∞

[Verse 1: George Harrison]

Been beat up and battered around

Been sent up, and I've been shot down

You're the best thing that I've ever found

Handle me with care

[Verse 2: George Harrison]

Reputation's changeable

Situation's tolerable

But, baby, You're adorable

Handle Me with Care

[Pre-Chorus: Roy Orbison]

I'm so tired of being lonely

I still have some love to give

Won't you show me that you really care?

[Chorus: Bob Dylan and Tom Petty]

Everybody's got somebody to lean on

Put your body 

next to mine, 

and dream on

[Verse 3: George Harrison]

I've been fobbed off, and I've been fooled

I've been robbed and ridiculed

In daycare centers and night schools

Handle me with care

[Verse 4: George Harrison]

Been stuck in airports, terrorized

Sent to meetings, hypnotized

Overexposed, commercialized

Handle me with care

[Pre-Chorus: Roy Orbison]

I'm so tired of being lonely

I still have some love to give

Won't you show me that you really care?

[Chorus: Jeff Lynne and Roy Orbison]

Everybody's got somebody to lean on

Put your body next to mine, and dream on

[Verse 5: George Harrison]

I've been uptight and it made a mess

But I'll clean it up myself, I guess

Oh, the sweet smell of success

Handle me with care

CONTRIBUTE

[Verse 1: Tom Petty]

She was there at the bar, she heard my guitar

She was long and tall, she was the queen of them all

[Chorus]

Last night, thinking about last night

Last night, thinking about last night

[Verse 2: Tom Petty]

She was dark and discreet, she was light on her feet

We went up to her room and she lowered the boom

[Chorus]

Last night, thinking about last night

Last night, thinking about last night

[Verse 3: Roy Orbison]

Down below they danced and sang in the street

While up above the walls were steaming with heat

[Chorus]

Last night, thinking about last night

Last night, thinking about last night

[Verse 4: Tom Petty]

I was feeling no pain, feeling good in my brain

I looked in her eyes, they were full of surprise

[Chorus]

Last night, talking about last night

Last night, talking about last night

[Verse 5: Roy Orbison]

I asked her to marry me she smiled and pulled out a knife

The party's just beginning she said, "Your money or your life?"

[Chorus]

Last night, talking about last night

Last night, talking about last night

[Verse 6: Tom Petty]

Now I'm back at the bar, she went a little too far

She done me wrong, all I got is this song

[Outro]

Last night, thinking about last night

Last night, thinking about last night

Last night, talking about last night

Last night, talking about last night

Last night, thinking about last night

Last night...

[Chorus: George Harrison]

Well it's all right, 

riding around in the breeze

Well it's all right,

 if you live the life you please

Well it's all right,

  doing the best you can

Well it's all right, 

as long as you lend a hand

[Verse 1: Tom Petty]

You can sit around and wait for the phone to ring

Waiting for someone to tell you everything

Sit around and wonder what tomorrow will bring

Maybe a diamond ring

[Chorus: Jeff Lynne]

Well it's all right,

 even if they say you're wrong

Well it's all right,

 sometimes you gotta be strong

Well it's all right, 

as long as you got somewhere to lay

Well it's all right, 

every day is Judgement Day

[Verse 2: Tom Petty]

Maybe somewhere down the road away

You'll think of me, and wonder where I am these days

Maybe somewhere down the road when 

somebody plays

Purple haze

[Chorus: Roy Orbison]

Well it's all right, 

even when push comes to shove

Well it's all right, 

if you got someone to love

Well it's all right, 

everything'll work out fine

Well it's all right, 

we're going to the end of the line

[Verse 3: Tom Petty]

Don't have to be ashamed of the car I drive

I'm just glad to be here, happy to be alive

It don't matter if you're by my side

I'm satisfied

[Chorus: George Harrison, Jeff Lynne & George Harrison]

Well it's all right, even if you're old and grey

Well it's all right, you still got something to say

Well it's all right, remember to live and let live

Well it's all right, the best you can do is forgive

Well it's all right, riding around in the breeze

Well it's all right, if you live the life you please

Well it's all right, even if the sun don't shine

Well it's all right, we're going to the end of the line

[Chorus: George Harrison]

Well it's all right, riding around in the breeze

Well it's all right, if you live the life you please

Well it's all right, doing the best you can

Well it's all right, as long as you lend a hand

[Verse 1: Tom Petty]

You can sit around and wait for the phone to ring

Waiting for someone to tell you everything

Sit around and wonder what tomorrow will bring

Maybe a diamond ring

[Chorus: Jeff Lynne]

Well it's all right, even if they say you're wrong

Well it's all right, sometimes you gotta be strong

Well it's all right, as long as you got somewhere to lay

Well it's all right, everyday is Judgement Day

[Verse 2: Tom Petty]

Maybe somewhere down the road away

You'll think of me, and wonder where I am these days

Maybe somewhere down the road when somebody plays

Purple haze

[Chorus: Roy Orbison]

