American fade im alive lets move on - Communities Voices and Insights - Washington Times


Can you name the Balkan leader who has been in high office longer than Alexander Lukashenko of Belarus? If not, I'll do it for you. In Montenegro, Milo Djukanovic has held power and just about every high-level post there is over the past quarter century. Now he's considering running for the presidency. There is usually only one reason for a politician to not want to give up the reins of power — the risk of being prosecuted for corruption. Sometimes the rabbit hole is just too deep.

May 2 – Tulsa, OK – BOK Center
May 4  – St. Louis, MO – Scottrade Center
May 7  – San Jose, CA – SAP Center
May 8  – San Jose, CA – SAP Center
May 11  – Las Vegas, NV – T-Mobile Arena
May 12  – Las Vegas, NV – T-Mobile Arena
May 15  – Los Angeles, CA – The Forum
May 16  – Los Angeles, CA – The Forum
May 22  – Chicago, IL – United Center
May 23  – Chicago, IL – United Center
May 26  – Nashville, TN – Bridgestone Arena
May 28  – Atlanta, GA – Infinite Energy Arena
June 5  – Montreal, QC – Bell Centre
June 6  – Montreal, QC – Bell Centre
June 9  – Uniondale, NY – NYCB Live, Home of the Nassau Veterans Memorial Coliseum
June 13  – Philadelphia, PA – Wells Fargo Center
June 14  – Philadelphia, PA – Wells Fargo Center
June 17  – Washington, DC – Capital One Arena
June 18  – Washington, DC – Capital One Arena
June 21  – Boston, MA – TD Garden
June 22  – Boston, MA – TD Garden
June 25  – New York, NY – Madison Square Garden
June 26  – New York, NY – Madison Square Garden
June 29  – Newark, NJ – Prudential Center

McCLUSKEY (while watching Michael enter the bathroom) I've frisked a thousand young punks...

CUT TO: Inside the restroom, Mike's looking for the gun behind the tank: He can't find it CUT TO: Table. McCluskey glances toward the restroom; Sollozzo smokes CUT TO: Restroom, when Michael finally finds the gun. He's relieved CUT TO: Table. McCluskey glances up again CUT TO: Restroom, where Michael hesitates by the door, preparing himself as a train is loudly heard passing close by, just before he goes back to the dining area CUT TO: Dining room: Sollozzo and McCluskey watch Michael emerge from the restroom, hesitate at the door, then sit down

SOLLOZZO (voice fading into background) [Sounds like, in Italian: "Everything all right? I respect myself -- understand? -- and cannot allow another man to hold me back. What happened was unavoidable. I had the unspoken support of the other Family Dons. If your father were in better health, without his eldest son running things, no disrespect intended, we wouldn't have this nonsense. We will stop fighting until your father is well and can resume bargaining. No vengeance will be taken. We will have peace, but your family should interfere no longer...." (rough translation by Jim Coyle)]

[Michael doesn't pay attention to Sollozzo -- he's under too much mental anguish. He rises, and quickly shoots Sollozzo in the head. He then shoots McCluskey in the throat, then the forehead as McCluskey holds his throat. McCluskey falls, overturning the table. Michael goes to exit, dropping the gun. Outside, Michael gets picked up by Tessio, and they speed off]

