The-Godfather - The Godfather 2 Scene 2 lyrics

[INT. THE BOATHOUSE - DAY] [Rocco ushers an older Italian, bundled up against the cold and wet of his boatride, to Michael.] [The man shows respect to Michael, who quickly indicates that Neri should get him a drink.] MICHAEL: Rocco, his friends must be hungry. See what you can do, but I'd like to keep them away from the guests. [The older man, JOHNNY 'BLUE BOY' OLA, gestures to his bodyguards, and they follow Lampone.] MICHAEL: You know my lawyer, Tom Hagen. Johnny Ola. OLA: Sure, I remember Tom from the old days. [Tom shakes hands with Ola, remembering him, and his importance.] MICHAEL: Rocco -- what's this? 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 going to sit in with us, Johnny. He only handles specific areas of the family business. Tom? HAGEN: Sure, Mikey. [He gathers up some of his papers, as the three men remain silent, waiting for him to go before they talk. It's clear Tom doesn't want to be excluded.] HAGEN: If you need anything, just... MICHAEL: Just tell Rocco I'm waiting. [Hagen nods and leaves. As soon as the door closes:] OLA: I just left our friend in Miami. MICHAEL: How is his health? OLA: Not good. MICHAEL: Is there anything I can do; anything I can send? OLA: He appreciates your concern, Michael, and your respect. [There's a KNOCK on the door; a moment, and then Rocco quietly enters and takes his place without disturbing the conversation.] OLA: The hotel's registered owners are one Jacob Lawrence, and Sidney Barclay, both Beverly Hills attorneys. In reality it's split between the Old Lakeville Road Group from Cleveland, and our friend in Miami. He takes care of others outside the country, you know who I mean. Meyer Klingman runs the store, and does alright, but I've been instructed to tell you, that if you move him out, our friend in Miami will go along with you. MICHAEL: He's very kind, tell him it's appreciated. I'm sure it will be profitable all the way around. OLA: He always makes money for his partners. One by one, our old friends are gone. d**h, natural or not, prison, deported. Our friend in Miami is the only one left, because he always made money for his partners. [The door opens suddenly, and standing there in his white Communion suit, is Michael's boy Anthony. A moment later, Kay appears, and takes the boy's hand.] KAY: Anthony, Daddy's busy. MICHAEL *rising*: This is my boy, and my wife. Mr. John Ola of Miami. KAY: I'm sorry, Michael. Senator Geary's here, and Mr. and Mrs. Barrett wanted to thank you before they left. Won't you join us, Mr. Ola? MICHAEL: Mr. Ola's just leaving, Kay. Please tell the Senator I won't be a minute. [Pause; she stands there a moment.] MICHAEL *continuing*: Kay. KAY: Yes, Michael. [EXT. THE BOATHOUSE - DAY] [Kay closes the door. It seems as though Michael has violated some sort of promise to her by having this man here today. She looks up toward the first boathouse.] [WHAT SHE SEES:] [The covered launch, and Ola's three bodyguards, eating while they wait.] [MED. VIEW] [Anthony runs away from her, heading toward the house.] KAY: Anthony! *she runs after him* Anthony, where are you going? [Moodily, the boy stops, turns, and walks back to his table of honor without answering her.] [EXT. TAHOE TABLES AND PAVILION - VIEW ON THE PAVILION - DAY] [The orchestra has taken its break; now two couples in formal dress are performing the Quartet from Rigoletto.] [VIEW ON HAGEN] [sitting by himself, a little down, having a drink. He's waiting for Michael to re-summon him. SANDRA, Sonny's widow, sits opposite him.] HAGEN: Where's my wife? SANDRA: With Mama, putting the baby to sleep. Francesca's very happy. Michael was kind to her. She idolizes him. *pause; she looks at a despondent Hagen* The children are all out in the speedboat. I'm going to my house. [Sandra gets up, still an attractive woman, and walks alone to the back path that leads to her home on the estate.] [VIEW ON THE PAVILION] [The returned orchestra strikes a big, show-biz chord, intended to command the guests' attention.] [The orchestra LEADER raises his hands for silence, and makes an announcement over the P.A. system.] MAESTRO: Ladies and gentlemen, a most distinguished guest would like to say a few words: Senator and Mrs. Pat Geary of the state of Nevada! [A big hand, as the smiling SENATOR introduces his WIFE by holding her arm up to the crowd, and then proceeds alone to the bandstand.] [MED. VIEW] [Michael stands with Kay and Mrs. Geary. The Senator's presence seems to be a statement of political