Well it's all right, even when push comes to shove

Well it's all right, if you got someone to love

Well it's all right, everything'll work out fine

Well it's all right, we're going to the end of the line

[Verse 3: Tom Petty]

Don't have to be ashamed of the car I drive

I'm just glad to be here, happy to be alive

It don't matter if you're by my side

I'm satisfied

[Chorus: George Harrison, Jeff Lynne & George Harrison]

Well it's all right, even if you're old and grey

Well it's all right, you still got something to say

Well it's all right, remember to live and let live

Well it's all right, the best you can do is forgive

Well it's all right, riding around in the breeze

Well it's all right, if you live the life you please

Well it's all right, even if the sun don't shine

Well it's all right, we're going to the end of the line

I don't want nothing

Nothing but you

And I'm waiting

Looking for a new blue moon

I'm so tired waiting

Waiting for you

And I'm waiting

Looking for a new blue moon

So many moons have come and gone

And none of them were blue

Too many times the sun came up, but

It came up without you, you, ya yoo hoo ooh

You won't call me

Call me lonely

And I'm waiting

Looking for a new blue moon

So many moons have come and gone

And none of them were blue

Too many times the sun come up, but

It came up without you, you, you, you yahoo

Someday when you want me

Someday you may see

I was waiting

Looking for a new blue moon

I was waiting

Looking for a new blue moon

Blue moon

You took my breath away

I want it back again

Look at the mess I'm in

I don't know what to say

I don't know how to feel

You don't care anyway

All I can do is wait

You took my breath away

You took this song of mine

And changed the middle bit

It used to sound alright

But now the words don't fit

It's getting hard to rhyme

Impossible to play

I've tried it many times

You took my breath away

One day when the sun is shining

There will be a silver lining

You knocked my headlights out

So turn them on again

I can't see where I'm going

I can't tell where I've been

I don't know how to feel

This hasn't been my day

Seems like I've lost a wheel

You took my breath away

You took my breath away

You took my breath away

You took my breath away

A Fairy Godmother

 

“I felt like that, once, 

when I was Young.

[Road - Three Years Earlier]

(Yasmin is sitting by the side of the road when The Police Car draws up and The Policewoman gets out.) 

ANITA: 

Hitchhiking? 

YASMIN: 

No. 

ANITA: 

Just taking in The View?

 [ Thats' a Good One -- She's Funny. There ISN'T one - this stretch of road is in the complete Middle of Nowhere and it is seemingly flat, bland and featureless as far as The Eye can see, in every direction. ] 

[ No promise of an opportunity, even, to go down to The Crossroads, and meet The Devil. ]

YASMIN: 

Not Breaking The Law, am I? 

ANITA: 

No. Where are you off to? 

YASMIN: 

Away. 

ANITA: 

It's good there. 

YASMIN: 

Leave Me Alone. 

ANITA: 

Can't do that. 

YASMIN: 

Why not? 

ANITA: 

People are Worried about you. 

YASMIN: 

No, they're not. 

ANITA: 

Your Sister is. 

That's why she called us. 

She's worried you've left and are going to do something stupid. 

I've heard things are tough. 

Getting bullied at school? 

Grades have gone a bit wonky? 

Parents don't get what's up? 

You must be feeling pretty Trapped and Alone. 

YASMIN: 

I'm feeling way more than that. 

ANITA: 

That's better than the other way. 

YASMIN: 

What? 

ANITA: 

Well, Feeling Things isn't Wrong. 

YASMIN: 

I don't want your speech. 

ANITA: 

I know. 

The Terrible Thing about Being Older is, 

You have all this experience, 

and nobody ever wants to hear it. 

'Cos I know that there's so much ahead of you. 

What if This Moment, where you want to run away from everyone, including yourself, is just that. 

A Moment. 

What if we find a way to get you through it and out The Other Side? 

I've been Where You Are. 

Moments Change. 

Help's out there. As much or as little as you need. 

YASMIN: 

I'm not listening to you. 

ANITA: 

Would Hard Cash make a difference? 

I'll make you a deal. 

Look me up in three years. 

If I'm Wrong, I'll give you 50 Quid. 

I mean, I'd say more, but the pay's rubbish. 

YASMIN: 

Get another job, then. 

ANITA: 

Can't. 

Love it too much. 

But if I'm Right, you owe me 50p. 

Come on, those are good odds.

[Number 79]

(Yasmin knocks on the door.) 

ANITA: 

Hi, can I help you? 

YASMIN: 

Hi. You won't remember me. 

My name's Yasmin... 

ANITA: 

Yasmin Khan. 

I flippin' do remember you. 

YASMIN: 

I've got something for you. 

(Holds out a 50p piece.) 

ANITA: 

You wanna come in?

Not Exactly a Love Song, Spock....

Star Trek Into Darkness - Uhura and Spock Argue HD]

SPOCK: 

We will arrive at Harrison's location in three minutes.

