Showing posts with label Rabbi. Show all posts
Showing posts with label Rabbi. Show all posts

Thursday 4 June 2020

I Can't Imagine Just Watching The Story and Not Being a Part of It





“I can remember, still, the life of The Agrarian Era - which was for most of human history - The Agrarian Era, where there was The World of Men and The World of Women.

And the sexes had very little to do with each other. Each had power and status in its own realm. 
And they laughed at each other, in essence. 

The Women had Enormous Power. 

In fact, The Old Women ruled, not the young beautiful women like today. 

But the older you were the more you had control over everyone, including the mating and marriage

There were no Doctors, so The Old Women were like midwives and knew all the ins and outs and [had] inherited knowledge about pregnancy and all these other things.

I can remember this. 

And The Joy that women had with each other all day long. 

Cooking with each other, being companions to each other, talking, conversing. 

My Mother remembered, as a small child in Italy, when it was time to do The Laundry they would take The Laundry up The Hill to The Fountain and do it by hand. 
They would sing, they would picnic, and so on.

We get a glimpse of that in The Odyssey when Odysseus is thrown up naked on the shores of Phaeacia and he hears The Sound of Women, young women, laughing and singing. 

And it’s Nausicaa, The Princess, bringing The Women to do The Laundry. 

It’s exactly The Same Thing. 

So there was. . . Each gender had its own hierarchy, its own values, its own way of talking. 
And the sexes rarely intersected.”


Operations Officer's log, supplemental. 
We've been on full sensor alert looking for signs that anyone else has detected Voyager. 
As a precaution, I've also asked Neelix and Kes to monitor all media broadcasts.

[Mess hall]

(A wall screen has six displays constantly changing.

KES: 
We've set up a computer algorithm to search for key words and phrases. 
Anything that might indicate Voyager. 

KIM: 
Anything so far? 

NEELIX: 
Not yet, although we have come across some very intriguing televised broadcasts. 

Take a look at this : —
It's a Form of Entertainment called a 'soap opera'.
The exploration of Human Relationships is fascinating

KIM: 
I can't imagine just Watching The Story and not Being a Part of It. 

KES: 
That's because you've been spoiled by The Holodeck. 
There's Something to Be Said for non-interactive stories like this, being swept away in The Narrative. 

NEELIX : 
Oh, I can't wait to see if Blaine's Twin Brother is The Father of Jessica's Baby. 

KIM :
Good Work. 
Keep me informed, and don't get too swept away. 

NEELIX :
Er, aye, sir. 

SHARON 
[on monitor] : 
Nobody'll know the difference. 

JACK 
[on monitor]: 
I'll know, Sharon. He's My Brother. 
How can I face him knowing that Our Son is His Son? 

SHARON 
[on monitor]:
 All you need to know, Jack, is that I love you!


Peterson:
Well the first thing is that the agreeableness trait that divides men and women most. . . 


There’s three things that divide women and men most particularly from the psychometric perspective.

One is that women are more agreeable than men, and so that seems to be the primary maternal dimension as far as I can tell. 

It’s associated with a desire to avoid conflict.

But it’s associated with interpersonal closeness, compassion, politeness. 

Women are reliably higher than men, especially in the Scandinavian countries and in the countries
where egalitarianism has progressed the farthest.
So that’s where the difference is maximized, which is one of the things James
Damore pointed out quite correctly in his infamous Google Memo. Women are
higher in negative emotion. So that’s anxiety and emotional pain. That difference is
approximately the same size. And again that maximizes in egalitarian societies, which
is extremely interesting. And then the biggest difference is the difference in interest
between people and things. And so women are more interested in people, and men
are more interested in things, which goes along quite nicely with your car anecdote.
But the thing about men interacting with men again is that it isn’t that they respect each
other’s viewpoints. That’s not exactly right. What happens with a man. . . I know a lot
of men that I would regard as remarkably tough people for one reason or another. And
everything you do with them is a form of combat. Like if you want your viewpoint taken
seriously, often you have to yell them down. They’re not going to stop talking unless
you start talking over them.
It’s not like men are automatically giving respect to other men, because that just
doesn’t happen. It’s that the combat is there, and it’s expected. And one of the
problems. . . And so, this is one of the reasons I think men are bailing out of so much of
academia and maybe the academic world in general. And maybe the world in general.
Men actually don’t have any idea how to compete with women.
Because the problem is that if you unleash yourself completely, then you’re an
absolute bully. And there’s no doubt about that, because if men unleash themselves
on other men, that can be pretty goddamn brutal, especially for the men that really
tough. And so that just doesn’t happen with women ever. So you can’t unleash yourself
completely. If you win, you’re a bully. If you lose, well you’re just bloody pathetic. So
how the hell are you supposed to play a game like that?
I’ve worked with lots of women in law firms in Canada, for example. And high achieving
women, like really remarkable people I would say. And they’re often nonplussed, I
would say, by the attitude of the men in the law firm, because they would like to see
everyone pulling together because they’re all part of the same team. Whereas the men
are like at each other’s throats in a cooperative way because they want the law firm to
succeed, but they want to be the person who is at the top of the success hierarchy.
And that doesn’t jive well with the more cooperative ethos that’s part and parcel of
agreeableness. So we don’t really have any idea how to integrate male and female
dominance hierarchies.
17