and social status.] [A little distance away, his beautiful son Anthony sits quietly, in an unmistakably morose mood.] [INT. TAHOE - SANDRA'S HOUSE - DAY] [We HEAR the applause and whistles echoing in the distance. Sandra stands in her bedroom, looking at the door. We SEE a photograph of SONNY, and also one of their wedding.] [A moment goes by, and then Tom Hagen enters, closing the door behind him.] [We begin to HEAR Senator Geary's amplified voice resounding over the lake. Hagen moves to Sandra. She takes him in her arms, comforting, holding his head against her full breast.] HAGEN *quietly*: He doesn't want my help any more. He doesn't need it. SANDRA: We don't know that's true, he never said that. HAGEN: I can feel it in the way he talks to me. [He moves to the dresser; pours himself a drink.] HAGEN: Just now when Johnny Ola showed up, he asked me to leave them alone. Ola is Hyman Roth's Sicilian contact. I was on the inside of ten, twenty meetings with him. But today Mike asked me to leave, like an outsider. SANDRA: Talk to him. Tell him how you feel. HAGEN: It's as though he blames me for the ground the family lost when I was Consigliere to Sonny. [Sandra pulls Hagen to her, and kisses him pa**ionately on the mouth.] HAGEN: I love Michael, I want to help him, be close to him. I don't want to end up a third string lawyer making property settlements for the hotels. [Sandra knows he needs her. Slowly she begins to undress.] SANDRA: We have a little time now. [EXT. THE PAVILION - VIEW ON SENATOR GEARY - DAY] SENATOR GEARY: ...my thanks, and the thanks of the young people of the State of Nevada, for this most impressive endowment... *he holds a check in his hand* ...made to the University in the name of Anthony Vito Corleone. Thank you, Mr. and Mrs. Michael Corleone. [Applause. Senator Geary returns the microphone to the Maestro who adds:] MAESTRO: And now, the Nevada Boys' Choir have prepared a special thank you for Mr. Michael Corleone. [He turns to a small Choir Master, who leads the Boys' Choir in a choral arrangement of "MR. WONDERFUL."] [VIEW ON SENATOR GEARY] [Shaking hands with Michael, as Press Photographers snap pictures, showing the check; showing a special award of Gratitude from the State; Mrs. Corleone and Mrs. Geary; all together; Michael and his son; Senator Geary and Michael's son; and on and on. In the midst of this:] SENATOR GEARY: Where can we meet alone? [Michael indicates the boathouse a distance away, where Neri seems to be waiting for them. Then Michael leans to Rocco:] MICHAEL: Find Hagen. [Rocco sets off; as more pictures are taken, and the:] [BOYS' CHOIR sings its lovely arrangement of "Mr. Wonderful."] [INT. TAHOE BOATHOUSE - MED. VIEW - DAY] [Michael, the Senator, Neri and Rocco make a group in the dark, large room.] MICHAEL: It was very kind of you to come to my home on this occasion, Senator. My wife has been very concerned with making a good impression on the people who are our neighbors, and your appearance here has made her very happy. If I can ever perform a service for you, you only have to ask. [The door opens, and Hagen sheepishly makes his way in.] MICHAEL: My lawyer, Tom Hagen. He arranged this all through your man Turnbull. SENATOR GEARY: I thought we would meet alone. MICHAEL: I trust these men with my life. They are my right arms; I cannot insult them by sending them away. SENATOR GEARY *taking out some medication*: Some water. [He addresses that to Neri, who resentfully goes to fetch the Senator a gla** of water.] SENATOR GEARY: Alright, Corleone. I'm going to be very frank with you. Maybe more frank than any man in my position has ever spoken to you before. [Michael nods, indicating that he should do so.] SENATOR GEARY: The Corleone family controls two major hotels in Vegas; one in Reno. The licenses were grandfathered in, so you had no difficulties with the Gaming Commission. But I have the idea from sources... *takes the water from Neri and swallows his pills* ...that you're planning to move in on the Tropicana. In another week or so you'll move Klingman out, which leaves you with only one technicality. The license, which is now in Klingman's name. MICHAEL: Turnbull is a good man. SENATOR GEARY: Let's forget the bullsh**, I don't want to stay here any longer than I have to. You can have the license for two hundred and fifty thousand in cash, plus a monthly fee equal to five percent of the gross... [Michael is taken aback; he looks at Hagen.] SENATOR GEARY: ...of all three Corleone hotels. [Hagen is frustrated; all