All language subtitles for the.offer.s01e02.2160p.web.h265-glhf

AL:
Bob Evans? Al Ruddy.

I wanted to talk to you.
You got a minute?

What can I do for you,
Mr. Ruddy?

It's what I can do for you.

I want to produce
for Paramount.

JOE: "The Godfather."

It's 58 weeks at number one.
Makes us looks stupid.

And that's bad for business.

Buddy, you've read
"The Godfather", right?

I need you to produce it.

The Corleones are my family.

I have to be the one
to write this.

Puzo's never written a film.

It's an unwritten law
in Hollywood

that you never hire
the author.

I can't do this.

AL: Evans warned you
about hiring the novelist.

So how do we fix it?

BART:
Francis Ford Coppola.

He's brilliant,
but he'll want to direct.

Jews got the JDL.
The Blacks got the NAACP.

Well, who defends us,
the Italians?

Nobody.
Well, I'm starting.

The Italian-American
Civil Rights League.

You're the rat fink
who wrote that fucking book

about the degenerate singer.

JOE: Sinatra wants us
to shut the picture down.

Get me Mickey Cohen
in Los Angeles.

Time to send a message.

[gunshot]

[soft dramatic music]

♪ ♪

[upbeat dramatic music]

♪ ♪

[crowd chanting]
One! One! One! One!

One! One! One!
One!

There's a conspiracy
in this country...

against Italian-Americans!

The President,

the Vice-President,

the Attorney General,

all conspiring against

the hard-working
Italian people.

CROWD: Yeah!
JOE: We must unite!

[cheers and applause]

And the media,

they carry the water

for the corrupt politicians
in the government

that tries to hold us down!

[crowd booing]
Give me the book.

And books like this trash

only fuel the fire of hatred
for our people.

And now the papers say
they're making a movie of it.

[crowd booing]

This, my friends,
is a book of lies,

and Mario Puzo is a traitor!

[cheers and applause]

Well, my friends,
this stops today!

Our organization,
your organization,

the Italian-American Civil
Rights League will fight back.

We will snuff out the hatred
and the prejudice!

[loud cheers and applause]

[crowd chanting "Columbo"]

Columbo, Columbo!

[dramatic music]

♪ ♪

Hey, boys.
Can I help you?

Is this your car?
You Al Ruddy?

Yeah, that's me.

FBI.

I'm Agent Hale,
this is Special Agent Moran.

FBI?

And, uh, and you are?

Bettye McCartt.
Mr. Ruddy's secretary.

Oh, right.

So you were in the car
last night as well?

That's right, yeah.

Look, what's this all about?

I already gave
a statement to the LAPD.

So what are you guys
doing here?

Well, we have reasons
to believe

that you may have been targeted
by Mickey Cohen.

The gangster?

Can you think of
any reason

why Cohen might have wanted
to scare you?

Now, think real hard, hmm?

Maybe something to do
with your business?

Your personal life? Huh?

Scare us?

He tried to kill us.

No.

That was a warning.

When Mickey Cohen
fires a shot...

He doesn't miss.

Is there a reason why you
guys are here right now with us

and not arresting him?
HALE: Again...

Just a suspicion.

How fucking comforting.

[engine starts]

It's not about murder,
it's about family.

Vito Corleone
is like King Lear,

except he has sons
instead of daughters.

He is searching

for who is going to be
his legacy.

And yes, in the meantime,
he's gonna do whatever he can

to provide,
to protect his family,

and, yes, as a last resort,
maybe a little bit of murder.

Did you eat my ham?

No.

There was a ham sandwich
in the refrigerator.

I did not eat
the ham sandwich, Mario.

You ate the ham sandwich.
I watched you eat it.

It's not something
I will soon forget.

What the hell was I saying?

The Don wants peace.
Yes.

He's ruthless
when he chooses to be.

Yes. Yes. And that--
that is why he inspires fear,

because of his confidence.

He has immense power.

He doesn't have to flaunt it.

Unlike every single
studio exec I've ever met

who can't wait to tell you
how well-endowed he is

or better yet,
that he has the great idea

that's gonna save your picture.

You're gonna see.

Evans, he's gonna want to cast

Steve McQueen as the Don.

No, I don't see anybody
but Brando in that role.

Ugh, Brando.

Brando is...

Brando is the golden goose.

He's--he's Brando.

You wouldn't have to write any
character to stand up and say,

"Ooh, that's the Godfather."

You would see him
and you would just know it.

I wrote him a letter.

I sent him a signed copy
of the book.

Huh.
You never know.

Fingers crossed, right?

Fingers crossed.

Fingers crossed.

What's wrong, Francis?
W--what's going on?

I mean,
this is all good stuff.

This is great stuff.

This is all great stuff.

But I can't kid myself.

We are trying to write a movie
about an American family

that happens to be
in the crime business.

And, yes,
it's a commentary about

how greed will often lead
to murder

under the guise of business.

I don't think
that's gonna sit very well

with Evans and his bunch

because at the end of the day,
no matter what he pretends,

he is that capitalist.

And we're gonna walk into
this little creative meeting,

I have no idea why.

They want their typical
little gangster flick.

[sighs]

I'm loving you, Mario,

but I have to keep
reminding myself

that this is just a payday,
and I hate that.

