“The Godfather” By Mario Puzo 3 a word, pressing the fresh linen against his mouth. The parents of the animales were coming by now, two men and two women his age but more American in their dress. They glanced at him, shamefaced, yet in their eyes was an odd, triumphant defiance. Created Date: 4/28/2006 5:41:49 PM.
THE GODFATHER:
Part Two
Screenplay by
Mario Puzo
and
Francis Ford Coppola
SECOND DRAFT:
September 24, 1973
FADE IN:
The ParamountPictures logo is presented over a simple black
background, as a singletrumpetplays the familiartheme of
a waltz. Whiteletteringfades in:
Mario Puzo's THE GODFATHER
There is a pause, as the trumpet concludes, and there is the
additional title: - Part Two -
INT. DON CORLEONE'S OLDOFFICE - CLOSEVIEWON MICHAEL
CORLEONE - DAY
standing impassively, like a young Prince, recently crowned
King.
CLOSE VIEW ON Michael's hand. ROCCOLAMPONEkisses his hand.
Then it is taken away. We can SEE only the empty desk and
chair of Michael's father, Vito Corleone. We HEAR, over
this, very faintly a funeraldirgeplayed in the distance,
as THE VIEW MOVESSLOWLYCLOSER to the empty desk and chair.
DISSOLVE TO:
EXT. A SICILIANLANDSCAPE - FULLVIEW - DAY
We can barely make out the funeralprocessionpassing over
the burnt-brown of a dry river bed. The figures move
slowly, seemingly from out of hundreds of years of the past.
The MUSICIANSwalkingunsteadily on the rocky bed, their
instruments harsh and blaring.
They are followed by six youngpeasant men, carrying the
crude woodencoffin on their shoulders. Then the widow, a
strong large woman, dressed in black, and not accepting the
arms of thosewalking with her.
Behind her, not more than twenty relatives, few children and
paisani continuealonebehind the coffin.
Suddenly, we HEAR the shots of the lupara, and the musicians
stop their playing. The entireprocessionscatters in odd
directions along the rockyriver bed.
The young men struggle with the burden of the heavy coffin,
throwing it out of balance and nearlycrashing to the ground.
We hear a woman SCREAMING:
WOMAN:
(Sicilian)
They've killedyoung Paolo! They've
killed the boy Paolo!
EXT. SICILIANLANDSCAPE - MED. VIEW - DAY
across the slain body of a fourteen year old boy, lying on
the parched ground. In the distance we see four or five of
the mourning women, the wind blowingtheirblackdresses and
veils, running up to the body of the boy. They begin to
wail, and cry out in anguished Sicilian, as the widow, the
mother of the murdered boy, holds her child in her arms, his
fresh bloodwetting her strong hands.
EXT. BARONIALESTATE - TIGHTMOVINGVIEW - DAY
A boy, eight or nine, with wide, frightened eyes, being
pulled quickly by the hand. This is VITO ANDOLINI, who is
to become The Godfather.
The VIEWALTERSrevealing that he is beingpulledalong by
his Mother, the Widow, across a fieldleading to the
ornamental gates of a BaronialEstate of some forgotten Noble.
At variouspositions near the gates are men with shotguns,
or lupara. The gates are opened; and the Widow and her boy
are shownbeforeDON FRANCESCO, a man in his sixties. He
wears his trousers with suspenders, and an open white shirt
sloppily tucked in over his enormous belly. He wears a hat
to protect him from the white-hot sun, and proudly displays
a gold watch and chain over his vest.
He sits in a chair, near a group of his men in the garden,
listening to the Widow, who standsbefore him with her only
son.
WIDOW:
(Sicilian)
Don Francesco. You murdered my
husband, because he would not bend.
And his oldest son Paolo, because
he swore revenge. But Vitone is
only nine, and dumb-witted. He
never speaks.
DON FRANCESCO:
(Sicilian)
I'm not afraid of his words.
The Godfather
WIDOW:
(Sicilian)
He is weak.
DON FRANCESCO:
(Sicilian)
He will grow strong.
WIDOW:
(Sicilian)
The childcannot harm you.
DON FRANCESCO:
(Sicilian)
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He will be a man, and then he will
come for revenge.