Never Hate Your Enemies -- Even You Father.

Mr. Corleone, all Bastards are Liars. 

Shakespeare wrote poems about it.

Michael, you know Vincent Mancini -- 

Sonny’s Boy.

 

 

PLUTARCH'S MORALS.

ON EDUCATION.

§ i. Come let us consider what one might say on the education of free children, and by what training they would become good citizens.

§ ii. It is perhaps best to begin with birth: I would therefore warn those who desire to be fathers of notable sons, not to form connections with any kind of women, such as courtesans or mistresses: for those who either on the father or mother's side are ill-born have the disgrace of their origin all their life long irretrievably present with them, and offer a ready handle to abuse and vituperation. So that the poet was wise, who said, "Unless the foundation of a house be well laid, the descendants must of necessity be unfortunate."  

Good birth indeed brings with it a store of assurance, which ought to be greatly valued by all who desire legitimate offspring. For the spirit of those who are a spurious and bastard breed is apt to be mean and abject: for as the poet truly says, "It makes a man even of noble spirit servile, when he is conscious of the ill fame of either his father or mother." 

On the other hand the sons of illustrious parents are full of Pride and arrogance. As an instance of this it is recorded of Diophantus, the son of Themistocles, that he often used to say to various people "that he could do what he pleased with the Athenian people, for what he wished his mother wished, and what she wished Themistocles wished, and what Themistocles wished all the Athenians wished." 

All praise also ought we to bestow on the Lacedæmonians for their loftiness of soul in fining their King Archidamus for venturing to marry a small woman, for they charged him with intending to furnish them not with Kings but Kinglets.

§ iii. Next must we mention, what was not overlooked even by those who handled this subject before us, that those who approach their wives for procreation must do so either without having drunk any wine or at least very little. For those children, that their parents begot in drink, are wont to be fond of wine and apt to turn out drunkards. And so Diogenes, seeing a youth out of his mind and crazy, said, "Young man, your father was drunk when he begot you." 

 Let this hint serve as to Procreation: now let us discuss Education.

 

 

  

 

 

 

CUT TO: A helicopter carrying Michael and Vincent. They are traveling to the meeting that Don Altobello had arranged at Michael's request.

VINCENT

I'd like to take Joey Zasa up for a ride in this and drop him.

MICHAEL

Joey Zasa is nothing. He's a small time enforcer – Mobs, threats, nothing. We'll be able to see him coming, a mile away.

VINCENT

We should kill him before he kills --

MICHAEL

No!

(then)

Never Hate Your Enemies. It affects your Judgment.

CUT TO: Outside an Atlantic City casino where the Commission meeting is to take place, as set up by Don Altobello on Michael’s request. The Text Over reads: Atlantic City, New Jersey.

<Michael and Vincent are welcomed ["Nice to see you again, Mr. Corleone. Mr. Mancini."].

CUT TO: Suite where Commission meeting is to be held.

<A band is playing and women are milling about the busy room full of Dons. Joey Zasa enters and Michael and Vincent enter shortly after. On Michael's arrival the band stops playing and the women are ushered from the room. Vincent nods at Joey Zasa. Once the room is cleared of all but those at the meeting, Don Altobello begins proceedings.>

DON ALTOBELLO (addressing Michael to the Commission)

We entrusted you to manage our money in the casinos. It's not even, twenty years. You sold the casinos, and you made fortunes for all of us. Bravo Don Corleone!

<The room applauds Michael. Joey Zasa gives a half-hearted clap.>

MICHAEL

Thank you. Friends, I have come here, because, our business together is done. We have prospered, and now it is time for us, to dissolve, the business relationship between us.

<There are murmurs of protest.>

MICHAEL

That's it. But I do have a little surprise

(then, to Neri)

Al?

<Al removes a bundle of envelopes from his jacket.>

MICHAEL

Your shares, in the casinos. I thought I'd cut through all the red tape so you can get your money right away.