Just, uh, keep--keep working.

BETTYE: I think
this is the part

where you're supposed
to ask me if I'm all right.

Listen, I won't judge you

if you need to walk away
from this.

I'll help you find another gig,

make sure you land
on your feet.

You're still gonna try
and make this thing?

When I was a kid,
I was small.

I mean, like really small.

Like a full head shorter
than all my classmates.

And there was this one guy
who just had it out for me.

His name was Marcus Anderson.

I don't even know
why he didn't like me but--

but he didn't.

This one day,
he comes up to me and he says,

"I'm gonna kick your fucking
ass today after school."

And I was--I was scared.

And I could've told a teacher,

I could've went a different
way home, but I didn't.

I waited for him
right out front.

I didn't hide.

Let me guess--you beat
the crap out of him?

No.

He kicked my fucking ass.

[laughs]

[both chuckle]
He was a big guy.

You should've seen him.

[laughs]

Oh, fuck that guy.

That's a--that's a real
uplifting story, Rud.

Yeah. No, he did.
He kicked my fucking ass.

But I put up a good fight.

And you know what?

After that,
he never fucked with me again.

I can't go back
to that cubicle at Rand.

But I understand
if you need to cut and run.

I'm not running either.

So what's the move now then?

You gonna go punch
Mickey Cohen?

No.

But I am gonna talk to him.

[The Rolling Stones'
"Can't You Hear Me Knocking"]

♪ ♪

[indistinct chatter]

Happy, eh?
That suit's not Czech,

that is Yugoslavian.

JAGGER: ♪ Yeah, you got
satin shoes ♪

♪ ♪

♪ Yeah, you got
plastic boots ♪

I'm so glad you came.
I've missed you.

Would you watch him?
Just watch him.

Jesus Christ, guy's an animal.

JAGGER:
♪ Y'all got cocaine eyes ♪

You're talking about franchise?

I was, like, "What the fuck
is he talking about?"

But he goes, "Like
I wouldn't throw your ball?"

BAND: ♪ Can't you hear me
knockin' on your window? ♪

I broke my own rule.
I started talking shop.

Goddamn it!

BAND: ♪ Can't you hear me
knockin' on your door? ♪

I kind of like it.
It's like gladiators.

When are you gonna
put me in the movies, Bob?

Christy,
you're already in the movies.

Shh.
I'm just saying.

BAND: ♪ Help me, baby ♪

I love your work, girls.

BAND: ♪ Ain't no stranger ♪

♪ Help me, baby,
ain't no stranger ♪

♪ I've been begging
on my knees ♪

♪ I've been kickin' ♪

♪ Help me please ♪

♪ Hear me prowlin' ♪

♪ I'm gonna take you down ♪

♪ Hear me growlin' ♪

♪ Yeah, I've got flatted
feet now, now, now, now ♪

♪ Hear me howlin' ♪

♪ And all, I'm all around
your street now ♪

♪ Hear me knockin' ♪

♪ I'm all around your town ♪

Where are you right now?

In the best dream
I've ever had.

You're so full of shit.

You're hiding something.

If you don't want to tell me,
you don't have to.

It's work stuff.

Maybe I can help.

I'm putting together budgets,
and nobody will give me

a straight answer
on union requirements.

Everyone's all nervous
about some guy, Mickey Cohen.

Mickey Cohen?

You know him?

Cohen's a criminal.

He's a--he's a--
he's a low life.

A thug.

He, um--
[clears throat]

he came to the Chateau
a few years ago.

It was--
[exhales]

It was right after my divorce.

He said he would
do me a favor and--and--

and bring his business
to the Chateau.

All it would take was for me to
use him as my kitchen supplier.

I said "No, no, thank you."
Very nicely.

And then he said,
"You need friends now."

He threatened you?

I ordered two glasses
of a very nice champagne,

I handed him one.

I looked at him

and then I told him, "I faced
the Nazis and survived.

Do you think
I'm afraid of you?"

We clinked glasses, we drank,

and he never came back
to the Chateau.

He prefers the Oyster House.

Baby,
you are a fucking badass.

A badass who still thinks
you're hiding something.

[suave music]

Okay, pack 'em up
and get 'em out of here.

Make sure they're on time.

You got it, Mickey.

Is that him?

You got some balls
coming in here.

I just want to understand
what I did to offend you.

Me? No, no, it's not me.

I can give a fuck
about what you do.

But they...

they don't want you
making this movie.

They say it's disrespectful.

Who's they?

The Italians back east.

You're making a movie about 'em

and you don't know
who they are?

The movie's fictional.

It's not about anybody
in real life.

Except Sinatra, right?

Listen, Al,

I ain't here
to tell you what to do,

but here's the story.

My friends asked me
to deliver a message,

and I delivered that message.

Anything beyond that,
I got no part of.

How do I deal
with your friends?

You want my best advice?

Make a different movie.

And if I don't want to make
a different movie?

[laughing]

Oh, well, then eventually,

you're gonna have to
deal with them directly, Al.

And when that time comes,
and it will,

above all,
be a straight shooter.

They don't fire warning shots.

♪ ♪

He just had to handle
something, but he will be here.

Christ!

Are these, uh,
for everyone?
What?

Hello, everybody.

Uh, where's Ruddy?