Captain. it is unlikely that he will come willingly. 

I calculate the odds of him attempting to kill us at 91 .6%.

KIRK: 

Fantastic.

UHURA: 

Good thing you don't care about dying.

SPOCK: 

I am sorry, Lieutenant. 

I could not hear what you said.

UHURA: 

Oh, I didn't say anything. 

Actually, I'd be happy to speak if you're willing to listen to me.

KIRK: 

Guys.

SPOCK: 

Lieutenant, I would prefer to discuss this in private.

UHURA: 

You'd prefer not to discuss this at all, that's —

SPOCK: 

Our current circumstances...

KIRK: 

Are you, are you really gonna do this right now?

UHURA: 

What never seems to require your undivided focus. 

I'm sorry, Captain, just two seconds. Okay, its us. 

At that volcano, you didn't give a thought to us. 

What it would do to me if you died, Spock. 

You didn't feel anything. 

You didn't care. 

And I'm not the only one who's upset with you. 

The Captain is too.

KIRK: 

No. No, no...,

Don't drag •me• into this....

She •is• right, though.

SPOCK: 

Your suggestion that I do not care about dying is incorrect. 

A sentient being's optimal chance at maximising their utility is a long and prosperous life.

UHURA: 

Great.

KIRK: 

Not exactly a love song, Spock.

SPOCK: 

You misunderstand. 

It is True, I chose not to feel anything upon realising that my own life was ending. 

As Admiral Pike was dying, I joined with his consciousness and experienced what he felt at the moment of his passing. 

Anger. Confusion. 

Loneliness. Fear. 

I had experienced those feelings before, multiplied exponentially on the day my planet was destroyed. 

Such a feeling is something I choose never to experience again. 

Nyota, you mistake my choice •not• to feel as a reflection of my not caring. 

Well, I assure you, 

The Truth is precisely The Opposite.

That's What Makes People Mean and Difficult - People Don't Care Enough About Them.

"I came down here to keep a promise. 

I gave Kayo my word that if he stood up to the Mob.

I'd stand up with him all the way. 
And now Kayo Dugan is dead. 
He was one of those fellows who had the gift for standing up. This time they fixed him. 

They fixed him for good this time, unless it was an accident like Big Mac says. 

Some people think the Crucifixion only took place on Calvary. They better wise up!

Taking Joey Doyle's life to stop him from testifying is a crucifixion. 

Dropping a sling on Kayo Dugan because he was ready to spill his guts tomorrow that's a crucifixion. 

Every time the mob puts the crusher on a good man tries to stop him from doing his duty as a citizen, it's a crucifixion.

And anybody who sits around and lets it happen, keeps silent about something he knows has happened, shares the guilt of it just as much as the Roman soldier who pierced the flesh of Our Lord to see if He was dead. 

Go back to your church, Father. 

Boys, this is my church. 

If you don't think Christ is down here on the waterfront you've got another guess coming! 

Get off this dock, Father! 

Tillio, don't do that.

Whose side are you on, boy? 

Let him finish. 

Every morning when the hiring boss blows his whistle, Jesus stands alongside you in the shape-up. 

He sees why some of you get picked and some of you get passed over. 

He sees the family men worrying about getting their rent and getting food for the wife and kids. 

He sees you selling your souls to the mob for a day's pay. 

The next bum that throws something deals with me! 

I don't care if he's twice my size! 

What does Christ think of the easy-money boys who do none of the work and take all the gravy? 

How does he feel about the fellows who wear $200    suits and diamond rings on your union dues and your kickback money? 

And how does He, who spoke up without fear against every evil feel about your silence? 

Shut up about that! Just watch this. 

You see that? You want to know what's wrong with our waterfront? 

It's the love of a lousy buck. 

It's making love of a buck, the cushy job more important than The Love of Man. 

It's forgetting that every fellow down here is your brother in Christ. 

But remember, Christ is always with you. 

Christ's in the shape-up, in the hatch, in the union hall. 

He's kneeling right here beside Dugan and He's saying with all of you: "If you do it to the least of mine, you do it to me." 

What they did to Joey and to Dugan they're doing to you and you. All of you! 

And only you, only you with God's help have the power to knock them out for good. 

Okay, Kayo. 
Amen.

They Don't Say if He's Dead or Alive....

If there is trouble, I stay here to help you. 

For your father -- for your father.

Enzo The Baker

CUT TO: Michael and Kay walking outside of Radio City Music Hall, which is showing Leo McCarey's "The Bells of St. Mary's" which Michael and Kay just saw. The music playing is "Bells of St. Mary's" -evening 

KAY

Mike, would you like me better if I were a nun? 
Like in the story, you know? 

MICHAEL (after pausing)

No. 

KAY

Then would you like me better if I were Ingrid Bergman? 

MICHAEL

Now that's a thought... 

KAY (shaken)

Michael... 

