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?
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"
"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.
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.
I was worried.
MICHAEL (into the phone)
Didn't Tom tell you?
I called.
I called.
SONNY'S VOICE (over the phone)
No -- look, come home, kid.
You should be with Mama, ya'hear?
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
The word is out on the street that he's already dead
SONNY
Watch your mouth --
What's the matter with you?
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.
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.
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.
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?
Do you remember me?
MICHAEL
Enzo...
ENZO
Yes, Enzo...
MICHAEL
You better get out of here, Enzo;
There's gonna be trouble...
There's gonna be trouble...
ENZO
If there is trouble, I stay here to help you.
For your father -- for your father
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.
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...
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.
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]
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?
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!
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...
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.
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
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.
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.
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!
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...
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...
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!
This is business, not personal, Sonny!
SONNY
They shot my father -- that's business?
Your ass...
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?
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.
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.
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.
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...
