this seems like an unlikely place for a "family" meeting, it's an indication of how high their influence reaches. Continuity: While Michael is talking to Apollonia's father after he has given her the necklace. The same two people pass by twice - once in a close-up of Apollonia and the other in a wider shot. Revealing mistakes: The blood on the bed in the "horse head" scene. First it's there, then it disappears. Continuity: When Woltz first sees Khartoum's head lying on his bed, the blanket is covering part of the neck stump. In the next shot, the blanket has been completely removed from the stump. FAIR: The punch to Michael's face broke his cheek bone which gave him a permanent black eye (and caused his sinuses to continually run - hence the use of a handkerchief all the time) until he got back to America and had surgery to fix it (Freddie says, "that doctor did a good job.") DATE: The movie's chronology indicates the time frame of the movie when Sonny is gunned down is late 1948 or 1949; however, he was listening to the 3 October 1951 radio broadcast of Russ Hodges calling the Dodgers-Giants playoff, a half-inning before Bobby Thomson's "Shot Heard 'Round the World," specifically identifying the date of the murder as two years later than the movie's timeline indicates it should be. Continuity: The amount of blood on Sonny after he is murdered on the causeway. DATE: Just before he is shot, Don Corleone shops for fruit at a shop. Cardboard boxes of Sunkist oranges in that shot feature graphics that weren't introduced until the Seventies. And in 1945 most oranges were still shipped in wooden crates. Revealing mistakes: When Vito Corleone shows Johnny Fontane out of his office, we see an extra walk onto the frame from the left, but as soon as she sees Vito, she quickly lets out a little smile and backs away, as if she was in the wrong place. DATE: When Michael is arriving in Las Vegas, supposedly set in the very early 1950s, when he, Fredo, Tom and others are getting out of the car in the hotel driveway, two long-haired, bearded "hippie types" from the early '70s can be seen through the window in the lobby. (In the DVD commentary, Coppola admits that he is embarrassed by this oversight, but that the shot was done on the cheap by the second unit) Revealing mistakes: When Michael gets out of the car in front of the hotel in Las Vegas, he is with his brother, Fredo. However, it is clearly not John Cazale (Fredo) getting out of the car, but someone else (notice the hairstyle in the scene). Continuity: In the wedding scene, immediately after Kay Adams meets Tom Hagen, the cigarette in her hand disappears and then reappears. Crew: When Clemenza goes for a pee, crew reflected in side window of car in which Rocco has just shot Paulie. Continuity: The gun that Sonny gets from the drawer in the dining room when Clemenza comes to the house following the attempt on the Don's life, is in his belt, disappears when he throws Clemenza against the counters and reappears as he turns around after talking to his wife. DATE: The stop sign in New England when Michael returns from Sicily is red and white. Stop signs were yellow and black at that time and did not change to red and white until the 1960s. Continuity: While Michael is telling Kay the story of Luca Brasi, the gun and the contract, Michael is leaning back in his chair, but we cut to Kay on the other side of the table and Michael is leaning forward. DATE: In late 1945, the Empire State Building is shown with the 222-foot television antenna mast that it did not acquire until 1950. Continuity: SPOILER: When Al Neri (dressed as a police officer) kills Barzini and his bodyguards, he clearly fires all six rounds from his pistol. However, only five shots are heard on the soundtrack. Continuity: When the package of dead fish is placed in Sonny's lap, the position of his hands changes in close-up. SYNC: During Sonny and Carlo's fight, one of Sonny's "movie" punches is shot from the wrong angle and clearly misses, but still produces the sound of an impact. DATE: When Michael moves his father's bed from the hospital room into the hallway, there is a sign on the wall over Michael's shoulder which lists Robert O'Lowery as the Fire Commissioner. He was Commissioner during the time the movie was filmed, not during the 1940s (it should have been Patrick Walsh). DATE: Sonny is killed on Captree State Parkway, so named until 1963 when it was renamed the Robt. Moses Causeway. Continuity: When Sonny talks to Paulie in the meeting room and tells him to get some brandy for his cold, his right hand is between his legs. In the next shot, Sonny's right hand is on top of the couch. SYNC: When Vito is gunned down by the fruit stand, one of the hitmen's pistols emits a muzzle flash, visible just after a cut to the overhead shot of them running away, but there is no accompanying sound effect for this last gunshot. DATE: Tom Hagen flies to California to see the movie producer in a Lockheed Constellation. The first production model of the Lockheed Constellation was not produced until 1947, and did not enter commercial service until even later. Tom's flight was apparently in 1945 ("almost 1946" according to movie dialog). Revealing mistakes: When Cuneo is killed in the revolving door of the hotel the first shot breaks the glass in front of him but no blood squib appears on his shirt. It is not until the second shot goes off does blood appear. Continuity: In the first scene of the film, Bonasera approaches Don Corleone to whisper to him. He keeps his left arm by his side. In the next shot he takes his left hand from Don Corleone's chair back. Continuity: When Tom addresses Woltz studio, he is carrying the suitcase in his left hand. But indoors he appears with the suitcase in his right hand. Continuity: After he gets shot, Don Corleone lays on his back with his right arm folded on his chest. Thereafter he appears turned to his left side, with his right arm stretched-out on his right side. Continuity: When Tessio brings the package of dead fish to the meeting in Don Vito's study, the paper is disarranged and a little open. But when Sonny takes it, it is tidy. Continuity: While he instructs Michael how to behave after to kill Sollozzo and McCluskey, Clemenza has a cigarette in the mouth. From one shot to another, when Michael passes in front of him, the cigarette jumps to his left hand. Continuity: When Michael gets in the car in which Sollozzo and McCluskey are, we see that there is a long distance between the two men on the back seat and Michael on the front seat. However, in the next shot, with Michael in close-up, the two others appear just behind him. DATE: When Vito is taken home in the ambulance, the curbing on the side of the road is painted yellow to indicate "no parking". However, this practice was not incorporated until the 1960s. Revealing mistakes: After Michael shoots Sollozzo and McCluskey, he bumps into the camera as he passes it exiting the restaurant Revealing mistakes: SPOILER: After Michael kills Virgil Sollozzo and the crooked Captain McCluskey, the camera slowly pulls away from the two bodies in the restaurant. During that time, the dead McCluskey blinks. Continuity: When Michael is telling Kay about Luca Brasi, she has a cigarette in her left hand which disappears and reappears between shots. A few seconds later, the cigarette is gone and Kay has a fork in her left hand which then jumps to her right hand. SYNC: When Connie is yelling at Michael because he had Carlo killed, she says, "That's your husband, that's your husband." Her lips do not match what she is saying. Revealing mistakes: During the fight between Sonny and Carlo, when Carlo is pinned against the wall one of Sonny's punches doesn't come close to hitting him, but Carlo acts like it did. Continuity: When the car that Appolonia is driving explodes, Michael is knocked backwards into the bushes and immediately disappears. SYNC: When Sollozzo releases the abducted Tom Hagen, he says to him "...and bad luck for you if you don't make