All language subtitles for the.offer.s01e03.2160p.web.h265-glhf

JOE: There's a conspiracy
in this country.

And books like this trash

only fuel the fire of hatred
for our people.

The Italians back east,

they don't want you
making this movie.

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

Then eventually,
you're gonna have to deal

with them directly, Al.

FRANCIS:
Brando is the golden goose.

You wouldn't have to write
any character

to stand up and say,
"Ooh, that's the Godfather."

I wrote him a letter.

Sent him a signed copy
of the book.

You never know.

BOB: "Variety" needs to find
a new fucking story, man.

PETER: Paramount's
not the story.

You are.

AL: Congressman Biaggi,
we want to make a movie

that all Italians
will be proud of.

You will not make this movie
in New York.

And if I have my way,

you won't make this movie
at all.

FRANCIS:
I know who Michael is.
Who?

Al Pacino.

He's not Bob Evans' type.

Why don't we get
breakfast sent up?

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

Hey,
you're Al Ruddy, right?

Look,
there's somebody important

who wants to talk to you.
Get in the car.

[upbeat dramatic music]

[soft dramatic music]

♪ ♪

[ominous music]

What's in Brooklyn?

You'll find out.

Now shut your mouth.

♪ ♪

CARMINE: No one comes through
this way, you hear me?

No one.

Joe, he's here.
JOE: Yeah, come in.

Sit the fuck down.

Do you know who I am?

Specifically, no.
But with all due respect--

I'm Joe Colombo.

I kinda run things around here.

Well, Mr. Colombo--

Call me Joe.

Thank you, Joe.

I gotta admit,
I've never been--

Listen, Al, have a drink.

Yeah, okay.

If I wanted to kill you,
you'd be dead already.

I'm kidding. I'm kidding.

Look.

You and me got a problem.

If it's about my movie--

I think it's best
if you hear me out first.

Sure.
Here's the problem.

You want to make a movie

that's gonna make my people
look like animals.

And that ain't gonna happen.

So as a courtesy,
I brought you here

to ask you a question,
man-to-man:

what do you like more,
musicals or Westerns?

Fred Astaire
versus John Wayne?

John Wayne.

Oh, yeah, me too.

So stop what you're doing,
go back to Hollywood,

and make
a fucking cowboy movie.

Because believe me,

you don't want
this kind of trouble.

Joe,
I respect what you're saying.

And I understand your position.

But with all due respect,

can I explain mine?

This guy.

You know,
Mickey said he had stones.

Listen, Al,

I want you to know something.

I ain't Mickey Cohen.

But to show you
that we're not like

how you Hollywood people
think we are...

I'll hear you out.

Go ahead.

[exhales]
Thank you.

Look, I understand
that the book

has not been well-received

within the Italian-American
community.

Well, you know.

But honestly,

the book is not
the movie I'm gonna make.

And I can promise you
that my movie

is not gonna be the book.

What the fuck
does that mean?

It means that my movie
is about a family

that understands that
the cops, the government,

the entire
criminal justice system,

is prejudiced against
Italian-Americans.

It's about immigrants

and what they need to do
to find justice

in a world that's set up
to fucking keep them down.

That's my movie.

I think I have a solution,
as well,

to our so-called problem.

I'm listening.

I'd like to invite you
to come to my office

at Gulf and Western
and read the script.

[determined upbeat music]

You want me
to read the script?

I do.

Because honestly, Joe,
I believe that if you do,

not only will you let me
make my movie,

I think that you'll support it.

It's a beautiful script.

♪ ♪

You smell something?

What?

I don't know, bad?

I don't smell anything.

Doesn't anybody
come and clean this place?

I told the service
not to come.

You know, so we could work.

You might want
to rethink that, Mario.

[groans]

What is this?

We discussed this.

This is supposed to escalate.
We talked about this.

Michael, he finds out
his father's not being guarded.

Then he hears
the killers are coming.

Then he enlists Enzo.

He makes him the muscle.

He thinks he's gonna be safe,
but he's not.

The cops are coming,

and they're in on it,
and it's worse.

It's so important,
and you just rush through

the whole thing.
We got a deadline.

Ruddy told me
we gotta get the script in now.

God, we can't let
Ruddy's arbitrary deadlines

impede our artistic process.

Okay, granted we're not
making anything

as serious and complex
as "Hogan's Heroes."

Francis,
you've done this before, okay?

I want to do this right,
you know?

I mean, they all think
that I write novels,

so I can't do this.

Hey.

Listen to me.

Good is always better
than fast, right?

You're great.

That's it.

Trust the process.

Let's start over, shall we?

[plucky upbeat music]

♪ ♪

Now I smell it.

Yeah.

How you want
to handle this?

It's a siege, Peter.

We go back to the castle,
lock all the doors.

I'm serious.
So am I.

I am not gonna play defense.
I'm gonna counter-attack.

There's gonna be blood
in the water.

You call your friends
at "Variety"

and see if they can help
illuminate that article.

You know
where it came from.

Yeah, that fucking
half-prick Lapidus,

but I need to know
if Bluhdorn gave his blessing.

There you go.
Thanks.

Be prepared if he did.

My friends won't know that.

You ought to talk--
STAN: Peter. Bob.

Stan.

Looking good, Evans.

For somebody on life support.

[car horn blares]

Don't believe
everything you read, Stan.

I ain't dead yet.

