All language subtitles for The Offer - 01x03 - Fade In.BluRay.x264-MiMiC+iMPRiNT+ION265+RARBG+OPTiCAL.English.HI.C.orig.Addic7ed.com

JOE: There is 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 wanna make
a different movie?

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

- (GUNSHOT)
- 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.

And I sent him a signed copy
of the book.

You never know.

Variety needs to find
a new fucking story, man.

Paramount's not the story. You are.

RUDDY: Congressman Biaggi.

We wanna make a movie
that all Italians will be proud of.

You will not make this movie
in New York.

And if I had 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?

RUDDY: I can't, baby. I got to figure
this New York shit out.

Hey, you're Al Ruddy, right?

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

Get in the car.

(THEME MUSIC PLAYING)

What's in Brooklyn?

You'll find out.

Now shut your mouth.

- (DOOR CLOSES)
- (BILLIARD BALLS CLACKING)

MAN: No one comes through this way.
You hear me?

No one.

(KNOCKS ON DOOR) 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 got an idea...

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 so...

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.

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.

Thank you.

Look, I understand that the book
has not been well-received

within the Italian-American community.

Well, you know.

But honestly, book is not
the movie I wanna 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.

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've 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 rushed
through the whole thing.

We've got a deadline.

Ruddy told me we gotta
get the script in, now.

My 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 wanna 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, it's always better than fast.

Right? You're great.

That's it. Trust the process.

Let's start over, shall we?

- Now I smell it.
- Yeah.

- How do 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 counterattack.
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. Be prepared if he did.

My friends won't know that.

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

- Bob.
- Stan.

Looking good, Evans...

For somebody on life support.

(CAR HORN HONKING)

Don't believe everything you read,
Stan.

I ain't dead yet.

(CAR ENGINE REVS)

(TIRES SCREECH)

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 him.

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. (EXCLAIMS) Bomb. What else?

- Murphy's War...
- Murphy's War, Nagasaki.

Give me something real, Peter.
Come on.

The Godfather?

Not the safest bet by a long shot,

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.

Do 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 OD'ing 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: (ON PHONE) 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 and...

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 about...

- So? You could have called me.
- I know, you're right.

Biaggi is making big problems for us.

Is it fixed now?

I mean, I'm working on it.

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 got to 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?

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 is 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.
- Never saw him. Bye.

Mario...

This is beautiful.

Well, 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!

RUDDY: (ON PHONE) No, just grab it

- and bring it here.
- To New York?

Hop on a red-eye.
Don't show it to anyone.

- I'm the only one who sees it.
- BETTYE: (ON PHONE) Got it.

Hey, did you see the Variety cover
this morning?

- (LINE DISCONNECTS)
- Al?

Okay. Shit.

(PHONE RINGING)

- Al Ruddy's office.
- ROD: (ON PHONE) Rod Hurley. Where's Al?

Hi, Rod. Um...

Al is really busy with The Godfather.

But I promise you,

as soon as his schedule opens up,
we'll get back to you.

- Thanks, Bettye.
- Thank you, Rod.

- Francoise? Hi.
- Hi.

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

I'm just here to pick up AI's car.
Is it ready?

Of course. Yes, it is. Um...

- Thank you.
- Awesome.

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

Oh, that call? That was Rod Hurley.

He's an agent. 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.

Bye.

MARIO: I could get used to this.
FRANCIS: 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.
- Hmm.

You know, 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?

How did 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...

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 wanna be
on your bad side.

Sue, you never could be.

- How are you?
- Good, and you?

Good. Do you wanna 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

and tired of all the interruptions.

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 unhappy endings,
but he makes the pain so relatable

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

- Al is 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.

(LAUGHS)

We should keep talking.

- I would love to.
- Okay.

- Bye.
- Bye.

EVANS: 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.

(CHUCKLES)

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 were 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.

And look at us now, Peter.
Look at us now.

Two 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.

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?

It seems light.

Mm. Doesn't have a second act.

What do you mean?
The second act doesn't work?

- What's the problem?
- No. I mean it doesn't exist.

