All language subtitles for The Offer - 01x02 - Warning Shots.BluRay.x264-MiMiC+iMPRiNT+ION265+RARBG+OPTiCAL.English.HI.C.orig.Addic7ed.com

RUDDY: Bob Evans. I'm 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 wanna produce for Paramount.

The Godfather.
It's 58 weeks at number one.

Makes us look stupid.
And that's bad for business.

Ruddy, 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.

BART: Evans warned you about
hiring the novelist.

So how do we fix it?

BART: Francis Ford Coppola.
He's brilliant. But he'll wanna direct.

The Jews got the JDL,
the Blacks got the NAACP,

but 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.

It's time to send a message.

(GUNSHOT)

(THEME MUSIC PLAYING)

- ALL: (CHANTING) One! One! One!
- (HELICOPTER HOVERING)

There is a conspiracy in this country

against Italian-Americans.

(ALL CHEERING)

The President, the Vice President,
the Attorney General,

all conspiring against
the hardworking Italian people.

- Yeah!
- We must unite!

(CHEERING CONTINUES)

And the media, they carry the water

for the corrupt politicians

in a government
that tries to hold us down.

- Give me the book. Come on.
- (ALL BOOING)

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.

This, my friends, is a book of lies.

And Mario Puzo is a traitor.

(ALL CHEERING AND APPLAUDING)

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.

ALL: (CHANTING)
Colombo! Colombo! Colombo!

- 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 you are?

Bettye McCartt.
I'm Mr. Ruddy's secretary.

MORAN: 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.

Maybe something to do with
your business? Your personal life?

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.

(CAR 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 going to 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 is gonna wanna cast...

Steve McQueen as the Don.

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

(SIGHS)

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.

And I sent him a signed copy
of the book.

You never know.
Fingers crossed, right?

Fingers crossed.

Fingers crossed.

What's wrong, Francis?
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 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
and 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 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.

Now, 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.

(BOTH LAUGHING)

He was a big guy.
You should've seen him.

(CONTINUES LAUGHING)

Fuck that guy.

That's a...
That's a real uplifting story, Rudd.

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.

- (ROCK MUSIC PLAYING)
- (CROWD CLAMORING)

Javier, that suit's not Czech.
That is Yugoslavian.

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

Would you watch him? Just watch him.

Jesus Christ, guy's an animal.

He looked at me,
"You're talking about a franchise?"

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

Do I look like I own a burger bar?

I broke my own rule.
I started talking shop.

God damn it!

(CROWD CLAMORING)

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

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

Kristy, you're already in the movies.

- Shh.
- I'm just saying.

Love your work, girls.

(CROWD EXCLAIMING)

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...
He's a lowlife, a thug.

He, uh... He came to the Chateau
a few years ago. It was...

It was right after my divorce.
He said he would do me a favor 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.

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 couldn't 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 them,
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 wanna make
a different movie?

(LAUGHS)

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 for everyone?
- What?

Hello, everybody.

Uh, where is 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 Eastman,
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.

(FRANCIS CHUCKLES AWKWARDLY)

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 he's glowing.

It's just after World War II,

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 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 businessmen.

You know, they could be your neighbor.

I'm pretty sure one of them is.

(ALL LAUGHING)

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, I'm a little tied up right now.

- Can I come and see you after?
- 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.

No, no, 'course not.

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.

A lot of food for thought, huh?
A lot of food for thought.

Yeah, well, think hard.

EVANS: Oh, yeah.

- What'd I tell you?
- 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 stand-up 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
us is to write an undeniable script.

You're lucky that I need this paycheck
to keep my business afloat,

otherwise you'd be seeing
my tail lights for the last time.

So, now Barry Lapidus is dictating
what The Godfather is gonna be?

Ruddy, stop being so emotional.

Of course I support Francis' vision.

But, you know,
you got to read the room, kid.

Ain't nothing good
would have 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, how did you get into my office?

What do you mean?

You got in because you did
something that's not done.

You saw something that you wanted,
and you went for it. (EXCLAIMS)

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.

MAN: On behalf of
the Mangia America Food Company,

please allow us to lend
the financial support you requested.

The League is very important to us.
We...

$10,000? What is that, an insult?

No, sir. It's just the beginning
of what we're prepared...

Here's a beginning.

Put another zero on the end there
and then we're straight.

You want $100,000?

You don't think I know
how much fucking money

you make a year, you greedy fuck?

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.

FRANCIS: 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.
- 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 is 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 going to 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.

- Well, where is he?
- Where is he?

BOTH: Vegas.

(ALL CHUCKLING)

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

- Such an idiot!
- Mr. Damone?

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

This is Francis Ford Coppola.

- Good to meet you.
- Likewise.

- 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.
- Yeah, thanks.

- Mr. Damone...
- Oh, Vic. Please.

Vic. My mother was such a huge fan.

The Lively Ones, she listened to it
over and over again.

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

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

(CHUCKLES) With me,
flattery will get you everywhere.

So, Fontane...

he's Sinatra, right?

MARIO: No.

Fontane is you.

Vic, what do you say?

You want to talk about
the character a little bit?

No, 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.
- All right.

- Oh, great.
- Looking forward to it, Vic.

- Here you go.
- Thanks.

- Vic Damone.
- Salute!

- Come on.
- Not now, sweetie.

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

- 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 want me to take care of this,
Frank?

Mm.

Not yet.

Get me the phone.

- MONTANA: Hey, boss.
- What?

- 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'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.

(ITALIAN MUSIC PLAYING IN BACKGROUND)

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 cords broken.

It's not about the movie, Joe.
It's the League.

(GRUNTS) 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 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 Blacks got the NAACP.

Shit, even the Irish got the PBA.

