The Godfather: Part II Page #7

Freddie mops his forehead, and moves to Michael.

FREDO:

Hey Mike, what can I say?

MICHAEL:

Forget it, just go take care of her.

EXT. THE HARBOR DECK - NIGHT

A large group of Tahoe teenagers join the Corleone youngsters

sitting around a large fire out by the harbor. Gardner and

Francie, sitting arm in arm.

EXT. TABLE OF HONOR - MED. VIEW - NIGHT

Little Anthony, in his white suit, sitting alone.

EXT. MAIN GATE - NIGHT

A taxi pulls up, and is signaled over to the gate by a

policeman carrying a torch flashlight.

Connie and Merle enter; Merle tips the cop, and the cab

drives off.

EXT. DANCE FLOOR AND PAVILION - MOVING TWO SHOT - NIGHT

Kay and Michael dancing in the moonlight.

MICHAEL:

How's the baby?

KAY:

Sleeping inside me.

MICHAEL:

Does it feel like a boy?

KAY:

Yes, Michael, it does.

MICHAEL:

I'm sorry about some of the people

I had to see today. It was bad

timing... but it couldn't be helped.

KAY:

It made me think of what you told

me once. In five years, the

Corleone family will be completely

legitimate. That was seven years

ago.

He has no answer for her; except that he loves and values

her, and holds her tight, as they dance amid their guests,

all dressed elegantly for the social event of the season.

The VIEW LOOSENS to show the entire, night-lit party.

DISSOLVE TO:

EXT. LAS VEGAS CHAPEL - MED. CLOSE VIEW - NIGHT

A Cadillac limousine waits for some people inside the tacky,

Las Vegas marriage mill.

INT. THE CHAPEL - NIGHT

Some quiet, informally dressed couples wait in the rear of

the chapel; some talking, others sitting nervously.

A single organ plays some standard wedding music.

The VIEW PANS up to the altar, where Connie and Merle, in

the same clothing they wore to the Tahoe party, are being

married by a Justice of the Peace.

The Justice goes through the bored, simple ceremony, and we

begin to HEAR an echo of the waltz Connie danced with her

father, when she was married all those years ago in Long

Island.

EXT. THE TROPICANA - LAS VEGAS - MED. VIEW - DAY

A dark car pulls up to the glitter of the neon facade.

Albert Neri, alone, leaves it to the parking valets, and

moves quickly through the automatic doors, into the main

casino. We still hear the CORLEONE WALTZ.

INT. THE TROPICANA - DAY

Albert Neri enters the room; glances around a moment, and

then heads toward the crap table, where a short, middle-aged

man, KLINGMAN, stands by the pit boss. Several security

guards of the casino, are at their posts.

NERI:

Are you Klingman?

KLINGMAN:

Who's asking?

NERI:

Where can we talk?

KLINGMAN:

Right here.

NERI:

I represent the interests of the

Corleone family. We make the

invitation to you to tie up your

affairs and be out of the hotel by

Monday morning.

KLINGMAN:

Who do you think you're talking to?

NERI:

You said you were Klingman.

KLINGMAN:

You don't come in here, talk to an

owner in Las Vegas like that.

NERI:

You missed my point; you are no

longer an owner.

KLINGMAN:

Get out of my hotel.

Neri stands in front of him, smiling.

KLINGMAN:

Boys, get him out of here.

Quickly, Neri moves toward Klingman, and slaps him hard

several times in the face, knocking off his glasses... Red-

faced, Klingman gets down on his knees to pick them up once,

again. Glasses on, he looks to his guards.

WHAT HE SEES:

They stand, motionless.

VIEW ON KLINGMAN

Humiliated, Klingman moves across the casino floor, past a

few interested gamblers, and his own people. Neri slowly

follows.

INT. SHOWROOM - MED. VIEW - DAY

A typical, Lido de Paris type of show is in rehearsal, as

Klingman backs into the showroom.

HIS VIEW:

Neri keeps coming.

VIEW ON KLINGMAN

realizes that no one will help him. He finally capitulates.

KLINGMAN:

All right! All right, I'll be out.

Neri keeps moving, then heads past the terrified man, sits

down at a table, and looks up at the stage.

NERI:

(to the staring performers)

Keep it going.

EXT. A STREET IN BUFFALO, NEW YORK - NIGHT

The neon lights that spell out "FRED'S PIZZERIA" go out;

after a moment a man in an overcoat steps out, and turns to

lock the door of his restaurant. The Corleone Waltz

continues over this. He turns.

MED. CLOSE VIEW

FRED VINCENT, whom we remember as the Sicilian Fabrizzio.

He moves toward his parked car. Gets in.

MED. LONG VIEW

The starter turns, and the automobile blows in a great

explosion.

DISSOLVE TO:

EXT. THE TAHOE ESTATE - NIGHT

The waltz continues over the VIEW of the empty, but still

illuminated pavilion. There is the debris of the great

party spread over the grounds, which a silent crew of

workmen are at work cleaning up,

MED. VIEW

Michael walks alone, followed by two of the family dogs,

Irish Setters.

He walks to the water line, and looks out across the lake.

He picks up a stick, and throws it for the dogs; who go

scampering after it.

We notice that a respectful distance away, there are

bodyguards watching every move he makes.

CLOSE VIEW ON MICHAEL

looking across the lake. There is much on his mind. The

SOUND of the waltz, begins to segue into the echoed music

and laughter of an old Italian Music Hall from the past.

DISSOLVE TO:

INT. NEW YORK THEATRE - 1915 - NIGHT

VITO CORLEONE is a shy young man of 23, holding his hat in

his hand, being led down the crowded aisle of this Italian

Vaudeville theatre by an energetic and fulfilled GENCO

ABBANDANDO, his friend in America. This entire sequence is

played in Sicilian.

GENCO:

Come on, you've got to see her!

VIEW ON THE STAGE

A tattered melodrama is in progress in Neapolitan. The sets

are two-dimensional, and flap whenever there's an entrance

or exit.

The hero, PEPPINO, is weeping as he sings about how he's

left his Mother in Italy, while he is in this new country,

America.

VIEW ON THE AUDIENCE

All poor, Italo-Americans. Genco finds a few seats, and

leads Vito to them, stepping on a few shoes in the process.

They have barely come to their seats, when an excited Genco

nudges Vito, and points to the stage. People shout that

they should sit down.

VIEW ON THE STAGE

There is a knock on the door, and a young girl enters,

delivering a letter to Peppino in his tenement in America.

The girl is pretty; and obviously the object of Genco's

affection. The letter brings bad news. Peppino's Mother is

dead. He weeps, and sings the final song, which most of the

audience knows:
SENZA MAMMA.

VIEW ON THE AUDIENCE

Genco is enthralled with the young actress. The people in

the audience are singing along with Peppino.

VIEW ON THE STAGE

The actress, object of Genco's affection, makes a dramatic

exit.

VIEW ON THE AUDIENCE

Genco pulls on Vito's jacket, indicating that now that his

love is offstage, they should leave. Vito rises with him,

and they make their way all the way down the aisle.

INT. BACKSTAGE THEATRE - MOVING VIEW - NIGHT

Genco hurrying down the backstage corridor, hoping to catch

a glimpse of the actress. He is followed by Vito. Suddenly,

Genco stops short.

GENCO'S VIEW

A heavy-set, fierce looking Italian wearing an expensive

light-colored suit and a cream colored fedora. This is

FANUCCI. He is discussing a business matter with the

theatre IMPRESARIO; a large, strong looking man, who is

sweating nonetheless. He doesn't seem to be giving in to

Fanucci. He holds a locked strongbox.

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