MICHAEL

No, I would not like you better if you were Ingrid Bergman. 

KAY (upset)

Michael... 

MICHAEL

What's the matter? 

KAY

Michael... 

They walk back to a newsstand they had just passed, and Michael picks up the

Daily Mirror which has the headline: 
"VITO CORLEONE FEARED MURDERED." 
He flips the pages to reveal an inside article: 
"Assassins Gun Down Underworld Chief" 

MICHAEL

They don't say if he's dead or alive... 

[They run across the street to a phone booth to call Sonny] 

MICHAEL (into the phone)

Sonny -- Michael. 

SONNY'S VOICE (over the phone)

Michael, where you been? 

MICHAEL (into the phone)

Is he all right? 

SONNY'S VOICE (over the phone)

We don't know yet. 
There's all kinds of stories.

(then, after a sigh)

He was hit bad, Mikey...

(then)

Are you there? 

MICHAEL (into the phone)

Yeah, I'm here. 

SONNY'S VOICE (over the phone)

Where you been? 
I was worried. 

MICHAEL (into the phone)

Didn't Tom tell you? 
I called. 

SONNY'S VOICE (over the phone)

No -- look, come home, kid. 
You should be with Mama, ya'hear? 

MICHAEL (into the phone)

Alright... 

CUT TO: Sonny's house just after talking to Michael on the phone. Sonny hangs up. -night 

SANDRA (sadly hugging Sonny)

Oh my God... 

[there's a loud crash heard OS from outside the house] 

SANDRA (as the baby, Santino Jr, starts to cry)

Oh! Sonny! 

[Sonny searches for and finds his gun from a drawer] 

SONNY (to Sandra, at the door, after hearing knocking)

Get back -- go

(then, to the door)

Who is it? 

CLEMENZA'S VOICE (through the door)

Open up -- It's Clemenza 

SONNY (after letting him in)

What? 

CLEMENZA (entering)

There's more news about your old man. 
The word is out on the street that he's already dead 

SONNY

Watch your mouth -- 
What's the matter with you? 

CLEMENZA (after being pushed up against the wall)

Jesus Christ; take it easy -- take it easy 

SONNY

Where was Paulie? 

CLEMENZA

Paulie was out sick. 
He been calling sick all winter. 

SONNY

How many times has he been sick? 

CLEMENZA

Only maybe three, four times. I mean -- 

SONNY

3, 4 times? 

CLEMENZA

-- I asked Freddy if he wants me to get a different bodyguard and he said "no." 

SONNY

Listen, do me a favor, pick him up right now, I don't care how sick he is. 
If he's breathing, I want you to bring him to my father's house. 
Now, you understand? Now. 

CLEMENZA

Yeah. You want me to send any people over here? 

SONNY

No. No. No -- Just you and him. 
Ga'head. 

CLEMENZA (exiting)

Alright... 

SONNY (to Sandra, who's holding the crying Santino Jr)

Look, uh... I'll be having a couple people come over to the house. A couple of our people... 

[Sonny's phone rings, and he picks up] 

SONNY (into the phone)

Hello? 

SOLLOZZO'S VOICE (over the phone)

Santino Corleone? 

SONNY (into the phone, and Sandra leaves the room with the baby)

Yeah... 

SOLLOZZO'S VOICE (over the phone)

We have Tom Hagen. In about three hours he'll be released with our proposition -- 

[Sonny checks his watch, then writes the time onto the kitchen cabinet] 

SOLLOZZO'S VOICE (over the phone, continues)

-- Listen to everything he has to say before you do anything. What's done is done.

(then)

And don't lose that famous temper of yours, huh Sonny? 

SONNY (into the phone)

No, I'll wait... 

[Sollozzo hangs up, then Sonny hangs up] 

***Extra footage from The TRILOGY & SAGA*** 

*** 

CUT TO: An abandoned diner / Sollozzo with kidnapped Tom Hagen -night 

SOLLOZZO (drinking coffee, to Tom)

Your boss is dead. I know you're not in the muscle-end of the family, Tom, so I don't want

you to be scared. I want you to help the Corleone's, and I want you to help me.

(then, handing Tom a drink)

Yeah, we got him outside his office just about an hour after we picked you up.

(then)

Drink it.

(then)

So now it's up to you to make the peace between me and Sonny.

(then)

Sonny was hot for my deal, wasn't he? And you knew it was the right thing to do. 

TOM

Sonny'll come after you with everything he's got. 

SOLLOZZO

That'll be his first reaction, sure. That's why you gotta talk some sense into him. The

Tattaglia family is behind me with all their people. The other New York Families will go

along with anything that will prevent a full-scale war. Let's face it, Tom, and all due respect,

the Don, rest in peace, was -- slippin'. Ten years ago could I have gotten to him?

(then)

Well -- now he's dead. He's dead, Tom, and nothing can bring him back. So you gotta talk to

Sonny, you gotta talk to the caporegimes, that Tessio and that Fat Clemenza.

