All language subtitles for THE OFFER S01E07.HDR.2EB.H265-GGEZ-FR

[upbeat music]

RUDDY: Jack,
what are you doing here?

JACK: Have you met our editor?
Aram Avakian, Al Ruddy.

Did you see
"The Miracle Worker"?

No, missed it.
Aram cut it.

It's beautiful work.
Thank you, thank you.

Al's gonna need a miracle
to bring us in on budget.

♪ ♪

What do you think?

He could have shot it tight
and been done by now.

And what's
with all the presents?

Makes him look
even smaller than he is.

That is no leading man.

I'm just a little nervous,
you know?

So what are we
gonna do about it?

BOB: The producer of my movie
just shook hands

with a goddamn mobster on TV.

I gotta get to New York.

We are going to Texas,
remember?

My movie?
I'll meet you there later.

ALI: I'll hold my breath
waiting on that promise.

COLOMBO: Gallo's an animal.
It's unforgivable what he did.

How you doing, Joe?

COLOMBO:
He blew Carmine's head off

with a sawed-off shotgun.

[gunshot]

If he had done this
to a member of your family,

what would you do,
you'd talk to him?

I want your word.

You will not take
any action at this time.

You have my word.

♪ ♪

[gunshots]

[tires screeching]

[soft music]

♪ ♪

[tense music]

♪ ♪

What the fuck is that?

My thoughts precisely.
This is garbage.

This is a mock-up.
The real one will be different.

How so? Less real?

Francis, I promise,

on the day,
it will look better.

Let's put an apple
in its mouth.

I'm not going
to put this crap on screen.

Yes, you will have
to use some lighting

and shadows to--

I'm concerned now, Dean,

that you think
that this is acceptable.

You don't need
to be concerned--

Okay, guys, just relax.

We're all
on the same team here.

You know,
it doesn't feel that way.

RUDDY: Hey, Francis, cool it.

I will cut this scene before
I put this crap on screen.

I'm not cutting the scene.

I'm not cutting the scene!

[sighs]
I mean, he's not wrong, Al.

It does look pretty fake.

I need someone I trust
to find me a better one.

Find me a better one.

Me? What?

I'm in charge
of the horse head?

Fuck.

This requires somebody

with great taste and ability.

[scoffs] Wow.

If you blow any more smoke,
my hair might catch on fire.

Aren't you the girl
who met with Joe Colombo

at his social club?

Wasn't exactly
a social call, was it?

[scoffs]

I should've let you stay fired.

[film reel clicking]

Stop!

This is boring.
Why am I watching this?

Pacino is ruining this movie.

I mean, look, he can barely see

over the presents
he's carrying.

He's supposed to be a war hero.

Don't look like any hero
I've ever seen.

The character's supposed
to be intimidating.

Mm, what would you
know about that, Barry?

He's gonna be the Don.

People kissing his ring,
people scared of him.

You scared of him?

We need to fix this

while we still can.

Our stock just rebounded,
but it's not gonna take much

for the board
to change their minds

about keeping Paramount
in our portfolio.

What are you still doing here?

Get your ass
back to set and fix it.

Find me a Michael Corleone
who can deliver.

Jack has your blessing?

Blessing?

If you let this film fail,
I'll rip out your hearts

and show them to you
before you fucking die.

Now get the fuck outta here!

♪ ♪

[engine droning]

♪ ♪

There is nothing quite like

the intoxicating
authenticity...

[inhales deeply]

Of being on location.

[chuckles] Bob.

What are you doing here?

Well, that's not
the greeting I was expecting.

I'm sorry, you just...

You surprised me.

That's the idea, sweetheart.

Is there somebody in there?

Ali, who's in there with you?
Stop.

It's McQueen, isn't it?

You're fucking the Blob.

Please just go.

You asked me
never to leave you.

Do you remember that?

Well, I kept my promise.

You left me a long time ago.

I haven't even heard
from you in over two weeks.

Don't kid yourself.

I've just become something
for you to check off

on your to-do list.

You give everything
to this business,

and there's nothing left
for me.

I'm just getting
out of your way.

[somber music]

♪ ♪

[engine revs]

So where is he?

LENNY: Nobody's seen him, boss.

CAESAR:
Gallo's gone underground.

I think he got the message.

Don't underestimate
that crazy bastard.

I heard from some
of Gambino's guys

that the old man's
not too happy with our move.

Fuck him.
This is an internal dispute.

I'll wet his beak.
Gambino will be fine.

Where are we at
with the skim on the movie?

CAESAR:
I met with the union reps.

They're all kicking up to us.
The drivers?

CAESAR: [chuckles]
Even better.

Every department in this movie
has its own union.

They're like capos.

