《教父2》英文剧本

MARIO PUZO'S THE GODFATHER PART II by Mario Puzo and Francis Ford Coppola FADE FROM BLACK TO: MICHAEL, in profile looking downward. He holds out his hand and ROCCO kissing it. DISSOLVE TO: A remote mountainside area of Sicily. We hear a marching band playing in the background. The introduction is overlaid: THE GODFATHER WAS BORN VITO ANDOLINI IN THE TOWN OF CORLEONE IN SICILY. IN 1901 HIS FATHER WAS MURDERED FOR AN INSULT TO THE LOCAL MAFIA CHIEFTAIN. HIS OLDER BROTHER PAOLO SWORE REVENGE AND DISAPPEARED INTO THE HILLS, LEAVING VITO, THE ONLY MALE HEIR, TO STAND WITH HIS MOTHER AT THE FUNERAL. HE WAS NINE YEARS OLD. [The marching band is followed by a procession of mourners including VITO and his MOTHER. There is a casket, apparently containing the body of VITO's father. Two gunshots ring out; all run for cover. People are screaming.] WOMAN (in Sicilian) They've killed the boy! They've killed young PAOLO - they have killed your son PAOLO! Murders! Murders! [Young VITO and his mother run over to PAOLO's body, in a prone position on the rocky ground] VITO's MOTHER CICCIO (in Sicilian) My son -- My son [more] [She begins to cry. GAFFE: The actor who plays "dead" PAOLO moves his hand as he's hugged] CUT TO: Young VITO and his mother approach the gate to DON CICCIO's villa and it is opened for them. CUT TO: VITO and his MOTHER walking down a path. CUT TO: DON CICCIO sitting drinking wine. CUT TO: VITO and his mother walk down the path some more. CUT TO: DON CICCIO puts down his glass and looks at VITO and his MOTHER. CUT TO: VITO's mother kisses DON CICCIO's hand VITO's MOTHER (in Sicilian) All my respect DON CICCIO. DON CICCIO you killed my husband because he wouldn't give into you. And his oldest son PAOLO -- because he swore revenge. But VITO is only nine. And dumb-witted, He never speaks. DON CICCIO (in Sicilian) It's not his words I'm afraid of. VITO's MOTHER (in Sicilian) He's weak - he can't hurt anyone. DON CICCIO (in Sicilian) But when he grows, he'll grow strong. VITO's MOTHER (in Sicilian) Don't worry - this little boy can't do a thing to you. [DON CICCIO stands up.] DON CICCIO (in Sicilian) When he is a man he'll come for revenge. VITO's MOTHER (in Sicilian) I beg you, DON CICCIO, spare my only son. He's all I have left. I swear to God that he'll never do any harm to you. Spare him! DON CICCIO No. [She reveals a concealed knife and holds it to DON CICCIO's neck.] MOTHER (in Sicilian) Move and I'll kill him! (then) Run VITO! [Young VITO watches as DON CICCIO's guards shoot his down, and he runs away.] DON CICCIO (in Sicilian) Kill him! Kill him! Kill him! CUT TO: The streets of Corleone at night. GUARD (yelling in Sicilian) Any family who hides Vito Andolini will regret it! You understand? Yes or no! (then) Anybody who hides the boy Vito Andolini is in for trouble! CUT TO: The guards walking down stairs. CUT TO: A family hiding VITO in a donkey cart. MAN [Probably ABBANDANDO] (in Sicilian) VITO, we're praying for you. CUT TO: The man gets on the donkey that's carrying VITO. GUARD yelling (in Sicilian) If anyone is hiding the boy VITO Andolini -- turn him over to us. DON CICCIO will thank you for it! It'll be better for the boy, and better for you! Any family who hides the boy Vito Andolini will regret it! CUT TO: A courtyard. The donkey cart passes by the guards. CUT TO: The donkey cart walking away. DISSOLVE TO: "The Moshulu" entering New York Harbor, passing in front of the Statue of Liberty. CUT TO: VITO on the ship. He stands up and walks behind everyone. CUT TO: Everyone getting off the ship. CUT TO: VITO still walking. CUT TO: Immigrants looking at the Statue of Liberty. CUT TO: VITO looking at the Statue of Liberty also. CUT TO: Inside Ellis. CUT TO: MAN inspects VITO's eyes and writes an encirled X on him. INSPECTOR (pointing) NURSE -- CUT TO: All the immigrants waiting. A man playing a violin as everyone is talking in different languages. CUT TO: Immigrants trying to explain themselves. CAMERA pans left