his information was wrong.] MICHAEL: Senator Geary, I speak to you as a businessman who has made a large investment in your state. I have made that state my home; plan to raise my children here. The license fee from the Gambling Commission costs one thousand dollars; why would I ever consider paying more? SENATOR GEARY: I'm going to squeeze you, Corleone, because I don't like you; I don't like the kind of man you are. I despise your masquerade, and the dishonest way you pose yourself and your f**ing family. [VIEW ON HAGEN glances at Michael.] [VIEW ON MICHAEL makes no outward reaction.] MICHAEL *quietly*: We're all part of the same hypocrisy, Senator. But never think it applies to my family. SENATOR GEARY: All right, then let me say you'll pay me because it's in your interests to pay me. [VIEW ON GEARY rising.] SENATOR GEARY: I'll expect your answer, with payment, by tomorrow morning. Only don't contact me...from now on, deal only through Turnbull. [He is almost out the door.] MICHAEL: Senator... *cold and calm* ...you can have my answer now if you'd like. [Geary turns back.] MICHAEL: My offer is this. Nothing...not even the thousand dollars for the Gaming Commission, which I'd appreciate if you would put up personally. [Geary returns Michael's hard look; then laughs and leaves. Slowly Michael turns to Hagen.] [VIEW ON HAGEN embarra**ed at being so off the mark.] MICHAEL: It's all right, Tom, we'll talk later. Tell Frankie Pentangeli I'd like him to have dinner at my family table before we do business. [EXT. THE PAVILION - NIGHT] [Now the light has faltered, and the young waiters have put up the night lights. The tables are all properly set for dinner, with candles on each one.] [The orchestra is playing quiet, unobtrusive dinner music, and many of the guests have begun to help themselves to the impressive buffet, under a party tent.] [MED. VIEW] [Michael sits at a large table with Kay, his son Anthony, Mama, Hagen and TERESA, Connie and Merle' Fredo and Deanna, and Frankie Pentangeli.] MAMA: Cent' Anne. [This, the table of honor, all raise their gla**es and repeat the toast.] DEANNA: What's 'cent' Anne?' FREDO: A hundred years...it's a toast. CONNIE: It means we should all live happily for one hundred years. The family. If my Father were alive, it'd be true. MAMA: Connie. CONNIE: Merle, have you met my sister-in-law Deanna? DEANNA: What a pleasure, Merle. [Shaking hands] MAMA *Sicilian*: Those two are perfect for each other. MERLE: What's that mean? CONNIE: Mama! PENTANGELI *Sicilian*: Michael, in all respect, I didn't come three thousand miles for dinner. MICHAEL *Sicilian*: I know. PENTANGELI *Sicilian*: When do we talk? MICHAEL *Sicilian*: After dinner. [By now, the conversation has become exclusively Sicilian, with Merle and Deanna, looking from side to side like in a tennis match. Finally, Kay, to be polite:] KAY: Anthony, you were talking to Mr. Pentangeli? ANTHONY: His name is "Five-Angels." PENTANGELI: Yeah, the kid and me talked Sicilian. A one-way conversation! [INT. TAHOE BOATHOUSE - NIGHT] [Pentangeli is angry; but because it is Michael he is talking to, he keeps his voice low and represses his desire to shout.] PENTANGELI: Sure, Pete Clemenza died of a heart attack, but the Rosato Brothers gave it to him. MICHAEL: We were all heartbroken at the news; but that wasn't cause to start a war. PENTANGELI: Okay, now it's my family in Brooklyn; and I wanna keep up Clemenza's loyalty to you. But how can I run my family with you challenging my every move? You're too far from the street, Mike, the only way to reason with the Rosato Brothers is to whack 'em and whack 'em fast. MICHAEL: You were unfair with them. PENTANGELI: Says who? MICHAEL: Clemenza promised Rosato three territories in the Bronx after he died, and then you took over and welched. PENTANGELI: Clemenza promised them nothing, he hated the sonsuvb**hes. MICHAEL: They feel cheated. PENTANGELI: Michael, you're sitting up here in the Sierra Mountains with champagne co*ktails making judgment on the way I run my family. MICHAEL *suddenly in Sicilian*: Your family still carries the name Corleone, and you will run it like a Corleone! PENTANGELI *Sicilian*: And while I feed my family in New York, you put the knife in my back in Miami. MICHAEL *firm*: Frankie, you're a good old man, and you've been loyal to my Father for years...so I hope you can explain what you mean. PENTANGELI: The Rosatos are running crazy; taking hostages, spitting in my face, because they're backed by the Jew in Miami. MICHAEL: I