We're getting a taste
from all of them.

What about Ruddy,
he doesn't get a taste?

That's what they're saying.

All right, good work.
[clears throat]

Let me know how we're doing
with the collections.

We get Gambino his cut,
keep him calm.

[tense music]

DEAN: I need more money.

For the wall
around the compound.

You said it was doable.
Styrofoam and paint.

Well, the city is making
me build a real wall

to pass inspection.

It's ridiculous.

If I do, I won't have
enough money left over

for the rest of the shoot.

Here's what you do,

build four feet
on either side of the entrance

and make the rest
Styrofoam and paint.

If they find out
and want to fine us,

I'll deal with it then.

[scoffs]

We have a big problem.

Are there are any little ones?
Andrea called.

We lost the actor who
was gonna play Luca Brasi.

What?

What are you talking about?

What do you mean,
"We lost him"?

There's a signed contract--

He's dead.

A stroke this morning.
Jesus.

Does that mean we need
to cut the scene?

FRANCIS: No, no, no.

Absolutely not.
We're not cutting the scene.

Unless we can
find another 6'6",

300-pound actor
just hanging around...

[gasps, snaps]

What about your friend?

My friend?

BETTYE: "I am honored
and grateful..."

Don Corleone,
I am honored and...

"Grateful."

Right, right.

Don Corleone,

I am honored
and grateful that...

"That you invited me."

Okay, okay.

Don Corleone,
I am honored and...

Oh, my God.
What the fuck, Lenny?

How many times did your
mother drop you on your head?

"I am honored and grateful
that you invited me

into your home on the day
of your daughter's wedding."

Well, why don't you do it?

'Cause they need
a fat fuck like you.

Hey.

It's okay,
we're gonna try again.

Unbelievable.

A head that big and it
can't hold a goddamn thing.

Can we cut down the lines?

Make it easier?

Luca Brasi is formal.

He wants to get the lines
just right for the Don.

He's nervous.

So on the day, we shoot him
right outside the office.

And he's practicing
with his cards.

"Honored and grateful..."

And we shoot it like that.

[cat purring]

Oh, kitty. Oh, kitty-kitty.

What a pretty kitty, huh?

Who's a pretty cat?
[clicking tongue]

What's with the cat?

Did you do a rewrite?

No, there's no cat
in the scene.

That sure looks like a cat.

[clicking tongue]

RUDDY: Is it Brando's cat?

It's one of the stray cats
from the alley

behind the studio.

[mumbling]

I like it.

Yeah, me too.

Of course, 'cause neither one
of you wants to be the one

to tell Brando
he can't have it.

True.
[laughs]

FRED: So what are we doing?

Cat or no cat?

I think it's inspired.

Can we try one?

Okay, let's lock it up.

Last looks, everybody.

Hey, we got a small problem.
Yeah?

[cat purring]

Huh.

We'll fix it in post.

Sorry, sir.

Mr. Evans is
on the phone in your office.

He said it can't wait.

[sighs]

Okay, put us on a bell.

[bell rings]

And action.

Bob?

Where are you?

Where am I?
I don't fucking know.

I'm over one
of those square states.

Look, we've got a problem.

Bluhdorn
and Lapidus saw dailies

of Pacino's first day,
and they want to fire him.

What the fuck? No, no.

Look, we're not
changing horses now.

BOB: This is all Lapidus, man.

Barry's a fucking rat
who's always wanted my job,

and this is part
of his power grab.

Okay, listen,
I know you haven't always been

the biggest supporter
of Pacino, but--

Never mind that.

Pacino's our boy now,
so let's not fuck this up.

I told Bluhdorn
we'll talk when I land,

but you need
to figure something out, man.

RUDDY: All right, I'll get
back to set and deal with it.

But first...

how was Texas?

Bob?

Hot as a fucking sauna.

See ya.

[somber music]

MARLON: Power in and of itself

is not an important thing
to him.

You know, he would never
talk about his own power.

FRANCIS: No, his power
comes from his confidence,

from what he
doesn't have to say.

MARLON:
And he's not a criminal.

He's got a deep moral center.

Politicians are the criminals,

the drug dealers
getting people hooked

on empty promises.

Mm-hmm.

The Don,
he serves his community

more than any
politician ever would.

Yes, he does.

And when people
come for his help,

he knows right from wrong

because of his
old world values.

He just wants to do right
by his people and his family.

Yeah, that's it.
That's exactly it.

You want to try another one?

All right.
Okay.

Freddie.
FRED: Okay, lock it up.

Going again.
Last looks, please.

What the fuck
is Duvall wearing?

Oh, Brando likes
to be in the moment.

He doesn't memorize his lines.

Apparently no one does.