along counter. INTAKE OFFICER 1 Interpreter INTAKE OFFICER 2 Where are you from? INTAKE OFFICER 3 What is your name? [VITO walks up.] INTAKE OFFICER 4 What is your name? Come on son, what is your name? TRANSLATOR ["What is your name?" in Italian] then, looking at the tag on VITO's coat: VITO Andolini from Corleone. INTAKE OFFICER 4 Corleone -- VITO Corleone. Okay over there. Next -- your name? CUT TO: A doctor inspects VITO's chest with a stethoscope. DOCTOR (to NURSE) Tell him he has small pox quarantine three months. NURSE (translating for VITO) [In Italian, something like "you have small pox and will be quarantined for three months at Ellis Island"] CUT TO: Two men walk down the hall looking for VITO MAN Calling Out Vito Corleone? Vito Corleone? Other MAN, standing next to Young VITO Here he is; this is him. [Young VITO is placed in a room, looks out the window at the Statue of Liberty, places his suitcase on the bunk (#52), sits and then starts to sing] VITO CORLEONE ELLIS ISLAND 1901 CUT TO: A Church. ANTHONY is walking down the aisle during his first communion. HIS GRANDSON ANTHONY VITO CORLEONE LAKE TAHOE NEVADA 1958 FATHER CARMELO [in Latin] [Priest prays while giving out eucharist. Anthony is the third child. He turns toward the camera.] CUT TO: Lake Tahoe Resort. Bandstand, music play CUT TO: VALETs parking cars VALET Hey! bring the car keys. WOMAN (OS) Morey! Morey! CUT TO: MAN takes drink to policeman in the parking lot. CUT TO: MAN and WOMAN dance. CUT TO: Watchman on roof lights a cigarette. CUT TO: GUESTS sitting and talking. CUT TO: CONNIE and MERLE Johnson walk, dodging guests, making their way to MAMA CORLEONE. CONNIE: MAMA -- whooh MAMA. MAMA CORLEONE [something in Italian, then] Look who's here -- CONNIE Oh, FATHER CARMELO. MAMA CORLEONE This is FATHER CARMELO -- MERLE I'm MERLE Johnson -- MAMA CORLEONE -- and the priest FATHER CARMELO Nice to meet you, how are you. MAMA CORLEONE -- family Priest. CONNIE MAMA -- [She kisses MAMA.] -- here I am. MAMA CORLEONE Constanzia - finalmente -- after one week? I sent the car out to the airport last week to pick you up! CONNIE Oh -- it was chaos. Anyway, here I am, just one week late. And this is for my MAMA. [She hands MAMA a wrapped jewelry box] MAMA What's this? CONNIE You remember MERLE, don't you? MERLE (to MAMA) Hello MAMA. MAMA Hello, how are you; thank you. CONNIE Where's MICHAEL? I gotta to talk to him, and um, get a few things straight, and I can't wait on line. MAMA You go see your children first! And then you worry about waiting on line to see your brother -- like everybody else. [The band gives a musical introduction to the CONDUCTOR] CUT TO: A napping FRANK PENTANGELI napping outside. WILLIE CICCI wakes him and they walk off. CONDUCTOR Ladies and Gentlemen a most distinguished guest would like to say a few words. Would you please welcome SENATOR Pat GEARY of the state of Nevada, and there is Mrs. GEARY. [SENATOR GEARY walks up onto the stage] GEARY Thank you very much, Ladies and Gentlemen -- and this is a very very happy day for me and ugh -- my wife, Mrs. GEARY. We see Nevada far too seldom -- but particularly today when we can -- we can join with old friends -- we can make new friends -- and we help celebrate -- a young man's first communion. And also, to thank that boy's family for a magnificent contribution to the state. I have here in my hand, a check -- made out to the University, and it is a magnificent endowment in the name of - uh, ANTHONY VITO Corleone -- and the check is signed by that young man's parents -- whom I think we should recognize Mike -- Pat -- uh, KAY -- stand up please -- stand up, let the folks see you. Folks, I want you to join with me in giving a real Nevada -- thank-you to Mr. and Mrs. MICHAEL Corleone! [The crowd claps. The conductor whispers something to GEARY.] We also have as a special added attraction, the Sierra Boys Choir. Who have, uh, chosen a certain special song, in a special arrangement, to honor their host, Mr. MICHAEL