Showing posts with label Schrodinger. Show all posts
Showing posts with label Schrodinger. Show all posts

Saturday, 27 September 2025

The Book of Lies : 1984 as Taoist Holy Scripture

"You Don't Exist, Winston."

Richard Burton in 
a Blue Boiler Suit 
- 1984 (1984)



He doesn't exist! He's a fictional character!!
Listen to Richard Burton!
He Knows So Much About These Things
And stop calling him "O'Brien"

"Throughout his entire life,right up until the time of his, Crowley always steadfastly and consistently maintained that The Book of The Law was a genuinely revealed text, received and channeled through are receptive medium in Cairo in 1904 [ Crowley's mistress] direct from The Secret Chiefs,
Transcribed verbatim.

The Book of Lies is a lot funnier."

 - Robert Anton Wilson


At Last! - The 1948 Show (aka The Ur-Python)





Masks of the Illuminati
Sir John picked out a Crowley volume entitled, with Brazen effrontery, The Book of Lies. 
Opening it, he found the title page:

THE BOOK OF LIES 
WHICH IS ALSO FALSELY CALLED 
BREAKS 
THE WANDERINGS OR FALSIFICATIONS 
OF THE ONE THOUGHT OF 
FRATER PERDURABO 
WHICH THOUGHT IS ITSELF 
UNTRUE

Despite himself, Sir John grinned. This was a variation on the Empedoclean paradox in
logic, which consists of the question: "Empedocles, the Cretan, says that everything Cretans say is a
lie; is Empedocles telling the truth?" Of course, if Empedocles is telling the truth, then -- since his
statement "everything Cretans say is a lie" is the truth -- he must also be lying. On the other hand, if
Empedocles is lying, then everything Cretans say is not a lie, and he might be telling the truth.
Crowley's title page was even more deliberately perverse: if the book is "also falsely called Breaks,"
then (because of the "also") the original title is false, too, and it is not a book of lies at all. But, on
the other hand, since it is the "falsifications. . . of the one thought. . . which is itself untrue," it is the
negation of the untrue and, therefore, true. Or was it?

Sir John turned to the first chapter and found it consisted of a single symbol, the question
mark:

?

Well, compared with the title, that was at least brief. Sir John turned the page to the second
chapter and found equal brevity:

!

What kind of a joke was this? Sir John turned to Chapter 3, and his head spun:

Nothing is.
Nothing becomes.
Nothing is not.

The first two statements were the ultimate in nihilism; but the third sentence, carrying
nihilism one step further, brought in the Empedoclean paradox again, for it contradicted itself. If
"nothing is not," then something is. . . .

What else was in this remarkable tome? Sir John started flipping pages and abruptly found
himself facing, at Chapter 77, a photograph of Lola Levine. It was captioned "L.A.Y.L.A.H." The
photo and the caption made up the entire chapter. Lola was seen from the waist up and was
shamelessly naked, although as a concession to English morality her hair hung down to cover most
of her breasts.

Sir John, on a hunch, counted cabalistically. Lamed was 30, plus Aleph is 1, plus Yod is 10,
plus second Lamed is 30, plus second Aleph is 1 again, plus He is 5; total, 77, the number of the
chapter. And Laylah was not just a loose transliteration of Lola; it was the Arabic word for "night."
And 77 was the value of the curious Hebrew word which meant either "courage" or "goat": Oz. The
simple photo and caption were saying, to the skilled Cabalist, that Lola was the priestess incarnating
the Night of Pan, the dissolution of the ego into void. . .

Sir John decided to buy The Book of Lies; it would be interesting, and perhaps profitable, to
gain further insight into the mind of the Enemy, however paradoxical and perverse might be its
expressions. He approached the counter, and found with discomfort that the clerk seated there was
Lola Levine herself. Since he had just been looking at a photo of her, naked from the waist up, he
blushed and stammered as he said, "I'd like to buy this."

