GRIEF

MOYERS: 

What’s the chief difference, as you see it, between male feeling and female feeling?

BLY: 

A strong part of the women’s mode of feeling has to do with Pain. 

Moving towards Pain 

and Help removing it, 

and also the pain of being devalued. 

I mean, women’s values have been rejected in this culture for 2,000 years or more, and women feel a strong pain in this devaluation. 

Men don’t feel devalued quite that much. 

With the men it’s more an area of Grief, as opposed to Pain. 

And —

MOYERS: 

You keep using that word, grief, in regard to men.

BLY: 

Yeah. You see, in my own case, I began as a poet, writing poetry, and poetry deals with feeling, but I felt that until I felt that 

Grief is a Door to Male Feeling. 

Until I had really tried to go into some of the grief around my father, I didn’t feel that I had access to the feeling.

MOYERS: 

Tell me about that.

BLY: 

Well, you know, 

As Men we’re taught not to feel pain and grief, as children. 

I remember seeing one of my boys, he was maybe about nine. 

He was hit in a basketball [game], maybe hit by the ball, and I saw him turn around and bend down and get control of his pain and his grief before he stood up again. 

That same boy would be so wonderful in being open to wounds and crying and so on when he was very small. 

But, you know, The Culture had said to him, 

“You cannot give way to that, you must turn around and when you must turn around; you must have a face without pain or grief in it,” 

right?

So therefore, as a son of an alcoholic, I received that. I mean, when you’re in an alcoholic family, you’re hired to be cheerful. 

That’s one of your jobs. 

You’re appointed that way. 

One is hired to be a Trickster, another I was hired to be cheerful, so that when anyone asked me about The Family. 

I’d have to lie in a cheerful way and say, 

“Oh, it’s wonderful, yes, indeed, we have sheep, you know, and we have chickens, and everything’s wonderful.”

Well, then if you can deny something so fundamental as the deep grief in the whole family, you can deny anything. 

So then how can you write poetry, then, if you’re involved in that much denial? 

So the word denial was very helpful to me.

MOYERS: 

Did you resent your father? 

Did you feel

BLY: 

No, I think that what happened was that as far as the grief goes, being appointed to be The Cheerful One in The Family, I would tend to follow a movement upward like this, hmm? 

More and more achievement, more and more and so on, hmm? 

That’s what you’d do. And finally you’d redeem the family’s name by doing this.

Well, I got to be about 46 or so, and then I realized how unsteady I was, and how my own poems didn’t have well, I didn’t even mention my father in my poems until I was 46. 

Not once. So I’d look at my poems they’re good poems but there’s something missing in there. 

And then I began to realize that in the ancient times, the movement for the man was downward, a descent into grief,  before you’re really a man that descent has to take place. 

It’s referred to in the fairy tales as the time of ashes and the time of descent.

So I wrote a poem at that time, and it’s the first poem — I must have been 46 or 47 — it is the first poem I had written in which there was some sort of grief. I’ll read it to you. Want to hear it?

MOYERS: 

Mm hmm.

BLY: 

It’s called Snowbanks North of the House. 

Maybe you know the poem. Snowbanks snow comes down from Alaska, you know, and then stops suddenly. 

And I’d noticed that little place there where something stops and doesn’t go further. 

So I wrote this line:

Those great sweeps of snow that stop suddenly, six feet from the house …

I left it in the drawer for two or three months, to see what would happen, and finally the rest of the poem came.

Those great sweeps of snow that stop suddenly six feet from the house …

Thoughts that go so far.

The boy gets out of high school and reads 110 more books; the son stops calling home. The mother puts down her rolling pill, and makes no more bread. And the wife looks at her husband one night at a party and loves him no more. The energy leaves the wine, and the minister falls leaving the church. It will not come closer the one inside moves back, and the hands touch nothing, and are safe. And the father grieves for his son,

[This is Lincoln]

And the father grieves for his son, and will not leave the room where the coffin stands. he turns away from his wife, and she sleeps alone

And the sea lifts and falls all night; the moon goes on through the unattached heavens, alone. And the toe of the shoe pivots in the dust … The man in the black coat turns, and goes back down the hill. No one knows why he came, or why he turned away, and did not climb the hill.

MOYERS: 

What did that do for you?

BLY: Well, to me it was the first time that I had felt my words being involved not in the new age of sense, not in higher consciousness, but a movement down, when you break off the arc and you move down, and you go down towards your own. In that case, it had to do with the possibility that my life is not going to be a series of triumphs, that what is asked of me is not to ascend, but to descend.

MOYERS: But how about in relation

BLY: That meant that meant I had to start paying attention to my father.

MOYERS: Here.

BLY: There. In other words

MOYERS: But he was here. You didn’t have him out there.