Oh, he's just running
a little behind.

But he said
we can go ahead and start.

All right. All right, yes.

Well, we're all
very excited to be here.

Francis, you know Peter.

And this is Andrea Eastwood,
head of casting.

Now, I know that you and Mario
are deep into the process,

but we just all wanted
to make sure

that we're on
the same page creatively.

Why don't you tell us
what you're thinking?

Sure.

Sure.

Okay, um--
[clears throat]

It's actually
coming along really well.

That's one hell
of a paperweight you got there.

[Coppola] Okay, um--
[clears throat]

So tonally, thematically,

this whole picture,

it's about light and darkness.

You have the bright celebration
of Connie's wedding

against the dark underbelly
of Don Corleone's business.

I love that. Mm.

Then we introduce Michael.

And Michael,
he's straddling the two worlds.

When we first meet him,
he's very much in the light.

And then,
when he comes to the wedding,

I think that he should be
in full uniform, okay?

He's got the colorful medals,
it's, like, uh, he's glowing.

It's just after World War II,

and Michael
represents hope again

after a time
of great depression.

Excellent, Peter.
Thank you.

Yeah, I can think of
a dozen actors

that would love to sink
their teeth into that.

Oh, hell, yeah.

I think that
when we eventually shoot this

that, uh,
the whole look of the film

should reflect this opposition
of the light and the dark.

Make it feel real.

None of these caricatures
of what a gangster is.

Yeah, they're family men,

they're--they're--
they're businessmen, you know,

they could be your neighbor.

I'm pretty sure
one of them is.

[laughter]
[door opens]

BOB: Hey, Barry.

I'm sorry, I thought you were
on the way to the airport.

Do you need something?

Oh, no, thanks, Bob.

Appreciate you asking though.

Everyone,
this is Barry Lapidus,

Gulf and Western's
shining star,

and Jack Ballard,
who runs physical production.

Hey, Jack.

Look, uh,
I'm a little tied up right now.

Can I come and see you after?

BARRY: Oh, no.
That won't be necessary.

This meeting is the reason
why I'm here.

Look, I know that
the last thing we all want

is this production
to go off the rails

and become another disaster
like "Waterloo,"

so I've come to present you
with a reality check.

My team has done
some financials.

First off, shooting in New York
is way too expensive.

Excuse me.
You can't shoot LA

for New York.
JACK: No. No.

Of course not.

Uh, Kansas City or St. Louis
could help bring costs down,

especially if we don't shoot
this period.

Hold on.

This entire story,
it takes place

in a very specific time
during post-war America.

It doesn't make sense
any other way.

So Michael comes home
from Vietnam

instead of World War II.

That makes it
even more relevant.

Keep it contemporary.

It's not like crime
no longer exists, right?

Look, this is how
it's going to be

if you want to make this movie.

Wow.

It's very, very
interesting, Barry.

Thank you very much
for bringing

that imagination to the party.

You know what,
a lot of food for thought, huh?

A lot of food for thought.

Yeah.
Well...think hard.

BOB: Oh, yeah.

What'd I tell you?

[whispers] Fuck.

BETTYE:
Francis, listen to me.

Hey, where you going?
Hey, nice to see you.

What the fuck just happened?
Lapidus.

♪ ♪

Hey, Francis.

Where were you?

I was handling something
important for us.

Trust me.
Oh, okay.

Well, was it more important

than setting this
in modern times?

Was it more important
than shooting

"The Godfather" in St. Louis?

What?
Evans said that?

No, he didn't say anything.
He just sat there!

You know what?
You said--

you said that he was
gonna be a standup guy.

You said that he was gonna
support my vision,

and that empty suit
folded like origami.

Listen to me, I'm gonna
take care of it, okay?

But the best thing
you can do to help

is just to write
an undeniable script.

You're lucky
that I need this paycheck

to keep my business afloat,

otherwise you'd be seeing
my taillights

for the last time.

AL: So now,
Barry Lapidus is dictating

what "The Godfather"
is gonna be?

Ruddy, Ruddy.
Stop being so emotional.

Of course
I support Francis' vision.

But, you know,
you gotta read the room, kid.

And nothing good
would've come from

me confronting Barry
right then.

Fucking Barry.

Barry is mad at the world

because it sees him
for what he truly is:

a no-talent prick.

But he feels like he got a win,

like he's the big man
on campus.

Let him think that for now.
It keeps him out of our way.

I don't know how you're being
so relaxed about this.

Francis, he's about to quit.

Said every director

who eventually finished
their picture.

Trust me,
Francis isn't going anywhere.

So we don't have to set this
in present day?

Ruddy--
[sighs]

How did you get into my office?
Hmm?

What do you mean?

You got in

because you did something
that's not done.

You saw something
that you wanted

and you went it for it.
Woof!

You and I are not like
these corporate fucks.

We don't play by the book.
We write the fucking book.

Now, you want to be
a great producer?

You do whatever it takes
to get your movie made

the way you want to do it.
Now, you want New York?

Go there, make some deals,

prove that you can do it
for the money.

Beg, borrow--
I don't give a fuck.

Steal.
You do whatever it takes.

Now...

you don't have
a long track record,

but you got brains,
and you got balls.

Try using both.

Preferably at the same time.