(then)

It's good business, Tom. 

TOM

I'll try, but even Sonny won't be able to call off Luca Brasi. 

SOLLOZZO

Yeah, well, let me worry about Luca.

(then)

You just talk to Sonny -- and the other two kids. 

TOM

I'll to my best. 

SOLLOZZO

Good. Now, you can go.

(then, while walking out)

I don't like violence, Tom. I'm a business man. Blood is a big expense. 

[Outside, a car, sounding its horn, pulls up; Sollozzo goes to talk to them, and

returns] 

SOLLOZZO

He's still alive. They hit'em with five shots, and he's still alive! Well that's bad luck for me,

and bad luck for you if you don't make that deal! 

CUT TO: Michael arrives at Corleone compound. A car drops him off at the gate, and he

goes inside, seeing family and friends. The TRILOGY has some extra footage at the

beginning of this scene, in the car. -night 

CLEMENZA (sitting with Theresa Hagen, stands to greet Michael)

Mike -- Your mother's over in the hospital with your father; looks like he's gonna pull

through, thank God. 

***Extra footage from The TRILOGY & SAGA*** 

*** 

CUT TO: The Don's office with Sonny, Tom, Mike, Tessio, & Clemenza -night 

SONNY (background, to Tom)

Whattaya think -- 

TOM (background, to Sonny)

Too much... 

SONNY (background, to Tom)

Huh? 

CLEMENZA (background, to Tessio)

...it's a lot of bad blood. Sollozzo, Philip Tattaglia, Bruno Tattaglia; Garbone,... 

TOM (background, to Sonny)

It's too far -- I think it's too personal... The Don'll consider this all... 

MICHAEL (to Clemenza)

You kill all those guys? 

SONNY

Hey, stay out of it, Mickey; do me a favor. 

TOM

Sollozzo's the key. You get rid of him, every falls into line. Now what about Luca? Sollozzo

didn't seem to be worried about Luca... 

SONNY

Aw --I don't know -- if Luca sold out we're in a lot of trouble, believe me. A lot of trouble. 

TOM

Has anyone been able to get in touch with Luca? 

CLEMENZA

Eh, I've been trying all night. He might be shacked up. 

SONNY

Hey, Mick, do me a favor -- 

TOM (background, to Clemenza)

Luca never sleeps over with a broad -- he always goes home when he's through... 

SONNY (to Michael)

-- try ringing him...

(then, to Tom)

Well, Tom -- you're consiglieri, now what do we do if the old man dies, God forbid. 

TOM

If we lose the old man -- 

TESSIO (background)

... Sollozzo, Philip Tattaglia, ... 

TOM

-- we lose our political contacts and half our strength. The other New York Families might

wind up supporting Sollozzo just to avoid a long -- destructive war. This is almost 1946 -- 

TESSIO (background)

... my people... 

TOM

-- nobody wants bloodshed anymore. If your father dies,

(then)

you make the deal, Sonny. 

SONNY

That's easy for you to say, Tom, he's not your father! 

TOM

I'm as much a son to him as you or Mike. 

[knock on door] 

SONNY

What is it? 

[Paulie enters] 

CLEMENZA

Hey, Paulie, I thought I told you to stay put. 

PAULIE

Well, the guy at the gates say -- say they got a package. 

SONNY

Yeah? Hey, Tessio, go see what it is. 

PAULIE (to Sonny, after Tessio exits)

You want me to hang around? 

SONNY

Yeah, hang around. You all right? 

PAULIE

Yeah, I'm fine 

SONNY

Yeah? -- 

[Paulie coughs, perhaps deliberately] 

SONNY

-- There's some food in the icebox, you hungry or anything? 

PAULIE

Nah, it's alright -- thanks... 

SONNY

How 'bout a drink? Have a little brandy -- that'll help sweat it out. Huh? Go'ahead, baby... 

PAULIE

Alright, sure -- that might be a good idea... 

SONNY

Yeah, right.

(then to Clemenza, after Paulie exits)

I want you to take care of that sonofabitch right away. Paulie sold out the old man, that

stronz'. I don't want to see him again. Make that first thing on your list, understand? 

CLEMENZA

Understood. 

SONNY

Hey, Mickey, tomorrow -- get a couple of guys, you go over to Luca's apartment; hang

around, waitin' for him to show up... 

TOM

Uh maybe we shouldn't get Mike uh mixed up in this too directly 

SONNY

Yeah, listen, uh... hang around the house on the phone an' be a big help, huh?

(then)

Try Luca again -- ga'head 

[Tessio enters with package, which he places on Sonny's lap] 

SONNY (unwrapping the package of Luca's bulletproof vest-wrapped fish]

What the hell is this? 

CLEMENZA

It's a Sicilian message. It means Luca Brasi sleeps with the fishes. 