BLY: He was out there, too. In other words, how shall I say it, oftentimes my father my mother and father were living on a farm a mile from where I was. I would go over and see them. My father had lost part of one lung and he would be lying in the bed, in the next to the living room. I would go and sit and talk with my mother for an hour, because I was probably in the conspiracy with her early on. And if I remembered it, I’d say goodbye to my father before I left.

Now, my father’s lying out there. How do you think he feels about my talking with my mother for an hour? What can he do? He thinks, “Well, that’s nice, they have a good relationship.” But how about him? So therefore, I realized that I had been in a conspiracy with my mother to push my father out since I was two or three years old. And I decided at this same time I wrote that poem, it’s time for this to end. I don’t want to be in this conspiracy anymore. So what I did was, I would go in and sit down with my father. And my mother would wait for me to come into the living room. And I didn’t. I’d sit down next to him. He’s not a great conversationalist, but we’d talk a little bit. And eventually my mother would have to come in and sit down on the bed. And then we all knew that some change had taken place.

MOYERS: It seems to me that you and your mother hadn’t pushed your father out. Your father had removed himself, like so many fathers do, either through alcoholism or through work or through obsession with the world, through ambition.

BLY: It’s possible.

BLY: [at gathering] When your father is away during the day and during the year, when he only comes home at five o’clock, you only get his temperament. What you used to get was his teaching and his temperament. The teaching would help you. You know how sweet it is when someone says, “Well, the way you make it is, you put your board, nail over here, you put your board over here, and you do that,” and those teachings are sweet.

Even mean men are often sweet when they’re teaching. And then we have that gratitude when someone has taught us something, that’s so wonderful. We used to receive that from our fathers. Now he goes to work, and all we get is his temperament when he gets home at five, and he’s tired. And what’s more, at work he has been humiliated by older men and other men, bosses. He’s been in competition with other men. He has he has he knows that his work he’s not going to be able to see the end of his work. It’s not like making a chest of drawers. He knows that his company is probably polluting Alaska. How do you think he feels when he gets home? And that’s all you’re going to get.

And I want to remind you that the same thing is true of women, that many people that we call angry feminists are women who have only experienced the temperament of their fathers. They have never experienced the teaching. And their attacks on the patriarchy are really a turned attack on the fact that they don’t believe that there is any older male that has anything but this irritable temperament. Is that clear, what I’m saying? So that has to be understood, too. The women only get the temperament of the father, and it’s usually irritable and angry. One thing I have to say to the men is that, your father is convinced that he is an inadequate human being. Women have been telling him that for 30 to 40 years.

He doesn’t know how to talk, he can’t express himself, he doesn’t know what his feelings are; People hear what they hear. Your father feels that he’s okay when he’s with a hammer, but in every other way he’s inadequate.

So you call up your home and you get your father, and he says, “Oh, John, this is just your father, here’s your mother.” And I was saying there are only two kinds of men. One kind of man is willing to go along with that, and the other kind of man says, “Wait a minute, I didn’t call here to talk to my mother, I want to talk to you.” “No, no, here’s your mother.” “No, no, that isn’t it, I want to talk with you.” “What about? You want to borrow money?” “No, that’s not it.” Huh?

The other day I was in Atcheson, Kansas, and I met a wonderful man there who was an economics teacher. And there’s a tiny little Catholic school in Atcheson, and this man came up to me, we started talking. His father was a car mechanic who worked very hard and knew beautifully the engines, just knew what was wrong and so on. The father got ill, eventually got his got the one leg cut off. He was lying in bed, trying to deal with the phantom pain. Rick calls him up on the phone, says “How are you doing, Dad?” Dad says, “What do you want?” Rick says, “I want to say something to you. I want to tell you how much I appreciated everything you did, how much I appreciated all the work that you had to do in order to send me to college. I’m a college teacher now, and I want to tell you how much I appreciate that, and how much I love you.” And the father said, “You been drinking?”

I thought that was wonderful. I said, “You just lived through the history of the last 80 years.” The father can’t imagine, that right. Right? There’s only two points. Because men don’t talk about feelings. So if you’re talking about feelings, probably you must be drunk. And you’ve got to get over that. You’ve just got to say, “No, I have not been drinking, I’m not on dope, and I love you. You get it?”

BLY: I’ll read you a poem. It is the first poem I did at all connected with my father. In fact, it is the first one in which I used the word father. It isn’t my father, but it’s a poem called Finding the Father.

My friend, this body offers to carry us for nothing. This body offers to carry us for nothing as the ocean carries logs. So on some days the body wails with its great energy; it smashes up the boulders, lifting small crabs that flow around the sides.