Paglia: Exactly. Exactly. That’s exactly right. This is why I love this show Real
Housewives, which is [inaudible]. And just last night I was watching an episode where
the women were at each other at a party and recounting. ‘But I said this to you, but
you said this to me.’ And the men got together there and said ‘Well this is the way they
communicate with each other. And we men just will have a fist fight, and ten minutes
later we’re going to have a beer at the bar next to each other.’ I have observed that my
entire life.
Peterson: My daughter used to be really irritated about that because she, like most
people, was the target of feminine conspiratorial bullying at one. . . She’s no pushover,
my daughter. So it wasn’t like this was a continual thing or that she didn’t know what to
do about it.
But she had observed these girls conspiring against her and blackening her name on
Facebook, which is part and parcel of the typical female bullying routine, which is often
reputation demolition. There’s a good literature on that. And then she’d watch what
would happen if my son would have a dispute with his friends. And maybe they were
drinking, and there was a dispute. They’d have a fight, and the next day they were
friends again.
That’s another thing that’s strange is that men have a way of bringing a conflict to a
head and resolving it. And it isn’t obvious to me that women have that same, perhaps
you might call it, luxury. But it’s also the case that men don’t know what to do when
they get into a conflict with a woman. Because what the hell are you supposed to do?
Mostly what you’re supposed to do is avoid it.
Paglia: Well I’ve seen - I don’t know if this crosses into other countries - that there’s
a certain kind of taunting and teasing that men, that boys do with each other that
toughens them, where they don’t take things seriously. But a girl’s feelings become
extremely hurt if she hears something that’s very tough, sarcastic against her.
So I do feel that there are profound differences between the sexes in terms of
emotions, in terms of communication patterns. My father used to say that he could
never follow women’s conversations. He said women don’t even finish sentences, that
women understand immediately what the other woman is saying. And women tend to
be more interested in - or have been traditionally more interested in - soap operas. It’s
not just that the women were home without jobs. It’s that honestly, I believe that soap
opera does reflect, does mirror, the way women talk to each other.
These communication patterns have been built up through women - the world of
women, which. . . It made sense that there was a division of labor. It wasn’t sexism
against women that there was a division of labor. The men went off to hunt and did the
dangerous things. The women stayed around the hearth because you had pregnant
women, nursing women, older women, that were cooking and so on.
18

So I feel that these communication patterns that we’re talking about have been built
up over the centuries. Men had to toughen each other to go out. The hunting parties
of Native Americans. . . They could be gone for two weeks when the temperature was
below zero. Many of them died. The idea that somehow. . . ‘Oh, any kind of separation
of the sexes, or different spheres of the sexes, is inherently sexist’. . . That is wrong.
Peterson: And inherently driven by a power dynamic.
Paglia: The answer to all of this, everything that we’re talking about, is education into
early history. Until people understand the Stone Age, the nomadic period, the agrarian
era, and how culture, how civilization built up. . .
In Mesopotamia - the great irrigation projects. Or in Egypt where you had. . .
Centralized government authority became necessary to master these. . . You had a
situation, an environmentally difficult situation like the deserts Mesopotamia, or the
peculiar character of Egyptian geography where you can only have a little tiny fertile
line along the edges of the Nile. Otherwise, desert landscape. So [understanding]
civilization and authority as not necessarily about power grabbing but about
organization to achieve something for the good of the people as a whole.
Peterson: That’s exactly the great symbolism of the Great Father.
Paglia: By reducing all hierarchy to power, and selfish power, is utterly naive. It’s
ignorant. I say education has to be totally reconstituted, including public education,
to begin in the most distant past so our young people today, who know nothing about
how the world was created that they inhabit, can understand what a marvelous
technological paradise they live in.
And it’s the product of capitalism, it’s the product of individual innovation. Most of it’s
the product of a Western tradition that everyone wants to trash now. If you begin in the
past and show. . . And also talk about war, because war is the one thing that wakes
people up, as we see.
Peterson: And as we may see.
Paglia: Yes, war is the reality principle. My father and five of my uncles went to World
War II. My father was part of the force that landed in Japan. He was a paratrooper at
the time of the Japanese surrender. And a couple of uncles got shot up and so on.
When you have the reality of war, when people see the reality, the horrors of war -
Berlin burned to a crisp and so on. Starvation and all. . . Then you understand this
marvelous mechanism that brings water to the kitchen. And you flip on a light and the
electricity turns on.
Peterson: I know, for me, and I suppose it’s because I have somewhat of a
19