[engine revs]

[tires squeal]

Sheila.

Cancel lunch,
hold all my calls,

and I want up-to-date
development reports,

production reports,

and any outstanding
business affairs issues

across the entire slate,

and I want them now.
Bob.

Anybody on the team
who's got a problem with that

can start looking at
the want ads.

It's Bluhdorn.
No.

He's called twice.
Not now, honey.

SHEILA: I'm sorry,
I don't have...

There are only two things
that crazy Austrian

gives a shit about:
making money

and making more money.
I need to show him

he's got a better shot
with me than without me.

So give me
the big tickets, Peter.

"Love Story" will be ready
for Christmas.

Great. It's gonna be a hit.
I know this.

What else?

"A New Leaf"
is in post-production.

"A New Leaf"?

[imitates explosion]
Bomb. What else?

"Murphy's War."
"Murphy's War"? Nagasaki.

Give me something real, Peter.

Come on.

"The Godfather"?

[upbeat music]

It's not the safest bet
by a longshot.

But if half the people who
bought the book see the movie,

it'll make
at least $20 million.

And even Bluhdorn
can't sniff at that.

All right, all right.

But before I double down,

I need that script
tout fucking suite.

And that's French for--
Right fucking now.

You think it's true?

You can never trust
those headlines.

They probably just wanted to
put his impressive hairline

on the cover.
[chuckles]

Oh, Janis Joplin died.
That's so tragic.

What's tragic is ODing over
a canceled menage-a-trois

with two other women.

Do you ever not have
a spin on things?

No.
[phone ringing]

Al Ruddy's office.
CHARLIE: Give me Ruddy.

Mr. Bluhdorn, good morning.

I'm sorry,
I don't have Al right now.

He's in New York.
Who are you?

This is Bettye McCartt.

I'm Mr. Ruddy's secretary.

We've spoken before.

I knew a Bettye once.
She had long legs.

Do you have long legs?

'Cause if you do,
I need you to use them

and run over
to Bob Evans' office

and see if he's there.

My long legs are very busy
right now, Mr. Bluhdorn.

But I'll be sure
to get back to you.

Busy?

Listen, cupcake, I'm the CEO
of this whole fucking company.

Yes, sir.

Mr. Bluhdorn,
you're a very important man.

I'll tell Al you called.

Hey, baby, I'm so sorry.
Where's my croissant?

Your what?

Oh, shit, I forgot.

Al, where the fuck were you?
It's been two hours.

I know, listen,
I was on my way to the cart,

and I got collared
by the desk clerk.

Charlie Bluhdorn called.
He needed to talk to me.

So? You could have called me.

I know. You're right.

Biaggi's making
big problems for us.

Is it fixed now?

I mean, I'm working on it.

But listen, I'm not gonna
be able to fly back today.

I gotta stay and make sure

he doesn't pull the plug
on the movie.

Okay. I'll stay.
I can help you.

What about the Stones party
at the Chateau?

I'd much rather stay
and help you.

I've got ideas.

Besides, I can have
one of my staff cover.

You can't do that,
and you know it.

I'll be home later in the week,
once I get this back on track.

I gotta go. My cab's waiting.

I should have called.

I'm sorry.

Next time, Al,
please call me.

I was worried.
I know.

Sometimes I just get lost
in this goddamn movie.

Well, if you let me,
I can help you.

All right?

[soft dramatic music]

♪ ♪

[tense music]

♪ ♪

[panting]

Fuck.

He's on edge.
He's dodging calls.

I'm telling you,
something is definitely up.

Sheila,
get me Stanley Kubrick.

You, where's
the "Godfather" script?

You know Bluhdorn's looking
for you, right?

Everyone's always looking
for me, kid.

Tell Ruddy I want that script.

And you never saw me.

Never saw him. Bye.
Never saw him.

Mario?

This is beautiful!

I love
the whole sequence now.

[phone ringing]

Hello.

It's Ruddy.
What are you eating?

Salad.

Look, I need the latest draft
of the script,

and I need it now.
Where are you guys at?

It's Ruddy.
He wants the script.

Yeah, let him write it.

Ruddy,

these arbitrary deadlines

are impeding
our artistic process.

Impeding.

What the fuck does that
even mean? Impeding?

Mario, I took a chance on you,

and if you fuck this up,

I will impede you
off the picture.

AL: No, just grab it
and bring it here.

To New York?
Hop on a redeye.

Don't show it to anyone.

I'm the only one who sees it.
Got it.

Hey, did you see the "Variety"
cover this morning?

[dial tone drones]
Al?

Okay. Shit.

[phone ringing]

Al Ruddy's office.

Rod Hurley. Where's Al?
Hi, Rod.

Al is really busy
with "The Godfather,"

but I promise you, as soon as
his schedule opens up,

we will get back to you.
Thanks, Bettye.

Thank you, Rod.

Francoise! Hi.

I'm sorry,
I wasn't expecting you.

Oh, I'm just here
to pick up Al's car.

Is it ready?
Of course. Yes, it is. Um...

Thank you.

Can I ask who was on the phone
looking for Al?

Oh, that call?
That was Rod Hurley.

He's an agent,
and he has a project

that he wants Al to consider.

Really? What project?

Honestly,
I can't even remember.

It's probably
one of these scripts.

Al just does not have
the time to read them.

Are they any good?
They're always good.

Until you read them.

