Francis Ford Coppola - The Godfather Scene 7 lyrics

MICHAEL: And I meant no disrespect to you, or your daughter...*Fabrizio translates.* VITELLI *in Italian*: Who is this? He sounds American... MICHAEL: I am an American...hiding in Sicily...*Fabrizio translates.* MICHAEL: My name is Michael Corleone...*Fabrizio translates.* MICHAEL: There are people who'd pay a lot of money for that information...*Fabrizio translates.* MICHAEL *after Vitelli nods*: But then your daughter would lose a father...*Fabrizio translates.* MICHAEL:... instead of gaining a husband. *Fabrizio hesitates, then translates after Michael gestures.* CALO *in Italian*: Ah – MICHAEL: I wanna meet your daughter...*Fabrizio translates.* MICHAEL: ... with your permission...*Fabrizio translates.* MICHAEL:... and under the supervision of your family.*Fabrizio translates.* MICHAEL: With all respect. *Fabrizio translates.* VITELLI *in Italian*: Come to my house Sunday. My name is Vitelli... MICHAEL: Grazie e como se chiama, vostra figlia? VITELLI: Apollonia. MICHAEL: Bene. [DISSOLVE TO: TOMMASINO'S VILLA COURTYARD – DAY] [Michael, Calo, and Fabrizio get ready to drive to Vitelli's. The Love Theme plays.] [DISSOLVE TO: VITELLI'S YARD – DAY] [Michael, holding gifts, is introduced to each of the relatives, then to Apollonia, after she descends the steps and sits on the bench beside her mother.] VITELLI *introducing Apollonia to Michael*: E guesta mia figlia, Apollonia e guesto Michele Corleone. *Apollonia shakes Michael's hand, accepts his gift, and looks at her mother who nods, giving her permission to open it. She unwraps a boxed necklace.* APOLLONIA *holding the necklace*: Grazie. MICHAEL: Prego. [DISSOLVE TO: VITELLI'S CAFE – DAY] [Michael and his bodyguards drive up to the cafe and sit with Vitelli, who is jovial, and his family.] VITELLI *to Michael; in Italian*: What happened to your eye... MICHAEL *in Italian*: No, no...it's okay...*Michael looks at Apollonia, who's wearing the necklace. She touches the necklace, and they smile at each other.* CUT TO: HILLTOP IN THE VILLAGE – DAY [Michael and Apollonia are walking and talking. Behind them walk many female relatives. Behind the women, Fabrizio and Calo with their luparas.] CUT TO: LUCY MANCINI'S APARTMENT BUILDING – NEW YORK – DAY [Three bodyguards are pitching pennies outside where Sonny's car is parked. There are others inside the lobby and on the stairs.] CUT TO: OUTSIDE LUCY'S APARTMENT DOOR – DAY [She pushes the door open, revealing Sonny in an embrace with her. Sonny jumps back as though goosed.] SONNY *as he exits, Lucy smiles*: Hey! I'm gonna knock you dizzy. *coming down the stairs, to a bodyguard reading in the lobby* Save it for the library. Come on, we got to go pick up my sister...let's go. *Sonny leaves the building, looking around the street.* CUT TO: CONNIE AND CARLO'S APARTMENT – DAY [Connie unlocks the door for Sonny, turning away from him as he enters.] SONNY: Wha's the matter? *then* Huh? What'sa matter? *Connie faces him with a bruised face. Sonny bites his knuckles.* CONNIE: It was my fault! SONNY: Where is he? CONNIE: Sonny, please, it was my fault. Sonny, it was my fault! I hit him. I started a fight with him. Please let me be. I hit him, so he hit me. I didn't...I - SONNY: Sh sh sh sh sh. Okay. I'm just... uh...I'm just gonna get a doctor to come and take a look at you, alright? CONNIE: Sonny, please don't do anything...please don't do anything! SONNY: Okay. What's the matter with you? What am I gonna do...I'm gonna make that baby an orphan before he's born or what? Huh? Hmmm? *after Connie laughs* All right? CUT TO: CITY STREET – DAY [Carlo is seated on a stoop with two men.] CARLO *watching a man leave the building*: This fat slob's still bettin' the Yankees pretty heavy? You tell 'em to stop takin' action on 'em, alright? *then* We lost enough money last week on the game... [Sonny's car appears, screeches to a halt. He gets out.] SONNY: *as he throws a sawed-off broom stick at Carlo* Carlo, come'ere! come'ere!, come'ere!, come'ere! *after catching him after a short chase and beating him* You ba*tard! *Sonny punches and kicks Carlo while bodyguards hold back on- lookers. Carlo screams when Sonny bites his knuckles which are clenched to a metal fence. Sonny slams a garbage can lid on Carlo's head over and over. The one-sided fight continues until Carlo ends up motionless on his back in the downpour of an open fire hydrant that kids were playing in.