The coffin is lowered into an excavation, behind which stands an enormous stone monument; it is of a weeping angel, with the bold inscription: CORLEONE.
NERI'S APT. (1955) ALBERT NERI moves around in his small Corona Apartment; he pulls a small trunk from under his bed. He opens it, and we see in it, nearly folded, a New York City Policeman's uniform. He takes it out piece by piece, almost reverently.
Then the badge, and the identification card; with his picture on it. Slowly, in the solitude of his room, he begins to dress.
INT DAY:
MICHAEL'S BEDROOM (1955) MICHAEL and KAY are getting dressed for the christening in their room. MICHAEL looks very well; very calm; KAY is beginning to take on a matronly look.
INT DAY:
MOTEL ROOM (1955) In a Long Island motel.
ROCCO LAMPONE carefully disassembles a revolver; oils it, checks it, and puts it back together.
EXT DAY:
CLEMENZA'S HOUSE (1955) PETER CLEMENZA about to get in his Lincoln. He hesitates, takes a rag and cleans some dirt off of the fender, and then gets in, drives off.
EXT DAY:
CHURCH (1955) The Church.
Various relatives and friends are beginning to gather at the Church. They laugh and talk. A MONSIGNOR is officiating.
Not all of the participants have arrived yet.
CONNIE is there, with a beaming CARLO. She holds the infant; showing him off to interested people.
EXT DAY:
U.N. PLAZA (1955) NERI walks down the sidewalk in the neighborhood of the UN Building. He is dressed as, and has the bearing of, a policeman. He carries a huge flashlight.
EXT DAY:
MOTEL BALCONY (1955) LAMPONE steps out onto the little balcony of a Sea-Resort Motel; We can see the bright, neon lit sign advertising "ROOMS FACING THE SEA--VACANY".
INT DAY:
CHURCH The Church.
CONNIE holds the baby; the MONSIGNOR is speaking; KAY and MICHAEL stand side by side around the urn.
PRIEST:
(to MICHAEL) Do you pledge to guide and protect this child if he is left fatherless?
Do you promise to shield him against the wickedness of the world?
MICHAEL:
Yes, I promise.
EXT DAY:
FIFTH AVE.
NERI continues up the 55th St. and Fifth Avenue area. He continues until he is in front of Rockefeller Center. On his side of the street, he spots a limousine waiting directly across from the main entrance of the building. Slowly he approaches the limo, and taps on its fender with his nightstick.
