I o"'f

THE GODFATHER

Screenplay
by

MARIO PUZO

and
FRANCIS FORD COPPOLA

SCENE: Michael kills Sollozzo

SECOND DRAFT PARAMOUNT PICTURES

l Gulf and Hestern Plaza
I-larch l, 1971 i'lew York, New York
 86
32C (CONT.)
MICHAEL is relieved.

33A EXT NITE: LUNA AZURA RESTAURANT (WIW.rER 1945)

The car pulls up in front of a little family
restaurant in the Bronx: The •LtJNA AZURE". There
is no one on the street. MICHAEL looks to see if
the DRIVER is going to qet out with them.. He gets
out, and opens the door. SOLLOZZO, .MCCLOSKEY and
MICHAEL get out; the DRIVER remains l.eaning against
the car. They enter the restaurant.

33B INT NITE: LUNA AZURA (WINTER 1945)

A very small family restaurant with a mosaic tile
floor. SOLLOZZO, MICHAEL and McCLUSKEY sit around
a rather small round table near the center of the
room. There are empty booths along the side walls;
with a handful of CUSTOMERS, and ONE c>r TWO WAITERS.
It is very quiet.
UcCLOSREY
Is the Italian food good he1~e?

SOLLOZZO
Try the.veal; it's the finest
in New York.
The solitary WAITER brings a bottle of wine to t..~c
table. They watch him silently as he uncorks it
and pours three glasses. Then, when h·e leaves,
SOLLOZZO turns to McCLUSKEY:
SOLLOZZO
I am going to talk Italian
to Mike.
McCLOSICEY
Sure, you two go right ahead;:
I'll concentrate on my veal ci.nd
my spaghetti.
SOLLOZZO now begins in rapid Sicilian. 1-iICHAEL
listening carefully and nodding every so often. Then
MICHAEL answers in Sicilian, and SOLLOZZO goes on,
The HAITER occasionally brings food 1 and they !;es i tat~
while he is there; then go on. Then MICHAEL, having
difficulty expressing hims<.tlf in Italia.n, accidentally
lapses into English.
 87
33B cco~rr. >

UICHAEL
(using English for
emphasis)
Most important ••• I must have sure
guarantee that no more attempts
wi11 be made on my lather's life.
SOLLOZZO
What qua.rantees can I give you?
I am the hunted one. I've missed
my chance. You think too highly
of me, my friend ••• I am not so
clever ••• all I want is a truce •••
MICHAEL looks lonq and hard at SOLLOZZO, who is
smiling holding his open hands up as if to say:
"I have no tricks up my sleeve". Then he looks away
and makes a distressed look on his face.
SOLLOZZO
What is it?
MICHAEL
The wine went right to my bladde:r.
Is it all right if I go to the
bathroom?
SOLLOZZO is intuitively suspicious. Be studie~ MICH!:..EL
with his dark eyes. Then he thrusts his hand onto
MICHAEL's thigh feeling in and around, searching f~r
a weapon.
McCLUSKEY
I frisked him; I've frisked
thousands of young punks;
he's clean.
He looks at a 1"1AN sitting at a table opposite them;
indicating the bathroom with his eyes. 'rhe •·IAN nods ,
indicating no one is there.
SOLLOZZO
Don't take too long.
MICHAEL qets up and calmly walks to the bathroom,
and disappears inside.

33C Il-;T NITE: LUNA AZURA TOILET (WINTER 1945)

MICHAEL steps into the small bathroom; he is breathing
very hard. He actually uses the urinal. Then he
 88
33C (CONT.)
washes his hands with the bar of pink soap; and
dries them thorouqhly. Then he moves to the booth,
up to the old-fashioned toilet. Slowly he reaches
behind the water tank; he panics when he cannot feel
the gun. We see behind the tank; his hand is just
a few inches from tbe gun ••• he qropes searchingly •••
finally cominq to rest on the qun.
CLOSE ON MICHAEL1 the feel of it reassw:es him. Then
he breaks it loose from the tape holdin9 it; he
takes a deep breath and shoves it under his waistband.
Por some unexplainable reason he hesitates once
again, deliberately washes his hands anc:t dries them •.
Then he goes out.

33D INT NITE: LUNA AZURE (WIN'l'ER 1945)

He hesitates by the bathroom door: and looks at his
table. l•lcCLUSKEY is eatinq a plate of spaghetti and
veal. SOLLOZZO turns around upon hearing the door,
and looks directly at MICHAEL. MICHAEI, looks back.
Then he smiles and continues back to the table.
He sits down.
I•IICHAEL
Now I can talk. I feel much better.
The MAN by the far wall had been stiff with attention~
now he too relaxes. SOLLOZZO leans toward 1·1ICHAEL
who sits do\'m comfortably and his hand:; move under
the table and unbutton his jacket. SO:C,,LOZZO begins
to speak in Sicilian once again but MI1:HAEL' s heart
is poundinq so hard he can barely hear him.
The \·7.AITER comes to ask about the order, SOLLOZZO
turns to speak, and without warninq, MICIIAEL shov-ca
the table away from him with his left hand, and with
his riqht hand puts the gun right against SOLLOZZO's
head, just touchinq his temple. Be pulls the trigger.
and we see part of SOLLOZZO 's head blc•wn away, and
a spray of fine mist of blood cover the entire area.
The WAITER looks in amazement1 suddenly his white
jacket is sprayed and stained with blood.
SOLLOZZO seems in a perpetual fall to the floor;
though he seems to hang in space susp•:mded.
l·1ICHAEL pivots, and looks:
There is McCLUSKEY, frozen, the fork with a piec~ of
 89
330 (CONT.)
veal suspended in air before his gaping mouth.
MICHAEL fires: catching McCLUSKEY in his thick
bulging throat. He makes a horrible, qagging, choking
sound. Then coolly, and deliberate!~', I-1ICP.AEL fires
again, fires riqht through McCLOSKEY's white-topped
skull.
The air is filled with pink mist.
MICHAEL swings toward the MAN standinq by the bath::oai"U
wall.
He does not make a move, seemingly paralyzed.
Now he carefully shows his hands to be empty.
The WAITER steps backward through the mist of blood,
and expression of horror on his face.
MICHAEL looks at his two victims:
SOLLOZZO still in his chair, side of his body
propped up by the table.
McCLUSKEY finally falls from the chair to the table.
MICHAEL is wildly at a peak. He starts to move out.
His hand: is frozen by his side, STILL GRIPPING THE
GUN.
He moves, not letting the qun go.
MICHAEL' s face 1 frozen in its express:l.on.
His hand: still holding the gun.
His face: finally he closes his eyes.
Bis hand relaxes, the gun falls to thet floor with ;i
dull thud.
He walks quickly out' of the restaurant, looks back.
He sees a frozen tableau of the murder; as though it
had been recreated in wax.
Then he leav·es.
--------------------------------------.FADE OC'I'----·-·--.·-

FADE n"i:

J-eA INT DAY: MATTRESS cwn1TER 1945)

A MAl.'\l in his shirtsleeves plays a sentime11tal tun,;; on

an old upright piano, while his cigarette burn~• on th~
edge. A..."'IOTHER stands nearby, listenin9 quietly.
A little distance away, TEN MEN sit arc>U:""ld a cruda
table, quietly eating. They talk in lc)w, rela:;ed