* SONNY *exhausted*: You touch my sister again, I'll k** ya. *As Sonny begins to walk away, he stops, goes back, and kicks Carlo one last time.* CUT TO: VILLAGE CHURCH IN SICILY – DAY [Traditional Sicilian wedding music plays as the church bells ring. The priest blesses Michael and Apollonia as they kneel at the church's entrance. Apollonia's family, and other townspeople are gathered around. Fabrizio and Calo look on.] PRIEST *in Latin*: Et Domini Patri...et Filii...et Spiritu Sanctu – Amen. *The bridal procession makes its way up the street. Appolonia and Michael, the bride and groom, are followed by the procession, which includes Tommasino being helped with his wheelchair, Calo and Fabrizio.* CUT TO: VILLAGE SQUARE [Michael and Apollonia and guests are dancing at the reception, to the Mazurka *alla Siciliana*.] [DISSOLVE TO: MICHAEL'S BEDROOM – NIGHT] [Michael opens the shutters. Apollonia stands in her wedding slip, seemingly a little nervous. Michael goes and kisses her. She lets down her slip. They embrace and kiss.] CUT TO: CORLEONE MAIN GATE – NEW YORK – DAY [Kay gets out of a cab and a bu*tonman lets her through the gate. Tom hurries out of the house to meet her.] TOM: Hey! We weren't expecting you, Kay you should call. KAY: Yes, well...I have. I mean I've tried writing and calling. Now I want to reach Michael. TOM: Nobody knows where he is. We know that he's alright, but that's all. KAY: Uh...*after noticing a wrecked car behind her* What was that? TOM: Well that's an accident, but nobody washurt... KAY: Tom... *after taking a letter from her pocket and handing it to him* Will you give this letter to Michael, please? Please? TOM *refusing the letter*: Well, if I accepted that in a court of law they could prove that I have knowledge of his whereabouts. Now you just be patient, Kay he'll get in touch with you, alright. KAY *as Tom touches her shoulder*: I let my cab go so can I come in to call another one, please? TOM *taking Kay's arm*: Come on, I'm sorry...come on. [FADE OUT DISSOLVE TO: CONNIE AND CARLO'S APARTMENT – EVENING] [The phone rings, and Connie enters to pick it up.] CONNIE *into phone*: Hello...hello? WOMAN'S VOICE *over the phone*: Is Carlo there? CONNIE *into phone*: Who's this? WOMAN'S VOICE *over the phone, giggling*: This is a friend of Carlo's – would you tell him that I can't make it tonight until later? CONNIE *hanging up the phone, walking to the bedroom*:... b**h! CUT TO: BEDROOM [Carlo is tying his tie in a mirror. Connie comes in.] CONNIE: Dinner's on the table... CARLO: I'm not hungry yet. CONNIE: The food is on the table. It's getting cold. CARLO: I'll eat out later. CONNIE: You just told me to make you dinner! CARLO: Hey, bafangool, eh? Leave me alone. CONNIE: Ah, bafangool, you! *Connie runs out.* CARLO *hearing dishes breaking*: What the hell is she up to now, this little guinea brat...*Carlo goes out of the bedroom.* CUT TO: KITCHEN [Connie is breaking dishes.] CARLO: That's it, break it all you spoiled guinea brat...break it all! CONNIE *running into the dining room as Carlo follows*: Why don't you bring...*disturbing the set table* Why don't you bring your who*e home for dinner? And get... CARLO *after Connie tosses a pitcher of wine*: Maybe I will! Why not? Yeah you, ga'head...*Connie, screaming and crying, pushes vases and dishes from the cabinet onto the floor, breaking them.