Listen,
I just talked to Bob.

Charlie and Lapidus
want to fire Pacino.

[loudly] What?

Um, one second, Freddie.

What are you talking about?

They saw the dailies
from his first scene.

They're not happy.

They don't even
know how to look at dailies.

What do--how can
they judge him on one scene?

Look, we just need
to get them excited about him.

What's his best scene?

There's a lot.

Um...

what about the restaurant scene

where he shoots
Sollozzo and McCluskey?

I mean, they gotta be able
to see what he can do there.

Perfect.
When do we shoot that?

[sighs]
End of the week.

We need to shoot that tomorrow.

Fine, yes, fine.
I can do that, yes.

See if we can get the location.

Yes.
Gordy.

Let me chat with you.

You too, Aram.

ARAM: What do you need, boss?

[quietly]
Okay, new policy.

As of right now, only the four
of us have access to dailies.

No one else sees them
unless Francis or I approve it.

You got it.
Yeah, yeah.

FRANCIS: [sighs]
Freddie.

FRED: Okay, roll sound.

FRANCIS: And action.

Business is good.

This is for you.
20 large.

From the fundraiser.

20, huh?

How many tickets
you sell to that event?

Well, we're
still counting.

This is just
to show respect.

There's more
where that came from.

CARLO: I appreciate that, Joe.

I had my concerns about this...

Italian League thing of yours
from the very beginning.

But I gotta say,

you're proving me wrong.

Yeah, well,

the unions at the movie
have started to produce too.

I'll have
your cut on Friday.

It was good that we
got in on this thing

from the ground up.

You're doing great, Joe.

Mm? Keep it up.

Okay.

[ominous music]

♪ ♪

GALLO: This kind of trouble,

it's just the beginning.

Kiss my ass.
Come on.

The lighting's not working.

We're falling way behind.

GORDY: The lighting's perfect.

It's perfect!

But if you don't
direct the actors,

none of it
means a fucking thing!

RUDDY: [quietly]
Clear the set.

FRANCIS:
So precious about everything.

I give a shit
what it looks like!

Oh--
Okay, everybody.

Take five.
[bell rings]

More fucking drama
than a soap opera.

They're not
on the same page.

Mm-hmm, not even reading
the same book.

Coppola's lost this crew.

We have to tell
Charlie about this.

GORDY: Is that
what you think, man?

FRANCIS: Of course I care
about what it looks like!

But the actors, they can't even
walk around the set!

Yes, that's right.
They can't.

They have to hit their marks!

That's the point!

Unless you just want me
to point a 10K at the room

and walk away.

You know lighting!

You don't know a goddamn thing
about the needs of actors.

They need freedom.

They need to be able
to walk around

so they can bring
the characters to life.

We talked about this.
How simply can I put this?

So there's light,
and there's dark.

If they're not in the light,
they're in the dark!

RUDDY: All right, hey, boys,
bring it down a notch.

Okay, let me
make it simple for you.

Anybody coming to see
this movie is not gonna care

about your lights
if they can't connect

with the actors!

You're impossible.
You are impossible.

Nobody can talk to you!

FRANCIS: I'll light it.

I can light it!

[chair clatters]

Look at this guy!

Let him go.
No, let him go!

Gordy, come on--
No, no!

He's being an asshole.

He acts like this is just
between him and the actors.

There's 150 fucking people
on this crew

busting their asses,
trying to make this work

for him!

He has no appreciation
for anyone,

and I'm done with it, I'm done.

Okay, well, listen to me,
Gordy, you leave,

there's a good chance those
150 people are unemployed.

Okay, so I'll fix this, okay?
[scoffs]

But you gotta give me
a chance to do it, okay?

Please.

I'll finish the day,

but that's it
unless he apologizes.

Fuck.
[sighs]

Damn it.

Coppola thinks he's a god,

but the product is a mess.

First Pacino, now everything's
incredibly dark,

and Brando
is a mumbling fool.

ARAM: The scene Coppola shot
in the Don's office

is unusable.

Star of the scene
is a goddamn cat.

The DP is this
close to quitting,

and the crew is not far behind.

So what's our solution?

We need to get rid of Coppola.

Right after we
get rid of Pacino.

Aram should take the helm.

He's been on set
the whole time.

He knows the footage.
He can fix this.

Fine.

Put together the worst set
of dailies you possibly can.

We'll show Charlie,
and if it's what you say...

[soft music]

The two of you
better be ready to take over.

♪ ♪

Good.

I don't apologize to anybody.

Unless it's my mother.

And even if I had a reason
to apologize to her,

my father would kill me
before I had the chance.

A lot
of people want us to fail.

And even more
of them want you to fail.

I'm aware, thank you.