Lovely to see you as always,
Francoise.

MARIO: I could get
used to this.
Mm.

You know, it's ball-freezing
weather in New York right now.

Yeah.

I like northern California

because the energy
is just different there.

You know, it's, like,
very European.

Mm.

Well,

when this is done,

I'm gonna come visit you.

And you will drink
the finest wine

that you can ever imagine,
Mario.

Mm.
[chuckles]

What, are you engaged now?

Should I find a priest?
Make it official?

MARIO: How'd you get in here?
No one was answering,

and it smelled like
there was a dead body,

so the housekeeper let me in.

It was obviously her first time
in here too.

Well, we were very focused,
and we didn't want to be--

I don't care.

Where's the script?

Ruddy wants the script.

It's not ready yet.
That's not it.

What are you--hey. Bettye?
That's not it.

Don't take it!
I just did!

Bettye! You get back here
right now, Bettye!

Finished?

Well, well, I'd never want
to be on your bad side.

Sue. You never could be.

How are you?
Good. And you?

Good. Do you want to sit?

Oh, just for a minute.
I've got a meeting.

I don't think I have ever
seen you outside the Chateau.

Well, I just needed
a change of scenery.

I'm tired
of all the interruptions.

And what's this?

You're dipping a toe
into my pond?

I'm just helping Al.

Mm, Nicholas Aubrey.

Not my client,
but a great writer.

How is it?
Phenomenal.

It's honest and heartbreaking.

I mean,
people hate on happy endings,

but he makes the pain
so relatable

that you're not sad,
you're somehow relieved.

Al's producing this?

He's seriously
considering it, yes.

Any good female roles?
The lead is amazing.

I'm picturing someone
like Dyan Cannon.

I like that picture.
She's my client.

I know.
[chuckles]

We should keep talking.

I would love to.
Okay.

Mwah.
Bye.

Bye.

BOB:
I'm just thinking out loud,

but why don't we fast-track
"Plaza Suite"?

I don't think Neil Simon

has even started
the adaptation yet.

Oh, Christ.

Oh, my fucking back.

Sorry to disturb you,

but the "Love Story" dailies
are in and Hiller wants you

to take a look at
the night exteriors right away.

Tell Hiller
we can't right now.

Oh, yes, we can.

Sheila, tell editorial

to expect us
in about 20 minutes.

Thank you.

Bob, we're a bit
under the gun here.

Dailies can wait.

Let me ask you
a question, Peter.

Are you religious?

When I hear Bach
or Duke Ellington.

Why, are you?

It mattered to my parents.

I used to go to shul
with my dad.

I mean, I remember, I realized

that everybody there
was hoping,

literally praying
that the magic was real,

but for me,
it was just like a bad play.

Now, one Saturday...
[grunts]

I pretended
I was going to services,

and I ducked out,

and I watched my first movie
instead.

"The Adventures of Robin Hood."

Errol Flynn. Great movie.

Oh, fuck yeah.

I went in. The lights go down.

Audience gets quiet, reverent.

Like we're in
a place of worship.

Then, the projector
starts to hum.

That magical beam of light

picking up all those swirls
of smoke in the air.

It was like
another planet, man.

And then, poof, wham.

There's Robin Hood.

Larger than life,
swinging from tree to tree,

shooting arrows through
the ends of other arrows.

It was...oh!

And everybody glued
to the screen.

It was magic.

Real magic.

I mean,
I knew right then and there

that this was my calling.

That darkened movie theater
became my church.

Look at us now, Peter.
Look at us now.

The luckiest guys in the world.

'Cause we don't just worship
at the temple. No.

We're the high priests.

We put the magic on the screen.

So you know why we have
to watch dailies right now?

Well, I'll tell you.

[glasses clink]

Because it's time
to go to temple,

and ain't nothing
gets in the way of that.

Thank God your flight
was on time.

How is it?
Is it good?

Seems light.
Mm.

Doesn't have a second act.
What do you mean?

Second act doesn't work?
What's the problem?

No, I mean it doesn't exist.

Act one is brilliant.
And the end works great.

They just have not
figured out the middle.

There is no act two.
Oh, God.

Hand me that
three-hole puncher.

[funky upbeat music]

♪ ♪

What the hell
are you doing?

Finishing the script.

You know you can't
show that to Bluhdorn.

It's not for Bluhdorn.

It's for Joe Colombo.

Mafia Joe Colombo?
Yeah.

You want to show this mess
to a gangster?

That's your plan?
You got a better idea?

I'm not walking away now.

Ruddy.
Where are you hiding Evans?

And who do we have here?

Bettye McCartt,
Charlie Bluhdorn.

Ah, you're the one

with the not-so-long
but the no-less-perfect legs.

And you are the man
who's very important.

And what brings you
to our fine city, Bettye?

Oh, I go wherever my boss
needs me to me.

Smart girl.

Well, let's get a drink,
get to know each other a bit.

I'm your boss too, right?

Thank you, Mr. Bluhdorn.
Oh, it's Charlie.

It's 9:00 in the morning.

I try not to drink
in the mornings.

What,
you don't like Bloody Marys?

How about a raincheck?

It's a date.
Hmm.

And Ruddy,
if you hear from Evans,

tell him to call me.
Immediately.

You got it, boss.

Hey.

Why's he asking me about Evans?

Oh, my God.

Oh, shit.

Is this true?
I don't know.

But something's happening.