that deal!" His lip movements, however, show that he only says "...and bad luck for you!" Fact errors: The main gate of Woltz International Pictures shows the rear of a car which is either a 1952 or 1953 Chrysler. The scene supposedly takes place in the late 1940s Continuity: Enzo (the baker) visits Don Corleone in the hospital after he is critically wounded. Enzo is holding a large bouquet of pink carnations and baby's breath. Later, when he is standing outside the hospital with Michael, the bouquet has been changed to a much smaller one with orange carnations. SYNC: After Fredo yells at Michael for trying to negotiate with Moe Greene, we see a shot of Michael smoking. As Michael exhales, we see a cloud of smoke quickly disappear from his mouth as the camera splices to another take of the shot. Miscellaneous: After Sonny is gunned down, when his bodyguards arrive you can see shallow breathing from his chest. Fact errors: Michael was awarded the Navy Cross for heroism while in the Marines but he does not have the ribbon for this decoration on his uniform during the wedding scene. The highest ribbon that he is wearing is for the Silver Star, which is the next lowest in order of precedence for US bravery awards. In Godfather Part II, during his testimony to the Congressional hearing he states that he was awarded the Navy Cross in the war. CHAR: When the hit men tried to kill Vito Corleone, they fired - at close range - at least ten times. But Solozzo says he was hit five times. Continuity: When Michael reads the paper about his father being shot, he crumples it and then starts to run across the street. The paper is crumpled in his hand as a car passes in front of him on the street. After the car passes, Michael throws the paper down. When he does this, the paper is very smooth and neatly folded. DATE: When the funeral procession drives into the graveyard, modern 18-wheelers and vehicles can be seen on the freeway at the top left and top right of the scene. The freeway with these vehicles is visible throughout the scene during various shots. DATE: As Mama Corleone is singing at Connie's wedding - which takes place in 1945 - the pianist above and to our right is wearing glasses with 1970s plastic frames. Continuity: SPOILER: When Don Corleone is shot at the fruit stand, Fredo stumbles out of the car, fumbling with a gun and lurching, nearly falling forward. The next shot, from overhead, shows Fredo walking steadily around the car toward the Don. The third shot, back at ground level, shows Fredo stumbling again. Revealing mistakes: Outside the hospital, as McCluskey prepares to punch Michael, as the shot changes showing McCluskey ('Sterling Hayden' (qv)) punching Michael, it is clearly not Sterling Hayden throwing the punch as evidenced by the longer, brown hair of the man doing the punching (vs. Hayden's short, gray hair). Continuity: SPOILER: When Tom Hagen is abducted by Sollozzo after Christmas shopping, it is clearly nighttime. In the next scene Don Corleone is gunned down and it is clearly daytime. Later Sollozzo tells Hagen that they hit the Don about an hour after they abducted Hagen. Continuity: When Al Neri shoots Barzini's chauffeur, he is apparently shot in the chest. In the next shot, the chauffeur is lying on the ground with a small pool of blood coming from the back of his head. Continuity: Walking down a hill immediately following the wedding ceremony in Sicily, Fabrisio loosens his tie, the camera cuts away, then back, to show him loosening his already loosened tie. FAIR: The opening cemetery shot of Vito Corleone's funeral procession shows two towers side by side in the distance which are incorrectly thought to be the World Trade Center towers. They are in fact smokestacks, complete with smoke, and are in nearly the opposite direction as Lower Manhattan and WTC. FAIR: When Michael is moving Vito to a different room in the hospital with the help of the nurse, we can see that Brando instinctively moves his hand when it hits the door post. However he is conscious, hence his crying while Michael is holding his hand, just heavily sedated due to the pain inflicted by his gunshot wounds. Revealing mistakes: The eyes in the severed horse's head have obvious cataracts (which are typically caused by old age and/or degenerative diseases such as diabetes). That is hardly what you'd expect to find in a champion stallion in the prime of his life. DATE: In the scene where Sonny is driving up to the toll booths where he subsequently gets shot, the camera shot has a microwave tower in the background. They didn't exist back then. DATE: In a scene outside Clemenza's house, there is an A/C hanging out the window. There weren't window A/C available at that time. Revealing mistakes: When Sonny is killed at the causeway, when the killers show themselves in the toll booth, the man on the left breaks the window with his gun before they shoot at Sonny. Continuity: SPOILER: After Vito Corleone is shot at the fruit stand and falls to the ground, it is clearly seen that Fredo sits next to the front of the car on the pavement and next to Vito Corleone's head. But in the scene following that, when pedestrians walk towards Vito Corleone, Fredo is not seen on the pavement he was sitting on or anywhere else on screen. Although he appears in the same place again in the next shot. Continuity: Michael fires his gun twice at McCluskey in the scene. The camera is on Michael for the first gunshot. The cut to McCluskey after the first gunshot shows him to reaching for his throat and making gurgling noises , indicating he's been shot in the throat. In that same long shot, the bullet wound to the head appears after the throat reaction. For the second gunshot, the camera cuts back to Michael firing the gun, then cuts to McCluskey, where the forehead gunshot wound appears after and in response to the second gunshot. Continuity: when Michael is being driven with McCluskey to their meeting, Sollie's's driver makes a sudden u turn, but you can see the car on the inside lane slow down before he starts the turn as he knows its going to happen DATE: 50-star flags are visibly seen down the street just before Michael and Kay finish they Christmas shopping. Continuity: Just before Luca Brasi is killed by Solozo, he is stabbed with a knife on his left hand, and when he is being garroted and falls into the floor, we can see the knife on his right hand. SYNC: When Sonny starts punching Carlo Rizzi, in one of the punches you can see, that Sonny is obviously not hitting Carlo, but you can still hear the punching sound. DATE: Shortly before the scene where Paulie is killed the car is shown driving past a run of guardrail with steel posts. Steel guardrail post were not used until the mid 1980s. SYNC: When Moe Greene says his line "I talked to Barzini," it's clearly obvious the line was dubbed in. DATE: (1:53:44) After Sonny is shot, When the shot is on the toll booth a yellow modern day car can be visibly seen driven past out the window. Continuity: In the scene where Michael meets Mo Green in Vegas to buy him out, he gets out a pack of cigarettes, then we cut to another angle and he does it again. CHAR: When Tom Hagen is trying to convince Sonny not to go to war after Vito Corleone is shot, he states that the Corleone family will be outcasts and all the five families will go after the Corleone family. However, the Corleone family is one of the five families, so he should have said that the other four families will go after the Corleone family. CHAR: Immediately before the Don gets shot he tells Fredo he is going to buy some fruit. The Don asks for 3 oranges but the vendor only puts two into the bag. |
Quotes