[The Mattresses sequence, as we hear ragtime music being played:] DISSOLVE TO: newspaper stack showing headline: "Police Hunt Cop Killer" DISSOLVE TO: newspaper headline: "City Cracks Down" DISSOLVE TO: Tessio by a lamp working on a crossword puzzle DISSOLVE TO: The Sun headline: "Police Captain Linked With Drug Rackets" DISSOLVE TO: Clemenza seated on a cot, starting to lie down DISSOLVE TO: buttonmen seated around table eating -day PAN RIGHT to piano player (who's playing the music we hear) -day DISSOLVE TO: The Daily Mirror: "Mobster Barzini Questioned in Underworld Feud" DISSOLVE TO: buttonman writing a letter, sitting on a mattress DISSOLVE TO: buttonmen at table passing food -day DISSOLVE TO: newspaper photo of police overlooking a dead body in a bar DISSOLVE TO: piano player's hands with overlaid newspaper photos DISSOLVE TO: buttonman standing with back to camera. He's smoking as he exits left OVERLAY of newspaper headline: "Third Month of Gangland Violence" over: DISSOLVE TO: pot of spaghetti being dumped into an outside trash can -day DISSOLVE TO: Clemenza sleeping on cot OVERLAY ends, then: DISSOLVE TO: newspaper with Vito Corleone's picture, with the headline: "Syndicate Big Shot Vito Corleone Returns Home"

DISSOLVE TO: Exterior of hospital. Ambulance, police, reporters around, and photographers taking pictures. -day

VOICE (among other mumblings) Hey, come on, let's go ... get in the car

[Clemenza and four buttonmen get in the first car and drive off, followed by the ambulance, and then another Corleone car.]

CUT TO: Corleone people gathering at the mall's gate -day CUT TO: Ambulance driving down the causeway sounding its siren-day CUT TO: Corleone family gathering at the mall's gate as ambulance pulls up OS-day CUT TO: Don Corleone's foyer filled with relatives including a crying baby -day

ORDERLY Okay, you take over...

[Tom starts up steps. An attendant and a buttonman carry the Don on his stretcher up the stairs as the family watches. At the bottom of the steps we see Sonny holding his son, Frankie]

FRANKIE (as he play-punches Clemenza in the belly) Ow!

CLEMENZA Very nice...!

CUT TO: The Don's bedroom. Vito Corleone is being visited by family members. -day

SONNY'S TWIN DAUGHTER I love you, Grandpa.

SANDRA (carrying a crying Santino Jr) I'm sorry, Pa -- he doesn't know you yet.

SONNY All right (then, to his son Frankie, whom he's still holding) Here you are, big guy -- give it to Grandpa

FRANK Okay (then, reading from his handmade card) I hope you get well, Grandpa, and I wish I would see you soon. Love, your grandson, Frank.

[Frank kisses the Don]

MAMA Ooohh... [then something in Italian]

SONNY (to Frankie) Go with your mother (then, to Sandra) Go ahead -- take 'em downstairs -- come on... (then, after the women and children leave) Go on, Carlo -- you, too. Go on...

CUT TO: Kitchen, as Mama and others prepare dinner -day

SANDRA (background) want all of that chicken cacciatore for you, sweetheart? (then, to Connie, who's cutting bread) Oh, hey, that's enough bread!

CONNIE (background) But I like bread!

SANDRA Oh I know, but how much can you eat? (background)

CUT TO: The Corleone main gate. Children are playing ball, and the ball bounces toward the gate. A buttonman picks it up and tosses it back. -day

CUT TO: The Don's dining room -day

CONNIE (laughingly, while putting the bread on the table) What's the matter with you, Carlo?

CARLO Shut up and set the table...

CUT TO: The Don's bedroom. Vito is in bed, holding cards and presents given to him. Clemenza, Tessio, Tom, Fredo and Sonny are standing around the bed. -day

TOM (sighs) Since McCluskey's killing, the police have been cracking down on most of our operations -- and also the other Families. There's been a lot of bad blood.

SONNY They hit us so -- we hit 'em back.

TOM Through our contacts in the newspapers, we've been able to put out a lot of material about McCluskey being linked with Sollozzo in the drug rackets. See -- things are starting to loosen up.

SONNY And I'm ah sending Fredo to uh Las Vegas, under the protection of uh Don Francesco of -- I want him to rest.

FREDO I'm going to learn -- the -- casino business...

SONNY Yeah...

VITO CORLEONE (whispering) Where's Michael? (then, a little louder, after Tom doesn't answer) Where's Michael?