Corleone. Boys. CUT TO: Mike and KAY getting up for a photo. [The choir begins to sing.] CUT TO: A long shot of the boys singing. CUT TO: A close up of the boys singing. CUT TO: MICHAEL at a photo session accepting a plaque DIRECTOR Relax. [MICHAEL holds the plaque.] Okay fellas we got that one. [MICHAEL and GEARY shake hands.] Okay, that's good. Alright. Now SENATOR, this is you and Mrs. Corleone. [The director comes over and gives GEARY the check and places him next to KAY. They also shake hands.] Okay that's enough, Senator -- [MICHAEL an GEARY shake hands for one more picture, holding the check] CUT TO: EVERYONE listening to the choir. CUT TO: The interior of MICHAEL's office. MICHAEL This is my lawyer, TOM HAGEN; SENATOR GEARY. He's the one who arranged this whole thing through your man Turnbull. GEARY Yes -- Yes. MICHAEL Sit down. GEARY Well I was under the impression that you and I would talk alone. MICHAEL I trust these men with my life, SENATOR. If I were to ask them to leave, it would be an insult. GEARY Well uh, it's perfectly all right with me, but I should tell you that I am a blunt man and I intend to speak very frankly to you -- maybe -- more frankly than anyone in my position's ever spoke to you before. [MICHAEL lights a cigarette] The Corleone family has done very well here in Nevada. You own, or, you control, two major hotels in Vegas -- one in Reno. The licenses were grandfathered in, so there is no problem with the gaming commission. Now, my sources tell me that -- you plan to make a move against the Tropicalla. They tell me within a week -- you're gonna move Klingman out. That's quite an expansion. However it will leave with one little technical problem. Ahh -- The license will still be in Klingman's name. MICHAEL Turnbull is a good man. GEARY Yeah, well let's cut out the bullshit. I don't want to spend any more time here than I have to. You can have the license, the price is 250,000 dollars. Plus a monthly payment of 5% of the gross -- of all four hotels. Mister -- Corleone. MICHAEL Now the price of the license is less than 20,000 dollars, am I right? GEARY That's right. MICHAEL Now why would I ever consider paying more than that? GEARY Because I intend to squeeze you. I don't like your kind of people. I don't like to see you come out to this clean country in your oily hair -- dressed up in those silk suits - and try to pass yourselves off as decent Americans. I'll do business with you, but the fact is, I despise your masquerade -- the dishonest way you pose yourself. Yourself, and your whole fucking family. MICHAEL SENATOR - we're both part of the same hypocrisy. But never think it applies to my family. GEARY All right, all right -- some people have to play little games. You play yours. So lets just say that you'll pay me because it is in your interest to pay me. But I want your answer and the money by noon tomorrow. And one more thing: don't you contact me again -- ever. From now on you deal with Turnbull. (then, to Al) Open that door son. [He starts to leave] MICHAEL Uh, senator -- you can have my answer now if you like. My offer is this -- nothing. Not even the fee for the gaming license, which I would appreciate if you would put up personally. GEARY (laughing) Good afternoon, gentlemen. [He opens the door and walks out] KAY, I didn't know you were out here. Honey, we have to go -- we're 30 minutes late. KAY Oh really? I'm sorry. GEARY Mrs. Corleone, I've been delighted. KAY Oh, no -- GEARY Thank you. KAY -- It was our pleasure. Thank you so much; it was wonderful talking with you. CUT TO: People dancing. Music plays outside. CUT TO: FREDO's boat pulls up to the dock. CUT TO: BUTTONMAN looks around. CUT TO: More BUTTONMEN look around at the party. CUT TO: FREDO and JOHNNY OLA and others get off the boat and onto the dock CUT TO: PENTANGELI drinking out of the hose held by WILLIE CICCI. PENTANGELI FREDO! FREDO, you son of a bitch, you look great! [PENTANGELI runs toward him.] FREDO FRANK PENTANGELI, I