Showing posts with label Loyalty. Show all posts
Showing posts with label Loyalty. Show all posts

Thursday, 7 August 2025

48 Laws for Surviving Bad Romantics


Q. : What Does He Want?


The Herald :

Galactus doesn't 

Want anything

He Feeds --


48 Tips for Surviving Bad Romances

Collapsing Neutron Stars and any other 

type of vast, all-engufng SuperMassive

Black-Hole type Navigational Hazards.









LAW 1 NEVER OUTSHINE THE MASTER

Always make those above you feel comfortably superior. In your desire to please or impress them, do not go too far in displaying your talents or you might accomplish the opposite—inspire fear and insecurity. Make your masters appear more brilliant than they are and you will attain the heights of power. 


LAW 2 NEVER PUT TOO MUCH TRUST IN FRIENDS, LEARN HOW TO USE ENEMIES

Be wary of friends — they will betray you more quickly, for they are easily aroused to envy. They also become spoiled and tyrannical. But hire a former enemy and he will be more loyal than a friend, because he has more to prove. In fact, you have more to fear from friends than from enemies. If you have no enemies, find a way to make them.


LAW 3 CONCEAL YOUR INTENTIONS

Keep people off-balance and in the dark by never revealing the purpose behind your actions. If they have no clue what you are up to, they cannot prepare a defence. Guide them far enough down the wrong path, envelop them in enough smoke, and by the time they realise your intentions, it will be too late. 


LAW 4 ALWAYS SAY LESS THAN NECESSARY 

When you are trying to impress people with words, the more you say, the more common you appear, and the less in control. Even if you are saying something banal, it will seem original if you make it vague, open-ended, and sphinx-like. Powerful people impress and intimidate by saying less. The more you say, the more likely you are to say something foolish. 


LAW 5 SO MUCH DEPENDS ON REPUTATION—GUARD IT WITH YOUR LIFE 

Reputation is the cornerstone of power. Through reputation alone you can intimidate and win; once it slips, however, you are vulnerable, and will be attacked on all sides. Make your reputation unassailable. Always be alert to potential attacks and thwart them before they happen. Meanwhile, learn to destroy your enemies by opening holes in their own reputations. Then stand aside and let public opinion hang them. 


LAW 6 COURT ATTENTION AT ALL COST 

Everything is judged by its appearance; what is unseen counts for nothing. Never let yourself get lost in the crowd, then, or buried in oblivion. Stand out. Be conspicuous, at all cost. Make yourself a magnet of attention by appearing larger, more colourful, more mysterious than the bland and timid masses. 


LAW 7 GET OTHERS TO DO THE WORK FOR YOU, BUT ALWAYS TAKE THE CREDIT 

Use the wisdom, knowledge, and legwork of other people to further your own cause. Not only will such assistance save you valuable time and energy, it will give you a godlike aura of efficiency and speed. In the end your helpers will be forgotten and you will be remembered. Never do yourself what others can do for you. 


LAW 8 MAKE OTHER PEOPLE COME TO YOU—USE BAIT IF NECESSARY 

When you force the other person to act, you are the one in control. It is always better to make your opponent come to you, abandoning his own plans in the process. Lure him with fabulous gains—then attack. You hold the cards. 


LAW 9 WIN THROUGH YOUR ACTIONS, NEVER THROUGH ARGUMENT 

Any momentary triumph you think you have gained through argument is really a Pyrrhic victory: The resentment and ill will you stir up is stronger and lasts longer than any momentary change of opinion. It is much more powerful to get others to agree with you through your actions, without saying a word. Demonstrate, do not explicate. 


LAW 10 INFECTION: AVOID THE UNHAPPY AND UNLUCKY 

You can die from someone else’s misery — emotional states are as infectious as diseases. You may feel you are helping the drowning man but you are only precipitating your own disaster. The unfortunate sometimes draw misfortune on themselves; they will also draw it on you. Associate with the happy and fortunate instead. 


LAW 11 LEARN TO KEEP PEOPLE DEPENDENT ON YOU 

To maintain your independence you must always be needed and wanted. The more you are relied on, the more freedom you have. Make people depend on you for their happiness and prosperity and you have nothing to fear. Never teach them enough so that they can do without you. 


LAW 12 USE SELECTIVE HONESTY AND GENEROSITY TO DISARM YOUR VICTIM 

One sincere and honest move will cover over dozens of dishonest ones. Open-hearted gestures of honesty and generosity bring down the guard of even the most suspicious people. Once your selective honesty opens a hole in their armour, you can deceive and manipulate them at will. A timely gift—a Trojan horse—will serve the same purpose. 