"One pound six, sir," Lola said, with no more flicker of expression than any other clerk. Sir
John realized that it had been nearly three years since the one occasion on which they had met on the
Earth-plane; she had no reason to remember him. Then, was it possible that all the astral visions in
which she tormented and attempted to seduce him were the product of his own impure imagination?
Or were those visions as real as they seemed, and was she merely a consummate actress and
hypocrite? It was the metaphysical equivalent of the Empedoclean paradox.

A stout, elderly woman with a Cornish accent asked Lola, "I'm planning to stay for the
lecture. Is it pronounced Crouly or Crowley?"

"It is pronounced Crowly," said a voice from the door. "To remind you that I'm holy. But my
enemies say Crouly, in wish to treat me foully."

Sir John turned and saw Aleister Crowley, bowing politely to the Cornish woman as he
completed his jingle. Crowley was a man of medium height, dressed in a conservative pinstripe suit
jarringly offset by a gaudy blue scarf in place of the tie and with a green Borsalino hat worn at a
rakish angle. It was the outfit an artist on the Left Bank might wear, to show that he had become
successful; it was definitely eccentric for London.

The Cornish woman stared. "Are you really the Great Magician, as people say?"

"No," said Crowley at once. "I am the most dedicated enemy of the Great Magician." And he
swept past imperiously.

The Cornish lady gasped. "What did he mean by that?" she asked nobody in particular.

Sir John understood, but wasted no time trying to explain. Crowley was heading for the
lecture room and Sir John followed him closely, wanting a seat up front where he could observe the
Master of the M.M.M. most closely. The paradox had been typical of Crowley's style: he referred,
obviously, to the Gnostic teaching that the sensory universe was a delusion, created by the Devil, to
prevent humanity from seeing the Undivided Light of Divinity itself. A strange joke to come from a
Satanist; but, of course, some Gnostics had taught that Jehovah, creator of the material universe, was
the Devil, the Great Magician. The Bible begins with Beth, according to this teaching, because Beth
is the letter of the Magician in the Tarot, the Lord of the Abyss of Hallucinations. . .

The lecture room was filling rapidly and Sir John scampered into a front-row seat. He
noticed that Crowley had lowered his head and closed his eyes, obviously preparing himself for the
lecture by some method of invocation or meditation. Behind him on the wall was a large silver star
with an eye in its center, a symbol associated (Sir John knew) with both the goddess Isis and the
Dog Star, Sirius.

"Do what thou wilt shall be the whole of the law," Crowley intoned suddenly, without
raising his head. Then he looked about the room whimsically.

"It is traditional in the great Order which I humbly represent," he went on, "to begin all
ceremonies and lectures with that phrase. Like Shakespeare's Ducdame, it is a great banishing ritual
against fools, most of whom leave the room at once on hearing it uttered. Observing no stampede to
the doors I can only wonder if a miracle is occurring tonight and I am speaking, for once, to an
English audience that does not consist mostly of fools."

Sir John smiled in spite of himself.

"My topic tonight," Crowley went on, "is the soldier and the hunchback. Those are poetic
terms I regularly employ to designate the two most interesting punctuation marks in general use
throughout Europe -- the exclamation point and the question mark. Please do not look for
profundities at this point. I call the exclamation point 'the soldier' only out of poetic whimsy,
because it stands there, erect, like a soldier on guard duty. The question mark I call the 'hunchback,'
similarly, only because of its shape. I repeat again: there is no profundity intended, yet."

Sir John found himself thinking of the first two chapters of The Book of Lies, which said
only "?" and "!"