* CARLO *yelling*: Now clean it up! CONNIE *yelling*: Aw, like hell I will! CARLO *yelling, removing his belt and striking and chasing Connie*: Clean it up! Clean it up, you guinea spoiled brat! Clean it up! Clean it up, I said clean it up! Clean that up! Clean it up! CONNIE *yelling*: You son-of-a-b**h! CARLO *yelling*: Clean it up! Clean that up you son-of-a-b**h! Clean it! Clean it up! *once Connie picks up a butcher knife* Yeah yeah...come on now, k** me. Be a murderer like your father. Come on, all you Corleones are murderers anyway. CONNIE *yelling, after Carlo grabs her arm, the knife falls, and she runs*: I will! I will! I hate you! I'll k** you! I'll k** you! CARLO *yelling*: Come on, you k** me. Get out here! Get out here! CONNIE *yelling, running into the bathroom, closing the door*: I hate you! CARLO *yelling, kicking the door open, and beating her as she screams*: Ga'head...now I'll k** you! You guinea brat you! Get out here! CUT TO: THE DON'S KITCHEN – DAY [Mama Corleone answers the phone with a Santino Jr. in her arms, who's crying loudly.] MAMA *into phone, as baby cries*: Connie, what's a' matter. I can't hear you, what is it? Connie, talk louder...the baby's crying. *as Sonny comes in* Santino, I can't understand...I don't know...I don't understand 'er... SONNY *towards Sandra who's trying to calm the baby*:Shhhh. *into the phone just before the baby screams* Yeah, Connie... CONNIE'S VOICE *on the phone, barely audible*: Carlo... now don't you come... SONNY *into the phone*: Listen you wait there. CONNIE *over the phone, barely audible* SONNY: No no...you just wait there! *irate, hanging up the phone*: Sonofab**h. MAMA: What's the matter? SONNY *as he leaves the kitchen*: Son-of-a-b**h! MAMA: What's the matter? SONNY *O.S.*: Son-of-a... SANDRA *going after him*: Sonny...? [DISSOLVE TO: THE CORLEONE MALL – DAY] [Sonny runs out to his car.] SONNY *to guard at the gate*: Open the goddamn gate. Get off your a**. *Tom runs out of the house with a bu*tonman as Sonny turns his car around.* bu*tONMAN *to another, leaning against the building*: Come on. TOM: Sonny! Sonny, come on... SONNY *to Tom, irate, as he drives toward the gate*: Get out of here! TOM *to some bu*tonmen*: Move out. Go on! *bu*tonmen rush into the car and go after Sonny.* CUT TO: CAUSEWAY TOLLBOOTHS – DAY [We faintly hear a baseball game over a radio. Sonny's car drives up to the tollbooth. He grabs a bill from his pocket and hands it to the toll-collector. The car in front of Sonny's seems to be having a problem moving and Sonny sounds his horn.] SONNY: Son-of-a-b**h! Come on! Come on! *The toll-collector "drops" Sonny's change, and bends to pick it up, sliding the booth's door shut. Sonny turns his head and notices a line of armed men pointing their weapons at him. A fusillade of shots pelt the car, and Sonny, as he stumbles out screaming. Once fallen and dead, a hitman comes up and shoots him from very close range, stops, then kicks him in the head. The a**a**ins flee before the Corleone car shows up.* [DISSOLVE TO: THE DON'S OFFICE – NIGHT] [Tom Hagen is somberly having a drink. A slow, somber version of the Title Theme is heard. The Don enters.] VITO CORLEONE *holding out his hand for Tom's drink*: Give me a drop...*after sipping the drink and handing it back to Tom* My wife is crying upstairs. I hear cars coming to the house. Consiglieri of mine, I think you should tell your Don what everyone seems to know... TOM: Ah, I didn't tell Mama anything. I was about to come up and wake you just now and tell you... VITO CORLEONE: But you needed a drink first. TOM *shaking his head, then says quietly*: Yup... VITO CORLEONE: Well, now you've had your drink. TOM *his voice breaking*: They shot Sonny on the Causeway. He's dead. VITO CORLEONE *exhales, bows his head; physically shaken and weakened*: I want all 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. *The Don, weakly standing, goes to embrace Tom. Then he begins to exit.* VITO CORLEONE: Call Bonasera. We need him now. [The Don exits, as Tom dials the phone.] CUT TO: BONASERA Frightened, waiting by an elevator at his funeral parlor.