LAW 13 WHEN ASKING FOR HELP, APPEAL TO PEOPLE’S SELF-INTEREST, NEVER TO THEIR MERCY OR GRATITUDE 

If you need to turn to an ally for help, do not bother to remind him of your past assistance and good deeds. He will find a way to ignore you. Instead, uncover something in your request, or in your alliance with him, that will benefit him, and emphasise it out of all proportion. He will respond enthusiastically when he sees something to be gained for himself. 


LAW 14 POSE AS A FRIEND, WORK AS A SPY 

Knowing about your rival is critical. Use spies to gather valuable information that will keep you a step ahead. Better still: Play the spy yourself. In polite social encounters, learn to probe. Ask indirect questions to get people to reveal their weaknesses and intentions. There is no occasion that is not an opportunity for artful spying. 


LAW 15 CRUSH YOUR ENEMY TOTALLY 

All great leaders since Moses have known that a feared enemy must be crushed completely. (Sometimes they have learned this the hard way.) If one ember is left alight, no matter how dimly it smoulders, a fire will eventually break out. More is lost through stopping halfway than through total annihilation: The enemy will recover, and will seek revenge. Crush him, not only in body but in spirit. 


LAW 16 USE ABSENCE TO INCREASE RESPECT AND HONOUR 

Too much circulation makes the price go down: The more you are seen and heard from, the more common you appear. If you are already established in a group, temporary withdrawal from it will make you more talked about, even more admired. You must learn when to leave. Create value through scarcity. 


LAW 17 KEEP OTHERS IN SUSPENDED TERROR: CULTIVATE AN AIR OF UNPREDICTABILITY 

Humans are creatures of habit with an insatiable need to see familiarity in other people’s actions. Your predictability gives them a sense of control. Turn the tables: Be deliberately unpredictable. Behaviour that seems to have no consistency or purpose will keep them off-balance, and they will wear themselves out trying to explain your moves. Taken to an extreme, this strategy can intimidate and terrorise. 


LAW 18 DO NOT BUILD FORTRESSES TO PROTECT YOURSELF—ISOLATION IS DANGEROUS 

The world is dangerous and enemies are everywhere — everyone has to protect themselves. A fortress seems the safest. But isolation exposes you to more dangers than it protects you from — it cuts you off from valuable information, it makes you conspicuous and an easy target. Better to circulate among people, find allies, mingle. You are shielded from your enemies by the crowd. 


LAW 19 KNOW WHO YOU’RE DEALING WITH—DO NOT OFFEND THE WRONG PERSON 

There are many different kinds of people in the world, and you can never assume that everyone will react to your strategies in the same way. Deceive or outmanoeuvre some people and they will spend the rest of their lives seeking revenge. They are wolves in lambs’ clothing. Choose your victims and opponents carefully, then—never offend or deceive the wrong person. 


LAW 20 DO NOT COMMIT TO ANYONE 

It is the fool who always rushes to take sides. Do not commit to any side or cause but yourself. By maintaining your independence, you become the master of others—playing people against one another, making them pursue you. 


LAW 21 PLAY A SUCKER TO CATCH A SUCKER — SEEM DUMBER THAN YOUR MARK 

No one likes feeling stupider than the next person. The trick, then, is to make your victims feel smart—and not just smart, but smarter than you are. Once convinced of this, they will never suspect that you may have ulterior motives. 


LAW 22 USE THE SURRENDER TACTIC: TRANSFORM WEAKNESS INTO POWER

When you are weaker, never fight for honours’ sake; choose surrender instead. Surrender gives you time to recover, time to torment and irritate your conqueror, time to wait for his power to wane. Do not give him the satisfaction of fighting and defeating you—surrender first. By turning the other cheek you infuriate and unsettle him. Make surrender a tool of power. 


LAW 23 CONCENTRATE YOUR FORCES 

Conserve your forces and energies by keeping them concentrated at their strongest point. You gain more by finding a rich mine and mining it deeper, than by flitting from one shallow mine to another—intensity defeats extensity every time. When looking for sources of power to elevate you, find the one key patron, the fat cow who will give you milk for a long time to come. 


LAW 24 PLAY THE PERFECT COURTIER 

The perfect courtier thrives in a world where everything revolves around power and political dexterity. He has mastered the art of indirection; he flatters, yields to superiors, and asserts power over others in the most oblique and graceful manner. Learn and apply the laws of courtiership and there will be no limit to how far you can rise in the court. 