TOM (after looking off toward Sonny, bends his head toward the Don) It was Michael -- who killed Sollozzo. But he's safe -- and we're starting to work to bring him back now.

[The Don, markedly upset and angry, gestures that they leave him alone. They exit: Tom, Tessio, Sonny, then Fredo]

CUT TO: Hallway and stairs as Sonny and Tom descend -day

SONNY I want you to find out where that ol' pimp Tattaglia is hiding -- I want his ass now -- right now!

TOM (after he stops Sonny) Hey -- Sonny...


TOM Things are starting to loosen up a little bit. If you go after Tattaglia all hell's gonna break --

SONNY (background) Oh, Tom...

TOM (continuing) -- loose. Let -- let the smoke clear -- Pop can negotiate.

SONNY No, Pop can't do nothin' til he's better! I'm going to decide what's going to be done --

TOM All right, but your war is costing us a lot of money; nothing's coming in! --

SONNY (background) Whattsa matter?

TOM (continuing) -- We can't do business.

SONNY Well neither can they! Don't worry about it.

TOM They don't have our over-head!

SONNY Please, don't worry about it!

TOM We can't afford a stalemate!

SONNY Well, then, there ain't no more stalemate -- I'm gonna end it by killin' that old bastard! I'm gonna...kill...

TOM Yeah, well you're getting a great reputation! -- I hope you're enjoying it...

SONNY Well you just do what I tell you to do! Goddamn it! If I had a wartime consiglieri -- a Sicilian -- I wouldn't be in this shape! Pop had Genco -- look what I got. (then, after exhaling) I'm sorry, I didn't mean that. Ma made a little dinner -- it's Sunday...

TOM (walking away) It's alright...

CUT TO: Dining room, the family is eating at the table -evening

SONNY (to Tom) You know niggers are havin' a good time with uh -- our policy banks up there in Harlem -- drivin' them new Cadillacs -- payin' fifty percent on a bet.

CARLO (to Sonny) I knew that was gonna happen soon as they started makin' big money.

SONNY (background, to Carlo) Yeah...

CONNIE Well Papa never talked business at the table, and in front of the kids.

CARLO Hey shut up, Connie, when Sonny's talking...

SONNY Hey, don't you ever tell her to shut up -- you got that?

CONNIE okay...

MAMA (to Sonny) Santino ... don't interfere.

CARLO Hey look, Sonny, Tom -- I'd like to talk to you maybe after dinner. I could be doing a lot more for the Family

SONNY We don't discuss business at the table.

CUT TO: Fredo enters the Don's room and sites in the window seat

DISSOLVE TO: Sicilian countryside, during the day. "The Love Theme" music plays. Michael is walking with his bodyguards, Fabrizio and Calo. A car drives up to them and stops. Fabrizio opens the door for Tommasino -day

Fabrizio [In Italian: I kiss your hand, Don Tommasino]

TOMMASINO [In Italian: Michele, Why are you so far from the house? You know I'm responsible to your father for your life]

MICHAEL [In Italian: I'm with Calo and Fabrizio...]

TOMMASINO [In Italian: It's still dangerous. We've heard from Santino in New York -- your enemies know you're here]

MICHAEL [In Italian: Did Santino say -- when I can go back?]

TOMMASINO [In Italian: Not yet. It's out of the question]

MICHAEL (as he starts to walk away) Grazie.

TOMMASINO [In Italian: Where are you going now?]

MICHAEL Corleone.

TOMMASINO [In Italian: Take my car...]

MICHAEL [In Italian: No -- I want to walk]

TOMMASINO [this line is not in The TRILOGY] Accura ! [Be Careful!]

***Extra footage from The TRILOGY & SAGA***


***EXTRA SCENE FROM THE EPIC, TRILOGY & SAGA: Michael, Fabrizio and Calo are resting under a tree. Michael and Fabrizio are snacking, while Calo tans himself.

Fabrizio [In Italian: Tell us something about New York]

MICHAEL [In Italian: How do you know I'm from New York?]