thought you was never coming out west you big bum! [They give each other a hug.] PENTANGELI I gotta check on my boys, uh? Hey, FREDO what's with the food around here? FREDO What's the matter. PENTANGELI A kid comes up to me in a white jacket, gives me a Ritz cracker, and uh, chopped liver, he says Canapés. I say uh, uh, can o' peas my ass, that's a Ritz cracker and chopped liver! [FREDO laughs] PENTANGELI [Something in Italian, then] Bring out the peppers and sausage. FREDO Ah, seeing you reminds me of New York -- the old days, huh! PENTANGELI Hey, FREDO -- you remember, uh, WILLIE CICCI, he was with old man CLEMENZA in Brooklyn. Yeah, look here -- FREDO Look, we were all upset about that, Frankie. Heart attack, huh? WILLIE CICCI No - No, that was no heart attack. PENTANGELI Tha's -- Tha'sa -- That's what I'm here to see your brother Mike about. But wha' -- what's with him? FREDO What do you mean? PENTANGELI I mean, what do I hafta do, get a letter of introduction to get a sit-down? FREDO You, you can't get in to see Mike? PENTANGELI He's got me waiting in a lobby! CUT TO: MICHAEL's office. JOHNNY OLA enters. JOHNNY OLA (shaking hands with AL) JOHNNY OLA. AL NERI AL NERI . MICHAEL Sit down. You know my lawyer, TOM HAGEN -- JOHNNY OLA. JOHNNY OLA Sure, I remember TOM from the old days. MICHAEL ROCCO - (then) What's this? JOHNNY OLA It's an orange -- from Miami. MICHAEL Why don't you take care of JOHNNY's men -- they look like they might be hungry. JOHNNY -- sit down. TOM isn't gonna sit in with us -- he only handles specific areas of the family business. TOM -- TOM Sure, Mike. MICHAEL What are you drinking, JOHNNY? JOHNNY OLA Anisette. MICHAEL Anisette. TOM If you need anything, Mike, I'll be outside, alright? [TOM walks out the door.] MICHAEL Just tell ROCCO we're waiting, TOM JOHNNY OLA I just left, uh, Mr. ROTH in Miami. MICHAEL How's his health? JOHNNY OLA Ahh -- it's not good. MICHAEL Is there anything I can do -- anything I can send? JOHNNY OLA He appreciates your concern, MICHAEL -- and your respect. The casino you're interested in -- the registered owners are Jacob Lawrence, Allen Barclay - they're both Beverly Hills Attorneys. The real owners are the old Lakeville Road group from Cleveland, and our friend in Miami. Meyer Klingman runs the store -- he runs a piece of it, too -- he does alright. But I've been instructed to tell you that if you move Klingman out, our friend in Miami will go along. MICHAEL That is very kind of him. You tell him, that's greatly appreciated. JOHNNY OLA HYMAN ROTH always makes money for his partners. One by one, our old friends are gone. Death -- natural or not - prison -- deported. HYMAN ROTH is the only one left -- because he always made money for his partners. CUT TO: Outside, PENTANGELI runs up to the stage. PENTANGELI Wha'? Wha'? I can't believe, out of thirty professional musicians, there isn't one Italian in, in the group here. Come, let's have a tarantella. Come on -- [PENTANGELI begins to hum the tune, piano joins in] You! Up! Clarinet up , up, up! [He hums some more] What's da matta? What's da matta? [ He is still humming when the clarinet begins to play "Pop Goes The Weasel." PENTANGELI gets mad as the whole group joins in] CUT TO: MICHAEL's boathouse. CONNIE and MERLE walk in. MICHAEL (to MERLE) I'll see my sister alone. MERLE It concerns me, too. Is it okay, Mike, if I stay? CONNIE How are you, honey? You met MERLE -- he was with me in Vegas. MICHAEL I saw him with you MERLE Could I have a drink or something? MICHAEL Que voi? CONNIE (to AL NERI) Al, would you please get him a drink! (then, to MICHAEL) We're going to Europe next week. I'd like to book passage on The Queen MICHAEL So what do you come to me for -- why don't you go to a travel agent? MERLE We're getting married first. MICHAEL The ink on your divorce isn't dry yet and your getting married? You see your children on weekends -- You know your oldest boy, Victor, was picked up in Reno for some petty theft that you don't