depressive temperament. . . I mean one thing that staggers me on a consistent basis is
the fact that anything ever works. Because it’s so unlikely, you know, to be in a situation
where our electronic communications work, where our electric grid works. And it works
all the time, it works one hundred percent of the time. And the reason for that is there
are mostly men out there who are breaking themselves into pieces, repairing this thing
which just falls apart all the time.
Paglia: Absolutely. I said this in the Munk Debate in Toronto several years ago. All
these elitists and professors sneering at men. It’s men who are maintaining everything
around us. This invisible army which feminists don’t notice. Nothing would work if it
weren’t for the men.
Peterson: A professor is someone who’s standing on a hill surrounded by a wall,
which is surrounded by another wall, which is surrounded by another wall - it’s walls
all the way down - who stands up there and says I’m brave and independent. It’s like,
you’ve got this protected area that’s so unlikely - it’s so absolutely unlikely - and the
fact that people aren’t on their knees in gratitude all the time for the fact that we have
central heating and air conditioning and pure water and reliable food. . . It’s absolutely
unbelievable.
Paglia: Yes, I mean people used to die. . . The water supply was contaminated with
cholera for heaven’s sake. People don’t understand. To have clean water, fresh milk,
fresh orange juice. All of these things. These are marvels.
Peterson: And all of the time.
Paglia: All of the time. Western culture is heading - because we are so dependent on
this invisible infrastructure - we’re heading for an absolute catastrophe when jihadists
figure out how to paralyze the power grid. The entire culture will be chaotic. You’ll have
mobs in the street within three days when suddenly the food supply is interrupted and
there’s no way to communicate. That is the way Western culture is going to collapse.
And it won’t take much.
Peterson: Single points of failure.
Paglia: Because we are so interconnected, and now we’re so dependent on
communications and computers. . . I used to predict for years it’ll be an asteroid hitting
the earth, and then we’ll have another ice age.
Peterson: Do you know how the solar flares work? This happens about once every
century. So back about 1880 - I don’t remember the exact year - there was a significant
enough solar flare. . . So that produces an electromagnetic pulse like a hydrogen bomb
because the sun is a hydrogen bomb. An electromagnetic pulse will emerge from the
sun and wave across the earth, and it produces huge spikes in electrical current along
anything that’s electronic, and it will burn them out.
20

It lit telegraph operators on fire in the 1800s. One of those things took out the Quebec
power grid in 1985 and knocked out the whole Northeast Corridor. So they figure those
things are about one in a century event.
My brother-in-law, who’s a very smart guy. . . He designed the chip in the iPhone. We
were talking about political issues the last time I went and saw him in San Francisco,
and his notion was that all that the government should be doing right now is stress-
testing our infrastructure the same way they stress-test the banks. Because we’re so full
of these single points of failure.
And I think you’re absolutely right. Luckily we’ve been, what would you call, invaded
by stupid terrorists instead of smart terrorists, because a smart terrorist could do an
unbelievable amount of damage in a very short period of time. And it’s just God’s good
graces that that hasn’t happened yet.
Paglia: What will happen is that it’s the men. . . The men will reconstruct civilization
while the women cower in the houses and have the men go out and do all the dirty
work. That’s what’s going to happen again. Only men will bring civilization back again.

Thursday 30 April 2020

Couldn't Hurt.


from Diegech on Vimeo.







"....But then, we also talk about removing  information that is Problematic, y'know?

Of course, so, anything that is 

Medically Unsubstantiated :

Like, People Say :

"Take Vitamin C."

"Take Turmeric"



"Those Will Cure You."

Those are The Examples of 
Things That Would Violate Our Policy :

Anything That Would Go Against World Health Organisation Recommendations 
would be a violation of Our Policy.

And so, "REMOVE" is another really important part of Our Policy.