<This news is met with a more positive response.>

A DON

Fifty million dollars!

<Vincent is passing out envelopes.>

MICHAEL

Not everyone gets the same…

VINCENT (whispering into Joey Zasa’s ear)

Nothing for you…

MICHAEL

…It depends how much you invested, and how long for.

<The Dons all marvel at how much they have just received, "Wonderful! Woah! Grazie!">

A DON

Michael, this is really generous!

A DON

Hey, Perisi, how much did you invest?

DON PERISI (putting his envelope in his jacket pocket)

I don’t remember…

DON ALTOBELLO

Michael, you're blessed.

<Joey Zasa has heard enough.>

ZASA

My family has done much of the hard work; taken many risks. All to make money, for the rest of the families.

MICHAEL

You all know Joey Zasa. He is, I admit, an important man. His picture is on the cover of the New York Times magazine. He gets the Esquire magazine award, for the best-dressed gangster! The newspapers praise him, because, he hires Blacks into his family, which shows he has a good heart. He, is famous. Who knows? Maybe one day, he will make all of you, popular.

ZASA

It's true. I make more of a, bella figura, that is my nature. But I also want to make a move into, legitimate enterprises. I'd like to get a little pin from the Pope. Sure, I take the Blacks and the Spanish into my family, because, that's America.

MICHAEL

And you guarantee, they don't deal drugs in those neighborhoods.

ZASA

I don't guarantee that. I guarantee I'll kill anybody who does.

DON ALTOBELLO

Let me talk to him, let me talk to him.

MICHAEL

Who can refuse, Don Altobello…

<The Dons are passing around a tray full of gold jewelry and pearls, and each take one.>

DON ALTOBELLO

Joey...

JOEY (interrupts)

NO! I say to all of you, I have been treated this day, with no respect. I've earned you all money. I've made you rich, and I asked for little. Good. You will not give, I'll take! As for Don, Corleone, well he makes it, very clear to me today, that he is my enemy. You must choose between us.

<Joey storms out. Don Altobello chases after him.>

ALTOBELLO

Hey Joey – no – Joey – no – Joey …

(then, to Michael)

We can reason together – no – Michael, Michael – please, let’s agreed, huh?

MICHAEL

No, Altobello…

<Altobello exists the room>

PERISI

Uh, Michael, Michael. The news is everywhere. Everyone is saying that, you control Immobiliare.

<The Dons begin talking at once.>

A DON

Immobiliare already is laundering money in Peru, in Nassau, we know that…

A DON

Listen to me, Michael…

A DON

Michael, why shouldn’t…

A DON

We should wet our beaks a little…

A DON

We want to do business with you, Michael – we’ve been together for many…

A DON

We could wash our money clean … with holy water…

<Michael stays silent as everyone talks to him, but the talking suddenly stops as a rumbling noise is heard and the room starts to shake. Vincent reacts first.>

VINCENT (to Michael): It’s a hit -- Let's go.

<The meeting disbands and everyone leaps up to leave. "Let’s get outta here!" On the outside of the room, someone snaps a pair of handcuffs over the doorknobs, locking the Dons in the room. A helicopter appears overhead and machine gun fire rips through the glass ceiling of the room. Vincent protects Michael as a massacre ensues.>

VOICE (to a Don)

Forget your coat!

A DON (trying to retrieve his coat before being riddled with bullets)

It’s my lucky coat! It’s my lucky coat!

<Al Neri retrieves a shotgun from behind the bar and blasts a door open.>

AL NERI

Mikey, this way!

<Michael and Vincent escape through this door.>

A DON (laying, bleeding, on the floor)

Zasa! You son of a bitch!

Vincent breaks into a car and opens the door for Michael.

VINCENT

Come on. We're outta here.

<Vincent and Michael escape as we see shots of the remains of the room, and of the bodies that fill it.>
 

 

 

 

SCENE I. King Lear's palace.

