Francis Ford Coppola
September 24, 1973
The Paramount Pictures logo is presented over a simple black
background, as a single trumpet plays the familiar theme of
a waltz. White lettering fades 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 OLD OFFICE - CLOSE VIEW ON MICHAEL
CORLEONE - DAY
standing impassively, like a young Prince, recently crowned
CLOSE VIEW ON Michael's hand. ROCCO LAMPONE kisses 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 funeral dirge played in the distance,
as THE VIEW MOVES SLOWLY CLOSER to the empty desk and chair.
EXT. A SICILIAN LANDSCAPE - FULL VIEW - DAY
We can barely make out the funeral procession passing over
the burnt-brown of a dry river bed. The figures move
slowly, seemingly from out of hundreds of years of the past.
The MUSICIANS walking unsteadily on the rocky bed, their
instruments harsh and blaring.
They are followed by six young peasant men, carrying the
crude wooden coffin on their shoulders. Then the widow, a
strong large woman, dressed in black, and not accepting the
arms of those walking with her.
Behind her, not more than twenty relatives, few children and
paisani continue alone behind the coffin.
Suddenly, we HEAR the shots of the lupara, and the musicians
stop their playing. The entire procession scatters in odd
directions along the rocky river bed.
The young men struggle with the burden of the heavy coffin,
throwing it out of balance and nearly crashing to the ground.
We hear a woman SCREAMING:
They've killed young Paolo! They've
killed the boy Paolo!
EXT. SICILIAN LANDSCAPE - 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 blowing their black dresses 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 blood wetting her strong hands.
EXT. BARONIAL ESTATE - TIGHT MOVING VIEW - 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 VIEW ALTERS revealing that he is being pulled along by
his Mother, the Widow, across a field leading to the
ornamental gates of a Baronial Estate of some forgotten Noble.
At various positions near the gates are men with shotguns,
or lupara. The gates are opened; and the Widow and her boy
are shown before DON 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 stands before him with her only
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
I'm not afraid of his words.
He is weak.
He will grow strong.
The child cannot harm you.
He will be a man, and then he will
come for revenge.