If Evans is out, then--
We're screwed.

Fuck it.

At least we got a script.

Sure, Al.

You keep telling yourself that.

I can't believe you think
this is a good idea.

What happens
if one of the suits

sees your new
gangster friend?

I got no choice.

[elevator dings]

AL: Mr. Colombo.

Thanks for stopping by.
Call me Joe.

Joe. Yeah.

Let's head to my office.
JOE: Yeah.

Oh, shit.
What are you, clairvoyant?

BETTYE: Charlie!
Right this way, guys.

Hi!
How about that raincheck?

I'm thirsty.

I thought you didn't drink
in the morning.

No, I didn't say that.

I said I try not to drink
in the morning.

Sometimes I fail,

and a Bloody Mary
sounds really good right now.

[exhales]

So this is it.

That's it.

And you want me to read it?

It's the only way you'll know
I meant what I said to you.

Read it.

Yeah, here.

CARMINE: You read it.
CAESAR: Nah, I don't read fast.

Well, I don't
have my glasses.

Hand me the fucking script.

[quirky music]

♪ ♪

[chair squeaking]

♪ ♪

What's this?

What's wrong?

The "fade in."

What's that mean?

Joe, "fade in"
is a script term.

It means that the screen
is gonna be black,

and then once the movie starts,

the screen begins
to come to life,

and we call that fading in.

Yeah, yeah.

Yeah, fade in.
Yeah, I like that.

I never
knew that.

CARMINE: There's a lot of
things you don't know--

Quiet.
Let him read the--

Look, Al...

I ain't here
to waste your time.

You're a straight shooter
showing this to me,

and I appreciate that.

But we still got a problem.

What, Joe?
How can I help?

I got this thing I'm doing.

It's called the
Italian-American

Civil Rights League.

Our goal is to get people
to understand

there ain't no thing
called the Mafia.

If you make this movie,

everybody's gonna be saying
that word all over the place.

If I let you make this movie,

I'm allowing exactly
what I'm trying to eliminate.

You understand.
It's a vile word.

It's just not
something that exists.

Right?
Yeah.

Listen, this Mafia bullshit
was invented by the FBI

to keep my people down.

How about this?

What if I get the writers
to eliminate

the word "Mafia"
from the script?

You want to make
a Mafia movie

without using
the word "Mafia"?

[chuckles]

Really?
Pazzo.

I'm a serious man,

and I'm committed
to making a serious movie,

one that family men
like yourself can be proud of.

If you want me
to change the script,

I'll change the script.

I respect you.

And I can do that.
I'm the producer.

Wait, what are you doing?
What are you doing?

Calling the writers.

I'm telling 'em
to search the script

for the word "Mafia,"
cut it wherever they find it.

No, no, no.

When they'll retype
the script, it'll be gone.

Look, look.

You say the word ain't gonna
be in the script,

that's good enough for me.

Take the word out,

I'll let you make your movie.

It's gone.
You have my word.

Congratulations.

Thank you, Joe.

Can I ask you something?

This singer character,
Johnny Fontaine.

Mm-hmm.

Is he supposed to be
Sinatra?

[soft sinister music]

Do you want him to be?

I like this guy.

Come on. Let's go.

I'll call you.

♪ ♪

[groans softly]

[exhales]

Wow.

I thought
we were having a drink.

This is a salad.

Yeah.

McCartt.
What is that, Irish?

I'm from Oklahoma.

Oh, cowboys!
[laughs]

You are a weird guy, Charlie.

Mm, Charlie.

I like the way you say my name.

[chuckles softly]

Mm.
Are you gonna shitcan Evans?

A beautiful woman like you

shouldn't waste
her time reading.

Beautiful women
have to waste their time

doing a lot of things, Charlie.

Like drinking salads with CEOs.

[chuckles]

So? Is he out?

Tell me what you think
about "The Godfather."

Now you want
a woman's opinion.

Mm.

It's fantastic.

The script is gold.

It's gonna make you
a ton of money.

Give it to me.

No.

I am your boss.

I could make you
give it to me.

You can't make me
do anything, Charlie.

[chuckles]

[laughs]

[soft suave music]

♪ ♪

Paisan.

Francis, what I've read
so far is great.

It's not done yet.

No shit.
When's it gonna be?

It wasn't for you to read.

You stole it.
Stole it?

Yes, your assistant.

You need to trust me
when I say that I needed it.

This is not to be read
until it is done.

I say when it is done.

Fair enough.

Anybody in this
building read it?

No.
Uh-huh.

What about Evans?
Did he read it?

Nobody's read it except
for me and Bettye.

Good.

Have a cannoli.

Where are they from?
Veniero's on 11th.

Okay.

So you really liked it?

I loved it.

Now, look, I'm not trying
to put any undue pressure

on you and Mario, but

I really need
that script finished

so that we can start the budget

and see if New York's
a possibility or not.

Well, we gotta shoot here.

I know, I finagled this young
guy in the film office.

He's gonna help us
with some incentives.

And I got a few locations
we need to check out.

Like, now.

Like, now now?
Yeah.

Okay, so this is
the last house of the day.

Now, it's bigger
than we talked about

and needs a little bit of work,

but I figured, might as well
take a look at it.

At least it's quiet
in Staten Island, huh?

We'll get a lot more
bang for our buck out here.

Mm-hmm.
Mm.