On behalf of the Mangia
America Food Company,

please allow us

to lend the financial support
you requested.

The League,
it's very important to us.

$10,000.
What is that? An insult?

No, sir, it's--

it's just the beginning
of what we're prepared--

Here's the beginning.

Put another zero
on the end there

and then we're straight.

You want a $100,000?

You don't think I know
how much fucking money

you make a year,
you greedy fuck?

You're--you're lucky, I ain't
making you kick in personally.

Now, be a good boy
and add the zero.

I'll take this fucking pen

and I'll stab you
in the fucking throat.

Add the fucking zero.

Go over to the bar.

David.
[chuckles]

I hope you're bringing me
something better.

Not like this fucking meatball.

Danny Thomas?

He's not anybody's
first choice

but he likes the book.

He's a comedy actor
and he's Lebanese.

Quinn is a great actor.

He's half Mexican.

He's played Arabian, Greek...

Olivier is being treated
for prostate cancer.

How do you know that?

Okay, they're all
wonderful actors

but the Don is so specific.

He's explosive,

and he's charismatic,
and he's warm.

And I really think
that we should be talking

about Brando for this.

World's greatest actor.

That's not happening
AL: Why not?

Because we have no budget,

and so why the hell
are we even doing this?

In my experience,
if you get them excited

about who you want,

they'll find breakage.

What's breakage?
It's more money.

But not for Brando.

Jesus Christ, Andrea.

The director, the writer,
and the producer

are all on board
with this thing.

So why not give it
a fucking try?

Brando's an amazing actor,

but he's notoriously difficult,
very expensive,

and his last
four movies bombed.

So there's no way in hell

you're gonna get Bob Evans
to approve him.

Let me worry about Bob.

Why don't we start with
some low hanging fruit?

Johnny Fontane, Vic Damone.

That's a great idea.
Can we even get him?

He's interested.
He just wants to meet you guys.

BOTH: Where is he?

BOTH: Vegas.

[laughter]

He says,
"Today, I'm an alligator."

[giggling]

Mr. Damone.

Al Ruddy.

It's great to meet you, man.
Really, pleasure.

This is Francis Ford Coppola.
Good to meet you.

You must be Mario Puzo.

In the flesh.

I loved your book, man.
Good stuff.

Tom Collins times four.
WAITRESS: Yes, sir.

Take a seat, guys.

FRANCIS: Mr. Damone?
Oh, Vic, please.

Vic, my mother
was such a huge fan.

"The Lively Ones," she'd listen
to it over and over again.

She wore out the vinyl.
I had to go to film school

just to get a little peace
and quiet, you know?

With me, flattery
will get you everywhere.

So Fontane...

he's Sinatra, right?

MARIO: No.

Fontane is you.

FRANCIS:
Vic, what do you say?

You want to talk about
the character--

I'm gonna stop you
right there, Francis.

I'm in.

I loved "Patton,"
I love the book.

And I'm sure I'll find
something to love about you.

Hey, I'm the guy
with the credit card.

See?
I knew he was lovable.

All right, listen,

let's talk more tonight
after the show.

I have a great table
for you right in front.

Enjoy.
FRANCIS: Oh, great.

Looking forward to it, Vic.

Here you go.
Okay.

Salute.

Come on.
Come swim with me.

Not--not now, sweetie.

Go take a swim.
We'll go eat later.

JILLY: Frank.
Hey.

[sighs]

I just got word.

That producer checked in
at The Sands.

Fucking Damone.
Bad enough he steals my act.

Now he's gonna try
to embarrass me?

You know, I bailed his old man
out of a big debt.

This is how he repays me.

No fucking loyalty.

You, uh, want me
to take care of this, Frank?

Mm.

Not yet.

Get me the phone.

LENNY:
Hey, boss.

What?

It's Sinatra.

Oh, fuck.

Frank, how they hanging?

Don't give me that bullshit.

Look, that thing you were
supposed to take care of,

it ain't been taken care of.
I know.

I know. I'm in the middle
of it right now.

Don't worry.
Don't worry?

Joe, go fuck yourself.

Frank, I said I'm on it.

You got nothing to worry about.
Trust me.

Listen to me.
Get it done.

I will not be humiliated.

This is my legacy
these fuckers are fucking with.

Fuck this guy.

[singing in Italian]

Where is everybody?

I told them not to come.

I need to talk to you
about something.

I told that fucking crooner
I'd handle the goddamn movie.

If he's trying to go
around my back,

he's gonna get
his vocal chords broken.

It's not
about the movie, Joe.

It's the League.

Well, uh--

[sighs]
What about it?

We all think
you're bringing too much heat.

It's not the right time
for this nonsense.

The League is my thing,
Carlo.

I--I ain't asking for help.

Your thing is bringing us
too many problems.

You should've used Biaggi
as the face of this thing.

He's pissed.
Oh, fuck that crook.

What?

We answer to corrupt
politicians now?

We don't answer to nobody.

But sometimes we listen.

That Congressman picks up
the phone and calls the FBI,

the storm falls on all of us.

Be reasonable, Joe.

What I'm doing
is a long time coming, Carlo.

The Jews got the JDL.

The--the--the Blacks
got the NAACP.

Shit,
even the Irish got the PBA.

We need our own thing.

We have our own thing.

JOE:
You know what I'm saying.