The question mark or hunchback, Crowley went on, appeared in all the basic philosophical
problems that haunt mankind: Why are we here? Who or what put us here? What if anything can we
do about it? How do we get started? Where shall wisdom be found? Why was I born? Who am I?
"Unless you are confronted with immediate survival problems, due to poverty or to the deliberate
choice of an adventurous life, these hunchbacks will arise in your mind several times in an ordinary
hour," Crowley said. "They are generally pacified or banished by reciting the official answers of the
tribe into which you were born, or simply deciding that they are unanswerable." Some however,
Crowley went on, cannot rest in either blind tradition or resigned agnosticism, and must seek
answers for themselves, based on experience. Ordinary people, he said, are in a sense totally asleep
and do not even know it; those who persist in asking the questions can be described as struggling
toward wakefulness.

The soldier, or exclamation point, he continued, represents the moment of insight or intuition
in which a question is answered, as in the expressions "Aha!" or "Eureka!"

"I now present you, gratis, two of the nastiest hunchbacks I know," Crowley said, smiling
wickedly. "These two are presented to every candidate who comes to our Order seeking the Light.
Here they are:

"Number One: Why, of all the mystical and occult teachers in the world, did you come to
me?

"Number Two: Why, of all the days in your life, on this particular day?

"That is all you need to know," Crowley said. "I might as well leave the platform now, since,
if you can answer those questions, you are already Illuminated; and if you cannot, you are such
dunces that further words are wasted on you. But I will take mercy on you and give you the rest of
the lecture, anyway."

Crowley went on to define the state of modern philosophy (post-David Hume) as "an
assembly of hunchbacks." Everything has been called into question; every axiom has been
challenged -- "including Euclid's geometry among modern mathematicians"; nothing is certain
anymore. On all sides, Crowley said, we see only more hunchbacks -- questions, questions,
questions.

Traditional mysticism, Crowley continued, is a regiment of soldiers. The mystic, he said,
having attained an "Aha!" or "Eureka!" experience -- a sudden intuitive insight into the invisible
reality behind the subjective deceptions of the senses -- is apt to be so delighted with himself that he
never asks another question and stops thinking entirely. Out of this error, Crowley warned, flows
dogmatic religion, "a force almost as dangerous to true mysticism as it is to scientific or political
freedom."

The path of true Illumination, Crowley proceeded, walking to a blackboard at the right of the
room, does not consist of one intuitive insight after another. It is not a parade of soldiers, "like this,"
he said, writing on the board:

!!!!!!!!!!!!!!!!!!!!!!!!!!!!

"Anybody in that state is an imbecile or a catatonic, however blissful his lunacy may be,"
Crowley said sternly.

The true path of the Illuminati, Crowley stated more emphatically, is a series of soldiers and
hunchbacks in ever-accelerating series, which he sketched as:

?. . . . !. . . .?. . . !. . . ?. . !. . ?. !. ?
!?!?!?!?!?!?!?! etc.

"To rest at any point, either in intuitive certainty or doubtful questioning," he said flatly, "is
to stagnate. Always seek the higher vision, whatever states of ecstatic insight you may have reached.
Always ask the next harder question, whatever questions you may have answered. The Light you are
seeking is quite correctly called ain soph auer in Cabala -- the limitless light -- and it has, quite
literally, the characteristics mathematicians such as Cantor have demonstrated belong to Infinity. As
the Upanishads say, 'You can empty infinity from it, and infinity still remains.' However deep your
union with the Light, it can become deeper, whether you call it Christ or Buddha or Brahm or Pan.
Since I am, thank God," he said the last two words with great piety, "an Atheist, I prefer to call it
Nothing -- since anything we say about it is finite and limited, whereas it is infinite and unlimited."

Crowley proceeded to discourse on the infinite with great detail, summarizing mathematical
theories on the subject with remarkable erudition and felicity. "But all this," he ended, "is not the
true infinite. It is only what our little monkey-minds have been able to comprehend so far. Ask the
next question. Seek the higher vision. That is the path that unites mysticism and rationalism, and
transcends both of them. As a great Poet has written:

We place no reliance
On Virgin or Pigeon;
Our method is Science,
Our aim is Religion.