Fabrizio [In Italian: We heard]

MICHAEL [In Italian: Where?]

Fabrizio [In Italian: Somebody told us you were a real important -- how do you say -- a pezzonovante -- a big shot]

MICHAEL [In Italian: I'm the son of a pezzonovante]

Fabrizio [In Italian: Ah -- Is America as rich as they say?]

CALO (sunbathing) [In Italian: Stop bothering me with this rich America stuff!]

Fabrizio (to Calo) [Sounds like, in Italian: Eh, shut up...] (then, to Michael, in English) Eh, take me to the America -- if you need a good lupara in America, take me -- I'd be the best man you can get. (then, he sings The National Anthem in broken English) Oh, say can you see? By the dawn's early light? Ah?

MICHAEL (as Fabrizio laughs) Bravo!


DISSOLVE TO: Another section of the Sicilian countryside. Michael, Calo, and Fabrizio are walking. -day DISSOLVE TO: They walk on a terraced hillside. -day DISSOLVE TO: Calo, pointing to a town on a hilltop as we hear church bells -day

CALO Michele: Corleone.

DISSOLVE TO: They walk through empty streets in Corleone, Sicily. The TRILOGY has some extra shots leading up to this scene -day

MICHAEL [In Italian: Where have all the men gone?]

CALO [In Italian: They're dead from vendettas. (then, pointing to a plaque on a wall) There are the names of the dead]

***Extra footage from The TRILOGY & SAGA***


DISSOLVE TO: Country road. -day

Fabrizio (as an American Army jeep dives past) Hey, hey, take me to the America, .! Hey! (then, to another jeep) Hey, hey, hey, take me to the America, .! Clark Gable! Eh! (then, as a third jeep drives by) America, America, va! take me to the America, .! Clark Gable! (then, mutters in Italian)

DISSOLVE TO: Sicilian countryside. Young village girls pick flowers and sing. Unaware of Michael, Fabrizio and Calo watching them. One of the girls, Apollonia, is startled when she sees Michael. After an exchange of looks, Apollonia turns and walks away, saying something in Italian. -day

Fabrizio [In Italian: Mama mia what a beauty]

Apollonia [Something in Sicilian]

Fabrizio (to Michael, who can't keep his eyes off of Apollonia) Oh -- I think you got hit by the thunderbolt]

CALO (poking Michael's shoulder) [In Italian: Michele -- In Sicily, women are more dangerous than shotguns]

[Apollonia turns to look at Michael]

DISSOLVE TO: A small village cafe. We hear "Sicilian Pastorale." The owner, Vitelli, after yelling something into the kitchen, welcomes the guests, who are seating themselves at a table. -day

VITELLI [In Italian: Did you have a good hunt?]

Fabrizio [In Italian: You know all the girls around here? We saw some real beauties (then, after Vitelli smiles) One of them struck our friend like a thunderbolt]

CALO (after Vitelli laughs, looking at Michael) [In Italian: ]

Fabrizio [In Italian: She would tempt the devil himself]

CALO [In Italian: ...tempt the devil...]

VITELLI (gesturing "put together" with his fingers) [Something like, in Italian: Ah, I understand -- really put together...]

Fabrizio [In Italian: Really put together, eh Calo?]

CALO [In Italian: ...together]

VITELLI (gesturing an ideal female form with his hands) [In Italian: ]

Fabrizio [In Italian: Such hair -- such mouth!]

CALO A bocca...

VITELLI [In Italian: Ah, he girls around here are beautiful -- but virtuous, ah?]

Fabrizio [In Italian: This one had a purple dress -- and a purple ribbon in her hair]

CALO [In Italian: ...a purple ribbon...]

Fabrizio [In Italian: ...a type more Greek than Italian]

CALO Piu Greca d'Italiana

Fabrizio [In Italian: Do you know her?]

VITELLI (curtly) [In Italian: NO! -- There's no girl like that in this town!]