CARLO: Joe.

Listen to me.

Do the smart thing here.

Back away.

Put a politician, or a judge,

or an entertainer
in the front of this.

You don't need the headache.

Oh, that's a good idea.

Maybe we should get the guy
with the blue eyes to step up,

is that what you're saying?

No. Fuck that guy.

I'm just saying,

as the new guy at the table,

you should take it slow.

[soft dramatic music]

Well, you delivered
the message, Carlo.

I'll think about what you said.

♪ ♪

Stay in the shadows.

It's how things are done.

♪ ♪

Okay.

♪ ♪

VIC: ♪ Just on the street
where you live ♪

♪ And oh,
the towering feeling ♪

Thank you very much.

♪ Just to know ♪
No.

♪ Somehow, you are near ♪

♪ ♪

♪ The overpowering feeling ♪

♪ That any second
you may suddenly appear ♪

♪ People stop and stare ♪

♪ They don't bother me ♪

♪ For there's nowhere else
on Earth ♪

♪ That I would rather be ♪

♪ Let the time go by ♪

♪ I won't care if I ♪

♪ Can be here ♪

♪ On the street ♪

♪ Where you ♪

♪ Live ♪

[cheers and applause]

Thank you.

Thank you,
ladies and gentlemen.

Thank you.

You know, I've played theatres
all over the world--

JILLY: Hey, Vic!
Hah, who is that?

You a big movie star now?

Rumor has it you're gonna play
Johnny Fontane

in "The Godfather."

[indistinct muttering]

I was approached
for the role,

but I turned them down.

I would never lend my name

to something
with such an extreme bias

against my Italian heritage.

[clapping]

[applause]

What the hell?
What just happened?

Sinatra happened.

Fuck.
VIC: Maestro?

Now, one of my favorite songs.

This is one I recorded in 1957.

AL: Damone's gone already.

What a wimp.

We're never going to
make this movie.

Yes, we are.
Fuck Damone.

No.

It's just--it's a cancer,
it's going to--

it's going to eat our souls
a piece at a time.

No. No.

Francis, listen to me.

We are making this movie,
okay?

And it's gonna be great.

It's gonna be better
than anybody ever had

a right to expect.

Because you've got
a real vision for this,

and I'm gonna get you
what you need, okay?

But you gotta fucking trust me.

If I say
I'm gonna handle something,

I'm gonna handle it.

Might not be right away
or the way you wanted,

but I will fucking get it done.

You're there for me,
I'm there for you.

You respect the budget,
you don't go over,

and I will fucking kill
for you, man.

We're a team.

[taps table]

[suave music]

Hey, I want in on this.

♪ ♪

This movie's gonna
be fucking great.

[laughs]
Okay? All right.

Okay, okay.

♪ ♪

Sorry.
No.

Were you here long?

No, not at all.

Good, then I can stop
pretending I feel bad.

[chuckles]

Is it true that John Bonham

drove his Harley Davidson
through the lobby here?

Well, it's the same carpeting.
See for yourself.

Were you
here that night?
Yup, I was.

Same night I found
my ex-husband

fucking Tura Satana
in the bungalow.

At the time, I thought it was
the worst night of my life.

But now I own this place,
and he's in Ohio,

so turns out it was
the worst night of his life.

Mm-hmm.

Best part of marriage
is divorce, I guess.

In my case, yes.

Bourbon.
Mm.

It's good, eh?

It's made in Kentucky.

You know that, per capita,
Kentucky had

the most American men
serve in the war?

I didn't know that.
Yes.

That's why I drink it.

Don't ask for Irish whiskey
at my bar.

I don't carry it.

Do you want to know why?

Mm-hmm.

During the war,
Ireland didn't let

Allied troops use their ports.

Not for munitions,
not for soldiers, not for--

not for fucking food.

They just stayed
on the sidelines

while millions
were exterminated.

and you--
you know what I say to them?

Fuck them.

I like rum anyway.

The reason
why I'm telling you this

is so you understand the...

the type of grudge-holding
woman I am

before I ask you
what I'm about to ask you.

Okay.

What's Al hiding?

Françoise, I--
[laughs]

I'm not sleeping--
I don't mean other women.

I--I'm not worried about that.

I know where his dick
goes every night.

[chuckles]

I mean something else.

There's something
heavy around him

that he's not telling me.

What is it?

I'm not gonna sit here
and lie to you.

I'm also not gonna
say anything if he hasn't.

So you're Ireland.

I'm an ally.
I'm just not yours.

Touché, mon ami.

I get why Al likes you.

Let's have another drink.

Adam, uh, can we get
two glasses of Mount Gay?

[mellow music]

♪ ♪

Andrea, how many Redford
knock-offs must we see

before you realize that
none of them are right?

You know, it would be easier
to narrow it down

if we had a script.

FRANCIS:
I don't need a script.

We're just gonna be
another second.

Andrea,
I know who Michael is.

Who?
Al Pacino.

Has he done any film?

He's about to go do
"Panic in Needle Park,"

he just won an Obie for
"The Indian Wants the Bronx."

Off Broadway.

What's the difference?
He's--he--he's terrific.

I saw it. I agree.

But the studio
will never approve him.

Why not?

He's not Bob Evans' type.

