When Things Get THIS BAD, The Innocent Must Suffer and Die

"When the Sicilians 

wish you "Cent'anni"... 

it means "for long life."

....and a Sicilian 

never forgets."

"Your Sins are indeed Terrible,

and it is Just that You Suffer --

Your Life can still be redeemed,

but I Know that You Don't Believe That --

You Will NOT Change."

"This Pope has Powerful Enemies. 

We may not be in time 

to Save Him.

(then)

Now let's go back 

to The Opera."

The final scene cut from 

The Death of Michael Corleone 

is the physical death of Michael Corleone.

The Godfather Part III ends as Michael is sitting alone outside a villa in Sicily. 

All Family debts have been settled, 

but he has no Family left. 

He is wearing dark glasses, 

slumps in his chair, 

loses his grip on the orange in his lap, 

and falls dead to The Ground.

Mario Puzo’s The Godfather, 

Coda: The Death of Michael Corleone ends, 

not only with him Still Alive, 

but wishing him Cent’anni 

The phrase actually translates to 

“100 years.”

 Imagine how many Godfather sequels could be made in that time. 

Michael is left alive, alone. 

Atonement is beyond him.

(The loving parents are at the incubator of their dying child. Tucker's left arm is in a sling.)

PHLOX: 

I wish I could Do More.

ARCHER: 

I know.

PHLOX: 

When you invited me 

to join This Crew, 

I thought it would be 

an interesting diversion 

for a few months. 

Some time away from 

The Complications of Family, 

which on Denobula can be 

extremely complicated. 

I didn't expect to gain another family. 

(close to tears) 

It hurts as if she were my own child. 

Make Something Good 

come from this, Captain.

[Starfleet Command]

(Everyone is back around the table, and the Enterprise senior staff are standing at the end.)

SAMUELS: 

Fellow delegates, this last week 

we've seen what humans can be 

at their worst. 

But we cannot, we must not 

use that as an excuse 

to End The Dream that began here. 

For then, The Demons of Our Past 

will have won. 

Instead, I want to look to The Future and begin by honouring the people responsible for our being here tonight. 

They represent all of us at our best.

ARCHER: 

Up until about a hundred years ago, there was one question 

that burned in every human, 

that made us study the stars and dream of traveling to them, 

"Are we alone?" 

Our generation is privileged to know the answer to that question. 

We are all explorers, 

driven to know what's over the horizon, 

what's beyond our own shores. 

And yet, the more I've experienced, the more I've learned that no matter how far we travel, or how fast we get there, 

the most profound discoveries are not necessarily beyond that next star.

They're within us, woven into 

the threads that bind us, 

all of us, to each other. 

The final frontier begins in this hall.

Let's explore it together.

(Soval rises to his feet and begins the applause.)

[Corridor]

GANNET: 

I hear the conference is back on track.

TRAVIS: 

It's a first step. The Captain says 

it's going to take years 

to work out the details.

GANNET: 

But it'll happen, and you're 

part of the reason why.

TRAVIS: 

Just doing My Job.

GANNET: 

So was I.

TRAVIS: 

I know.

GANNET: 

If Vulcans and Andorians can get along, 

you'd think we could?

TRAVIS: 

A lot of details to work out.

(This angle shows us they are at the Transporter alcove.)

GANNET: 

Isn't that the fast way home?

TRAVIS: 

The least I can do is give you a ride.

(He takes her hand.)

TRAVIS: 

The Launch Bay's this way.

[T'Pol's quarters]

T'POL: Come in.

TUCKER: 

(trying not to cry) 

The delegates at the conference, 

they've asked about the service for, 

for Elizabeth. They want to attend.

T'POL: 

She was Important.

TUCKER: 

There's something else. I spoke with Phlox. 

It turns out there was a flaw in the technique that Paxton's doctors used in the cloning process. 

Human DNA and Vulcan DNA, 

Phlox says there's no medical reason 

why they can't combine. 

So if a Vulcan and a Human 

ever decided to have A Child, 

it'd probably be okay. 

And that's sort of comforting.

(T'Pol takes his hand)

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.