Someone knocks on the door. Someone knocks on the door. We do not have time to dress. He wants us to go with him through the blowing rainy streets, to the dark house. We will go there, the body says, and there find the father whom we have never met, who wandered out in a snowstorm the night we were born, and who then lost his memory, and has lived since longing for his child. Whom he saw only once … while he worked as a shoemaker, as a cattle herder in Australia, as a restaurant cook who painted at night.

When you light the lamp you will see him. He sits there, behind the door … the eyebrows so heavy, the forehead so light … lonely in his whole body, waiting for you.

MOYERS: Looking for father?

BLY: Finding the Father, it’s called.

MOYERS: Did you find your father?

BLY: To some extent, I did. He died only a few months ago, but one of the things that did happen is this. I was living in Moose Lake, about five hours away. I get a call. My mother and father are both in the old people’s home, in Madison, Minnesota. I get a call saying my father was in the hospital with pneumonia. So I drove down especially to see him, and some change had taken place in me, so that when I walked in the room, he was alone there, and for the first time, I picked up a book, my book that I write in, and I wrote a poem in his presence. I had written so many poems in the presence of trees like these, so many poems in the presence of women, never a single line in the presence of my father. So this is the poem I wrote. It’s called, Sitting. No, it’s called My Father at 85.

His large ears hear

everything.

A hermit wakes

and sleeps

in a hut underneath

his gaunt cheeks.

His eyes, blue,

alert, dis-

appointed and suspicious

complain

I do not bring him

The same sort of jokes

the nurses do.

(Hmm? When the nurses come in. He’s right.)

He is a small bird

waiting to be fed,

mostly beak,

an eagle or a vulture

or the Pharaoh’s servant

just before death.

My arm on the bedrail

rests there,

relaxed, with new love.

All I know of the Troubadours

I bring

to this bed.

I do not want

or need

to be shamed

by him

any longer.

The general of shame.

has discharged him

(He’s probably Lou Gehrig.)

and left him in this small provincial

Egyptian town.

If I do not wish

to shame him, then

why not

love him?

His long hands,

large, veined, capable,

can still retain

hold of what he wanted.

But is that what he desired?

Some powerful

river of desire

foes on flowing

through him.

He never phrased

What he desired.

and I am

his son.

MOYERS: “He never phrased” your father never phrased.

BLY: He never put into language what he desired. In the United States, we put into language what we want. We want another television set, we want a VCR, we want a refrigerator, we want a good 3.2 beer. We want to have a cowboy hat and have some girl come along and touch it. That’s what we want. But in television, we never talk about what we desire. What you desire is something you’re never going to get, so that gives it a little fragrance.

MOYERS: Wait, what do you mean by that? We’re going to desire something that you’re not going to get?

BLY: Well, someone says, “I want to be as great a poet as Shakespeare.” You never I desire to be as great a poet; it’s not going to happen. But it’s sweet, the desiring. In the 13th and 14th century, they did desire. They desired God, they desired to have God as a lover, for example, with the Provencal poets. And all of those, and the Sufis, the Moslems, at the same time. You know that Moslem poem, a Rumi poem. “I want to kiss you.” Answer: “The price of kissing is your life.” “Now my loving is running towards my life, shouting, ‘What a bargain! Let’s take it!'” That’s a poem of desire, isn’t it? It’s a poem of [unintelligible].

So if our parents could have phrased what they desired, our lives would have been different.

MOYERS: Why do fathers have such a hard time talking to sons about desire, about what they really seek?

BLY: I don’t think the mothers phrase what they desire, either.

MOYERS: Yes, but–

BLY: The grownups don’t phrase what they desire.

MOYERS: why?

BLY: Well

MOYERS: Do they know? Do we know?

BLY: I think I think they brood about it a lot. You know, my father spent many hours — I saw him lying in bed, brooding. And he was brooding about something. And I think it was on what he had desired to do. He had to go onto the farm because his own father had a heart attack. He himself read a tremendous amount. One of his favorite people was the Prince of Wales. He read everything about the Prince of Wales. Now it must be, you see, that the Prince of Wales abdicated and I think my father felt that he had abdicated from what he desired in order to raise his family, and so on. I think so. That must be one of the connections.

MOYERS: 

But that’s–

BLY: 

So therefore, it was painful for him to talk about what he desired. Everyone comes into the world with a certain way he wants to be fathered. And every father comes into the world with a certain way that he wants to father. What if they don’t mix? What then?

I Remembered You The First Moment That I Saw You

JOAN :

They are determined that I shall be burnt as a Witch; 

And they sent their doctor to cure me;

But he was forbidden to bleed me because the silly people believe that a witch's witchery leaves her if she is bled;

So he only called me filthy names. 

Why do you leave me in the hands of The English? 

I should be in the hands of The Church. 

And why must I be chained by the feet to a log of wood? 

Are you afraid I will fly away?