He doesn't have to date him,
he just has to approve him.

He has the quiet intensity
that I want.

And he's Italian.

It's not gonna happen.
Listen to me,

I can't sit through another
WASP mispronouncing Corleone.

Core-lay-o-knee,
Core-lay-own.

Hi, guys.
Thanks for waiting...

Are you sure he's your guy?

Yes. Yes. Yes.

He's the only Michael.

I'll get you Pacino.

So where is the old bastard?

I'm sorry, Mr. Evans,

I tried to tell you
on the phone.

Mr. Bluhdorn is in Europe,

and he won't be back
until Monday.

Hmm.
Fair enough.

Well, that'll teach me

to try to go around you
and schedule a meeting.

I'm sorry, sir.

Don't worry, beautiful.

I'll catch him next time.

TRACY:
Excuse me, Mr. Evans. Sir--

Evans.

Certainly
wasn't expecting you.

Weren't expecting what?

Me to barge into your office

the way you barged
into my creative meeting?

I'll give you two a minute.
No, don't move.

Listen here, Bob--
No, no.

You listen to me,
you fucking accountant.

I run the studio.

Now, you want to visit,

next time you call me
and you ask my permission.

Stop thinking with your ego,

and think
with your goddamn head.

Paramount is both
of our business.

Bob Evans is the movies,
you prick.

Why don't you stick
to what you know best?

Numbers and stocks,
watered-down cocktails

with your Wharton groupies
at the Carlyle,

whatever the fuck it is you do!

But you stay off my lot.

Have a nice day, Jack.
Bob.

Tracy!

I am so--
Close the fucking door.

BETTYE: I don't know
how you stay comfortable

in that skirt all day.

It's a skirt.

What's not comfortable
about it?

I mean, doesn't it
restrict your movement?

What if you want to cartwheel
or something?

I mean, I'm not doing
a lot of cartwheels.

Are you doing a lot
of cartwheels around here?

I just think that
an everyday skirt

is a symbol of the past,
that's all.

So, uh, how'd you start
working with Ruddy?

I've never seen an assistant
this involved in the process.

Did you know him
from before or--

I didn't fuck him,
if that's what you're asking.

That's not what I meant.
No, no, no.

It's just that, you know,
Ruddy gives you autonomy,

and not every producer's
like that.

BETTYE: So tell me, how did you
become head of casting?

I'd like to think it's 'cause
I have a real eye for talent.

But it might have
been the skirt.

I don't know, you know?
[laughs]

God, I wish I could
tell these actors

the truth, you know?

Like,
"Hey, you're talented but, uh,

"getting this part has nothing
to do with talent,

"it has to do with,
um, the size of your nose,

"and your height,
and who you know,

"who you fucked, the rumors
about who you fucked.

If you're open to fucking."
[laughs]

There is--literally, it has
nothing to do with talent.

It has to do with the opinions
of a bunch of old men in suits.

[typewriter clacking]

Look, maybe Sonny should
show Michael what to do.

You know, the older brother

showing the younger
brother the ropes.

No. No.

I love what you did
in the novel.

It has to be Clemenza.

Clemenza's like your uncle.

He--he's got the warmth.

He can stand in
for Michael's father.

Instead of the uncle
teaching you how to tie a tie,

he's teaching him
how to kill two guys.

Yes. Yes, yes.

And why is your detail
so magnificent?

Because the repetition, okay?

When Clemenza says to Michael--

he says it over
and over again to him.

"Michael, when you kill Solozzo
you have to remember

you let your hand
go down by your side,

and you drop the gun."

That's perfect.

Follow me.
Okay.

So we cut to Michael,

he kills Solozzo.
[imitates gunshot]

He kills McCluskey
[imitates gunshot]

But then,

he holds on to the gun.

He doesn't let it drop.

He hangs on for too long.
He does not listen to Clemenza.

Why?

Why aren't you listening
to Clemenza, Michael?

Why are you hesitating?

And the tension,
the tension is building.

Why? Why?
We're wondering why.

Why are you not listening
to Clemenza, Michael?

And just when we can't
take it anymore,

that's when he lets it fall,

and we're okay again.

We know that Michael's
gonna be fine.

Why is this scene beautiful?

Because it's not just the death
of Solozzo and McCluskey.

It's the death of who Michael
could have been.

He goes all the way

from being the total outsider
of his family,

and the transformation
to becoming the leader

of the Corleone family
has begun

right here in this scene.

Say all of that again.
[chuckles]

[indistinct chatter]

Congressman Biaggi.

Thank you for seeing me
on such short notice.

Françoise always
takes care of me

when I'm on the West Coast,
so here we are.

Everyone says
you're the guy I need to see

to shoot here in New York.

I know you have
some reservations

about "The Godfather."

I told Françoise
I'd keep an open mind.

Now, I understand
that there are a lot of people

who think this book
is anti-Italian.

That is not the story
that we are looking to tell.

We're making a movie
about society,

not just Italians.

This is not just
some gangster film,

it's about family,

and the price that children pay
for the sins of their fathers.

Look,

we want to make a movie

that all Italians
will be proud of.

Mr. Ruddy,

I have the greatest respect
for Françoise,

but I must say no to you.

And I'll give you my reason.