Those blessed words!" he said raptly. "Holy be the name of the sage who wrote them!"

At this point Sir John was far from sure whether he had been listening to the highest wisdom
or the most pretentious mumbo jumbo he had ever heard. The Divine No-Thing was much like
certain concepts in Buddhism and Taoism, but it was also a nice way of seeming to utter
profundities while actually talking nonsense. But then, of course, Crowley's whole point had been
that anything said about infinity was itself Nothing in comparison with infinity itself. . .

With a start, Sir John realized that the lecture was over. The audience was applauding,
somewhat tentatively, most of them as confused by what they had heard as Sir John himself.

"You may now," Crowley said carelessly, "unburden yourselves of the thoughts with which
you passed the time while pretending to listen attentively to me; but in accord with English decorum
and the rituals of the public lecture, you must phrase these remarks in the form of questions."

There was a nervous laugh.

"What about Christ?" The speaker was a redfaced man with a walrus mustache; he seemed
more irritated by what he had heard than the rest of the audience. "You didn't say nuthin' about
Christ," he added aggrievedly.

"A lamentable oversight," Crowley said unctuously. "What about Christ, indeed? Personally,
I hold the man blameless for the religion that has been foisted upon him posthumously. Next
question -- the lady in the back row?"

"Is socialism inevitable?"

Sir John found himself wondering when Crowley would become aware of the Talisman and
attempt to cajole him into surrendering it. With horror he realized that such overwhelming of his
mind was possible: Crowley did possess charm, magnetism and charisma, like many servants of the
Demon. What was it Pope had written about Vice? A creature of such hideous mein/That to be hated
needs but be seen/But something something something/We first pity, then endure, then embrace. . .
"Many things are inevitable," Crowley was saying. "The tides. The seasons. The fact that the
questions after a lecture seldom have anything to do with the content of the lecture. . ." What do you
seek? The Light. The limitless light: ain soph auer. And the darkness knew it not. . .

"What about the Magick Will?" Sir John asked suddenly, during a pause.

"Ah," Crowley said. "That is a Significant Question." Somehow he conveyed the mocking
capitals by his intonation. "Such questions deserve to be answered with demonstrations, not with
mere windy words. Laylah," he called to the back of the room. "Could you bring the
psychoboulometer?"

Lola approached the podium with something that looked hideously like a medieval thumb-
screw.

"There is firstly conscious will," Crowley was saying, looking directly at Sir John. "We all
attempt to exercise this every day. 'I will give up smoking.' 'I will be true to my wife.' Ninety-nine
times out of a hundred such resolutions fail, because they are in conflict with the force that really
controls us, Unconscious Will, which can not be frustrated. Indeed, even the profane psychologists
have rediscovered what the mystics always knew: Unconscious Will, if prevented from acting,
returns in the night to haunt our dreams. And sometimes it returns in the daytime, too, in the form of
irrational behaviors which we cannot understand. Magick Will should not be confused with either of
these, because it includes both and is greater than both. To perform an act of Magick Will is to
achieve the Great Work, I might say. The holiest of all holy books says in this connection, 'Thou
hast no right but to do thy will.' Alas, if you think you are doing your true Will, without magickal
training, you are almost always deluding yourself. . . But I am engaging in the windy verbiage I
promised to avoid, and here is the implement of demonstration. Would anybody care to give us an
exhibit of what they can accomplish by conscious Will?"

"I think I shall give it a try," Sir John said, wondering at his own daring. "That's only fair
since I asked the question," he added, feeling inane.

"Well, then, good! Come up here, sir," Crowley said with a grin that was beginning to look a
bit sinister to Sir John. "We have here," he went on, holding the ugly thumb-screw so that everybody
could get a good view, "one of the implements once used by the Dominican Order to enforce the
religion which, as I said, has been foisted on Christ." He set the torture device on the podium. "They
used it as an instrument of torture, but we shall use it as a measure of Will."