LOVANO: Ah, welcome.
Mr. Lovano.

This is Al Ruddy,
the producer of the film.

Nice to meet you.
Thanks for having us.

Oh, no problem.

Come this way. Come this way.

Huh.

You have a beautiful home.
Thank you.

It's a good neighborhood.
Quiet.

[soft dramatic string music]

♪ ♪

I think he likes it.

I don't know. I haven't
heard him take a picture yet.

BETTYE: He's seeing it.

He's looking at
how he's gonna shoot it.

♪ ♪

Huh.

[camera shutter clicks]

♪ ♪

[film winding]

♪ ♪

Al and Bettye, come here.

Do me a favor.

Okay, Bettye here.

Ruddy there.

Just look at each other.

Just sit. Sit.
You're the lovebirds.

Just be natural.

Good. Michael and Kay.

Yeah, come in.
Come in a little closer.

How's that, boss?
Yes, sir.

How's that?
[chuckles]

Good man.

Love it. Paisan.
Si.

We able to shoot
on the lawn here?

Of course.
Anything you need.

Grazie.

[chuckles]

This is perfect.

We can shoot
the whole wedding sequence

right on the lawn here.

And it's bright,
and it's alive.

A celebration
juxtaposed against the darkness

of what's happening
in the Don's office

just beyond these walls.

You like it.

I like it.

Let's lock it in.
You got it.

Oh, yeah, before I forget,

how many times
does the word "Mafia"

appear in the script?

Ooh.
I think just once?

Uh, yeah.

The producer, Woltz, he says it

to Tom Hagen, consigliere.

He says,
"Now, you listen to me,

"you smooth-talking
son of a bitch.

"I'm gonna lay it on the line

"for you and your boss,
wherever he is.

"Johnny Fontaine never makes it
into this movie.

"I don't care how many
dago guinea wop Mafia goombahs

come out of the woodwork."
It's a good line.

Okay, cut it.
Just the word.

Trust me. It's important.

Done.

Ooh, there's a nice old school

Italian restaurant around here

called Luigi's.
Want to come?

I'd love to,
but I gotta meet a friend.

Okay, suit yourself.

COLOMBO: He's 14.

Remember how that felt?

I can't get that kid
out of the bathroom.

He thinks I don't know
what he's doing in there.

[chuckles]

You got any kids?
No.

Sometimes I feel like
this movie's my kid.

Yeah, well, listen,

everyone here now
sees you with me,

so your kid's a go.

Sir.
Thank you, buddy. Thank you.

Have a seat.

See Cher?
Cher, right there. Look.

Oh, yeah.
Yeah.

Married to that
little lawn jockey.

What the fuck is she doing
with that guy?

Making millions of dollars.
[laughs]

I chose the wrong racket.

Me too.

[funk music]

♪ ♪

Hey, Joe.
What?

You know that guy?

♪ ♪

Who?
The congressman, Biaggi?

Yeah.
I met with him.

He's a dick.

You don't gotta worry
about that guy.

Like I told you,
you're with me now.

My friends are your friends,

and your enemies
are my enemies.

The more I do this job,
the more I learn

how many enemies
I might actually have.

Yeah.

Welcome to the club.

The important thing is you
make sure you see 'em coming.

Where are yours coming from,
Al?

Every day's a surprise.

I don't know.
I guess I, uh...

I do things my own way,
and that makes 'em nervous.

I just don't have time
for the corporate bullshit

or their fuckin' rules.

I see a job in front of me,
and I do it.

It's the only way I know how.
Whoa!

Do I understand that,
my friend.

Listen, listen, the old guard
ain't ready for the new.

They got their own way
of doing things,

and they don't like men
with a different vision.

It's like with the League.
That's my baby.

I gotta spend half my time
explaining things

rather than
just making it happen.

Tony!

Get my friend here
whatever he wants.

I'll have a club soda.
Club soda?

Al, this is the Copa.
Have a drink.

I'd love to, but I can't.

I got a early flight
back to LA to make sure

the writers do
what you and I discussed.

That's what I like to hear.

Scotch for my friend Mr. Ruddy.

Yes, sir.
[chuckles]

You know, Joe,

you've been so good to me.

I just hope when you come to LA
I can return the favor.

Yeah, well, that
ain't never gonna happen,

but thank you, Al.

You don't like LA?
No, fuck LA.

You people are one good shake

from that whole state
falling in the ocean.

[laughs]

♪ ♪

CHARLIE: Evans, where
the fuck have you been?

I'm so sorry that missed
your calls, Charlie.

I have been deeply involved

with nourishing our babies.

Yeah, if I wanted babies,
I'd fuck a supermodel.

[chuckles]

Are you firing me, Charlie?

Huh?
Why would I do that?

I saw the headlines
in "Variety,"

and let me tell you--
Stop being paranoid, Evans.

I'm not firing you.

As long as I own this place,
you're fine.

That's why I've been trying
to call you.

We got bigger problems.

Paramount's in trouble,
and the board isn't happy.

"Love Story" is gonna be
box office gold,

and we got "The Godfather"
on the runway, right behind it.

If they don't perform,
I'll fall in my sword.

You're asking for time,
Evans,

and money has no patience.

The only thing
this board cares about

is quarterly reports.

I'm telling you, these films
are gonna deliver 100%.

[line disconnects]

Charlie?

[dial tone drones]

[exhales]

PACINO: He's an outsider
in his own family.