We need our own thing.

- We have our own thing.
- You know what I'm saying.

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.

- (CHUCKLES) 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.

Well, you delivered the message,
Carlo.

I'll think about what you said.

Stay in the shadows.
It's how things are done.

Okay.

(DAMONE SINGING
"ON THE STREET WHERE YOU LIVE")

Thank you very much.

No.

(SINGING ENDS)

(ALL APPLAUDING)

Thank you.

- (MARIO LAUGHS)
- Thank you, ladies and gentlemen.

Thank you.

You know, I've played theaters
all over the world...

MAN: Hey, Vic!

- Who's that?
- You a big movie star now?

Rumor has it you're gonna play
Johnny Fontane in The Godfather.

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.

(SLOW CLAPPING)

(ALL APPLAUDING)

- What the hell?
- What just happened?

Sinatra happened.

- Fuck.
- DAMONE: Maestro,

now one of my favorite songs.

This is one I recorded in 1957...

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 want it,

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.

Hey, I want in on this.

This movie's gonna be fucking grand.
Okay?

FRANCIS: All right.
MARIO: 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?
- Yep, 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.

Best part of marriage is divorce,
I guess.

In my case, yes.

Bourbon.

Mm.

It's good, huh? 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 wanna 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 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 type of grudge-holding woman I am

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

Okay.

What's Al hiding?

Francoise, I... (CHUCKLES)
I'm not sleeping...

I don't mean other women.
I am not worried about that.

I know where his dick goes
every night.

Huh.

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 amie.

I get why Al likes you.
Let's have another drink.

Adam, can we get two glasses
of Mount Gay?

Andrea, how many Redford knockoffs
must we see

before we realize
that none of them are right?

You know, it would be easier
to narrow it down if we had a script.

- I don't need a script, Andrea.
- We're just gonna be another second.

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 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.

Excuse me, Mr. Evans.

- Sir...
- Can't be in another position like...

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 wanna 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.

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 wanna
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, is all.

So, how'd you start working
with Ruddy?

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

- Did you know him before, or...
- I didn't fuck him.

If that's what you're asking.

That's not what I meant.
No, not at all.

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

and not every producer is like that.

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

I 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?

I wish I could tell these actors
the truth.

You know, like, "Hey, you're talented,

"but getting this part
has nothing to do with talent.

"It has to do with 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 KEYS 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'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 Sollozzo,

"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 Sollozzo. (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 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 Sollozzo 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.

(FRANCIS CHUCKLES)

- HOSTESS: Here you go, sir.
- Congressman Biaggi.

Thank you for seeing me
on such short notice.

Francoise 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.

(CHUCKLES)

I know you have some reservations
about The Godfather.

I told Francoise
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're 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 wanna make a movie
that all Italians will be proud of.

Mr. Ruddy, I have
the greatest respect for Francoise,

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...
- Look...

I understand you're disappointed,

but you will not make this movie
in New York.

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. Thank you very much.

- Thanks for setting me up with Biaggi.
- Of course.

I'm sorry it didn't work out.

I mean, we came all the way
to New York. It's ridiculous.

No, look. It's all right.

I've 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!
- (FANS CLAMORING)

Thank you very much.

Hey. Great stuff, man.

- Thank you.
- You hungry?

I could eat.

Thank you.

Where do you put it?

I'm not sure I'm a starving artist,
but I'm definitely a starving actor.

(CHUCKLES)

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.

Oh, uh...

I read the book. It's not bad.

But, I don't know, you know.

- Michael's the lead, right?
- One of them, yeah.

- He's the Don-in-waiting.
- You see, that's my problem, Al. I...

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

Really? But you're such a talent.

Oh, and you're very kind. Thank you.

Uh...

How about Sonny? Hmm?

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 Coppola doing?

Francis is co-writing and directing.

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

(CHUCKLES)

Coppola knows who I am?

He thinks you're the only person alive
that can pull this off.

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.

(SCOFFS)

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.

Excuse me.
Can we have the dessert menu, please?

Hello, sweetie.

What the fuck?

Jesus! Fuck!

(SIGHS)

God damn. What the fuck?

(PHONE RINGING)

(POLICE SIRENS IN DISTANCE)

Hello?

MAN: (ON PHONE) You get my little gift?
Now you know what you gotta do.

- Who is this?
- (LINE DISCONNECTS)

- I mean, I thought he was pretty good.
- Yeah.

- Just a little short, but...
- Yeah.

He's got that thing, you know?

Charisma. I mean,
when he looks at you,

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.

Look...

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.

(PHONE RINGING)

(PHONE CONTINUES RINGING)

Fuck.

- I'm gonna need to get that.
- Oh, no.

- All right.
- No. No!

- No.
- Baby. Baby, come on. Just...

(BOTH LAUGH)

- Hello.
- Âllo.

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?

Yep. Everything's good.

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 on, man?

The goddamn Mafia put a fucking rat
in my fucking bed.

A what?

A fucking 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?

What was I thinking? I should
never have let you run with this.

- I'm gonna handle it.
- Good. You do that.

Comfortable?
Get the fuck out of my car.

- Just wanted to make sure you're okay.
- Get the fuck out.

Fucking amateur. Hit it, Michael.

- 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.

How long have you been up?

A little while.

I need coffee.
Why don't we get breakfast sent up?

I can't, baby.

I got to figure this New York shit out
if we're gonna shoot here.

Would you at least get me
one of those croissants 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.

Hey, you're Al Ruddy, right?

Yeah. Look, there's somebody important
who want to talk to you.

Get in the car.

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

Get in the car.

I'm not gonna ask you again.

Take the bridge.

("ALL ALONG THE WATCHTOWER"
BY JIMI HENDRIX PLAYING)