The Godfather Ii Script Pdf

THE GODFATHER:

The Godfather: Part II. Synopsis: The compelling sequel to 'The Godfather', contrasting the life of Corleone father and son. Traces the problems of Michael Corleone (Al Pacino) in 1958 and that of a young immigrant Vito Corleone (Robert De Niro) in 1917's Hell's Kitchen. Michael survives many misfortunes and Vito is introduced to a life of crime. I've tried to make this the most accurate transcript of The Godfather available, but small errors here and there are bound to have happened. If you have any corrections or contributions to this transcript, please email them to me at: jgeoff@jgeoff.com Many thanks to Antonio Iacovelli for some corrections in the Italian, and Rich Madigan for. THE GODFATHER PART II by Mario Puzo and Francis Ford Coppola TRANSCRIPT Transcribed by Drew 'Capo Paulie' Welsh and J Geoff Malta for TheGodfatherTrilogy.com. W/ RealAudio clips! 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. Get the official 'The Godfather: Part II' screenplay and script. Read it now, or download it for later. This isn't a transcript, this is the script-proper version. In other words, a screenplay; a professionally written and formatted script.

Part Two

Screenplay by

Mario Puzo

and

Francis Ford Coppola

SECOND DRAFT:

September 24, 1973

FADE IN:

The ParamountPictures logo is presented over a simple black

background, as a singletrumpetplays the familiartheme of

a waltz. Whiteletteringfades 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 OLDOFFICE - CLOSEVIEWON MICHAEL

CORLEONE - DAY

standing impassively, like a young Prince, recently crowned

King.

CLOSE VIEW ON Michael's hand. ROCCOLAMPONEkisses 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 funeraldirgeplayed in the distance,

as THE VIEW MOVESSLOWLYCLOSER to the empty desk and chair.

DISSOLVE TO:

EXT. A SICILIANLANDSCAPE - FULLVIEW - DAY

We can barely make out the funeralprocessionpassing over

the burnt-brown of a dry river bed. The figures move

slowly, seemingly from out of hundreds of years of the past.

The MUSICIANSwalkingunsteadily on the rocky bed, their

instruments harsh and blaring.

They are followed by six youngpeasant men, carrying the

crude woodencoffin on their shoulders. Then the widow, a

strong large woman, dressed in black, and not accepting the

arms of thosewalking with her.

Behind her, not more than twenty relatives, few children and

paisani continuealonebehind the coffin.

Suddenly, we HEAR the shots of the lupara, and the musicians

stop their playing. The entireprocessionscatters in odd

directions along the rockyriver bed.

The young men struggle with the burden of the heavy coffin,

throwing it out of balance and nearlycrashing to the ground.

We hear a woman SCREAMING:

WOMAN:

(Sicilian)

They've killedyoung Paolo! They've

killed the boy Paolo!

EXT. SICILIANLANDSCAPE - 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 blowingtheirblackdresses 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 bloodwetting her strong hands.

EXT. BARONIALESTATE - TIGHTMOVINGVIEW - 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 VIEWALTERSrevealing that he is beingpulledalong by

his Mother, the Widow, across a fieldleading to the

ornamental gates of a BaronialEstate of some forgotten Noble.

At variouspositions near the gates are men with shotguns,

or lupara. The gates are opened; and the Widow and her boy

are shownbeforeDON 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 standsbefore him with her only

son.

WIDOW:

(Sicilian)

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

never speaks.

DON FRANCESCO:

(Sicilian)

I'm not afraid of his words.

WIDOW:

(Sicilian)

He is weak.

DON FRANCESCO:

(Sicilian)

He will grow strong.

WIDOW:

(Sicilian)

The childcannot harm you.

DON FRANCESCO:

(Sicilian)

He will be a man, and then he will

come for revenge.

THE GODFATHER:

Part Two

Screenplay by

Mario Puzo

and

Francis Ford Coppola

SECOND DRAFT:

September 24, 1973

FADE IN:

The ParamountPictures logo is presented over a simple black

background, as a singletrumpetplays the familiartheme of

a waltz. Whiteletteringfades 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 OLDOFFICE - CLOSEVIEWON MICHAEL

CORLEONE - DAY

standing impassively, like a young Prince, recently crowned

King.

CLOSE VIEW ON Michael's hand. ROCCOLAMPONEkisses 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 funeraldirgeplayed in the distance,

as THE VIEW MOVESSLOWLYCLOSER to the empty desk and chair.

DISSOLVE TO:

EXT. A SICILIANLANDSCAPE - FULLVIEW - DAY

We can barely make out the funeralprocessionpassing over

the burnt-brown of a dry river bed. The figures move

slowly, seemingly from out of hundreds of years of the past.

The MUSICIANSwalkingunsteadily on the rocky bed, their

instruments harsh and blaring.

They are followed by six youngpeasant men, carrying the

crude woodencoffin on their shoulders. Then the widow, a

strong large woman, dressed in black, and not accepting the

arms of thosewalking with her.

Behind her, not more than twenty relatives, few children and

paisani continuealonebehind the coffin.

Suddenly, we HEAR the shots of the lupara, and the musicians

stop their playing. The entireprocessionscatters in odd

directions along the rockyriver bed.

The young men struggle with the burden of the heavy coffin,

throwing it out of balance and nearlycrashing to the ground.

We hear a woman SCREAMING:

WOMAN:

(Sicilian)

They've killedyoung Paolo! They've