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[speaking to himself, practicing his speech] Luca Brasi: Don Corleone, I am honored and grateful that you have invited me to your home on the wedding day of your daughter. And may their first child be a masculine child. [then, starting over] Michael: I have to see my father and his people so have dinner without me. Kay Adams: Oh, Michael. Michael: This weekend we'll go out. We'll go to the city, see a show and have dinner, I promise. Kay Adams: Hmmmm. Michael. Michael, wait, your sister wants to ask you something. Michael: Well, let her ask. Kay Adams: No, she's afraid to. Connie and Carlo want you to be Godfather to their little boy. Michael: We'll see. Kay Adams: Will you? Michael: Let me think about it. We'll see. Michael: You have to answer for Santino, Carlo. You fingered Sonny for the Barzini people. Carlo Rizzi: Mike, you got it all wrong. Michael: Ah, that little farce you played with my sister. You think that would fool a Corleone? Carlo Rizzi: Mike, I'm innocent. I swear on the kids. Michael: Sit down. Carlo Rizzi: Please don't do this to me, Mike. Please don't. Michael: Barzini is dead. So is Phillip Tattallgia. Moe Green. Slacci. Cuneo. Today I settled all family business so don't tell me that you're innocent. Admit what you did. [Carlo starts sobbing] Michael: Get him a drink. Don't be afraid, Carlo. Come on, you think I'd make my sister a widow? I'm Godfather to your son. [Carlo get handed a drink] Michael: Go ahead. Drink. Drink. No, you're out of the family business, that's your punishment. You're finished. I'm putting you on a plane to Vegas. Tom? [Tom hands Michael an airplane ticket] Michael: I want you to stay there, you understand? [Carlo nods] Michael: Only don't tell me that you're innocent. Because it insults my intelligence and it makes me very angry. Now, who approached you first? Barzini or Tattalgia? Carlo Rizzi: It was Barzini. Michael: Good. There's a car outside that will take you to the airport. I'll call your wife and tell her what flight you're on. Carlo Rizzi: Listen, Mike... Michael: Go on. Get out of my sight. [last lines] Michael: All right. This one time I'll let you ask me about my affairs. Kay Adams: Is it true? Is it? Michael: No. [Kay smiles and walks into his arms] Kay Adams: I guess we both need a drink, huh? [Kay goes to the kitchen to fix a drink, but sees Peter Clemenza, Rocco Lampone and Al Neri enter Michael's office] Clemenza: Don Corleone. [Clemenza kisses Michael's hand, and Neri shuts the door in her face... ] Sollozzo: Bene, Don Corleone. I need a man who has powerful friends. I need a million dollars in cash. I need, Don Corleone, all of those politicians that you carry around in your pocket, like so many nickels and dimes. Don Corleone: What is the interest for my family? Sollozzo: Thirty percent. In the first year your end should be three, four million dollars. And then it would go up. Don Corleone: And what is the interest for the Tattalgia family? Sollozzo: [smiles at Tom] My compliments. [Hagen gives a formal nod] Sollozzo: I'll take care of the Tattaglias, out of my share. Don Corleone: So, I am to receive thirty percent for finance, for legal protection and political influence. Is that what you're telling me? Sollozzo: That's right. Don Corleone: Why come to me? What have I done to deserve such generosity? Sollozzo: If you consider a million dollars in cash merely finance... [raises his glass] Sollozzo: Te salut, Don Corleone. [the Don gets up to take a drink and sits closer to Sollozzo] Don Corleone: I said that I would see you because I had heard that you were a serious man, to be treated with respect. But I must say no to you and let me give you my reasons. It's true I have a lot of friends in politics, but they wouldn't be so friendly if they knew my business was drugs instead of gambling which they consider a harmless vice. But drugs, that's a dirty business. Sollozzo: No, Don Corleone... Don Corleone: It makes no difference, it don't make any difference to me what a man does for a living, you understand. But your business is a little dangerous. Sollozzo: If you're worried about security for your million, the Tattaglias will guarantee it. Sonny: Whoa, now, you're telling me that the Tattaglias guarantee our investment without...? Don Corleone: Wait a minute. [the Don gives his son a cold stare, freezing Santino into silence. The others fidget with embarrassment at this outbreak, but Sollozzo looks slyly satisfied... ] Don Corleone: [dismissive] I have a sentimental weakness for my children and I spoil them, as you can see. They talk when they should listen. Anyway, Signor Sollozzo, my no to you is final. I want to congratulate you on your new business and I'm sure you'll do very well and good luck to you. Especially since your interests don't conflict with mine. Thank you. [Sollozzo leaves] Don Corleone: Santino, come here. Don Corleone: What's the matter with you? I think your brain is going soft with all that comedy you are playing with that young girl. Never tell anyone outside the Family what you are thinking again. Go on. Michael: My credit good enough to buy you out? Moe Greene: Buy me out? [Fredo laughs nervously] Michael: The hotel, the casino. The Corleone Family wants to buy you out. Moe Greene: The Corleone Family wants to buy me out? No, I buy you out, you don't buy me out. Michael: Your casino loses money, maybe we can do better. Moe Greene: You think I'm skimmin off the top, Mike? Michael: [Michael shakes his head] You're unlucky. Moe Greene: You goddamn guineas you really make me laugh. I do you a favor and take Freddie in when you're having a bad time, and now you're gonna try and push me out! Michael: You took Freddie in because the Corleone Family bankrolled your casino, and the Molinari Family on the Coast guaranteed his safety. Now we're talking business, let's talk business. Moe Greene: Yeah, let's talk business, Mike. First of all, you're all done. The Corleone Family don't even have that kind of muscle anymore. The Godfather's sick, right? You're getting chased out of New York by Barzini and the other Families. What do you think is going on here? You think you can come to my hotel and take over? I talked to Barzini - I can make a deal with him, and still keep my hotel! Michael: Is that why you slapped my brother around in public? Fredo: Aw, now that, that was nothin', Mike. Moe didn't mean nothin' by that. Yeah, sure he flies off the handle every once in a while, but me and him, we're good friends, right Moe? Moe Greene: I got a business to run. I gotta kick asses sometimes to make it run right. We had a little argument, Freddy and me, so I had to straighten him out. Michael: You straightened my brother out? Moe Greene: He was banging cocktail waitresses two at a time! Players couldn't get a drink at the table! What's the matter with you? Michael: I leave for New York tomorrow, think about a price. Moe Greene: Sonofabitch! Do you know who I am? I'm Moe Greene! I made my bones when you were going out with cheerleaders! Fredo: Wait a minute, Moe, Moe, I got an idea. Tom, you're the Consiglieri and you can talk to the Don, you can explain... Tom Hagen: Now hold it right there. The Don is semi-retired and Mike is in charge of the Family business now. If you have anything to say, say it to Michael. Fredo: [Moe Greene leaves] Mike! You do not come to Las Vegas and talk to a man like Moe Greene like that! Michael: Fredo, you're my older brother, and I love you. But don't ever take sides with anyone against the Family again. Ever. Tessio: Barzini's people chisle my territory and we do nothing about it. Pretty soon there won't be anyplace in Brooklyn that I can hang my hat. Michael: Try and be patient. Clemenza: I'm not asking for help, Mike, just take off the handcuffs. Michael: Be patient. Clemenza: We gotta protect ourselves. At least give me the chance to recruit some new men. Michael: No. I don't want to give Barzini any excuse to start fighting. Tessio: Mike, you're wrong. Clemenza: Don Corleone, you once said the day would come when me and Tessio could form our own families. Until today I would never think of such a thing but now I must ask your permission. Don Corleone: Well, Michael's head of the family now and if give his permission then you have my blessing. Michael: After we make the move to Nevada you can break off from