    Enter KENT, GLOUCESTER, and EDMUND

KENT

    I thought the king had more affected the Duke of
    Albany than Cornwall.

GLOUCESTER

    It did always seem so to us: but now, in the
    division of the kingdom, it appears not which of
    the dukes he values most; for equalities are so
    weighed, that curiosity in neither can make choice
    of either's moiety.

KENT

    Is not this your son, my lord?

GLOUCESTER

    His breeding, sir, hath been at my charge: I have
    so often blushed to acknowledge him, that now I am
    brazed to it.

KENT

    I cannot conceive you.

GLOUCESTER

    Sir, this young fellow's mother could: whereupon
    she grew round-wombed, and had, indeed, sir, a son
    for her cradle ere she had a husband for her bed.
    Do you smell a fault?

KENT

    I cannot wish the fault undone, the issue of it
    being so proper.

GLOUCESTER

    But I have, sir, a son by order of law, some year
    elder than this, who yet is no dearer in my account:
    though this knave came something saucily into the
    world before he was sent for, yet was his mother
    fair; there was good sport at his making, and the
    whoreson must be acknowledged. Do you know this
    noble gentleman, Edmund?

EDMUND

    No, my lord.

GLOUCESTER

    My lord of Kent: remember him hereafter as my
    honourable friend.

EDMUND

    My services to your lordship.

KENT

    I must love you, and sue to know you better.

EDMUND

    Sir, I shall study deserving.

GLOUCESTER

    He hath been out nine years, and away he shall
    again. The King is coming.


    Sennet. Enter KING LEAR, CORNWALL, ALBANY, GONERIL, REGAN, CORDELIA, and Attendants

KING LEAR

    Attend The Lords of France and Burgundy, Gloucester.

GLOUCESTER

    I shall, My Liege.

    Exeunt GLOUCESTER and EDMUND -- The Bastard Goes WITH Him.




SCENE II. The Earl of Gloucester's castle.

    Enter EDMUND, with a letter

EDMUND

    Thou, nature, art my goddess; to thy law
    My services are bound. Wherefore should I
    Stand in the plague of custom, and permit
    The curiosity of nations to deprive me,
    For that I am some twelve or fourteen moon-shines
    Lag of a brother? Why bastard? wherefore base?
    When my dimensions are as well compact,
    My mind as generous, and my shape as true,
    As honest madam's issue? Why brand they us
    With base? with baseness? bastardy? base, base?
    Who, in the lusty stealth of nature, take
    More composition and fierce quality
    Than doth, within a dull, stale, tired bed,
    Go to the creating a whole tribe of fops,
    Got 'tween asleep and wake? Well, then,
    Legitimate Edgar, I must have your land:
    Our Father's love is to the bastard Edmund
    As to the legitimate: fine word,--legitimate!
    Well, my legitimate, if this letter speed,
    And my invention thrive, Edmund The Base
    Shall top The Legitimate. I grow; I prosper:
    Now, Gods, Stand Up for Bastards!

    Enter GLOUCESTER

King John receives an ambassador from France who demands with a threat of war that he renounce his throne in favour of his nephew, Arthur, whom the French King Philip believes to be the rightful heir to the throne.

John adjudicates an inheritance dispute between Robert Faulconbridge and his older brother Philip the Bastard, during which it becomes apparent that Philip is the illegitimate son of King Richard I. Queen Eleanor, mother to both Richard and John, recognises the family resemblance and suggests that he renounce his claim to the Faulconbridge land in exchange for a knighthood. 

John Knights Philip The Bastard under the name Richard.

A 19th century drawing by Thomas Nast

In France, King Philip and his forces besiege the English-ruled town of Angers, threatening attack unless its citizens support Arthur. Philip is supported by Austria, who is believed to have killed King Richard. The English contingent arrives; and then Eleanor trades insults with Constance, Arthur’s mother. Kings Philip and John stake their claims in front of Angers’ citizens, but to no avail: their representative says that they will support the rightful king, whoever that turns out to be.