Act 1 is brilliant,
and the end works great.

They just have not figured out
the middle.

There is no Act 2.

Hand me that three-hole puncher.

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 wanna show this mess
to a gangster? That's your plan?

You got a better idea?
I'm not walking away now.

Ruddy! Where 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 be.

Smart girl.

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

I'm your boss too, right?

- Thank you, Mr. Bluhdorn.
- It's Charlie.

It's 9:00 in the morning.
I try not to drink in the mornings.

And what, you don't like Bloody Marys?

How about a rain check?

It's a date.

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.

Look.

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.

- Mr. Colombo, thanks for stopping by.
- Call me Joe.

- Joe, let's head to my office.
- Yeah.

Oh, shit. What are you, clairvoyant?

- BETTYE: Charlie! Hi!
- Right this way, guys.

How about that rain check?

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.

But sometimes I fail,

and a Bloody Mary
sounds really good right now.

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.

GINO: You read it.
CAESAR: I don't read fast.

Well, I don't have my glasses.
He asked you...

Give me the fucking script.

Wait. 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's
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.

No, there's a lot of things
you don't know.

- Let him read the...
- Quiet.

Well, 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 wanna make a Mafia movie
without using the word "Mafia"?

(LAUGHS)

(SPEAKING ITALIAN)

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.

I can do that, I'm the producer.

Wait. What are you doing?
What are you doing?

Calling the writers.

I'm telling them to search the script
for the word "Mafia,"

- cut it wherever they find it.
- Look, look, hang on.

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

Ruddy, Ruddy, look.

Look, 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?

The singer character,
Johnny Fontane...

Was he supposed to be Sinatra?

Do you want him to be?

I like this guy.

Come on, let's go. I'll call you.

Wow.

I thought we were having a drink.
This is a salad.

Yep.

McCartt. What is that? Irish?

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?

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.

(SNORTS)

(CHUCKLES)

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've got to shoot here.

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

he's going to help us
with some incentives.

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

Like now.

- Like now, now?
- Yeah.

All right.

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

Now, it's bigger than we talked about,
and it 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.

Hmm.

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.

I think he likes it.

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

He's seeing it.

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

Al and Bettye, come here.

Do me a favor.

Okay.

Okay, Bettye, here.

Ruddy, there.

Just look at each other.

Just sit. Sit.

- You're lovebirds.
- Okay.

- Just be natural.
- Oh, God.

Good. Michael and Kay.

Yeah, come in, come...
Come a little closer.

- How's that, boss? How's that?
- Yes, sir.

Good man.

I love it. Paisan.

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 with 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 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 going to lay it on the line
for you and your boss, whoever he is.

"Johnny Fontane 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.

You wanna come?

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

Okay. Suit yourself.

JOE: He's 14.

- (ROCK MUSIC PLAYING)
- You 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 is 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.

RUDDY: Me too.

Hey, Joe. You know that guy?

Who, Congressman Biaggi? Yeah.

I met with him. He's a dick.

You don't got to 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 them coming.

Where are yours coming from, Al?

Every day is a surprise.

I don't know. I guess...

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

Yeah.

I just don't have time
for the corporate bullshit

or their fucking rules.

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

- It's the only way I know how.
- Whoa. (SLAMS TABLE)

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.

A club soda? Al, this is the Copa.
Have a drink.

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

I got an early flight back to LA
to make sure the writers do

what you and I discussed.

Well, that's what I like to hear.
Scotch for my friend, Mr. Ruddy.

WAITER: 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: (OH PHONE) Evans,
where the fuck have you been?

I'm so sorry that I 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?

EVANS: (ON PHONE) I saw the headlines
in Variety, and let me tell you...

Yeah, 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.

Then we got The Godfather
on the runway right behind it.

If they don't perform,
I'll fall on 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 going to deliver 100%.

Charlie?

(LINE DISCONNECTS)

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

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

He's torn. He says he doesn't want
to be involved in the family business,

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

Hmm.

And what is that? Is that the power?

Well...

The lure of power can certainly
be a strong aphrodisiac,

but 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 is 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...
A couple of scenes, okay?