[Michael hangs up the phone] 

***Extra footage from The TRILOGY & SAGA*** 

*** 

CUT TO: Clemenza leaves his house in the morning. Some boys are playing, one is pushing

the other in a toy car as the latter yells ah! -morning 

CLEMENZA (to his wife, on his front stoop)

I'm goin' now... 

MRS. CLEMENZA (standing in the door)

What time will you be home tonight? 

CLEMENZA (walking to the car)

I don't know, probably late. 

MRS. CLEMENZA (OS)

Don't forget the cannoli! 

CLEMENZA (getting into the car, as is Rocco)

Yeah, yeah, yeah, yeah... 

PAULIE (in the driver's seat)

Rocco, sit on the other side. You block the rearview mirror. 

CLEMENZA

That Sonny's runnin' wild. He's thinkin'a going to the mattresses already. We gotta find a

spot over on the West Side. Ya try -- 309 West 43rd Street. You know any gooda spots on

the West Side? 

PAULIE

Yeah, I think about it. 

CLEMENZA

Well think about it while you're drivin', will ya? I wanna hit New York sometime this

month.

(then)

And watch out for the kids while you're backin' out. 

***Extra footage from The TRILOGY & SAGA*** 

*** 

CUT TO: Driving under the El Tracks -day 

CLEMENZA'S VOICE

Hey, Paulie, I want you to go down 39th Street -- Carlo Santos -- you pick up 18 -- 

PAULIE'S VOICE

Yeah... 

CLEMENZA'S VOICE (continuing)

-- mattresses for the guys to sleep, while you bring me the bill... 

PAULIE'S VOICE

Uh-huh, yeah, alright... That...[?]...bill 

CLEMENZA'S VOICE

Ya'know, you make sure they're clean, cuz those guys a'gonna be stuck up in there for a long

time, ya'know? 

PAULIE'S VOICE

They're clean. They told me they exterminate them 

CLEMENZA'S VOICE (as Rocco laughs)

Exterminate? That's a bad word to use: exterminate! Get this guy. Watch out we don't

exterminate you [laughs] 

PAULIE'S VOICE

You think that's funny, or what? 

CLEMENZA'S VOICE (laughs with Rocco)

Hey, Paulie -- [In Italian: Did you fart?] 

PAULIE'S VOICE

Hey, Rocco, what did you do? 

ROCCO'S VOICE (laughs)

Not me -- nothin' -- it wasn't me 

PAULIE'S VOICE (laughs)

It's gotta be him, then... 

CLEMENZA'S VOICE

Pull over, will yah? I gotta take a leak. 

[Paulie pulls over, and Clemenza gets out to relieve himself. Rocco shoots Paulie

three times as we hear a variation of the "Title Theme" music] 

CLEMENZA (back at the car)

Leave the gun. Take the cannoli. 

CUT TO: Outdoors, outside the Don's kitchen, Michael is sitting on a bench. -day 

CLEMENZA'S VOICE (OS)

Hey, Mike! Hey, Mikey? 

MICHAEL

Yeah? 

CLEMENZA'S VOICE (OS)

You're wanted on the telephone. 

MICHAEL (entering the kitchen)

Who is it? 

CLEMENZA

Some girl... [the music fades out] 

MICHAEL (into phone)

Hello, Kay? 

KAY'S VOICE (over the phone)

How's your father? 

MICHAEL (into the phone)

He's good. He's gonna make it. 

KAY'S VOICE (over the phone)

I love you. 

MICHAEL (into the phone)

Huh? 

KAY'S VOICE (over the phone, louder)

I love you.

(then)

Michael? 

MICHAEL (into the phone)

Yeah, I know. 

KAY'S VOICE (over the phone)

Tell me you love me... 

MICHAEL (into the phone)

I can't talk... 

KAY'S VOICE (over the phone)

Can't you say it? 

MICHAEL (into the phone)

Eh -- I'll see you tonight 

KAY'S VOICE

Okay 

[Michael hangs up the phone] 

CLEMENZA

Hey, Mikey, why don't you tell that nice girl you love her?

(then, in an exaggerated Italian accent)

I love you with all-a my heart! If I don't see you again soon, I'm a-gonna die! [laughs]

(then)

Heh, come over here, kid, learn something. You never know, you might have to cook for

twenty guys someday. You see, you start out with a little bit of oil. Then you fry some

garlic. Then you throw in some tomatoes, tomato paste, you fry it; ya make sure it doesn't

stick. You get it to a boil; you shove in all your sausage and your meatballs; heh?... And a

little bit o' wine. An' a little bit o' sugar, and that's my trick. 

SONNY (after entering the kitchen)

Why don't you cut out the crap. I got more important things for you to do.

(then)

How's Paulie? 

CLEMENZA

Oh, Paulie? Won't see him no more... 

SONNY (nods)

(then to Michael, who's walking out of the kitchen)

Where you going? 

MICHAEL

To the city. 

SONNY

No... wanna send some bodyguards with him -- alright? 

