Back to Vegas scene:

"a dapper, dandified Fredo Corleone."

"We must know by the very casting of NERI, BY THE LOOK OF HIM, HIS EYES AND MANNER, THAT HE IS THE NEW LUCA BRASI."

"...lots of girls around. Nice if subtly, Michael turns off of them."

"JULES & LUCY - OUT"

"Moe Green as a heavy of his own; some formidable strength; this is 'his territory'....make that clear...people know him, not Michael, respond to him, not Michael."

"Bugsy Siegal"

"Freddie not certain of his brother's power."

Pitfall: "If Michael has not evolved a notch on his way to being the complete Don. He shouldn't be there yet, but unmistakable he is on his way."

Novel's scene where Kay meets Michael at the airport: "[A] fight out of Paddy Chayefsky, real normal domestic things...all JUXTAPOSED AGAINST NERI AND LAMPONE AND THE MOTORCADE OF BODYGUARDS AND SECURITY CHECKS."

"Repetition of airport scene right after vegas...one has to go."

Back at the mall: "We haven't seen the Don for a LONG time. Nor Clemenza & Tessio. All different."

Last meeting: "Certain negotiations" implies "a big political move up his sleeve (FBI, or something)" "MISDIRECT THE AUDIENCE."

Vito looks like a retired man: "Grandpa Coppola"

"I'd like the scene with Mike and the Don to really resolve their Character dialectic...which has been prepared for all along. THIS IS NECESSARY, that they have a really good moment together."

Mama-Kay scene about going to Church sets up final scene of Kay lighting candles for Michael.

Vito's death: not playing with grandson. Boy comes toward him as he falls, and Vito urges him to run to the house.

"1956? Straighten out the whole time thing."

Vito's funeral: "Genghis Khan on wheels"

"GO REALLY BIG HERE: DON'T STINT WITH EXTRAS. This scene is a testament to the Don's power and influence. It must really be royal."

"Get film on Luciano's funeral in Napoli."

"Alone with Hagen, Mike lets out the exciting news that he's marked to be killed. FIGURE OUT A REALLY GOOD WAY TO DO THIS; the scene in the book is weird."

"By this point, the audience must be sitting on the edge of their seats....YOU MUST RECAPTURE THE KIND OF SUSPENSE EARLIER sections of the book has."

Again, Clemenza brings the proposal from Barzini.