I think Michael wants more
for himself, don't you?

Ah. He's torn.

He says he doesn't
want to be involved

in the family business...
Mm-hmm.

But, uh,

I think there's a piece of him
that actually does.

Mm.

And what is that?
Is that power?

Well, uh, the lure of power

can certainly be
a strong aphrodisiac,

but, uh, I think
it's more than that.

He's brave because

he's separating
from his family, right?

But, uh,

they're still the most
important thing to him.

And where do you think
Kay fits in?

Well,
Michael loves Kay,

but part of that
is probably his rebellion

against what
his family's doing, you know?

Kay isn't even Italian,

so she helps prove
he's his own man.

Good.

That's great, Al.

Put him on film.

Put him on film!

Okay, we're gonna do a couple--
couple scenes, okay?

But then...
PACINO: All right.

You and I,
we're gonna talk again

when I'm in New York,
all right?

PACINO: I'd like that.

[upbeat music playing]

♪ ♪

FRANCOISE:
Welcome home, cherie.

I don't think it's possible
for me to love you

any more than I do right now.

Nonsense.

Wait till you try my chicken.
[chuckles]

[Francoise speaking in French]

[both giggling]

What does that even mean?

"When chickens
will have teeth."

[laughs]

No, why are you laughing?

It's a common French saying.

You think "when pigs fly"
makes more sense?

I don't know why I think
that is so funny.

Well, I'm glad
you're in a good mood,

because, um, I have
a proposition for you.

A business proposition.

Uh-oh.

Should I call my lawyer?

I'm kidding, baby.

I'm kidding.
What is it?

Oh, no.

Do you know
who Sue Mengers is?

Yeah, of course.

She's tough.
She got good clients though.

Well, she's interested in
a Nick Aubrey script

that was submitted to you.

How does she know about
the Nick Aubrey script?

'Cause she saw me reading it.

Devouring it, actually.

What I mean is
how did you come to read

the Nick Aubrey script?

Well, the other day
I came to get your car,

and I just saw it laying there.

This has to be your next film.

Babe, my life is consumed
right now with "The Godfather."

I can't even think
about something--

No, I know.
That's not what I'm suggesting.

Let me finish, okay?

I'm not a movie producer,
but I'm a businesswoman.

And these scripts,
they come into your office

and just sit there, that's--

that's just money burning.

And I know
you don't have the time,

but I do, so let me help you.

What about the Chateau?

I can do more than one thing
at a time.

Baby,
producing's a full-time gig.

It's constant chaos.

I was born into chaos.
It doesn't scare me.

It's all I know.

We can do this together.

Okay.

Okay?

If that's what you want,
let's do it.

[squeals]

Yes! Yes! Yes!

Yes, my baby! Huh? Yes!
[laughs]

Good morning.

So--
Francoise, good morning.

Good morning, Bettye.

Since you have a meeting,

I'm gonna use your office,
all right?

Hm?
Okay.

[tapping at window]
There he is.

Tough man to find.

You're lucky I wanted
to stretch my legs.

I was just heading
to your office.

With a script, I hope.
Francis and Puzo

are putting
the finishing touches on it.

Well, tell 'em to stop
touching it, would you?

For Christ's sake, if we want
to get this thing cast

with someone
who actually means something,

I need a script
for people to read.

I mean, the damn thing's called
"The Godfather."

It's hard to get a Don
without a script.

Hi, Bob.
Hey, gorgeous.

I'm sorry,
I didn't know you were here.

Yes.

I think I found
a possible solution

to your "Godfather" problem.

Really?

Well, who doesn't love
a good solution?

Let's hear it.

Sinatra.

If you get him to play the Don,

all your problems will go away.

Yeah, that's
really interesting.

Yeah.
Maybe I should fire Ruddy

and give you
this office instead.

[all chuckle]

Do you mind if I borrow him
for a while?

Sure.
Have fun, boys.

Let's walk and walk, Ruddy.

[upbeat music]

♪ ♪

And I sent over a copy
of the New York shooting plan.

I got a deal
with the film office

that's really gonna
help us out.

Yeah, I got it.
And it looks great.

But I can't greenlight

until I got a budget and--
what do you call 'em?

Uh, made of paper,
roughly 120 pages long.

A script.
Ah, you've heard of them.

Halle-fucking-lujah.
Look, look.

I'm gonna get it to you,
all right? I promise.

I'm not done, Ruddy.
I'm not done.

Frank Sinatra for the Don?

Don't ever, fucking ever,

let your girl pitch a stupid
idea like that to me again,

or I swear to God,

I will find me a producer

who knows not to shit
where he sleeps.

Now you can fuck off.

[bell rings]

[whistles]

FRANCOISE: So?

Did Evans like my idea
about Sinatra?

FRANCIS: Jesus Christ.
He--

There he is.

Security made me park
in Canada.

I'm going to need a taxi
back to my car later.

I'll take care of it.
Hello.

Hello.

Francis, Francoise.

FRANCIS: Actress?
No.

Okay.

Is the baby here yet?

Baby.
[chuckles]

I feel like
I've given birth.

Here we go.

Looks like twins.
Do me a favor.

Hold the commentary
until you've carefully read

what we worked
so very hard at creating.

Let me dig in.

Ah! You have casting.

So I will make copies.

Ruddy, your eyes only.

I know.
Okay.

Francoise.
Bye, Francis.