MICHAEL

No, I'm just going to the hospital to see Pop 

SONNY

Never mind; send somebody with him 

CLEMENZA

Aw, he'll be alright -- Sollozzo knows he's a civilian 

SONNY

Alright; be careful, huh? 

MICHAEL (as he exits)

Yes, sir... 

SONNY

Send somebody with him, anyway... 

CLEMENZA (chuckles) 

CUT TO: Michael goes to the city, driven by bodyguards -early evening

DISSOLVE TO: Kay's hotel room. Michael and Kay are eating dinner, while "All of My

Life" plays 

MICHAEL (as he gets up to get his coat)

I have to go... 

KAY

Can I go with you? 

MICHAEL

You know, Kay, there's gonna be detectives there -- people from the Press... 

KAY

Well, I'll ride in the cab... 

MICHAEL

I don't want you to get involved... 

KAY

When will I see you again? 

MICHAEL (after a long pause)

Go back to New Hampshire, and I'll call you at your parents' house. 

KAY

When will I see you again, Michael? 

MICHAEL

I don't know... 

[Michael kisses Kay, then exits] 

CUT TO: Michael exiting the hotel

CUT TO: The hospital (10:30pm). Michael arrives by cab. He enters the quiet hospital to

find no one at the nurse's station. He walks down the hall to check an office, and only sees a

half-finished sandwich on a desk. He runs down the hall and up the stairs towards his

father's room. He pauses, noticing there is no guard outside the Don's door. He walks around

the corner up to Room #2 and hesitates before he pushing the door open. His father is in the

bed, and Michael wonders if he's alive. He walks up to the Don. -night 

NURSE (entering the room)

What are you doing here? You're not supposed to be here now! 

MICHAEL

I'm Michael Corleone -- this is my father.

(then)

There's nobody here. What happened to the guards? 

NURSE

Your father just had too many visitors. They interfered with hospital service. The police

made them leave about ten minutes ago. 

[As the nurse checks the Don's pulse, Michael picks up the phone] 

MICHAEL (into phone)

Ah, Get me, ah, Long Beach-4-5620, please...

(then, to nurse, who was leaving the room)

Nurse, wait a minute. Stay here.

(then, into phone)

Sonny -- Michael. I'm at the hospital. 

SONNY'S VOICE (over the phone)

Yeah? 

MICHAEL (into the phone)

Listen -- I got here late. There's nobody here. 

SONNY'S VOICE (over the phone)

What? Nobody? 

MICHAEL (into the phone)

Nobody... no no no Tessio's men, no detectives, nobody. Papa's all alone. 

SONNY'S VOICE (over the phone)

Don't panic -- I'll send somebody... 

MICHAEL (loudly)

I won't panic!

[hangs up the phone] 

NURSE

I'm sorry; but you will have to leave. 

MICHAEL (as he checks to see if the bed would fit through the doorway)

Uhh... You and I are gonna moo -- move my father to another room. Now can you

disconnect those tubes so we can move the bed out? 

NURSE

That's out of the question! 

MICHAEL

You know my father? Men are coming here to kill him. You understand? Now help me,

please. 

[Michael and the nurse roll the Don's bed to another room. We hear a door close,

then footsteps are heard coming up the stairs as Michael peers from the doorway. A man

holding flowers seems to be looking for a room] 

MICHAEL (coming out of hiding)

Who are you? 

ENZO

I am Enzo, the baker -- 
Do you remember me? 

MICHAEL

Enzo... 

ENZO

Yes, Enzo... 

MICHAEL

You better get out of here, Enzo; 
There's gonna be trouble... 

ENZO

If there is trouble, I stay here to help you. 
For your father -- for your father 

MICHAEL

Alright... Listen, wait for me outside in front of the hospital. 
Alright? I'll be out in a minute.

Go ahead... 

ENZO

Okay... okay. 

[Michael returns to the Don's room, at his bedside. The nurse is still in the room] 

MICHAEL

Just lie here, Pop. 
I'll take care of you now. 
I'm with you now. 
I'm with you... 

[Michael kisses the Don's hand; the Don smiles, with a tear in his eye. Michael leaves to meet Enzo outside of the hospital] 

MICHAEL (grabbing and tossing the flowers that Enzo is still holding)

Get rid of these

(then, as Michael turns Enzo's collar up)

Come 'ere... 
Put your hand in your pocket like you have a gun. 
You'll be alright.

(then, after he sighs)

You'll be okay... 

[A black sedan pulls up to the front of the hospital. The occupants look at Michael and Enzo, as Michael undoes a button of his coat and puts his hand in, as if he had a gun.

The car then drives off] 

MICHAEL

You did good. 

[Enzo, very scared, takes out a cigarette and has trouble lighting it with his Zippo lighter. 