Gordy isn't one
of those people.

[sighs]
He's not hearing me.

Francis, listen to me.

You're the director
of this film.

Mm-hmm.

But you can't
achieve your vision

unless you have the crew
on your side.

You can't do it
all on your own.

You need them,
and you really need Gordy.

So do the right thing
and apologize.

Just pretend he's your mother.

I...

Thank you.

[sighs]
BOB: Hey, Ruddy!

There he is, there he is.

My favorite producer.

RUDDY: I didn't know
you were coming today.

Yeah, why not?
We're on the last scene now.

And then we're wrapped
for the day.

Good, 'cause we're
going out, bubbie.

Grab your coat,

and maybe spritz yourself
with some cologne.

You got that sweat smell.
[exhales sharply]

It's called working.

Where are we going?
We're going out.

We're gonna fuck
this town in half!

[exhales sharply]

♪ [Mountain's
"Mississippi Queen"]

♪ ♪

Whoa.

♪ Mississippi Queen ♪

♪ If you know what I mean ♪

[indistinct chatter]

♪ Mississippi Queen ♪

♪ She taught me everything ♪

This way.

♪ Went down
around Vicksburg ♪

♪ Around Louisiana way ♪

♪ Where lived
the Cajun Lady ♪

♪ ♪

Bring it.

♪ You know
she was a dancer ♪

♪ She moved better on wine ♪

♪ While the rest
of them dudes ♪

Ruddy.
Welcome to paradise.

Shall we?

I think so.

Sure you know
what you're doing?

If I don't,
maybe they'll teach me.

Lighten up, Ruddy.

We're shooting a movie.
We're the kings of New York.

You know what kings do?

Whatever the fuck we want.

Let's have some fun,
right, girls?

♪ ♪

Come all ye faithful!
That's it, mama, bring it in.

Show me the hoops you
got on the dance floor.

Come on, Ruddy!

That's it,
show me the hoops.

Oh, yeah.

♪ [Rare Earth's
"Nice Place To Visit"]

♪ ♪

♪ Well, it's a real nice
place to visit ♪

♪ But you wouldn't want
to live here ♪

♪ ♪

Did you lose someone?

Yeah, the guy came with.

He's tall, dark...

emotionally unstable.

Ah, "The King."

RUDDY: Yeah, sure.

♪ ♪

He left with his twin subjects
ten minutes ago.

Ah, fuck.

If you're worried about
him making it home, don't.

He's not going home.
[chuckles]

Yeah...

have we met?

No, but I saw you
on the dance floor.

Oh, great.

♪ ♪

I'm not a very good dancer.

No argument there.
[laughs]

[laughs]

♪ ♪

I'm Al.

Rosie.

♪ ♪

You come here often?

[laughs] Really?

Genuine question.

Only for work.

What do you do?

I designed it.

Which part?

♪ ♪

All of it.

Very impressive.

♪ ♪

You want to get out of here?

♪ Nice place to visit ♪

RUDDY: Take the Mona Lisa,
for example.

Arguably the most famous
painting of all time, right?

But that was only
after it got stolen

before the First World War.

It got a lot of press.

And it's a good painting.

It's great, you know?
The enigmatic smile.

All that, but is it the best?
I don't know.

For me, personally,
it doesn't exactly...

Inspire you.
Yeah.

But that's because
I don't know any better.

Oh, you don't have
to know anything about art

to appreciate it.

You ever see the moon landing?

Who didn't?
Inspiring, huh?

How do the rockets work?

How did they land?

How do they

know how to make
their way back

to this tiny planet?

I don't know, either.
[laughs]

But we don't have to know.

We can just...

enjoy the spectacular
wonder of it all.

Hey.

Hey!

What are you still doing here?

My grandmother
told me to never

let a woman walk
home alone at night,

so here I am.

So you've just
been waiting for me?

Yeah.

[chuckles]
How chivalrous.

Yeah, I know.
[laughs]

Where do you live?

I don't want to take you
out of your way.

No, no, no, that's okay.

I live in Brooklyn,

same house
I grew up in, actually.

Really?
Yeah, my grandma's real old.

So I stop in from time to time,
make sure she's okay, you know?

That's very sweet.
Yeah.

My mom died when me
and my brother were real young,

so she's the one
that raised us.

It's home.
[scoffs]

Yeah, it'd be nice if there was

one nice bed
in the house, but--

Hey!
Hey!

Where do you think
you're going?

[grunts]

Oh, my God!

[grunts, blows landing]

[gasps]

[shakily]
Holy shit.

[tense music]

♪ ♪

You all right?

What happened?

It's just my watch.

It's fine.

I'm okay, thank you.