D'ESTIVET [harshly] 

Woman : it is not for you to question The Court : it is for us to question you.

COURCELLES. 

When you were left unchained, did you not try to escape by jumping from a tower sixty feet high? 

If you cannot fly like a witch, how is it that you are still alive?

JOAN. 

I suppose because The Tower was not so high then. 

It has grown higher every day since you began asking me questions about it.

D'ESTIVET. 

Why did you jump from The Tower?

JOAN. 

How do you know that I jumped?

D'ESTIVET. 

You were found lying in The Moat. 

Why did you leave The Tower?

JOAN. 

Why would anybody leave a Prison if they could get out?

D'ESTIVET. 

You tried to escape?

JOAN. 

Of course I did — 

and not for the first time either. 

If you leave The Door of The Cage open The Bird will fly out.

D'ESTIVET [rising] 

That is a confession of Heresy. 

I call the attention of the court to it.

JOAN. 

Heresy, he calls it! 

Am I a heretic because I try to escape from Prison?

D'ESTIVET. 

Assuredly, if you are in the hands of The Church, and you wilfully take yourself out of its hands, you are deserting The Church; and that is Heresy.

JOAN. 

It is Great Nonsense. 

Nobody could be such a fool as to think that.

D'ESTIVET. 

You hear, My Lord, how I am reviled in the execution of my duty by this woman. 

[He sits down indignantly].

CAUCHON. 

I have warned you before, Joan, that you are doing yourself no good by these pert answers.

JOAN. 

But you will not talk sense to me. 

I am reasonable if you will be reasonable.

THE INQUISITOR [interposing] 

This is not yet in order. 

You forget, Master Promoter, that the proceedings have not been formally opened. 

The time for questions is after she has sworn on the Gospels to tell us The Whole Truth.

JOAN. 

You say this to me every time. 

I have said again and again that I will tell you all that concerns this trial. 

But I cannot tell you The Whole Truth :

God does not allow The Whole Truth to be told.

You do not understand it when I tell it. 

It is an old saying that 

He Who Tells Too Much Truth is Sure to be Hanged. 

I am weary of this argument : 

We have been over it nine times already.

I have sworn as much as I will swear; 

And I will swear no more.

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

"I came down here to keep a promise. 

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

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

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

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

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

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

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

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

Go back to your church, Father. 

Boys, this is my church. 

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

Get off this dock, Father! 

Tillio, don't do that.

Whose side are you on, boy? 

Let him finish. 

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

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

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

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

The next bum that throws something deals with me! 

I don't care if he's twice my size! 

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

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

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

Shut up about that! Just watch this. 

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

It's the love of a lousy buck. 

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

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

But remember, Christ is always with you. 

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

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

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

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

Okay, Kayo. 
Amen.

I, Care

 Principle #8: 

The Lost Principle of CARE 

 Most People, Today, 

DO NOT CARE - At ALL - About ANYTHING 

 And they will tell you that themselves, 

with everything that they say, 

and in everything that they do -

The Fact of It practically oozing out of every aspect of their Being.

ps://www.youtube.com/embed/ejcBHWsGIjw" width="560">

The Creator Does Not CARE What Happens in This World -- There's been no word from Him since He marked Cain.

SHAME

Well, I went to the doctor

I said, "I'm feeling kind of rough"

He said, "I'll break it to you, son"

"Let me break it to you, son"

Your shit's fucked up."

I said, "my shit's fucked up?"

Well, I don't see how-"

He said, "The shit that used to work-

It won't work now."

I had a dream

Ah, shucks, oh, well

Now it's all fucked up

It's shot to hell

Yeah, yeah, my shit's fucked up

It has to happen to the best of us

The rich folks suffer like the rest of us

It'll happen to you

That amazing grace

Sort of passed you by

You wake up every day

And you start to cry

Yeah, you want to die

But you just can't quit

Let me break it on down:

It's the fucked up shit

CONTACT COMFORT

Physical Touch is something that doesn’t necessarily make sense to modern day science. 

But the mind and body are inextricably connected. 

With every physical ailment we have, there is a corresponding mental or emotional cause at the root of it. 

Touch is also a way to communicate without words. 

But touch can be corrupted, especially with physical or sexual abuse. 

Our relationship to touch may be destroyed or confused. 

So Teal Swan explains that it is vital that we improve our relationship to touch, because it is something physical humans literally cannot live without.

John Bowlby - Maternal Deprivation Experiment https://www.simplypsychology.org/bowlby.html

Harry Harlow - Cloth Monkey Experiment
https://www.psychologicalscience.org/publications/observer/obsonline/harlows-classic-studies-revealed-the-importance-of-maternal-contact.html

Uncle Bob

Robert Downey, Jr. - Don't Chase That Thing

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...