the Corleone Family and go off on your own. After we make the move to Nevada. Clemenza: How long will that take? Michael: Six months. Tessio: Forgive me, Godfather, but with you gone me and Pete will come under Barzini's thumb sooner or later. Clemenza: And I hate that Goddamn Barzini. In six months time there won't be nothin' left to build on. Don Corleone: Do you have faith in my judgement? Clemenza: Yes. Don Corleone: Do I have your loyalty? Clemenza: Yes, always Godfather. Don Corleone: Then be a friend to Michael. Do as he says. Michael: There are negotiations being made that are going to answer all of your questions and solve all of your problems. That's all I can tell you right now. Carlo, you grew up in Nevada. When we make our move there you're going to be my right hand man. Tom Hagen is no longer Consigliari. He's going to be our lawyer in Vegas. That's no reflection on Tom it's just the way I want it. Besides, if I ever help who's a better Consigliari than my father. That's it. [Everyone except Hagen leaves] Tom Hagen: Mike, why am I out? Michael: You're not a wartime Consigliari, Tom. Things could get rough with the move we're making. Don Corleone: Tom, I advised Michael. I never thought you were a bad Consigliari. I thought Santino was a bad Don, rest in peace. Michael has all my confidence as do you. But there are reasons why you must have nothing to do with what's going to happen. Tom Hagen: Maybe I could help. Michael: You're out, Tom. Michael: Fredo, who are the girls? Fredo: That's for you to find out. Michael: Get rid of them, Fredo. Fredo: Hey, Mike, uh... Michael: I'm here on business I leave tomorrow now get rid of them. Come on, I'm tired. Get rid of the band, too. [Fredo chases everyone out of the room] What happened to Moe Greene? Fredo: He had business. He said give him a call. Once the party started. Michael: Well, give him a call. Hello, Johnny. Johnny Fontane: Mike, it's nice to see you again. Michael: We're all proud of you. Sit down, Johnny, I want to talk to you. The Don's proud of you, too. Johnny Fontane: Well, I owe it all to him. Michael: He knows how grateful you are. That's why he'd like to ask a favor. Johnny Fontane: Mike, what can I do? Michael: The Corleone family is thinking of giving up all of its interest in the olive oil business, settling out here. Now Moe Greene will sell us his share of the hotel and the casino so that it can be completely owned by the family. Tom. [Hagen hands Michael some papers] Fredo: Hey, Mike, are you sure about that? I mean, Moe, loves the business. He never said anything to me about sellin'. Michael: I'll make him an offer he can't refuse. You see, Johnny, we feel that entertainment is going to be a big factor in drawing gamblers into the casinos. We're hoping that you'll sign a contract agreeing to appear 5 times a year. Perhaps convince some of your friends in the movies to do the same. We're counting on you, Johnny. Johnny Fontane: Sure, Mike, I'll do anything for my Godfather. You know that. Michael: Good. Moe Greene: Hey, Mike! Everybody's here. There's Tom. Freddie. Good to see you, Mike. Michael: How are you, Moe? Moe Greene: You got everything you need? The chef cooked for you special, the dancers will kick your tongue out and your credit is good. Draw chips for everyone in the room so they can play on the house. [delivering his rehearsed speech] Luca Brasi: Don Corleone, I am honored and grateful that you have invited me to your daughter... 's wedding... on the day of your daughter's wedding. And I hope their first child be a masculine child. I pledge my ever-ending loyalty. [after Michael gets off the phone with Kay, clearly too embarrassed to tell her he loves her] Clemenza: Mikey, why don't you tell that nice girl you love her? I love you with all-a my heart, if I don't see-a you again soon, I'm-a gonna die. Sonny: Goddamn FBI don't respect nothin'. Calo: In Sicily, women are more dangerous than shotguns. Sonny: Hey, listen, I want somebody good - and I mean very good - to plant that gun. I don't want my brother coming out of that toilet with just his dick in his hands, alright? Clemenza: The gun'll be there. Michael: My father is no different than any powerful man, any man with power, like a president or senator. Kay Adams: Do you know how naive you sound, Michael? Presidents and senators don't have men killed. Michael: Oh. Who's being naive, Kay? Jack Woltz: All right, start talking! Tom Hagen: I come from a personal friend of Mr Johnny Fontane. That friend promises his undying friendship if you would do him a small favour. Jack Woltz: What's that? Tom Hagen: Give Johnny a part in that war movie you're starting next week. [Woltz signs a document with a smile and walks away, Hagen alongside him] Jack Woltz: And what favours does this friend promise in exchange for giving Johnny the part? Tom Hagen: You've got some labour trouble coming up. My client promises to make that trouble disappear. You have a top star who makes a lot of money, but he just graduated from marijuana to heroin... Jack Woltz: [all East Side now] Are you trying to muscle me? Tom Hagen: Absolutely not. I've come to ask a service for a friend... Jack Woltz: Now you listen to me, you smooth-talking son-of-a-bitch, let me lay it on the line for you and your boss, whoever he is! Johnny Fontane will never get that movie! I don't care how many dago guinea wop greaseball goombahs come out of the woodwork! Tom Hagen: I'm German-Irish. Jack Woltz: Well, let me tell you something, my kraut-mick friend, I'm gonna make so much trouble for you, you won t know what hit you! Tom Hagen: Mr. Woltz, I'm a lawyer. I have not threatened you. Jack Woltz: I know almost every big lawyer in New York, who the hell are you? Tom Hagen: I have a special practice. I handle one client. Now you have my number, I'll wait for your call. By the way, I admire your pictures very much. [Hagen leaves, with Woltz staring after him] Jack Woltz: [to an underling] Check him out... [first lines] Bonasera: I believe in America. America has made my fortune. And I raised my daughter in the American fashion. I gave her freedom but I taught her never to dishonor her family. She found a "boy friend," not an Italian. She went to the movies with him. She stayed out late. I didn't protest. Two months ago he took her for a drive, with another boy friend. They made her drink whiskey and then they tried to take advantage of her. She resisted. She kept her honor. So they beat her. Like an animal. When I went to the hospital her nose was broken. Her jaw was shattered, held together by wire. She couldn't even weep because of the pain. But I wept. Why did I weep? She was the light of my life. A beautiful girl. Now she will never be beautiful again. [He breaks down at this point, and the Don gestures to his son to get him a drink] Bonasera: Sorry... [He regains his composure and carries on] Bonasera: I went to the police, like a good American. These two boys were brought to trial. The judge sentenced them to three years in prison, and suspended the sentence. Suspended sentence! They went free that very day! I stood in the courtroom like a fool, and those two bastards, they smiled at me. Then I said to my wife, "For justice, we must go to Don Corleone." Don Corleone: Why did you go to the police? Why didn't you come to me first? Bonasera: What do you want of me? Tell me anything. But do what I beg you to do. Don Corleone: What is that? [Bonasera gets up from his seat and whispers into the Don's ear; for a long moment the Don is silent] Don Corleone: That I cannot do. Bonasera: I will give you anything you ask! Kay Adams: Michael, you never told me you knew Johnny Fontane! Michael: Sure, you want to meet him? Kay Adams: Well, yeah! Sure. Michael: My father helped him with his career. Kay Adams: How did he do that? Michael: ...Let's listen to the song. Kay Adams: [after listening to Johnny for a while] Tell me, Michael. Please. Michael: Well, when Johnny was first starting out, he was signed to a personal services contract