LAW 25 RE-CREATE YOURSELF 

Do not accept the roles that society foists on you. Re-create yourself by forging a new identity, one that commands attention and never bores the audience. Be the master of your own image rather than letting others define it for you. Incorporate dramatic devices into your public gestures and actions—your power will be enhanced and your character will seem larger than life. 


LAW 26 KEEP YOUR HANDS CLEAN 

You must seem a paragon of civility and efficiency: Your hands are never soiled by mistakes and nasty deeds. Maintain such a spotless appearance by using others as scapegoats and cat’s-paws to disguise your involvement. 


LAW 27 PLAY ON PEOPLE’S NEED TO BELIEVE TO CREATE A CULT-LIKE FOLLOWING 

People have an overwhelming desire to believe in something. Become the focal point of such desire by offering them a cause, a new faith to follow. Keep your words vague but full of promise; emphasise enthusiasm over rationality and clear thinking. Give your new disciples rituals to perform, ask them to make sacrifices on your behalf. In the absence of organised religion and grand causes, your new belief system will bring you untold power. 


LAW 28 ENTER ACTION WITH BOLDNESS 

If you are unsure of a course of action, do not attempt it. Your doubts and hesitations will infect your execution. Timidity is dangerous: Better to enter with boldness. Any mistakes you commit through audacity are easily corrected with more audacity. Everyone admires the bold; no one honours the timid.


LAW 29 PLAN ALL THE WAY TO THE END 

The ending is everything. Plan all the way to it, taking into account all the possible consequences, obstacles, and twists of fortune that might reverse your hard work and give the glory to others. By planning to the end you will not be overwhelmed by circumstances and you will know when to stop. Gently guide fortune and help determine the future by thinking far ahead. 


LAW 30 MAKE YOUR ACCOMPLISHMENTS SEEM EFFORTLESS 

Your actions must seem natural and executed with ease. All the toil and practice that go into them, and also all the clever tricks, must be concealed. When you act, act effortlessly, as if you could do much more. Avoid the temptation of revealing how hard you work—it only raises questions. Teach no one your tricks or they will be used against you. 


LAW 31 CONTROL THE OPTIONS: GET OTHERS TO PLAY WITH THE CARDS YOU DEAL 

The best deceptions are the ones that seem to give the other person a choice: Your victims feel they are in control, but are actually your puppets. Give people options that come out in your favour whichever one they choose. Force them to make choices between the lesser of two evils, both of which serve your purpose. Put them on the horns of a dilemma: They are gored wherever they turn. 


LAW 32 PLAY TO PEOPLE’S FANTASIES 

The truth is often avoided because it is ugly and unpleasant. Never appeal to truth and reality unless you are prepared for the anger that comes from disenchantment. Life is so harsh and distressing that people who can manufacture romance or conjure up fantasy are like oases in the desert: Everyone flocks to them. There is great power in tapping into the fantasies of the masses. 


LAW 33 DISCOVER EACH MAN’S THUMBSCREW 

Everyone has a weakness, a gap in the castle wall. That weakness is usually an insecurity, an uncontrollable emotion or need; it can also be a small secret pleasure. Either way, once found, it is a thumbscrew you can turn to your advantage. 


LAW 34 BE ROYAL IN YOUR OWN FASHION: ACT LIKE A KING TO BE TREATED LIKE ONE 

The way you carry yourself will often determine how you are treated: In the long run, appearing vulgar or common will make people disrespect you. For a king respects himself and inspires the same sentiment in others. By acting regally and confident of your powers, you make yourself seem destined to wear a crown. 


LAW 35 MASTER THE ART OF TIMING 

Never seem to be in a hurry—hurrying betrays a lack of control over yourself, and over time. Always seem patient, as if you know that everything will come to you eventually. Become a detective of the right moment; sniff out the spirit of the times, the trends that will carry you to power. Learn to stand back when the time is not yet ripe, and to strike fiercely when it has reached fruition. 


LAW 36 DISDAIN THINGS YOU CANNOT HAVE: IGNORING THEM IS THE BEST REVENGE 

By acknowledging a petty problem you give it existence and credibility. The more attention you pay an enemy, the stronger you make him; and a small mistake is often made worse and more visible when you try to fix it. It is sometimes best to leave things alone. If there is something you want but cannot have, show contempt for it. The less interest you reveal, the more superior you seem. 


LAW 37 CREATE COMPELLING SPECTACLES 

Striking imagery and grand symbolic gestures create the aura of power — everyone responds to them. Stage spectacles for those around you, then, full of arresting visuals and radiant symbols that heighten your presence. Dazzled by appearances, no one will notice what you are really doing. 