[Vitelli turns and enters the cafe, yelling]

Fabrizio (gets up to look into cafe) [In Italian: My God, I understand!]

MICHAEL (to Calo) [In Italian: What's wrong?]

Fabrizio (returns, after Calo shrugs, to collect his things) [In Italian: Let's go -- it's his daughter]

MICHAEL [In Italian: Tell him to come here]

Fabrizio [Something like, in Italian: You don't understand -- it's his daughter!]

MICHAEL [In Italian: No, no, no, no -- Call him]

[Fabrizio dons his lupara before going in to get Vitelli. Fabrizio, Vitelli, and other men emerge from the cafe. Vitelli looks irate]

MICHAEL Fabrizio-- traducce per me [translate for me]

Fabrizio Si, Signor .

MICHAEL I apologize if I offended you...

Fabrizio (translates into Italian)

MICHAEL I am a stranger in this country...

Fabrizio (translates)

MICHAEL And I meant no disrespect to you, or your daughter...

Fabrizio (translates)

VITELLI [In Italian: Who is this? He sounds American...]

MICHAEL I am an American -- hiding in Sicily...

Fabrizio (translates)

MICHAEL My name is Michael Corleone...

Fabrizio (translates)

MICHAEL There are people who'd pay a lot of money for that information...

Fabrizio (translates)

MICHAEL (after Vitelli nods) But then your daughter would lose a father...

Fabrizio (translates)

MICHAEL ...instead of gaining a husband.

Fabrizio (hesitates, then translates after Michael gestures)

CALO [Something in Italian: Ah --]

MICHAEL I wanna meet your daughter...

Fabrizio (translates)

MICHAEL ...with your permission...

Fabrizio (translates)

MICHAEL ...and under the supervision of your family

Fabrizio (translates)

MICHAEL With all -- respect

Fabrizio (translates)

VITELLI [In Italian: Come to my house Sunday. My name is Vitelli...(more)]

MICHAEL Grazie -- e como se chiama, vostra figlia? [Thank you -- and what is your daughter's name?]

VITELLI Apollonia.


DISSOLVE TO: Tommasino's Villa courtyard. Michael, Calo, and Fabrizio get ready to drive to Vitelli's. The Love Theme plays. -day

DISSOLVE TO: Vitelli's Yard. Michael, holding gifts, is introduced to each of the relatives, then to Apollonia, after she descends the steps and sits on the bench beside her mother. -day

VITELLI (introducing Apollonia to Michael) E guesta mia figlia, Apollonia -- e guesto Michele Corleone [this is my daughter, Apollonia -- and this is Michael Corleone]

[Apollonia shakes Michael's hand, accepts his gift, and looks at her mother who nods, giving her permission to open it. She unwraps a boxed necklace]

APOLLONIA (holding the necklace) Grazie

MICHAEL Prego [you're welcome]

DISSOLVE TO: Vitelli's Cafe. Michael and his bodyguards drive up to the cafe and sit with Vitelli, who is jovial, and his family. -day

VITELLI (to Michael) [Something like, in Italian: What happened to your eye... (more)]

MICHAEL [Something like, in Italian: No - no - it's okay... (more)]

[Michael looks at Apollonia, who's wearing the necklace. She touches the necklace, and they smile at each other]

CUT TO: Hilltop in the village. Michael and Apollonia are walking and talking. Behind them walk many female relatives. Behind the women, Fabrizio and Calo with their luparas. -day

CUT TO: Lucy Mancini's apartment building (New York City). Three bodyguards are pitching pennies outside where Sonny's car is parked. There are others inside the lobby and on the stairs. -day

CUT TO: Outside Lucy's apartment door. She pushes the door open, revealing Sonny in an embrace with her. Sonny jumps back as though goosed. -day

SONNY (as he exits, Lucy smiles) Hey! I'm gonna knock you dizzy. (then, coming down the stairs, to a bodyguard reading in the lobby) Save it for the library -- Come on, we got to go pick up my sister -- let's go.