know. That's why I want you to be fair with them. PENTANGELI: How can you be fair with animals? They recruit n******gs and spicks; they do violence in their own Grandmother's neighborhoods. And everything is dope and who*es; the gambling is left to last. Let me run my family without you on my back. I want them taken care of. MICHAEL: No. There are things that I have planned with Hyman Roth. I don't want them disturbed. PENTANGELI: You give your loyalty to a Jew over your own blood. MICHAEL: Frankie, you know my father respected Roth, did business with him. PENTANGELI: He did business...but he never trusted him. [Pentangeli takes his hat, and leaves.] NERI: Should he go? MICHAEL: The old man had too much vino rosso, or he'd never talk openly that way. Let him go back to New York; I've already made my plans. *he checks his watch* It's late; I've spent so little time at the party. [EXT. THE LAWNS AND TABLES - FULL VIEW - NIGHT] [By now the sun has fallen and the lawns of the Corleone estate are lit by moonlight. Beautifully dressed couples dance as the orchestra plays a foxtrot of the late fifties.] [VIEW ON THE DANCE FLOOR] [Deanna has been dancing with Fredo; she has gotten drunk and is teasing her husband by flirting with other men on the floor.] DEANNA: I wanta dance...whatsa matter with that? FREDO: Dancing is alright; you're falling on the floor. DEANNA: Whatsamatter, you don't want me to dance with him 'cause he's a man! FREDO: Deanna, I'm going to belt you right in the mouth! DEANNA: These Eye-ties are really crazy when it comes to their wives. [By now guests are starting to notice the disturbance; Michael is with Kay, and some friends; Rocco catches his eye.] DEANNA *O.S.*: Jesus, never marry a WOP, they treat their wives like sh**. [VIEW on Kay, listening, embarra**ed by her flashy sister-in- law.] [VIEW ON FREDO AND DEANNA] [Rocco pa**es by Fredo and whispers:] ROCCO: Freddie, Mike says take care of it, or I have to. DEANNA: He's a friend of your brother! [Without another word, Rocco grabs firm hold of her and whisks her out of the crowd.] DEANNA: "Shuffle off to Buffa... Shuffle off to Buffa... Shuffle off to Buffalooooo..." [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 gla**es... Red- faced, Klingman gets down on his knees to pick them up once, again. Gla**es 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.] [VIEW ON VITO watching. The two men argue in Italian.] [MED. VIEW] [The young ACTRESS crosses into the area, unaware of the difficulties. The impresario sees her, and frightened, motions that she should keep away.] IMPRESARIO: Carla! [But Fanucci grabs her easily by her slender wrist, and with lightning speed, produces a knife which he holds against her cheek. The impresario wrings his hands in agony.] IMPRESARIO *Sicilian*: No...please, not my daughter. [Whereupon he begins to unlock the box which holds the receipts for the night's box-office.] [VIEW ON GENCO AND VITO] [Hiding, watching. At first, Genco is enraged, as though he would rush up to help his enamorata.] GENCO*Sicilian*: The Black Hand. [Then he backs away. Vito looks at him shocked and disappointed in this cowardly behavior. Genco shakes his head, and points, as though to say that where Fanucci is concerned, there is nothing to be done.] GENCO *Sicilian*: *whispered* Let's get out of here. [VIEW ON FANUCCI] [Has released the girl. Her father pulls her away from him, and slaps her for no reason; then he pays Fanucci.] FANUCCI *Sicilian*: Because you protested, it will cost a hundred more. [EXT. NEW YORK ALLEY - NIGHT] [Genco and Vito; Genco leans against the wall, breathlessly, as though he's had a near escape.] GENCO *Sicilian*: I know what you are thinking, Vitone, but you don't understand yet how things are. Fanucci is of the Black Hand. Everyone in the neighborhood pays him, even my father. VITO *Sicilian*: He's an Italian? GENCO *Sicilian*: A pig of a Neaponitan *spits* VITO *Sicilian*: Why? Why does he bother other Italians? GENCO *Sicilian*: Because he knows them; he knows they have no one to protect them. Vitone? What do you think of my angel? VITO *Sicilian*: Beautiful. GENCO *Sicilian*: Beautiful. VITO: For you, she is beautiful. For me, there is only my wife! GENCO: I know. That's why I brought you with me! [Genco embraces his good friend, and they laughingly walk down the alley.] [The stage door opens, and Fanucci exits, a sinister figure in white, moving down the alley just in front of them, into the night.] [The two friends hold their breath, until he disappears.]