His hands are shaking. 
Michael takes the lighter and lights his cigarette, noticing that his hands are not shaking. 
Sirens are heard as police cars screech to a halt in front of the hospital. 
Michael shoos Enzo away as he is grabbed by an officer] 

OFFICER (grabbing Michael)

Now hold still... 

CAPTAIN McCLUSKEY (entering the scene)

I thought I got all you guinea hoods locked up! 
What the hell are you doing here? 

MICHAEL

What happened to the men who were guarding my father, captain? 

McCLUSKEY

Why you little punk! 
What the hell are you doing telling me my business? 
I pulled them guys off of here, eh! -- now you get outta here -- and stay away from this hospital! 

MICHAEL

I'm not moving until you put some guards around my father's room 

McCLUSKEY

Phil, take him in! 

OFFICER PHIL

The kid's clean, Captain. 
He's a war hero. 
He's never been busted for the rackets... 

McCLUSKEY (overlaps)

Goddamn it, I said take him in! 

MICHAEL

What's the Turk paying you to set up my father, Captain? 

McCLUSKEY

Take a hold of him. 
Stand him up. 
Stand'im up straight. 

[McCluskey punches Michael in the jaw as a Corleone car screeches up. 
Men get out and run up the steps toward the Don's room. Tom and a couple of men go to get

Michael] 

TOM (to McCluskey)

I'm attorney for the Corleone Family. 
These men are private detectives hired to protect Vito Corleone. 
They're licensed to carry firearms. 

If you interfere, you'll have to appear before a judge in the morning and show cause. 

McCLUSKEY (to his officers)

Alright... let'im go. [inaudible "Shit!" as he turns away] Come on! 

DISSOLVE TO: Corleone mall, during the day. Tom, Clemenza and Michael get out of the

car and walk through the gate, noticing armed men all over the mall. Tessio greets them.

-day 

CLEMENZA

What's with all the new faces? 

TESSIO

We'll need'em now. 
After the hospital thing, Sonny got mad. 
We hit Bruno Tattaglia 4 o'clock this morning. 

CLEMENZA

Jesus Christ...

(then, motions to Michael to come on)

It looks like a fortress around here... 

CUT TO: Inside the Corleone office -day 

SONNY (to Tom)

Tom-anuch! Hey, a hundred button men on the street twenty-four hours a day; that Turk shows one hair on his ass, he's dead -- 

TOM (going to sit down)

Yeah? 

SONNY

-- believe me...

(then, to Michael, whose face is bruised from McCluskey's punch)

Hey, Michael, come're, let me look at you. 
You look beautiful! Beautiful! Just gorgeous!

(then, to Tom)

Hey, listen to this -- the Turk wants to talk. 
Eh gosh -- imagine the nerve of the sonofabitch, eh? 
Craps out last night, and wants a meetin' today... 

TOM

What did he say? 

SONNY

What did he say -- Badda-beep, badda-bap, badda-boop, badda-beep -- He wants us to send Michael here to proposition. 

And the promise is, that the deal is so good, that we can't refuse. Eh... 

TOM (as Tessio enters the room)

What about Bruno Tattaglia? 

SONNY

That's part of the deal -- Bruno cancels out what they did to my father... 

TOM

Sonny, we ought to hear what they have to say... 

SONNY (standing in front of Tom, who's seated)

No; no; no! No more! 
Not this time, consiglieri. 
No more meetin's, no more discussions, no more Sollozzo tricks. 
You give'em one message: I want Sollozzo -- if not, it's all-out war -- we go to the mattresses... 

TOM (stands)

Some of the other families won't sit still for all-out war! 

SONNY

Then they hand me Sollozzo! 

TOM

Your father wouldn't want to hear this! 
This is business, not personal, Sonny! 

SONNY

They shot my father -- that's business? 
Your ass... 

TOM

Even the shooting of your father was business, not personal, Sonny! 

SONNY (now seated behind the desk)

Well, then, business will have to suffer, alright? 
And listen -- do me a favor, Tom -- 
No more advice on how to patch things up. 
Just help me win, please, alright? 

TOM (after they settle down)

I found out about this Captain McCluskey who broke Mike's jaw... 

SONNY

What about 'im? 

TOM

Now he's definitely on Sollozzo's payroll, and for big money. McCluskey has agreed to be the Turk's bodyguard. 

What you have to understand, Sonny, is that while Sollozzo is being guarded like this, he is invulnerable. 

Now nobody has ever gunned down a New York police captain -- never. 
It would be disastrous. 

All the Five Families would come after you, Sonny.

The Corleone Family would be outcasts! 
Even the old man's political protection would run for cover! 
So do me a favor -- take this into consideration. 

SONNY

Alright. 
We'll wait. 

MICHAEL

We can't wait. 

SONNY

Huh? 

MICHAEL (who's seated with his arms on the chair's arms)

We can't wait. I don't care what Sollozzo says about a deal, he's gonna kill Pop, that's it.

That's the key for him. Gotta get Sollozzo. 

CLEMENZA

Mike is right...