[train squeals in distance]

If I'm going
to consider dating you,

I have to know
some things about you.

Ask me anything you want.

Are you an honest man?

Yeah, I am.

Are you married?

No.
But you were.

It's complicated.

No doubt.

[soft music playing]

So what do you do, Al, hm?

Movies.

I make movies.

So you're a director.

No, I'm the producer.

So you write the script?

No.

But I put it all together.

[chuckling]
What does that mean?

♪ ♪

Tell you what.

Why don't you come
to set tomorrow,

and I'll show you what I do?

♪ ♪

Well, I guess you just got
yourself a second date.

♪ ♪

[lively music]

There's my guys.

Hey, saw everything from
yesterday, looks really good.

I hope so.
How's the coffee?

Mm, shit.
Terrific.

[chuckles]
It's always shit.

Hey, buddy, do me a favor.

I got a girl coming
to set today,

I need you to keep
an eye out for her.

All right, you got it, Al.

Oh, and don't hit on her.

No promises.

FRANCIS:
Has anyone seen Pacino?

He's right there.

Why is he not in wardrobe?

I don't know,
but the kid better bring

his A game today,
otherwise we're fucked.

[clears throat]
Hey, Al.

How are you?
Hey, Al.

Francis, can we talk
for a second, please?

Yeah, of course.

Francis, why'd we
move the scene up today?

I just wanted
to give you a chance to shine.

Uh-huh, yeah.

They, uh....

they want to fire me,
don't they?

Listen to me.
Look at me.

We're not gonna
let that happen to you.

Uh-huh.

Mm-hmm?
Mm-hmm.

Okay.
Come here,

I want to show you something.

All right.

Props? Who's back there?

Bruno? Hey, pal.

Do me a favor.

Give us a moment.
Thank you, sir.

Okay, so...

when you come in here,

I want you
to be extremely nervous.

That shouldn't be a stretch,
Francis.

Mm-hmm, gotcha.

Out there, you're trying
very hard not to show it.

But in here,
the reality of it all,

it hits you here, okay?

Take a moment.
Mm-hmm.

This is where
you gotta step up.

[soft music]

This bathroom,

this is the birthplace
of the future

Don Michael Corleone.

♪ ♪

Come in here.

Where's the gun gonna be, here?

Behind the tank.

Go ahead, try it out.
All right.

But I do want a moment
before you go for the gun.

Uh-huh.
Okay?

So you look up,
you see the tank.

You don't know, was Clemenza
even able to plant it?

Right?
Mm-hmm.

That's the motivation.

Then, you go for the gun.

Where should I put it?

My pocket, my belt,
what do you think?

Where does it feel
natural for you?

Put it wherever feels right.

So I'm gonna take it,
I'm gonna--

In here, we're nervous.

Out there, we're playing
somebody trying...

not to be nervous.
Not to be nervous.

Not--there you go.

All right.
Go get dressed.

Okay, okay.
You got it.

Yep, okay, thank you,
Francis, all right.

[sighs]

Bruno.

Do me a favor.

When you put
the gun back there,

don't put it there.

Put it to the left.

Yeah, and like 6 inches higher.

That's perfect.

Do not tell him.

Okay? Good man.

RUDDY: You picked a good day.

I mean, this is one of my
favorite scenes in the film.

So Michael's
about to sit down to dinner

with these two guys
who tried to kill his father.

They want peace.
Michael wants revenge.

Oh, so this is a gangster film.

It's more than that.

I'm sorry,
I still don't really know

what it is that you do.

CHARLIE: Ruddy!

Hey, Charlie, I didn't know
you were coming today.

Yeah, I saw the dailies.
They're terrible.

They're too dark, and what's
with the fucking cat?

I couldn't hear a goddamn
thing over all that purring.

They weren't ready
for you to see, Charlie.

They still need to be
color timed and engineered,

but Francis is
getting some amazing footage.

You gotta trust me,
it's gonna be great.

Yeah, well, trust
has to earned, Ruddy.

Let's see what
the little shrimp can do.

Charlie.

They let you out
of the tower, huh?

[chuckles]
You need a bath.

Oh, nonsense, women find
my natural musk intoxicating.

Hey, Bob,
we've still got a little bit

of time before the scene,

so I got a nice trailer set up
for you if you want it.

Oh, I knew you were
a good producer, all right.

Yeah, sure, why not?
Yeah, yeah.

Good.

Take him to my trailer.

Get him a coffee and water.
Copy.

Can I get you anything?

How about a big steaming
pile of elephant shit?

Because this looks
like a goddamn circus.

You know, the thing
about the circus is,

when you're staring at a guy
who put his head

into the mouth of a lion,

you completely forget
about the elephant shit.

Come here.
We've got a problem.