[indistinct conversation]

BOB: Hey, the whole gang's
here. Good.

Andrea. What have we got?

We've got one specific choice

we wanted to
show you for Michael.

All right. Good.

[projector whirring]

PACINO: He's torn.

He says
he doesn't want to be involved

in the family business.
Stop. Stop. Stop!

Bob, just watch him.
Pacino's really good.

Cut it!
Read my lips.

That shrimp
never gets the part.

It's just started.
He's a beautiful actor!

Hey, director,
take a visual cue.

Doesn't get this part.

Give me
some movie star choices.

Redford. O'Neal. Jimmy Caan.

Anybody here besides me realize
this picture needs to be a hit?

Oh, oh, oh, before I forget.

Ruddy, maybe you can
explain to me

how Al Pacino has pages
and I fucking don't!

PETER: Jimmy Caan
could be interesting.

Okey dokey.
[sighs]

[soft dramatic music]

♪ ♪

[exhales]

We tried.
I'm sorry.

Why am I even here?

If they--
if they won't let me do

what they hired me to do,

why am I even here?

♪ ♪

So how is it?

Al?

Sorry, baby,
did you say something?

The script, is it good?

It's incredible.

Can I read it?

When I'm done.

Next time,
bring home extra copies.

I'll be up in a bit.

♪ ♪

[engine revving]

Bob. What's going on?

170 pages?

Are you out
of your fucking mind?

How did you get that?
Oh, please, shut up.

I know just about
every page that goes

through that copy room.
Did you read it?

Because I did, and it's great.
I don't have to at 170 pages.

I told you Puzo
was a bad idea.

That dogshit
is unproduceable.

Bob, come in.
We'll have a drink.

Talk about it.
Oh, fuck you.

Fuck yourself, Al.

Hey, you know
what I'm thinking?

Here's what I'm thinking.

You should just go back
to doing some sitcoms.

That's what I'm thinking.

Have a great night, asshole.

[tires squealing]

You too.

[indistinct chatter]

[blues music playing softly]

♪ ♪

Fuckin' "Crazy Joe" Gallo.

When the fuck did you get out?

Yo, relax.

He's a friend.

[chuckles]

Paroled today.

Wanted to pay my respects.

Well, well, well,
you bypassed your guinea prince

to come up to Harlem, huh?

Guess you really are as crazy
on the outside

as you were on the inside.

You did right by me.

I don't forget that.

LOMBARDO:
Gallo's an animal.

He kidnapped members
of his own family.

It's unforgivable what he did.
He did his time.

That crazy motherfucker
had a lion in his apartment.

GAMBINO: He had a what?
A lion.

From the jungle.
In his apartment.

LUCCHESE: It's true.
[chuckles]

If I may, Carlo,

I have a proposition.

I propose that my family
take control of Joe Gallo.

We'll keep him in line,

make sure that he acts
with respect.

Are you saying, Paul,

you guarantee
Gallo will behave himself?

SCIACCI: I am.

Excuse me.
Excuse me.

Joe Gallo is a Profaci.

This is my family.

And while his actions
led to our last war,

I was not the head
of the Profaci family,

and I cannot speak
for my family's leadership

during that terrible time.

My family,

as this Commission
has authorized,

is now the Colombo family,

and I have a right to handle
these matters as I see fit.

Joe.

We appreciate
what you're saying here.

But if Gallo comes out,
guns blazing,

as is his nature--
Carlo, Carlo.

I'll handle it.
You have my word.

Joe Gallo will not
be a problem.

I just think it's best
if he's put with

a different family.
That's what I'm saying.

I think that would be
a bad precedent.

Are you proposing
that every time

there's an internal problem,

the Commission needs to meet
and trade soldiers

like we're some
goddamn baseball team?

I'm with Joe on this.

This is an internal
Colombo matter.

Thank you, Tommy.

Fine.

Gallo remains a Colombo.

Thank you.

GAMBINO: But, Joe...

Don't make us regret it, huh?

No.

Thank you.
Thank you, Carlo.

GAMBINO:
Now, turning to the airports.

JFK is covered.
LaGuardia?

[tense music]

It's beautiful.

Take away the crime,

this could be
any American family.

You did it.

Now, we are gonna have to make
some cuts for budget,

but really, really good stuff.

And that's the sound
of the other shoe dropping.

Francis, Sicily.

Do we really need
that whole section?

Yes.

It's so important
to Michael's story.

We have to see the catalyst

for his transformation
into darkness.

All right.
We'll talk through it at lunch.

I'm buying.

There he is.

Mario, get in here.

I was just telling Francis
how good the script is.

Are you having a stroke?

I'm happy.

Do you want to know
why I'm happy?

Yes.

Brando wrote you back.

He wants to do it.
FRANCIS: Are you kidding me?

He wants to play the Don!
Oh, my God.

I guess this calls for drinks
at lunch.

"Dear Mario.
I read your book.

I especially identify with--"
AL: So proud of you.

Brando!
What? Yes!

Oh, my God.

Wow!
[laughter]

MARIO: Brando.
Hey.

Hi.

Al.
Sue.

Shall we?
Sure.

Are you okay with that?

Yeah.
Yeah, sure, it's fine.

I think we both know
it's not.

You gotta talk to her.

What the hell
am I supposed to say?

I don't know.

I just know you shouldn't
shit where you eat.