even know about-- CONNIE MICHAEL! MICHAEL -- You fly around the world with men who don't even care about you, and use you like a whore! CONNIE MICHAEL, you're not my father! MICHAEL Then what do you come to me for? CONNIE 'Cause I need money. MICHAEL Connie - Connie, Connie, Connie, Connie, Connie -- I wanna be reasonable with you. Now, why don't you stay with us - with the family. You can live here on the estate with your kids. You won't be deprived of anything and you can have everything you want. Now -- I don't know this MERLE -- I don't know what he does -- I don't know what he lives on. Now why don't you tell him that marriage is out of the question, and you don't want to see him anymore. Now he'll understand, believe me. [CONNIE and MERLE reach out to hold hands] CONNIE -- if you don't listen to me -- and marry this man -- you'll disappoint me. CUT TO: Outside, nighttime. A bonfire is burning and a man throws a log down. CUT TO: A boat passes by. CUT TO: People walk along the boardwalk CUT TO: Band playing on the stage. CUT TO: Outside the family sits at a table. MAMA Corleone Avive MICHAEL Cent' anni Everyone Cent' anni DEANNA What's "Chen dandy"? FREDO Cent' anni -- It means a hundred years. CONNIE It means we should all live happily for a hundred years -- the family. That'd be true if my father were still alive. MAMA CORLEONE Connie -- CONNIE MERLE, you've met my sister-in-law, DEANNA. [They shake hands] FREDO's wife. DEANNA Pleasure MERLE How do you do. MAMA CORLEONE [to Tom, in Italian] [A reference to DEANNA and MERLE] TOM HAGEN [in Italian] [Responds] MERLE (to CONNIE) What did she mean by that? PENTANGELI (in Sicilian) Hey, Michael - excuse me. [laughs] With all respect I didn't come here to eat dinner! MICHAEL I know, I know. [PENTANGELI knocks over a glass of wine, everyone looks at him.] Bene! CUT TO: DEANNA and another man dance. She is obviously drunk. CUT TO: FREDO looking on. CUT TO: DEANNA falls onto the dance floor. CUT TO: MICHAEL looking on. CUT TO: FREDO jogging to take her away. CUT TO: MICHAEL whispering something to ROCCO. CUT TO: FREDO grabbing her. DEANNA What's the matter? I just, I just want to dance! FREDO Dancing is one thing -- you're fallin' all over the floor. DEANNA I know what's the matter with you - you're just jealous because he's a real man. FREDO I swear to God, DEANNA, I'm gonna belt you right in the cheek. DEANNA Ah, you couldn't belt your MAMA. You know something, those daigos are crazy when it comes to their wives. [ROCCO walks up to FREDO] ROCCO (to FREDO) MICHAEL says that if you can't take care of this -- I have to. FREDO Maybe you better. DEANNA Never marry a WOP! they treat their wives like shit! [ROCCO runs over and gabs he] I didn't mean to say WOP. Ahh, Ahh woo! ROCCO! Oh! What are you doing to me -- help -- FREDO! FREDO (to MICHAEL) I can't control her, Mikey. MICHAEL You're my brother, FREDO, you don't have to apologize to me. CUT TO: MICHAEL's boathouse. MICHAEL CLEMENZA promised the Rosato brothers three territories in the Bronx after he died. You took over, and you didn't give it to them. PENTANGELI I weltched? MICHAEL You weltched. PENTANGELI Yeah, CLEMENZA promised them [something in Italian] CLEMENZA promised them nothing. He hated those son of a bitches more than I do. MICHAEL Frankie, they feel cheated. PENTANGELI MICHAEL, your sitting high up in the Sierra mountains. And your drinkin' - uh, what's he drinkin'? WILLIE CICCI Champaign PENTANGELI Champaign, Uh, Champaign Cocktails -- and you're passing judgment on how I run my Family. MICHAEL (in Sicilian) Your Family -- Your Family's still called Corleone. And you'll run it like a Corleone. PENTANGELI (in Sicilian) My family doesn't eat here; doesn't eat in Las Vegas -- and doesn't eat in Miami -- with HYMAN ROTH. MICHAEL Frankie -- you're a good old man -- and I like you. And you were loyal to my father for years. PENTANGELI The Rosato brothers - they're taking hostages. Hey, Mike, they spit right in my face. All