Sir John was now standing beside Crowley, looking uneasily at the thumb-screw. "Just insert
your thumb, sir," Crowley said easily.

"What???" Sir John could hardly believe his ears.

"Just insert your thumb, down here," Crowley went on blandly, "and then turn the handle
which tightens the vise. The needle on the boulometer -- my own addition to this toy -- will register
how far you are able to withstand pain by sheer Will; 10 is a good score, and 0 means you are a
mere jellyfish. How far do you think you can go?"

Sir John felt every eye in the room upon him. He wanted to cry, "I am not such a fool as to
torture myself for your amusement," but -- he was even more afraid of appearing a public coward. Is
that why people go into armies? he asked himself grimly. . . "Very well," he said coldly, inserting
his thumb.

And Abraham rose up early in the morning, and saddled his ass, and took two of his young men with him, and Isaac his son, and clave the wood for the burnt offering, and rose up, and went unto the place of which God had told him.

And it was about the sixth hour, and there was darkness over all the earth until the ninth hour.

And the sun was darkened, and the veil of the temple was rent in the midst.

And Abraham took the wood of the burnt offering, and laid it upon Isaac his son; and he took the fire in his hand, and a knife; and they went both of them together.

And when Jesus had cried with a loud voice, he said, Father, unto thy hands I commend my spirit; and having said thus, he gave up the ghost.
"You've only reached two in the boulometer," Crowley said. "The audience will think you're
not trying, sir."

"Damn you!" Sir John whispered, perspiration cold on his back. "I am done with this cruel
joke. Let us see how much better your Magick Will can do!"

"Certainly," Crowley said calmly. He inserted his thumb into the cruel mechanism, and
began turning the vise with slow deliberation. Not a muscle moved in his face. (Sir John suspected
that he had gone into a trance.) The needle on the boulometer crept slowly, accompanied by gasps
from the audience, all the way to 10.

"That," said Crowley gently, "might pass for an elementary demonstration of Magick Will."

There was a burst of spontaneous applause.

"It will also do," Crowley said, "as an illustration of our thesis about the soldier and the
hunchback. The first rule of our Magick is: never believe anything you hear and doubt most of what
you see." He turned the "psycho-boulometer" around, revealing that he had disengaged the screw
and had been turning the handle without actually tightening the vise. There was an angry gasp.

"Oh," Crowley said, "are you feeling cheated? Remember this, then: you are cheated the
same way every time emotional turmoil or fixed ideas distort your perception of what is actually
before your eyes. And remember to look for the hunchback behind every soldier."

The audience began to file out, muttering and chattering as excitedly as a group of
chimpanzees who had just found a mirror.

And then Sir John realized that Crowley had descended from the podium and was
approaching him.

"Sir John Babcock," Crowley said warmly, "did you ever hear the story of the man with a
mongoose in his basket?"

At least, unlike Lola, Crowley wasn't pretending not to recognize Sir John. "What
mongoose?" Babcock asked carefully.

"It was on a train," Crowley said. "This chap had a basket under his seat and another
passenger asked him what was in it. 'A mongoose,' he said. 'A mongoose!' said the other. 'What on
earth do you want with a mongoose?' 'Well,' said our hero, 'my brother drinks a great deal more than
is good for him, and sometimes he sees snakes. So I turn the mongoose on them.' The other
passenger was baffled by this logic. 'But those are imaginary snakes!' he exclaimed. 'Aha!' said our
hero. 'Do you think I don't know that? But this is an imaginary mongoose!'

Sir John laughed nervously.

"That's the way it is with talismans," Crowley said. "When a phantom climbs, the ghost of a
ladder serves him. But do keep that pentacle in your vest if it makes you feel better. I must go now.
We shall meet again."

And Sir John stared as Crowley made his way to the back of the room, where he greeted
Lola with a kiss. He whispered something; they both turned and looked back at Sir John; they waved

cheerfully. And then they were gone. 

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...