I really wish people would
stop telling me where to shit.

Right.

[music playing over car radio]

♪ ♪

Is Jimmy out yet?

Shivved a guy
a day before his parole.

He ain't going nowhere.

And Leonard?
He still in New York?

Dead.

Fuck.

Who did it?

Nobody.

First night out, he got lit,

passed out
on the subway platform,

fell in,

got decapitated by the D train.

[both laughing]

Oh, man.

That shit just ain't right.
Man.

♪ ♪

[ominous music]

What do you got in mind
for him?

I'm gonna light his whole
fucking world on fire.

And burn
everything he ever loved

to the fucking ground.

♪ ♪

[moody rock music]

♪ ♪

♪ ♪

♪ ♪

♪ ♪

(DRAMATIC MUSIC PLAYING)

I got a script
the size of an encyclopedia.

A director in love
with the shortest

unknown actor on the planet.

And I walked into an ambush.

AGENT: FBI!
Am I forgetting anything?

No.

GALLO: This picture...
Action!

...is an assault
on Italian-Americans everywhere.

MAN 1: We lost
the Staten Island compound.

Use another house,
is that what you just said?

WOMAN: So this is
a gangster film?

It's more than that.

ROBERT: We know people
want romance...

To The Godfather!

...and violence.

AL: Find me a better one.

I'm in charge
of the horse head? Fuck!

(ALL CHEERING)

MAN 2: Gallo's gone underground.

JOE: Don't underestimate
that crazy bastard.

BARRY: The Godfather
is becoming a problem.

I'm not cutting the scene!

We need to get rid
of Coppola.

You better be ready
to take over.

ROBERT: Let me know
what our options are.

You're selling Paramount?

(ALARM RINGING)

You never let them know
what we're thinking.

ROBERT: I took a chance on you

and you stabbed me
in the back.
AL: What have I lied about?

You lied about everything.

BETTYE: Did you ever stop
and think about

the repercussions,
about what that meant
for the rest of us?

AL: I'm doing this on my own.

CHARLES: When you fail alone,
there's no one else to blame.

That's the only way I want it.

("THE GODFATHER"
THEME MUSIC PLAYING)

ADAM: Action!

MAN: Sit the fuck down.

Do you know who I am?

With all due respect, I got--
I'm Joe Colombo.

I kinda run things around here.

Both Miles and Giovanni

brought incredible
weight to that scene.

I love Miles Teller.

It's like working with
a leading man out of the 1950s,

which for me

is probably the highest praise
I could give anybody.

This was the moment
in the series

where they first really
encounter one another,

and they were
very invested in it.

When you have somebody
to parlay off of,

and you can see that they're
responding to certain things,

and they're making you respond,

this is what you strive for
as an actor.

Stop what you're doing,
go back to Hollywood,

and make a fucking cowboy movie.

It was one of the more daunting
roles for me, personally,

in my career.

Joe Colombo just existed
in a different universe.

He brought a combination
of both humor

and bone-chilling fear into
his portrayal of Joe Colombo.

You and me got a problem.

If it's about my movie--

I think it's best
if you hear me out first.

ADAM: It's one
of the relationships

that I think travels
the furthest distance

over the course of the show
because they start out

in a threatening,
adversarial posture
with each other.

The book is not the movie
I'm gonna make.

And I can promise you

that my movie is not gonna be
the book.

What the fuck does that mean?

It was incredible to
watch Miles bring the fear

to what this character was
experiencing at that time.

He wanted to really tap into

the nail biting aspect of that,

and I think he did a great job
of it.

Cut!

Nailed it.

(ALL CHUCKLE)

We'll go to
one of the showrunners,

and we'll just be like,
"Did this actually...?"

They're like, "Absolutely,"

and all these things
actually happened.

I said, "Joe, I am willing
to let you read the screenplay

which nobody has seen.

Come to my office

and I will show you that
I'm telling you the truth."

He said, "I'll be there tomorrow
at 2:00."

When Ruddy invites Joe
to read the script,

you know what I mean,
that's insane to me.

What happens if one of the suits

sees your new gangster friend?

Mr. Colombo, thanks
for stopping by.

Call me Joe.
Joe.

Yeah
Let's head to my office.

Okay.

MICHAEL: Colombo did come up
to his office,

Colombo picked up the script,

and first thing he said,
"What's this fade-in?"

The fade-in.

What's that mean?

Joe, fade-in's a script term.

Ruddy explained it.

That's Hollywood bullshit.

And then Colombo sort of
thumbed through the script

and decided that Ruddy
was a stand up guy.

I ain't here to waste your time.

You're a straight shooter
showing this to me,

and I appreciate that.

But we still got a problem.

AL: Finally, I said,
"Joe, what do you want?"

And he said, "I'll tell
you exactly what I want.

I want you to take the word
'mafia' out of the movie."

You have my word.

Congratulations.

I said, "Shake my hand, Joe,
and we have a deal."

There was a real creed with
the mafia and those guys

that you don't go back
on your word, you know?

And I think Al was very...

Um, if he said something,
he meant it, you know?

And I think that went
a long way with them.

I like this guy.

Come on, let's go.

I'll call ya.

ADAM: Their methodology may
have been very different,

but their intensity
and their resolve was...

You know, they were
sort of brothers in arms

in that respect.

I see a job in front of me
and I do it.

It's the only way I know how.

Whoa, do I understand that,
my friend.