with this big-band leader. And as his career got better and better, he wanted to get out of it. But the band leader wouldn't let him. Now, Johnny is my father's godson. So my father went to see this bandleader and offered him $10,000 to let Johnny go, but the bandleader said no. So the next day, my father went back, only this time with Luca Brasi. Within an hour, he had a signed release for a certified check of $1000. Kay Adams: How did he do that? Michael: My father made him an offer he couldn't refuse. Kay Adams: What was that? Michael: Luca Brasi held a gun to his head, and my father assured him that either his brains or his signature would be on the contract. Kay Adams: ... Michael: ...That's a true story. [cut to Johnny singing again for about 10 more seconds before going back to Michael] Michael: That's my family Kay, that's not me. Sonny: Tom-anuch! Hey, a hundred button men on the street twenty-four hours a day. That Turk shows one hair on his ass and he's dead. Sonny: [to Michael, whose face is bruised] Michael, come here. Let me look at you. You're beautiful, beautiful, just beautiful. Hey, listen to this. The Turk, he wants to talk. You believe the nerve on this son of a bitch? He craps out last night and now he wants to have a meetin'. Tom Hagen: What did he say? Sonny: What did he say, badda-beep, badda-boop, badda-boop, badda-beep, he wants us to send Michael to hear the proposition and the promise is the deal is so good we can't refuse. Ha. Tom Hagen: What about Bruno Tattaglia? Sonny: Ah, that's part of the deal. Bruno cancels out what they did to my father. Tom Hagen: We ought to hear what they have to say, Sonny. Sonny: No, no, no, not this time, Consigliary. No more meetin's, no more discussions, no more Sollozzo tricks. You give them a message from I want Solozzo if not it's all out war we go to the mattresses. Tom Hagen: Some of the other families won't sit still for an all out war. Sonny: Then you tell them to hand over Sollozzo! Tom Hagen: Your father wouldn't want to hear this, Sonny. This is business not personal. Sonny: They shoot my father and it's business, my ass! Tom Hagen: Even shooting your father was business not personal, Sonny! Sonny: Well then, business is going to have to suffer. And please, do me a favor, Tom. No more advice on how to patch things up just help me win, please? Tom Hagen: I found out about this Captain McClusky who broke Mike's jaw. Sonny: Alright, what about him. Tom Hagen: He's definitely on Sollozzo's payroll and for big money. Now, McClusky has agreed to be the Turk's bodyguard. Now what you have to understand, Sonny, is that while Sollozzo's being guarded like this he is invulnerable. Nobody has ever gunned down a New York police captain before. It would be disasterous. All the other five families would turn against you. The Corleone Family would be outcast. Even the old man's political protection would run for cover. So, do me a favor, take this into consideration. Sonny: Alright, we wait. Michael: You can't wait. Sonny: What? Michael: You can't wait. I don't care what Sollozzo says about a deal he's gonna kill Pop. He has to. It's a key for him. You gotta get Sollozzo. Clemenza: Mikey's right. Sonny: Alright, Professor, what about McClusky. What do we do with this cop here? Michael: They want to have a meeting with me, right? It will be me, McClusky and Sollozzo. Let's set the meeting. We get our informants to find out where it's going to be held. Now we insist that it be held in a public place, a bar or a restaurant where there'll be other people there so I'll feel safe. They're going to search me when I first meet them, right? So I can't have a weapon on me. But if Clemenza can figure a way to have a weapon planted for me, then I'll kill them both. Sonny: [laughing] What are you gonna do? Nice college boy, didn't want to get mixed up in the family business. Now you want to gun down a police captain. Why? Because he slapped you in the face a little? What do you think this like the Army where you can shoot 'em from a mile away? No you gotta get up like this and, badda-bing, you blow their brains all over your nice Ivy League suit. C'mere. [Kisses Michael on the head] You're taking this very personal. Tom, this is business and this man is taking it very, very personal. Michael Corleone: Where does it say that you can't kill a cop? Tom Hagen: Come on, Mikey... Michael Corleone: Tom, wait a minute. I'm talking about a cop that's mixed up in drugs. I'm talking about a - a - a dishonest cop - a crooked cop who got mixed up in the rackets and got what was coming to him. That's a terrific story. And we have newspaper people on the payroll, don't we, Tom? [Tom nods] Michael Corleone: And they might like a story like that. Tom Hagen: They might, they just might. Michael Corleone: [to Sonny] It's not personal, Sonny. It's strictly business. [Michael sees a man dressed in black coming to Vito's hospital room] Michael Corleone: Who are you? Enzo the Baker: I am Enzo. The baker. Do you remember me? Michael Corleone: Enzo... Enzo the Baker: Yes, Enzo. Michael Corleone: You better get out of here, Enzo, there's gonna be trouble. Enzo the Baker: If there is trouble, I stay here to help you. For your father. For your father. Tom Hagen: Sollozo is known as the Turk. He's supposed to be very good with a knife. But only in matters of business, or of some sort of reasonable complaint. His business is narcotics. He has the fields in Turkey, where they grow the poppy. In Sicily he has the plant to process it into heroin. He needs cash and he needs protection from the police for which he gives a piece of the action, I couldn't find out how much. The Tattaglia Family is behind him here in New York so they have to be in it for something. Don Corleone: What about his prison record? Tom Hagen: Two terms, one in Italy, and one here. He's known as a top narcotics man. Don Corleone: Santino, what do you think? Sonny: There's a lot of money in that white powder. Don Corleone: Tom? Tom Hagen: Well, I say yes. There is more money potential in narcotics than anything else we're looking at now. If we don't get into it, somebody else will, maybe one of the Five Families, maybe all of them. And with the money they earn they'll be able to buy more police and political power. Then they come after us. Right now we have the unions and we have the gambling and those are the best things to have. But narcotics is a thing of the future. If we don't get a piece of that action we risk everything we have. Not now, but ten years from now. Sonny: Well, what's your answer gonna be, Pop? [Tessio brings in Luca Brasi's bulletproof vest, delivered with a fish inside] Sonny: What the hell is this? Clemenza: It's a Sicilian message. It means Luca Brasi sleeps with the fishes. Tom Hagen: I'm an attorney for the Corleone family. These men are private detectives hired to protect Vito Corleone. They are licensed to carry firearms. If you interfere you'll have to appear before a judge in the morning and show cause. Michael: [speaking to Carlo] Only don't tell me you're innocent. Because it insults my intelligence and makes me very angry. Capt. McCluskey: I thought I got all you Guinea hoods locked up! What the hell are you doing here? Michael: What happened to the men who were guarding my father, Captain? Capt. McCluskey: I pulled them guys off of here, eh, now get away from this hospital! Michael: I'm not leaving until you put some guards around my father's room. Capt. McCluskey: Phil, take him in! Cop with Capt. McCluskey outside hospital: The kid's clean Captain, he's a war hero! He's never been mixed up with the rackets... Capt. McCluskey: Goddamn it Phil, I said take him in! Michael: What's the Turk paying you to set up my father, Captain? Capt. McCluskey: [to Patrolmen] Take a hold of him. Stand him up. Stand him up straight. [punches Michael and breaks his jaw] Sollozzo: [to Michael, in Sicilian] I am sorry. What happened to your father was business. I have much respect for your father. But your father, his