It's true,
I have a lot of friends

in the mayor's film office,

but this book,
this potential movie,

no matter what you say,

is and would be
an insult to my heritage.

But Congressman,
there's a lot--

I understand
you're disappointed.

But you will not make
this movie in New York.

Hmm.

And if I have my way,

you won't make
this movie at all.

Mario Puzo is a traitor

and in this town, my word
still means something, so--

Thank you for coming to see me

but again, I must say no.

Mr. Pacino--
All right. All right.

Thank you very much.

Thanks for setting me up
with Biaggi.

Of course.

I'm sorry it didn't work out.

I mean, you came all the way
to New York.

It's ridiculous.
Oh, look, it's all right.

I got a lot of fish
to fry here anyway.

Well, you know, I'll always
do anything I can to help you.

I know, baby.

Al!

Hey. Great stuff, man.

You hungry?

I could eat.

Thank you.

Where do you put it?

Not sure I'm
a starving artist,

but I'm definitely
a starving actor.

[both chuckle]

I hope you don't mind
I ordered the menu, Al.

Listen, you agree
to read for Michael,

I'll take you to Chasen's
once a week until you die.

[laughs]
Um, um--

uh, I read the book.

Uh, it's not bad.

But, uh, I don't know.

Michael's the lead, right?

One of them, yeah.

He's the Don in waiting.

You see,
that's my problem, Al.

I, uh, I guess I just don't
see myself as a lead.

Really?
But you're such a talent.

[scoffs]
You're very kind.

Thank you.

Um, how about Sonny, hmm?

Now--now that's a role
I'd be interested

in taking a real big swing at.

Sonny's a great character.

He's certainly a big impact
player in this,

but we really want you
for Michael.

Who's "we"?

Well, it's myself
and Francis Ford Coppola.

Coppola?

I thought you said
Puzo was writing.

What's--what's Coppola doing?

Francis is co-writing
and directing.

I'll be straight with you, Al,
you're all he talks about.

[laughs]
Coppola knows who I am?

He thinks you're the only
person alive

that can pull this off.

Ah, he said that?

He did.

He also said I cannot
let you leave this dinner

until you agree
to read for Michael.

Those were his orders.

[chuckles softly]

Here's what I'll do.

I'm gonna order
three desserts...

and then,
I'll agree to read for you.

How's that sound?

It's music to my ears.

All right.
Uh, excuse me.

Can we have
the dessert menu, please?

[soft dramatic music]

♪ ♪

What the fuck?

Jesus!
Fuck!

God, man, what the fuck?

[phone rings]

[ringing]

Hello?

LENNY:
You get my little gift?

Now you know
what you gotta do.

Who is this?

[dial tone]

I mean, I thought
he was pretty good.

Yeah.

He's a little short, but...
[laughs] Yeah.

He's got that thing,
you know?

Charisma.

I mean, when he--
when he looks at you,

it's like--it's like you
lose yourself in him.

Don't hold back, honey.

I never hold back
with you, Al.

You, on the other hand...

Me on the other hand,
what?

Well, I'm just wondering
when you're gonna tell me

about what happened
with Mickey Cohen.

I just didn't
want to upset you.

Just always be honest with me

and you'll never have
to worry, all right?

You're right.

Message received.
Good.

I'm sorry.

The truth is, there are a lot
of people here in New York

who don't want us
to make "The Godfather."

Apart from the Congressman?

Mickey Cohen was delivering
their message.

But don't worry,
I handled it.

It's not gonna happen again,
I promise.

[soft music]

♪ ♪

[phone rings]

[ringing]

Fuck.

[ringing]

I might need to get that.
Oh, no.

[ringing]

All right.
No! No! No.

Baby.
Baby, come on.

[giggles]

[ringing]

Hello.
Hello? Oui, bonjour?

Wait, Bob?

Okay, okay, all right.

Calm down, calm down.
What?

Uh-huh.

Yeah, yeah.

Yeah, I'll be right there.
Bye.

Five minutes.
He all right?

Yup, everything's good.

BOB: Hey, there he is.
There he is.

Hey! Ruddy! Ruddy!

Get in the car.

You okay?
Get in the car!

I've got a flight to catch.

And, no, I'm not fucking okay.

Hey.

Bob, tell me,
what's going, man?

The goddamn mafia
put a fucking rat

in my fuckin' bed.

A what?
A fuckin' rat.

Wrapped in your book,
"The Godfather."

All right.
Look, just relax.

Fuck you!
"Relax." Fuck you.

I don't know what the fuck
you got me into,

but I am not getting killed

for some gangster movie,
all right?

Now,
this is your fucking job.

You deal with it
or I swear to God,

I will shut this picture down,
understand?

I mean, what was I thinking?
I'm gonna handle it, okay?

I'm gonna handle it.
Good.

You do that.
[sniffs]

Comfortable?
Get the fuck out of my car.

I just wanted to make sure
you're okay.

Get the fuck out.

Fucking amateur.
Hit it, Michael.

[soft dramatic music]

♪ ♪

You look like shit.

Still prettier than you,
bubbie.

I'm assuming you haven't read
the trades today.

Hmm? We're in trouble.

Paramount being
on the losing team

in Hollywood
is hardly a secret.

You know,
"Variety" needs to find

a new fucking story, man.

Paramount's not the story.

You are.