LAW 38 THINK AS YOU LIKE BUT BEHAVE LIKE OTHERS 

If you make a show of going against the times, flaunting your unconventional ideas and unorthodox ways, people will think that you only want attention and that you look down upon them. They will find a way to punish you for making them feel inferior. It is far safer to blend in and nurture the common touch. Share your originality only with tolerant friends and those who are sure to appreciate your uniqueness. 


LAW 39 STIR UP WATERS TO CATCH FISH 

Anger and emotion are strategically counterproductive. You must always stay calm and objective. But if you can make your enemies angry while staying calm yourself, you gain a decided advantage. Put your enemies off-balance: Find the chink in their vanity through which you can rattle them and you hold the strings. 


LAW 40 DESPISE THE FREE LUNCH 

What is offered for free is dangerous—it usually involves either a trick or a hidden obligation. What has worth is worth paying for. By paying your own way you stay clear of gratitude, guilt, and deceit. It is also often wise to pay the full price — there is no cutting corners with excellence. Be lavish with your money and keep it circulating, for generosity is a sign and a magnet for power. 


LAW 41 AVOID STEPPING INTO A GREAT MAN’S SHOES 

What happens first always appears better and more original than what comes after. If you succeed a great man or have a famous parent, you will have to accomplish double their achievements to outshine them. Do not get lost in their shadow, or stuck in a past not of your own making: Establish your own name and identity by changing course. Slay the overbearing father, disparage his legacy, and gain power by shining in your own way. 


LAW 42 STRIKE THE SHEPHERD AND THE SHEEP WILL SCATTER 

Trouble can often be traced to a single strong individual—the stirrer, the arrogant underling, the poisoner of goodwill. If you allow such people room to operate, others will succumb to their influence. Do not wait for the troubles they cause to multiply, do not try to negotiate with them—they are irredeemable. Neutralise their influence by isolating or banishing them. Strike at the source of the trouble and the sheep will scatter. 


LAW 43 WORK ON THE HEARTS AND MINDS OF OTHERS 

Coercion creates a reaction that will eventually work against you. You must seduce others into wanting to move in your direction. A person you have seduced becomes your loyal pawn. And the way to seduce others is to operate on their individual psychologies and weaknesses. Soften up the resistant by working on their emotions, playing on what they hold dear and what they fear. Ignore the hearts and minds of others and they will grow to hate you. 


LAW 44 DISARM AND INFURIATE WITH THE MIRROR EFFECT 

The mirror reflects reality, but it is also the perfect tool for deception : When you mirror your enemies, doing exactly as they do, they cannot figure out your strategy. The Mirror Effect mocks and humiliates them, making them overreact. By holding up a mirror to their psyches, you seduce them with the illusion that you share their values; by holding up a mirror to their actions, you teach them a lesson. Few can resist the power of the Mirror Effect. 


LAW 45 PREACH THE NEED FOR CHANGE, BUT NEVER REFORM TOO MUCH AT ONCE 

Everyone understands the need for change in the abstract, but on the day-to-day level people are creatures of habit. Too much innovation is traumatic, and will lead to revolt. If you are new to a position of power, or an outsider trying to build a power base, make a show of respecting the old way of doing things. If change is necessary, make it feel like a gentle improvement on the past. 


LAW 46 NEVER APPEAR TOO PERFECT 

Appearing better than others is always dangerous, but most dangerous of all is to appear to have no faults or weaknesses. Envy creates silent enemies. It is smart to occasionally display defects, and admit to harmless vices, in order to deflect envy and appear more human and approachable. Only gods and the dead can seem perfect with impunity. 


LAW 47 DO NOT GO PAST THE MARK YOU AIMED FOR; IN VICTORY, LEARN WHEN TO STOP 

The moment of victory is often the moment of greatest peril. In the heat of victory, arrogance and overconfidence can push you past the goal you had aimed for, and by going too far, you make more enemies than you defeat. Do not allow success to go to your head. There is no substitute for strategy and careful planning. Set a goal, and when you reach it, stop. 


LAW 48 ASSUME FORMLESSNESS 

By taking a shape, by having a visible plan, you open yourself to attack. Instead of taking a form for your enemy to grasp, keep yourself adaptable and on the move. Accept the fact that nothing is certain and no law is fixed. The best way to protect yourself is to be as fluid and formless as water; never bet on stability or lasting order. Everything changes.

Saturday, 11 April 2020

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...