thinking is old-fashioned. You must understand why I had to do that. Now let's work through where we go from here. [Michael tries speaking in Sicilian, but can't express himself properly, so with a quick look at McCluskey they both switch to English] Michael: What I want... what's most important to me is that I have a guarantee: no more attempts on my father's life. Sollozzo: What guarantees could I give you, Mike? I'm the hunted one. I've missed my chance. You think too much of me, kid. I am not that clever. All I want is a truce. Michael: I have to go to the bathroom. Is that all right? Capt. McCluskey: You gotta go, you gotta go. [Michael gets up, but a suspicious Sollozzo probes Michael's crotch, to Michael's offense] Capt. McCluskey: I frisked him. He's clean. Sollozzo: Don't take too long... [Michael heads to the bathroom] Capt. McCluskey: [to Sollozzo] I frisked a thousand young punks. Emilio Barzini: [during a meeting with the Five Families] Times have changed. It's not like the Old Days, when we can do anything we want. A refusal is not the act of a friend. If Don Corleone had all the judges, and the politicians in New York, then he must share them, or let us others use them. He must let us draw the water from the well. Certainly he can present a bill for such services; after all... we are not Communists. Tom Hagen: When I meet with Tattaglia's men, should I insist all their drug middlemen have clean records? Don Corleone: Mention it, don't insist. But Barzini will know that without being told. Tom Hagen: You mean Tattaglia... Don Corleone: Tattaglia is a pimp. He never could have outfought Santino. But I didn't know until this day that it was Barzini all along. Tom Hagen: You know how they're going to come at you? Michael: They want to arrange a meeting between me and Barzini. On Tessio's ground. Where I'll be safe. [Hagen is silent for a long moment] Tom Hagen: Tessio. I always thought it would be Clemenza. Michael: It's the smart move. Tessio was always smarter. Don Corleone: You talk about vengeance. Is vengeance going to bring your son back to you? Or my boy to me? Johnny Fontane: [discussing his problems] I don't know what to do, Godfather. My voice is weak, it's weak. Anyway, if I had this part in the picture, it puts me right back on top, you know. But this... this man out there. He won't give it to me, the head of the studio. Don Corleone: What's his name? Don Corleone: Woltz. He said there's no chance, no chance... [Meanwhile, Hagen finds Sonny and summons him] Johnny Fontane: A month ago he bought the rights to this book, a best seller. The main character is a guy just like me. I wouldn't even have to act, just be myself. Oh, Godfather, I don't know what to do, I don't know what to do... [All of a sudden, Don Corleone rises from his chair and gives Fontane a savage shake] Don Corleone: YOU CAN ACT LIKE A MAN! [gives a quick slap to Fontane] Don Corleone: What's the matter with you? Is this what you've become, a Hollywood finocchio who cries like a woman? "Oh, what do I do? What do I do?" What is that nonsense? Ridiculous! [the Don's unexpected mimicry makes Hagen and even Fontane laugh; around this time Sonny comes in] Don Corleone: Tell me, do you spend time with your family? Johnny Fontane: Sure I do. Don Corleone: Good. Because a man who doesn't spend time with his family can never be a real man. [gives a quick look at Sonny and affectionately embraces Fontane] Don Corleone: You look terrible. I want you to eat, I want you to rest well. And a month from now this Hollywood big shot's gonna give you what you want. Johnny Fontane: Too late. They start shooting in a week. Don Corleone: I'm gonna make him an offer he won't refuse. Okay? I want you to leave it all to me. Go on, go back to the party. [a gratified Fontane leaves] Tom Hagen: Mr Corleone is Johnny Fontane's godfather. Now Italians regard that as a very close, a very sacred religious relationship. Jack Woltz: Tell your boss he can ask for anything else, but this is one favour I can't grant him. Tom Hagen: Mr. Corleone never asks a second favor once he's refused the first, understood? Jack Woltz: You don't understand. Johnny Fontane never gets that movie. That part is perfect for him. It'll make him a big star. I'm gonna run him out of the movies. And let me tell you why. Johnny Fontane ruined one of Woltz International's most valuable proteges. For three years we had her under contract, singing lessons, dancing lessons, acting lessons. I spent hundreds of thousands of dollars. I was gonna make her a big star. And let me be even more frank, just to show you that I'm not a hard-hearted man, that it's not all dollars and cents. She was beautiful, she was innocent, she was the greatest piece of ass I've ever had, and I've had it all over the world. And then Johnny Fontane comes along with his olive oil voice and guinea charm and she runs off. She threw it all away just to make me look ridiculous. And a man in my position can't afford to be made to look ridiculous. Now you get the hell out of here. And you tell that gumba that if he wants to try any rough stuff that I ain't no band leader. Yeah, I heard that story. [Hagen has been calmly eating his meal throughout Woltz's tirade] Tom Hagen: Thank you for the dinner and a very pleasant evening. Have your car take me to the airport. Mr Corleone is a man who insists on hearing bad news at once. [speaking with the father of the girl he plans to marry, and after telling him that he's in hiding from some gangsters] Michael: Some people will pay a lot of money for that information; but then your daughter would lose a father, instead of gaining a husband. Sonny: Hey, whaddya gonna do, nice college boy, eh? Didn't want to get mixed up in the Family business, huh? Now you wanna gun down a police captain. Why? Because he slapped ya in the face a little bit? Hah? What do you think this is the Army, where you shoot 'em a mile away? You've gotta get up close like this and - bada-BING! - you blow their brains all over your nice Ivy League suit. C'mere... [kisses Michael's head] Michael: Sonny... Sonny: You're taking this very personal. Tom, this is business and this man is taking it very, very personal. Sollozzo: I don't like violence, Tom. I'm a businessman; blood is a big expense. [after Sonny beats up Carlo Rizzi for hitting Connie] Sonny: You touch my sister again, I'll kill you. Don Corleone: You talk about vengance. Is vengance going to bring your son back to you or my boy to me? I forgo the vengance of my son. But my youngest son had to leave this country because of this Sollozzo business. So now I have to make arraingments to bring him back safely cleared of all these false charges. But I'm a supersticious man. And if some unluck accident should befall him, if he should be shot in the head by a police officer, or if should hang himself in his jail cell, or if he's struck by a bolt of lightning... *then I'm going to blame some of the people in this room*... and that, I do not forgive. But, that aside, let say that I swear, on the souls of my grandchildren, that I will not be the one to break the peace we have made here today. Connie: [shrieking at Michael] You killed my husband! You waited until our father died so nobody could stop you and you killed him! You killed him! You blamed him for Sonny, you always did, everybody did. But you never thought about me. You never gave a dam about me. What am I going to do now? Kay Adams: [taking Connie in her arms] Connie... Connie: Why do you think he kept Carlo at the mall? All the time he knew he was going to kill him. And then he stood Godfather to our baby. You think you know your husband? You know how many men he had killed! Read the papers. Read the papers! That's your husband! [Michael takes Connie into her arms, but she goes wild again and tries to attack him] Michael Corleone: Take her upstairs. Get her a doctor. [Michael's bodyguards grab Connie and pull her out of the office] Michael Corleone: [to Kay] She's hysterical. Michael Corleone: Is it