The restaurant owner
wants us out of here.

All right, I'll handle it.
Go handle this.

I'll be right back.

Hey, Charlie.
Bettye.

[soft music]

That's the worst smile
you've ever given me.

Only because I didn't mean it.

♪ ♪

Hey, get me a martini.

It's not a real bar, sir.

Boys, boys, boys.

[chuckles]

So what do you do on the movie?

I manage.

What do you manage?

Whatever I have to.

It sounds like you and Al
sort of do the same thing.

Yeah.

He just gets paid a lot more.

[chuckles]
Ha.

SPIRACHIO: Four hours.

Why, you say four hours,
and it's already been six.

And I gotta get ready
for the dinner crowd now.

Mr. Spirachio,
we're more than happy

to pay you for the extra time.

No, no, no.
I don't want no more money.

I want you out now.

I feel like we
can work something out.

I'm gonna grab
my locations manager.

No, no, no more talking.

I want you to take
all your people

and leave my restaurant!

[speaking Italian]

What is it with this guy?

Okay.

This is Mr. Spirachio.
He owns the restaurant.

How you doing?
Oh, nice place.

No, I want youse out.

We just need
a couple more hours.

Don't let him call anybody.
SPIRACHIO: No more hours.

No more minutes.
You had enough.

I want you out.
No, I don't--

Come on, come on.
Hey!

Come on!
Come on--

God damn it,
let me out!

[speaking Italian]

[sighs] Movies.

[tense music]

[door creaks]

[footsteps thudding]

[chair scrapes]

♪ ♪

[gunshots]
[body thuds]

[glass shatters]

Don't worry, Charlie.
It's not real.

And cut!

I've never seen you look
at anyone like that before.

I might be a little jealous.

I'm happy he's not
just burning my money.

Come on, Charlie,
admit it, you love him.

I don't love anybody,
but I like him.

I like him.

FRANCIS: Huh?

Al, that was
really something.

♪ ♪

Uh...

♪ ♪

FRED: All right,
ready to go again.

♪ ♪

[laughs] Get over here.

That's what they call
method acting, Charlie.

Thank you, Mr. Hollywood.

So glad you spent time
as a shitty actor

so you can illuminate us all
on useless crap.

[chuckles]
Yeah.

Hey, I think
I'm gonna head out.

You sure?
Yeah.

You don't want
to see more of that?

I've seen more than enough.

All right, I'll walk you out.
Thank you.

Thanks so much.

I think I understand
what you do.

You're a problem solver.

You're a ringmaster.
Something like that.

Holy shit.

What is this?

That's a prop.

Horses are supposed
to represent courage

and freedom.

And to cut off its head...

that's America right there.

This is art.

I mean,
most women like jewelry,

but if you like it,
you could take it.

Really?
Yeah, knock yourself out.

[chuckles]

Great.

Thank you.

Call me.

CHARLIE: Hey Bettye,
let's grab a drink.

Another time, Charlie,
I got somewhere to be.

♪ ♪

Three-to-one odds
they're still setting up.

♪ ♪

I feel like I
upset you last night.

I just don't like violence.

Okay.

The guy did
rob you, though.

I know, and I appreciate
you sticking up for me.

But it was just a bag.

I understand.

I'm sorry, Bettye.

It's okay.

[gate screeching]

You didn't get this from me.

Great, thanks.

The hell you
need this for anyway?

You want my
social security number too?

Get the fuck outta here.

♪ ♪

Not bad, right?

[chuckles]

♪ ♪

Okay.
Come in, everybody in.

Everybody in.
[chuckles]

Jesus Christ.

We really need
to upgrade your office, Ruddy.

I'm working on it.

Listen, Charlie saw
the dailies from the Don's of--

Ah, shake it somewhere else,
sweetheart.

Charlie saw the dailies

from the Don's office,
and he hates them.

He said they're too dark,
and he can't hear anything.

Of course they're dark.
I haven't color timed them yet.

His lighting
is gonna be gorgeous, okay?

It's gonna be
like a Caravaggio.

You understand, Evans,
the light and the dark.

Calm down, Francis.
I'm on your side.

Gordy, you color time
those dailies tonight.

Ruddy and I will show Charlie
first thing in the morning.

All right, all right, good.
I don't understand.

How the hell did Bluhdorn
even see the dailies again?

I didn't release them.
You didn't release them.

No, but I bet I know who did.

Do you wanna share?

Well, who is it?
Yeah, who did?

Hey, hey, Aram.

I told you
nobody sees the dailies

unless I approve it.

Why are you
showing them to Charlie?

If you have a problem,
talk to Jack.

What about it, Jack?

I told Aram
to show Charlie the dailies.