[Sonny leaves the building, looking around the street]

CUT TO: Connie and Carlo's apartment. Connie unlocks the door for Sonny, turning away from him as he enters. -day

SONNY Wha's the matter? (then) Huh? What'sa matter?

[Connie faces him with a bruised face. Sonny bites his knuckles]

CONNIE It was my fault!

SONNY Where is he?

CONNIE Sonny, please, it was my fault -- Sonny, it was my fault! I hit him -- I started a fight with him. Please let me be -- I hit him, so he hit me. I didn't -- I --

SONNY Sh sh sh sh sh -- Okay. -- I'm just uh -- I'm just gonna get a doctor to come and take a look at you, alright?

CONNIE Sonny, please don't do anything -- please don't do anything!

SONNY Okay -- What's the matter with you? What am I gonna do -- I'm gonna make that baby an orphan before he's born or what? Huh? Hmmm? (then, after Connie laughs) All right?

CUT TO: City street. Carlo is seated on a stoop with two men. -day

CARLO (watching a man leave the building) This fat slob's still bettin' the Yankees pretty heavy? You tell 'em to stop takin' action on 'em, alright? (then) We lost enough money last week on the game...

[Sonny's car appears, screeches to a halt. He gets out]

SONNY (as he throws a sawed-off broom stick at Carlo) Carlo, come'ere! -- come'ere!, come'ere!, come'ere! (then, after catching him after a short chase and beating him) You bastard!

[Sonny punches and kicks Carlo while bodyguards hold back on-lookers. Carlo screams when Sonny bites his knuckles which are clenched to a metal fence. Sonny slams a garbage can lid on Carlo's head over and over. The one-sided fight continues until Carlo ends up motionless on his back in the downpour of an open fire hydrant that kids were playing in.]

SONNY (exhausted) You touch -- my sister again, I'll kill ya.

[As Sonny begins to walk away, he stops, goes back, and kicks Carlo one last time]

CUT TO: Village church in Sicily. Traditional Sicilian wedding music plays as the church bells ring. The priest blesses Michael and Apollonia as they kneel at the church's entrance. Apollonia's family, and other townspeople are gathered around. Fabrizio and Calo look on. -day

PRIEST (in Latin) In nomine Patri -- et Filii -- et Spiritus Sancti -- Amen [in the name of the Father, and the Son, and the Holy Spirit -- Amen]

[The bridal procession makes its way up the street. Apollonia and Michael, the bride and groom, are followed by the procession, which includes Tommasino being helped with his wheelchair, Calo and Fabrizio]

CUT TO: Village square, where Michael and Apollonia and guests are dancing at the reception, to the Mazurka (alla Siciliana). -day

DISSOLVE TO: Michael's bedroom, at night. Michael opens the shutters. Apollonia stands in her wedding slip, seemingly a little nervous. Michael goes and kisses her. She lets down her slip. They embrace and kiss. -night

CUT TO: Corleone main gate. Kay gets out of a cab and a buttonman lets her through the gate. Tom hurries out of the house to meet her. -day

TOM Hey! We weren't expecting you, Kay -- you should call

KAY Yes, well -- I have. I mean I've tried writing and calling. Now -- I want to reach Michael

TOM Nobody knows where he is. We know that he's alright, but that's all.

KAY Uh -- (then, after noticing a wrecked car behind her) what was that?

TOM Well that's an accident, but nobody was hurt...

KAY Tom -- (then, after taking a letter from her pocket and handing it to him) will you give this -- letter to Michael, please? Please?

TOM (refusing the letter) Well, if I accepted that -- in a court of law they could prove that I have knowledge of his whereabouts. Now you just be patient, Kay -- he'll get in touch with you, alright.

KAY (as Tom touches her shoulder) I let my cab go -- so can I come in to call another one, please?

TOM (taking Kay's arm) Come on, I'm sorry -- come on.