Rabbi Nachtner: 
You know Lee Sussman. 

Larry Gopnik: 
Doctor Sussman? 
I think I - yeah. 

Rabbi Nachtner: 
Did he ever tell you about the goy's teeth?

Larry Gopnik: 
No... I- What goy? 

Rabbi Nachtner: 
So... Lee is at work one day; you know he has the orthodontic practice there at Great Bear. 

He's making a plaster mold - it's for corrective bridge work - in the mouth of one of his patients, Russell Kraus. 
The mold dries and Lee is examining it one day before fabricating an appliance. 
He notices something unusual. 
There appears to be something engraved on the inside of the patient's lower incisors. 
He-vav-shin-yud-ayin-nun-yud

"Hwshy 'ny". 
"Help me, save me". 

This in a goy's mouth, Larry. 
He calls the goy back on the pretense of needing additional measurements for the appliance. 

"How are you? 
Noticed any other problems with your teeth?" 

"No." 

There it is. 
"Hwshy 'ny". 
"Help me". 

Son of a Gun. 

Sussman goes Home. 


Can Sussman eat? 
Sussman can't eat.

Can Sussman sleep? 
Sussman can't sleep. 

Sussman looks at the molds of his other patients, 
goy and Jew alike, seeking other messages. 

He finds none. 
He looks in his own mouth. 

Nothing. 

He looks in his wife's mouth. 
Nothing. 

But Sussman,
is An Educated Man -- 

Not The World's Greatest sage, maybe, no Rabbi Marshak, 
but he knows a thing or two from 
The Zohar and The Qaballah

He knows that every Hebrew letter has its numeric equivalent. 
8-4-5-4-4-7-3. 

Seven digits... a phone number, maybe? 

"Hello? Do you know a goy named Kraus, Russell Kraus?" 

"Who?"

"Where have I called?" 

"The Red Owl in Bloomington." 

"Thanks so much." 

He goes. It's a Red Owl. 
Groceries; what have you. 

Sussman goes home. 
What does it mean? 
He has to find out if he is ever to sleep again. 

He goes to see... 
The Rabbi Nachtner

He comes in, he sits 
right where you're sitting right now --

"What does it mean, Rabbi? 
Is it a sign from Hashem, 'Help me'? 

I, Sussman, 
should be doing something to help this goy? 

Doing what? 
The Teeth don't say. 

Or maybe I'm supposed to Help People generally, Lead a More Righteous Life? 

Is the answer in Qaballah? In Torah? 
Or is there even A Question?
 
Tell me, Rabbi --
What can such A Sign mean?" 

[pause as the Rabbi drinks his tea

Larry Gopnik: 
So what did you tell him? 

Rabbi Nachtner: 
Sussman? 

Larry Gopnik: 
Yes! 

Rabbi Nachtner: 
Is it... relevant

Larry Gopnik: 
Well, isn't that why you're telling me? 

Rabbi Nachtner: 
Okay. Nachtner says, ‘Look, —

The Teeth, we don't know. 

A Sign from Hashem? Don't know. 

Helping Others... 

Couldn't Hurt

Larry Gopnik: 
No! No, but... who put it there? 
Was it for him, Sussman, or for whoever found it, 
or for just, for, for... 

Rabbi Nachtner: 
We can't know everything. 

Larry Gopnik: 
It sounds like you don't know ANYTHING! 
Why even tell me The Story? 

Rabbi Nachtner: 
[chuckling
First I should tell you, then I shouldn't. 

Larry Gopnik: 
What Happened to Sussman? 

Rabbi Nachtner: 
What •would• happen? Not much

He Went Back to Work. 
For a while he checked every patient's teeth for new messages. He didn't find any. 

In time, he found he'd stopped checking. 
He returned to Life. 

These Questions that are bothering you, Larry - 
Maybe they're like a toothache

We feel them for a while, then — 
They Go Away. 

Larry Gopnik: 
I don't want it to just go away! 
I want An Answer

Rabbi Nachtner: 
Sure! We all want The Answer! 

But Hashem doesn't owe us The Answer, Larry. 
Hashem doesn't owe Us anything
The Obligation runs the other way

Larry Gopnik: 
Why Does He Make Us feel The Questions 
if He's not gonna give Us any of The Answers? 

Rabbi Nachtner:
[ He leans forward, slightly, conspiritorially ]
He hasn't told me

[Larry puts his face in his hands in despair] 

Larry Gopnik: 
And... what happened to the goy? 


Rabbi Nachtner: 
The goy? 
Who cares?

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...