- But then, you and I...
- All right.

...we're going to talk again
when I'm in New York, all right?

I'd like that.

(POP MUSIC PLAYING)

FRANCOISE: Welcome home, cheri.

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.

(FRANCOISE SPEAKING FRENCH)

(BOTH LAUGHING)

(LAUGHS) What does that even mean?

When chickens will have teeth.

- (RUDDY LAUGHS)
- Why are you...

Nah, man. 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 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.
(CLEARS THROAT)

She's 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 is 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.

(EXCLAIMS IN JOY)

Yes! Yes! Yes!

- Who's my baby? Who's my...
- (RUDDY LAUGHS)

Good morning.

So...

Francoise! Good morning.

FRANCOISE: Good morning, Bettye.

Since you have a meeting,
I'm going to use your office.

- All right?
- Okay.

EVANS: 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 them to stop touching it,
would you?

For Chrissake,
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 the script.

- Hi, Bob.
- Hey, gorgeous.

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

Yes.

I think I have 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.

- (LAUGHS AWKWARDLY)
- No.

Do you mind if I borrow him
for a while?

Sure. Have fun, boys.

Let's walk and talk, Ruddy.

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

and got a deal with the film office
that's really going to help us out.

Yeah, I got it. And it looks great,
but I can't green light

until I got a budget
and... What do you call them?

- Made of paper roughly 120 pages long?
- A script.

Oh, 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.

So, did Evans like my idea
about Sinatra?

- FRANCIS: Jesus Christ.
- He... There he is.

(SIGHS)

Security made me park in Canada.

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

- I'll take care of it.
- Hello.

Hello.

Francis, Francoise.

- Nice to meet you.
- Actress?

No. No, no.

- Okay.
- Is the baby here yet?

Baby... (CHUCKLES) I feel like
I've given birth.

Here we go.

It looks like twins.

Do me a favor.
Hold the commentary until

you've carefully read what we've
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.

ANDREA: Next week with the Dons.
For sure.

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...

Stop, stop, stop!

Bob, just watch him.
Pacino is 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, and before I forget,

Ruddy, maybe you could explain to me

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

Jimmy Caan could be interesting.

Okie-dokie.

(SIGHS)

(SIGHS)

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.

Will be up in a bit.

(CAR APPROACHING)

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 dog shit is unproducible.

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 go back to
doing some sitcoms,

that's what I'm thinking.

Have a great night, asshole.

You too.

(INDISTINCT CHATTER)

Fucking Crazy Joe Gallo.

When the fuck did you get out?

Relax.

He's a friend.

(CHUCKLES)

Paroled today.

Wanted to pay my respects.

Well, well, well.

You bypassed your guinea friends
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.

MAN: 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.

- MAN: He had a what?
- A lion.

From the jungle, in his apartment.

JOE: (LAUGHS) It's true.

If I may, Carlo, I have a proposition.

I propose that my family
takes control of Joe Gallo.

We'll keep him in line,
make sure he acts with respect.

Are you saying, Paul,

you'll guarantee Gallo
will behave himself?

PAUL: 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.

GAMBINO: Joe.

We appreciate
what you are 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.

But Joe...

- Don't make us regret it, huh?
- No.

Thank you. Thank you, Carlo.

Now turning to the airports...
JFK is covered.

- LaGuardia.
- MAN: We've got...

RUDDY: It's beautiful.

Take away the crime,
and 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.

- Are you kidding me? Oh, my God.
- He wants to play the Don.

I guess this calls
for drinks at lunch.

"Dear Mario, I read your book.
I especially identifywith..."

- So proud of you.
- Brando!

What? Yes!

Oh, my God.

(ALL EXCLAIMING EXCITEDLY)

- Brando!
- Hey.

- Hey, 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.

(MOTOWN MUSIC PLAYING ON RADIO)

Is Jimmy out yet?

Shivved a guy
a day before his parole.

He ain't going nowhere.

And Leonard? He's still in New York?

He's 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.

What do you got in mind for him?

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

and burn everything he ever loved
to the fucking ground.