♪ ♪

Fucking Lapidus.

[grunts]

How long have you been up?

A little while.

I need coffee.

Why don't we get
breakfast sent up?

Can't, baby. I gotta figure
this New York shit out

if we're gonna shoot here.

Would you at least get me
one of those croissant I like

from the cart on the corner
before you desert me?

You are at one of the nicest
hotels in the world

and you want me
to get you a croissant

from a cart on the street?

Yes.

That's my girl.

I'm very fancy, you know.

Yes, you are.
You are very fancy.

And a coffee as well.
And a coffee.

[door shuts]

Hey,
you're Al Ruddy, right?

Yeah, look,
there's somebody important

who wants to talk to you.

Get in the car.

Yeah, look, I'm a--
I'm a little busy right now.

Get in the car.

I'm not gonna ask you again.

[sinister music]

♪ ♪

[Jimi Hendrix's
"All Along the Watchtower"]

♪ ♪

CARMINE:
Take the bridge.

♪ ♪

JIMI: ♪ There must be some
kind of way out of here ♪

♪ Said the joker
to the thief ♪

♪ There's too much confusion ♪

♪ I can't get no relief ♪

♪ Businessmen,
they drink my wine ♪

♪ Plowmen dig my earth ♪

♪ None will level
on the line ♪

♪ Nobody offered his word ♪

♪ Hey ♪

♪ ♪

♪ No reason to get excited ♪

♪ The thief, he kindly spoke ♪

♪ The thief, he kindly spoke ♪

What's Al hiding?

There's something
heavy around him

that he's not telling me.

I'm not gonna sit here
and lie to you.

I'm also not gonna say
anything if he hasn't.

NIKKI:
It was very important to us

that in a story primarily
dominated by males,

that the female characters
had their own agency

and were not just props
in the men's story lines.

Touché, mon amie.

It was very important
to highlight

how ahead of their time
these women were.

I'm an ally, I'm just not yours.

They succeeded in spite
of the challenges

that were in front of them.

I get why Al likes you.

Bettye, I think ultimately
in my perception of it,

she really handles herself
in a way

that I think
is quite inspirational

for past, present,
and future females

because she does it with grace,

and also I think she's
incredibly loyal.

You see that with
the relationship
between her and Ruddy.

I understand if you need to cut
and run.

I'm not running either.

Bettye was like
a relative of mine.

And the minute I met her,

I knew this was the right person
for me.

So what's the move now then?

ROBERT: This is Andrea Eastman,
Head of Casting.

She's one of the only women

that had such
a high power position.

She's a big deal at Paramount.

I agree.

It was such a boys' club
back then.

How do you know that?

I thought it was
really well-written

to show how she kind of
exerts herself in that world,

and how she does it
in such a feminine way.

She's really fun,

and she shows it in her outfits
and her makeup and her hair.

BETTYE: I don't know
how you stay comfortable

in that skirt all day.

It's a skirt, what's not
comfortable about it?

I could talk about
that scene forever.

I have so many good things
to say about that scene.

I loved it, first and foremost,

for the relationship
between Bettye and Andrea,

how they're kind of
sussing each other out.

So how'd you start working
with Ruddy?

I've never seen an assistant
this involved in the process.

We're both kind of like,
"Did you?"

I didn't fuck him,
if that's what you're asking.

They were two women that
are navigating the world

in a very, very different way,

but are still fierce
in their own right,

not just because they were
women doing these jobs,

but because they were
incredible people
doing these jobs.

BETTYE: How did you
become head of casting?

I like to think it's 'cause
I have a real eye for talent,

but it might've been the skirt.
I don't know.

STEPHANIE: That scene,

I think it was supposed
to be in a casting office,

and Dexter Fletcher was
like, "Oh no, no, no, no.

We're gonna blow the scene out.

It's gonna be driving
through the Paramount lot.

There's gonna be welders,
there's gonna be gladiators."

JUNO: We got to zip around
the Paramount lot

on a Sunday when it was empty.

So you fully were transported
into their universe.

It was a pinch-me moment.

I just-- It makes all my hair
stand up, you know?

(TYPEWRITER CLICKING)

We had another scene
where Coppola

and Puzo were working
on the script.

PATRICK: They were artists,
at the end of the day.

They existed based on their
imagination.

Telling stories,
creating a world.

DAN: I'd just met Patrick
in rehearsal,

and he was like, "Yeah, I'm
looking for a place to live."

(LAUGHS) And I was like,

all right, I'll take a risk here

out of, you know,
the love of the game.

Let's get method here, man.

You never know.

Fingers crossed, right?

DAN: He was my roommate
for the first two

or three weeks of shooting.

It's not something
I will soon forget.

That connection when you
meet someone
who you connect with,

creatively and artistically,

it's a rare thing
and it's a really special thing.

Did you eat my ham?

So I think that gave
such a wonderful rhythm

to their relationship
very quickly.

I'm loving you, Mario.

And I think it shows,
I think that on the screen,

you see that we genuinely
really get along.

Salute.

That was a big risk. He could
have been a real jerk...

(LAUGHS) ...you know,
but he was great, he was great.

PATRICK: How lucky are we
to have been able

to develop a relationship

that is gonna effortlessly
bring itself to set?

It's a beautiful gift.

Hey, I want in on this.