true? Kay Adams: Don't ask me about my business, Kay. Michael Corleone: Is it true? Michael Corleone: Don't ask me about my business... Kay Adams: No... Michael Corleone: [slams the desk] ENOUGH! [to Rocco who has killed Paulie in the car] Peter Clemenza: Leave the gun. Take the cannoli. Clemenza: Damn it, Sonny's running scared. He's thinking of going to the matresses already. We got to go pick up some stuff at this address. You know any good spots on the west side? Paulie Gatto: Yeah, I'll think about it. Clemenza: Well, think about it while you're driving, will ya? I wanna hit New York sometime this month. And watch out for the kids when you're backing out! Capt. McCluskey: How's the Italian food in this restaurant? Sollozzo: Good. Try the veal, it's the best in the city. Capt. McCluskey: I'll have it. Don Zaluchi: I also don't believe in drugs. For years I paid my people extra so they wouldn't do that kind of business. Somebody comes to them and says, "I have powders; if you put up three, four thousand dollar investment, we can make fifty thousand distributing." So they can't resist. I want to control it as a business, to keep it respectable. [slams his hand on the table and shouts] Don Zaluchi: I don't want it near schools! I don't want it sold to children! That's an infamia. In my city, we would keep the traffic in the dark people, the coloreds. They're animals anyway, so let them lose their souls. Sonny: How's Paulie? Clemenza: Oh, Paulie... won't see him no more. Connie: Dinner's on the table. Carlo Rizzi: I'm not hungry yet. Connie: Your food is on the table. It's getting cold. Carlo Rizzi: I'll eat out later. Connie: You just told me to make you dinner! Carlo Rizzi: Hey, vaffanculo, eh? Connie: Aw, vaffanculo you! Michael: You and I are going to move my father to another room, now can you disconnect those tubes so we can move the bed out of here? Night Nurse: That is out of the question. Michael: You know my father? Men are coming here to kill him, now help me, please. [the Corleone Family poses for the wedding photo] Don Corleone: [to Sonny] Where's Michael? Sonny: Don't worry. He'll be here. Don Corleone: We're not taking the picture without Michael. Virgil 'The Turk' Sollozzo: He's still alive. They hit him with five shots and he's still alive! [Clemenza and Michael arrive to find extra guards posted outside the house] Clemenza: What's with all the new faces? Tessio: We'll need 'em now. After the hospital thing, Sonny got mad. We hit Bruno Tattaglia at four o'clock this morning. Clemenza: ...Jesus Christ. [Clemenza prepares Michael for his meeting with Sollozzo] Clemenza: [holding up a .22] It's as cold as they come, impossible to trace. So you don't have to worry about prints, Mike. I put a special tape on the trigger and the butt. Here, try it... [Michael takes the gun, but can't seem to fire it] Clemenza: What's the matter, trigger too tight? [With a loud bang, Michael finally discharges the gun] Michael: Ow! My ears. Clemenza: Yeah, I left it noisy. That way it scares any pain-in-the-ass innocent bystanders away. All right, you shot them both, now what do you do? Michael: Sit down and finish my dinner. Clemenza: Come on, kid, don't fool around. Just let your hand drop to your side and the gun slip out. Everyone will still think you've got it. They're gonna be staring at your face, Mike. So walk out of the place real fast, but you don't run. Don't look nobody directly in the eye, hut don't look away either. They're gonna be scared of you, believe me, so don't worry about nothing. [while talking, Clemenza takes the gun and begins working on it to fix the trigger] Clemenza: You know, Mike, you're gonna turn out all right. You take a long vacation, nobody knows where, and we'll catch the hell. Michael: How bad do you think it's gonna be? Clemenza: Pretty goddam bad. Probably all the other Families will line up against us. That's all right. These things gotta happen every five years or so, ten years. Helps to get rid of the bad blood. Been ten years since the last one. You know, you gotta stop them at the beginning. Like they should have stopped Hitler at Munich, they should never let him get away with that, they was just asking for trouble. [Clemenza now finishes working on the gun] Clemenza: You know, Mike, we was all proud of you being a hero and all. Your father too. [Clemenza hands the gun back to Michael] [Sonny pays a visit to his sister Connie. He is surprised to find her subdued and evasive] Sonny: [surprised] What's the matter? Huh? What's the matter? [He looks at her swollen face and understands what has happened. He pulls away to go after Carlo... ] Connie: [grabbing his shoulders] It was my fault! Sonny: Where is he? Connie: [weeping with terror] Sonny, please. Sonny, it was my fault. It was my fault. I started a fight with him. Please, Sonny... [Sonny, now under control, hushes her and kisses her forehead] Sonny: Okay... I'm just going to get a doctor to come down and take a look at you. Connie: Sonny, please don't do anything. Please don't do anything. Sonny: What's the matter with you, huh? What am I going to do? Am I going to make that baby an orphan before he's born? [Connie gives a chuckle, and Sonny kisses her again and good-humouredly shrugs his soldiers] Sonny: All right? [cut to Sonny beating up Carlo] [at midnight, Don Corleone walks into his office and finds Tom Hagen taking a drink] Don Corleone: Give me a drop. [Hagen hands the Don his glass of anisette] Don Corleone: My wife is crying upstairs. I hear cars coming to the house. Consigliore of mine, I think it's time you told your Don what everyone seems to know. Tom Hagen: I didn't tell Mama anything. I was just about to come up and wake you so that I could tell you. Don Corleone: But you needed a drink first. [Hagen nods] Don Corleone: And now you've had your drink. Tom Hagen: They shot Sonny on the causeway. He's dead. [the Don accepts this news without any sign of emotion, except to close his eyes and remain silent for a few minutes] Don Corleone: [speaking at last] I want no inquiries made. I want no acts of vengeance. I want you to arrange a meeting with the heads of the Five Families. This war stops now. Tom Hagen: I have to get back to work. It's part of the wedding. No Sicilian can ever refuse a request on his daughter's wedding day. Don Corleone: Call Bonasera. We need him now. [Tom Hagen calls Amerigo Bonasera] Tom Hagen: [on the phone] This is Tom Hagen, calling for Vito Corleone at his request. Now, you owe your Don a service. He has no doubt that you will repay him. In one hour he will be at your funeral parlor to ask for your help. Be there to greet him. [as ordered, a nervous Bonasera meets the Don at his parlor] Don Corleone: Well, my friend, are you ready to do me this service? Bonasera: Yes. What do you want me to do? [the two walk into the embalming room, where a corpse lies on a table... ] Don Corleone: [staring at the table] I want you to use all your powers, and all your skills. I don't want his mother to see him this way. [he draws back the sheet to reveal, to a horrified Bonasera, the bullet-smashed face of Sonny Corleone] Don Corleone: [breaking down for a moment] Look how they massacred my boy... Michael: [teaching Apollonia to drive] It's safer to teach you English! [as Tessio and Hagen walk to Michael's house, they are met by a bodyguard] Willi Cicci: The boss says he'll come in a separate car. He says for you two to go on ahead. Tessio: Hell, he can't do that; that screws up all my arrangements. Willi Cicci: Well, that's what he said. Tom Hagen: I can't go with you either, Tessio. [as bodyguards materialize around them, Tessio understands everything] Tessio: [to Hagen] Tell Mike it was only business, I always liked him. Tom Hagen: He understands that. Willi Cicci: [removing Tessio's gun] Excuse me, Sally. Tessio: Can you get me off the hook, Tom? For old times' sake? Tom Hagen: [shakes his head] Can't do it, Sally. [Hagen watches sadly as Tessio is led to a waiting car] Tom Hagen: The Senator called, he