The French and English armies clash, but no clear victor emerges. Each army dispatches a herald claiming victory, but Angers’ citizens continue to refuse to recognize either claimant because neither army has proven victorious.

The Bastard proposes that England and France unite to punish the rebellious citizens of Angers, at which point the citizens propose an alternative: Philip’s son, Louis the Dauphin, should marry John’s niece Blanche (a scheme that gives John a stronger claim to the throne) while Louis gains territory for France. Though a furious Constance accuses Philip of abandoning Arthur, Louis and Blanche are married.

Cardinal Pandolf arrives from Rome bearing a formal accusation that John has disobeyed the Pope and appointed an archbishop contrary to his desires. John refuses to recant, whereupon he is excommunicated. Pandolf pledges his support for Louis, though Philip is hesitant, having just established family ties with John. Pandolf brings him round by pointing out that his links to the church are older and firmer.

War breaks out; Austria is beheaded by the Bastard in revenge for his father’s death; and both Angers and Arthur are captured by the English. Eleanor is left in charge of English possessions in France, while the Bastard is sent to collect funds from English monasteries. John orders Hubert to kill Arthur. Pandolf suggests to Louis that he now has as strong a claim to the English throne as Arthur (and indeed John), and Louis agrees to invade England.

A Lithograph depicting Act III Scene I

Hubert finds himself unable to kill Arthur. John’s nobles urge Arthur’s release. John agrees, but is wrong-footed by Hubert’s announcement that Arthur is dead. The nobles, believing he was murdered, defect to Louis’ side. Equally upsetting, and more heartbreaking to John, is the news of his mother’s death, along with that of Lady Constance. The Bastard reports that the monasteries are unhappy about John’s attempt to seize their gold. Hubert has a furious argument with John, during which he reveals that Arthur is still alive. John, delighted, sends him to report the news to the nobles.

Arthur dies jumping from a castle wall. 

(It is open to interpretation whether he deliberately kills himself or just makes a risky escape attempt.) 

The nobles believe he was murdered by John, and refuse to believe Hubert’s entreaties. John attempts to make a deal with Pandolf, swearing allegiance to the Pope in exchange for Pandolf’s negotiating with the French on his behalf. John orders the Bastard, one of his few remaining loyal subjects, to lead the English army against France.

While John’s former noblemen swear allegiance to Louis, Pandolf explains John’s scheme, but Louis refuses to be taken in by it. The Bastard arrives with the English army and threatens Louis, but to no avail. War breaks out with substantial losses on each side, including Louis’ reinforcements, who are drowned during the sea crossing. Many English nobles return to John’s side after a dying French nobleman, Melun, warns them that Louis plans to kill them after his victory.

John is poisoned by a disgruntled monk. His nobles gather around him as he dies. 

The Bastard plans the final assault on Louis’ forces, until he is told that Pandolf has arrived with a peace treaty. The English nobles swear allegiance to John’s son Prince Henry, and the Bastard reflects that this episode has taught that internal bickering could be as perilous to England’s fortunes as foreign invasion.

Something That Could Never, Ever Possibly Destroy Us

I knew that Santino was going to have to go through all this. 

And Fredo -- well -- Fredo was -- well -- 

But I never -- I never wanted this for you. 

I worked my whole life, I don't apologize, to take care of my family. 

And I REFUSED -- to be A Fool -- dancing on the string, held by all those -- bigshots. 

I don't apologize -- that's My Life -- but I thought that -- that when it was your time -- that -- that you would be the one to hold the strings. 

Senator - Corleone. 

Governor - Corleone, or something... 

It’s The Daddy Problem.

In a crisis, voters want 

Somebody to Tell Them What To Do.

Even if it’s The Wrong Thing.

Unless it’s a jobs crisis, in which case, they want 

Someone to hug them, give them hot chocolate and marshmallows.

Something That Could Never, Ever Possibly Destroy Us —

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...