You can't do that.

Mr. Producer,
you seem a little confused.

I'm the vice president
of production at Paramount.

I can do whatever
the fuck I want.

Fucking snake.
Hey, Al.

Joe wants to see you.
What is this?

The address.

Brooklyn.

[serene guitar music]

♪ ♪

You must be Mr. Ruddy.

Please, call me Al.
[chuckles]

Welcome to our home.
I'm Joe's wife, Madolina.

So nice to meet you.
Thanks for having me.

Oh, he never
invites anybody over.

I'm so thrilled
to have someone to cook for.

Come on in,
Joe's waiting for you.

♪ ♪

COLOMBO:
I hope you came hungry.

There he is.

This is so thoughtful, Joe.
Only the best for my friend.

Look at that.
Wow.

Huh?
You want something to drink?

[liquid pouring]

Oh, my God.
[Madolina chuckles]

That was the best meal
I've ever had.

MADOLINA: Yeah?
Yeah.

Aw, That's so kind.

You'll have to roll me
out of here.

[both laugh]

All right. I'll start
the espresso, all right?

Let me take your plate.
I can help you.

No, no, no, no, Please.
You sure?

Yeah, sit down.
Sit down, sit down for a bit.

Thanks.
Thank you, doll, thank you.

She's some cook.

She's a good woman.
I'm a lucky man.

I would gain 80 pounds
married to her.

[laughs] Well...

[snorts]

Hey, so...

Lenny was a little
on edge today.

I had to break up a fight
between him and the caterer.

He was saying something
about Joe Gallo.

Lenny's fine.

Ain't nothing
to be concerned about.

Okay.

How about you, though,
everything okay?

Are you worried about me?

[laughs]
Yeah, maybe.

Well, thanks,
I got it covered.

I got it covered.

Well, you see that right there?

This was the first rally.

50,000 people
showed up that day.

That's impressive, Joe.

That ain't nothing.

Tomorrow's supposed
to be a lot more.

RUDDY: Is that your boy?

Yeah.
Yeah, he's a good kid.

He's smart.
He's personable.

I'm gonna get him
into law school,

and then politics.

Politics?

Yeah, I like the sound
of Senator Colombo.

What do you think?
That's got a nice ring to it.

So no family business
for him, huh?

No, no, no, no, no.

No, he's not cut out
for this life.

You're probably the only guy
I could admit this to,

but he's soft.

He doesn't have it in him.

You have to learn early in life
if you're the kind of guy

who could hit somebody over
the head with a baseball bat.

You know what I mean?

Yeah, I mean,
if we're being honest,

I don't think
I can do that either.

I got no problem
standing up for myself,

but I don't know
if I could do that.

I think that's why I like you.

[soft music]

You sure you don't want
to take some of this gnocchi?

No, no, I can't.
You might get hungry later.

I'm not gonna be hungry
for a year after that.

[chuckles]

We got to do this more often,
you and me.

Say the word,
I'm there, buddy.

You're welcome here anytime,
you know that.

Thank you.

You gonna be
at the rally tomorrow?

Wouldn't miss it
for the world.

But you know I can't get
on stage with you this time.

[laughs]
Fair enough, all right.

I'll save a place
for you up front.

See you, Joe.
All right, bye, bye.

♪ ♪

These aren't the same.

They are.
They're just color timed.

What does that mean?

It's technical.

It doesn't matter.
Do you see what we see?

[film projector clicking]

Stop.

It's beautiful.

I can't take
my eyes off Brando.

I'm glad you're happy, Charlie.

Now do you trust us?

As far as I can throw you.

Oh, just one more thing.

I need your blessing
on something.

Everyone wants my blessing.

What am I, a fucking priest?

I like how the red
pops on the gold.

That's nice, but I want more.

Like, a lot more.

Yeah, everywhere.

Get Aram and Jack in here
and clear the set.

Okay, everybody,
let's clear the set, please.

It's not fucking real, right?

No, no, of course not.
Come on, Bob.

Well, fuck me.
Props to props.

Hey, hey, whoa! Watch it!

Jesus.
Hey, Jack.

Bob.

What's going on?
Wow, out of sight.

Wow.

Looks great.
You like that?

How can I put this delicately?

You're fired,

you backstabbing son
of a bitch.

Get the hell off my set.
Okay, wait a second.

Why don't you get the fuck
out of here too, Jack?

Listen, Mr. Producer,
that's not the way this works.

You can't do that.

But I can.

Excuse me, Al.

Jack...

You're fired.

Now to quote something
I heard mere seconds ago,

"Get the fuck off my set."

Let's go.

This isn't over, Evans.

BOB: Oh, we'll agree
to disagree on that.