FADE OUT, THEN DISSOLVE TO: Connie and Carlo's apartment. The phone rings, and Connie enters to pick it up. -evening?

CONNIE (into phone) Hello -- hello?

WOMAN'S VOICE (over the phone) Is Carlo there?

CONNIE (into phone) Who's this?

WOMAN'S VOICE (over the phone, giggling) This is a friend of Carlo's -- would you tell him that I can't make it tonight until later?

CONNIE (hanging up the phone, walking to the bedroom) ...bitch!

***Extra footage from The TRILOGY & SAGA***


CUT TO: Bedroom, where Carlo is tying his tie in a mirror. Connie comes in.

CONNIE Dinner's on the table...

CARLO I'm not hungry yet.

CONNIE The food is on the table -- it's getting cold

CARLO I'll eat out later.

CONNIE You just told me to make you dinner!

CARLO Hey, bafangool , eh? (then, in The TRILOGY version) Leave me alone

CONNIE Ah, bafangool , you!

[Connie runs out]

CARLO (hearing dishes breaking) [What the hell is she up to now,] this little guinea brat...

[Carlo goes out of the bedroom]

CUT TO: Kitchen, where Connie is breaking dishes.

CARLO That's it, break it all you spoiled guinea brat -- break it all!

CONNIE (running into the dining room as Carlo follows) Why don't you bring... (then, disturbing the set table) Why don't you bring your whore home for dinner? And get...

CARLO (after Connie tosses a pitcher of wine) Maybe I will! Why not? Yeah you, ga'head...

[Connie, screaming and crying, pushes vases and dishes from the cabinet onto the floor, breaking them]

CARLO (yelling) Now clean it up!

CONNIE (yelling) Aw, like hell I will!

CARLO (yelling, removing his belt and striking and chasing Connie) Clean it up! Clean it up, you guinea spoiled brat! Clean it up! Clean it up, I said -- clean it up! Clean that up! Clean it up!

CONNIE (yelling) You sonofabitch!

CARLO (yelling) Clean it up! Clean that up you sonofabitch! Clean it! Clean it up! (then, once Connie picks up a butcher knife) Yeah yeah -- come on now, kill me. Be a murderer like your father. Come on, all you Corleones are murderers anyway.

CONNIE (yelling, after Carlo grabs her arm, the knife falls, and she runs) I will! I will! I hate you! I'll kill you! I'll kill you!

CARLO (yelling) Come on, you -- kill me. Get out here! Get out here!

CONNIE (yelling, running into the bathroom, closing the door) I hate you!

CARLO (yelling, kicking the door open, and beating her as she screams) Ga'head -- now I'll kill you! You guinea brat you! Get out here!

CUT TO: The Don's kitchen. Mama Corleone answers the phone with a Santino Jr in her arms, who's crying loudly. -day

MAMA (into phone, as baby cries) Connie, what's a' matter -- I can't hear you, what is it? Connie, talk louder -- the baby's crying. (then, as Sonny comes in) Santino, I can't understand -- I don't know -- I don't understand 'er...

SONNY (towards Sandra who's trying to calm the baby) Shhhh (then, into the phone just before the baby screams) Yeah, Connie...

CONNIE'S VOICE (on the phone, barely audible) Carlo... -?- don't you come...

SONNY (into the phone) Listen -- you wait there.

CONNIE (over the phone, barely audible)

SONNY No no -- you just wait there! (then, irate, hanging up the phone) Sonofabitch.

MAMA What's the matter?

SONNY (as he leaves the kitchen) Sonofabitch!

MAMA What's the matter?

SONNY (OS) Sonofa...

SANDRA (going after him) Sonny...?

{Note: This is where Tape One ends on the normal-release videocassette version} This is for personal educational use only, and is not to be reposted, reproduced or sold. This document is copyright ©1972 Paramount Pictures. NOT TO BE POSTED ON ANY OTHER WEB SITE

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