apologized for not coming but said that you would understand; also some of the judges. They've all sent gifts. [raises his glass to the Don] Tom Hagen: Salut. [Both men are suiddenly startled by a huge roaring cheer] Don Corleone: What is that, outside? [Both look out the window and see famous singer Johnny Fontane has arrived] Don Corleone: He came all the way from California to the wedding. i told you he was gonna come! Tom Hagen: It's been two years. He's probably in trouble again. Don Corleone: He is a good godson. Michael: [to the Don, quietly] Just lie here, Pop. I'll take care of you now. I'm with you now. I'm with you. [he takes the Don's hand and kisses it, the Don begins to cry] Don Corleone: We have known each other many years, but this is the first time you've come to me for counsel or for help. I can't remember the last time you invited me to your house for a cup of coffee, even though my wife is godmother to your only child. But let's be frank here. You never wanted my friendship. And you feared to be in my debt. Bonasera: I didn't want to get into trouble. Don Corleone: I understand. You found paradise in America. You had a good trade, you made a good living. The police protected you and there were courts of law. So you didn't need a friend like me. Now you come and say "Don Corleone, give me justice." But you don't ask with respect. You don't offer friendship. You don't even think to call me "Godfather." You come into my house on the day my daughter is to be married and you ask me to do murder - for money. Bonasera: I ask you for justice. Don Corleone: That is not justice. Your daughter is alive. Bonasera: Let them suffer then as she suffers. [the Don is silent] Bonasera: How much shall I pay you? [the Don turns away dismissively, but Bonasera stays on] Don Corleone: Bonasera, Bonasera, what have I ever done to make you treat me so disrespectfully? If you'd come to me in friendship, this scum who ruined your daughter would be suffering this very day. And if by some chance an honest man like yourself made enemies they would become my enemies. And then, they would fear you. Bonasera: Be my friend... Godfather. [the Don at first shrugs, but upon hearing the title he lifts his hand, and a humbled Bonasera kisses the ring on it] Don Corleone: Good. [He places his hand around Bonasera in a paternal gesture] Don Corleone: Some day, and that day may never come, I will call upon you to do a service for me. But until that day, consider this justice a gift on my daughter's wedding day. [a gratified Bonasera offers his thanks and leaves] Don Corleone: [to Hagen] Give this job to Clemenza. I want reliable people, people who aren't going to be carried away. I mean, we're not murderers, in spite of what this undertaker thinks... Connie: What's the matter, Carlo? Carlo Rizzi: [punk sore at the world] Shut up and set the table! Michael: Fabrizzio, where are you going? [Apollonia hoots the car and starts to drive it; Fabrizzio gives a quick, furtive movement... ] Michael: NO! NO APOLLONIA! [the car explodes] [Michael gets ready to leave the house] Sonny: Where're you going? Michael: To the City. Sonny: [to Clemenza] Yeah? Well, send somebody with him. Michael: No, I'm just gonna go see Pop. Sonny: I don't care, send some bodyguards with him. Clemenza: He'll be all right. Sollozzo knows he's a civilian. Sonny: Yeah? Well take care, all right? Michael: Yes, sir. [Michael leaves] Sonny: Send someone with him anyway... Clemenza: The negotiator's at my house playing pinochle with some of my men, he's happy. They're letting him win. [Sunday dinner at the Corleone home... ] Sonny: Niggers havin' a real good time up in Harlem... Carlo Rizzi: I knew that was going to happen as soon as they tasted the big money. Connie: Papa never talked about business in front of the kids. Carlo Rizzi: Shut up, Connie. Sonny: Hey, don't you EVER tell her to shut up, you got that? Mama Corleone: Santino, don't interfere. [Silence reigns around the table for a while] Carlo Rizzi: Sonny, Tom, I'd like to talk to you after dinner. I think I can do a lot more for this family... Sonny: We don't discuss business at the table. Don Corleone: My godson has come all the way from California. Give him a drink. Don Corleone: [to Luca Brasi] I'm a little worried about this Sollozzo fellow. I want you to find out what he's got under his fingernails. Go to the Tattaglias, and tell them you're not too happy with our Family, and find out what you can... Michael: You gonna kill all those guys? Sonny: Hey, Mikey, stay out of this, all right? Tom Hagen: Maybe we shouldn't get Mike mixed up in this too directly... Don Corleone: I like to drink wine more than I used to... [pause] Don Corleone: Anyway, I'm drinking more. Michael: It's good for you, Pop. Don Corleone: Ah, I don't know... Don Corleone: I hope you don't mind the way I keep going over this Barzini business. Michael: No, not at all. Don Corleone: It's an old habit. I spent my whole life trying not to be careless. Women and children can afford to be careless, but not men. Don Corleone: How's your boy? Michael: He's good. Don Corleone: You know, he looks more like you every day. Michael: He's smarter than I am. Three years old, and he can already read the funny papers. Don Corleone: [laughs] Read the funny papers... Don Corleone: Oh, I want you to arrange to have a telephone man check all the calls going in and out of here because it could be anyone... Michael: I did that already, Pop. I took care of that. Don Corleone: Oh, that's right. I forgot. Michael: What's the matter? What's bothering you? I'll handle it. I told you I can handle it, I'll handle it. [the Don rises as if to leave, but changes his mind midway and seats himself closer to Michael] Don Corleone: I knew Santino was going to have to go through all this and Fredo... well, Fredo was... But I, I never wanted this for you. I work my whole life, I don't apologize, to take care of my family. And I refused to be a fool dancing on the strings held by all of those big shots. That's my life, I don't apologize for that. But I always thought that when it was your time, that you would be the one to hold the strings. Senator Corleone, Governor Corleone, something. Michael: Another pezzonovante. Don Corleone: Well, there wasn't enough time, Michael. There just wasn't enough time. Michael: We'll get there, Pop. We'll get there. [the Don kisses his son on the forehead] Don Corleone: [to Michael] Listen, whoever comes to you with this Barzini meeting, he's the traitor. Don't forget that. Don Corleone: [to Michael] So, Barzini will move against you first. He'll set up a meeting with someone that you absolutely trust, guaranteeing your safety. And at that meeting, you'll be assassinated. Sonny: Did he... did Clemenza tell you to drop the gun? Michael: Yeah, a million times. [Tom Hagen goes Christmas shopping, and meets Sollozzo] Sollozzo: I want to talk to you. Tom Hagen: [stepping aside] I haven't got time... Sollozzo: Make time, Consigliore! [Hagen finds himself trapped between Sollozzo and a hood] Sollozzo: What are you worried about? If I wanted to kill you you'd be dead already. Get in. [a car drives up] Clemenza: Paulie, pull over, I gotta take a leak. [Paulie enters the Corleones' study] Sonny: What is it? Clemenza: Hey, Paulie, I thought I told you to stay put. Paulie Gatto: The guy at the gate says there's a package. Sonny: Yeah? Hey, Tessio, go see what it is. Paulie Gatto: You want me to hang around? Sonny: Yeah, hang around. You all right? Paulie Gatto: [coughing] Yeah, yeah... Sonny: You hungry? There's a little food in the ice box. Paulie Gatto: Nah, nah. Sonny: Well, how about a drink? Some brandy, it'll sweat it out of ya. Alright, babe... [Paulie leaves] Sonny: [to Clemenza] I want you to take care of that sonofabitch right away. Paulie sold out the old man, that stronz. I don't want to see him no more. I want you to make that first thing on your list, understand? Clemenza: Understood. |
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