Oh, and Jack, you got
a little blood on your collar.

It's right there.

Right there, pal.

Who wants a drink?
Ooh.

I can't.
I got somewhere I gotta be.

Aw, raincheck.

Francis?
Absolutely.

Ah, Francis, I'm touched.
That felt very good.

You know what, man?
That fucking head.

That's something, right?
FRANCIS: Yeah.

BOB: That's something.
It could be iconic.

Great work today, Marlon.

Eh, not as great
as the show back there.

You should have
charged admission for it.

You saw all that, huh?

Well, listen, it's not gonna
affect production, trust me.

Oh, no, no, no, I'm not
worried about the production.

As long as Francis
is at the helm,

the rest of it's
just white noise.

I guess that's
the funny thing about power.

What's that?

Well, the ones
who truly have it...

don't gotta talk about it.

[cheers and applause]

ALL: Colombo, Colombo, Colombo,
Colombo, Colombo, Colombo!

[cheers and applause]

[dramatic music]

♪ ♪

[crowd screaming]

♪ ♪

[siren wailing]

♪ ♪

♪ ♪

We got a week left in New York,
we'll just keep our heads down

and finish the job,

at least we're done
with the mob.

You know who I am?

I'm Joe Gallo.
(GRUNTS)

You can't fuck with this guy,
Al, he's crazy.

What does Gallo want?

AL: The money we have left
for Sicily.

I'll squeeze
that prick producer dry.

BETTYE: Are we safe?

Honestly,
I don't know anymore.

Action!

CHARLES: Something's up
with Evans.

He hasn't been in the office
in days.

The Bob Evans I know
wouldn't let his personal life

compromise this fucking movie!
You don't know me!

You don't know me!

BARRY: I'm working on
The Godfather.

Have you read it?
Skimmed.

ROBERT: Cut 30 minutes!

They're ruining my picture.

CHARLES: Evans is done.

The guy has given his blood
for your company.

I gave my blood for him.

What the hell are we gonna do?

(EXPLOSION)

JOE GALLO: You know
what is necessary

to get the job done.

This is the start
of a beautiful friendship.

We're gonna keep it...

(CLINKING)

...in the family.

Has anyone seen Pacino?

Yeah, he's right there.

Why is he not in wardrobe?

I don't know, but the kid
better bring his A game today,

otherwise we're fucked.

NIKKI: When Anthony Ippolito
showed up on set

and I heard his voice,
it was uncanny.

It was like being
with the real Al.

Why did we move
the scene up today?

NIKKI: He was not
impervious to being nervous

as he was about to
film the iconic scene

of when Michael Corleone
shoots Sollozzo and McCluskey

in Louis Restaurant.

(GUN POPPING)

They wanna fire me, don't they?

Listen to me, look at me.

We're not gonna let
that happen to you.

Pacino was maybe
about to get fired,

and he's about to do
what now many consider

one of the greatest
scenes captured on film.

It's just incredible.

When you come in here,

I want you to be
extremely nervous.
(SIGHS)

That shouldn't be a stretch.

They're talking
about firing him,

the whole production's
gonna unravel,

talking about firing me.

They didn't want
Francis Ford Coppola,

and he was kind of
in director's jail.

And they didn't want Pacino;
nobody knew who he was.

That stuff, to me,
is just amazing.

It's hard to think about them
before they were these legends.

Out there, you're trying
very hard not to show it.

Okay, what scene are we gonna do

to make sure that
everyone loves Pacino?

We do the scene where
Michael has to step up.

This bathroom...

this is the birthplace

of the future
Don Michael Corleone.

DAN:
He has to step up as an actor,

Michael has to step
up in the movie.

So, there's so many
moments like that

where I'm just like, "Ah,
this is just brilliant."

When you put the gun back there,

don't put it there,
put it to the left.

Yeah, and like
six inches higher.

That's perfect.
Do not tell him.

ANTHONY: Dan's so great
and he's so talented,

and what he's doing with
Coppola is so beautiful.

We were both excited
about that bathroom scene.

It's just so cool.

I mean, how many times do you
get to do something like that?

Hey, Charlie, I didn't
know you were coming today.

I was present for
the scene

where Michael shoots McCluskey.

If you imagine, as an actor,
you come to set

and they've
essentially recreated

exactly the cafe where
that scene happened.

(GUNSHOTS)
(OBJECTS CLATTER, MAN GASPING)

Don't worry, Charlie,
it's not real.

And cut!

BURN: It was also weirdly meta,

because we were watching
Coppola direct Pacino,

and then interacting
with Anthony,

who plays Pacino, as Charlie.

It's sort of a scene within
a scene, within a scene,

but that was a great experience.

Stop.

It's beautiful.