Original subtitles

JOE: Joe Gallo's actions led to our last war.

My family is now the Colombo family,

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

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.

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 know who Michael is. - Who?

Al Pacino.

That shrimp never gets the part.

- He's a beautiful actor. - Hey, director, take a visual cue.

Doesn't get this part.

FRANCOISE: These scripts, they come into your office and just sit there.

That's just money burning. So let me help you.

We can do this together.

If that's what you want.

- Hi, Bob. - Hey, gorgeous.

I will find me a producer who knows not to shit where he sleeps.

Mr. Lovano. This is Al Ruddy, the producer of the film.

Nice to meet you.

This is perfect. We can shoot the whole wedding sequence

right on the lawn here.

- You like it? - I like it.

- Do you want to know why I'm happy? - Yes.

- Brando wrote you back? - He wants to do it.

He wants to play the Don.

We need hits.

Did you read Love Story?

What does that have to do with anything?

The audience needs to be moved, Barry.

That's how you make hit pictures.

(THEME MUSIC PLAYING)

Tonight, all of Hollywood turned out for the premiere of Love Story,

starring Ali MacGraw and Ryan O'Neal.

Audiences across the country are flocking to theaters

to see the adaptation of the best-selling novel.

Could this finally be the hit that turns around Paramount's fate?

FRANCOISE: It's fucking ridiculous.

We should have never gone to that premiere.

RUDDY: I had to go.

No, you didn't.

I had to support Bob. Love Story's his baby.

Well, it's his baby, not yours.

If you didn't wanna go, you should've stayed home.

FRANCOISE: But then I would have missed everyone

looking over your shoulder for someone better to talk to.

You need to learn how to read a room, Al.

I don't give a shit about reading a room.

I wouldn't have gotten to where I am if I did.

And where exactly is that, Al?

Getting embarrassed by your peers?

Were we invited in the first place? I don't think we were.

You don't know what it takes to be a producer.

You've been one for all of seven seconds.

This is the kind of shit that you have to do.

Yes! Don't fool yourself, Al.

You haven't been one for much longer, all right?

This coming from a woman who's never built anything by herself in her life.

And what do you call the Chateau?

A divorce settlement.

- Let's drop it. - No, no, no. Let's talk about this.

You always do this. It's all, "Baby, it's okay,"

or, "It's a joke." Or whatever vapid remark

that gets you out of having a real conversation.

So I wanna have a real conversation now.

We're talking now, aren't we?

The fact that you think so is the fucking problem.

I already live on a mountaintop.

Hey, last night was out of sight, right?

MAN: Congratulations. How are those reviews?

Reviews?

The critics are raving about it.

- (ALL APPLAUDING AND CHEERING) - Johnny, my usual.

Please, stop it. It's crazy. It's too loud.

Well, maybe a little bit longer.

Bob, what a film. You made the classic tearjerker.

I mean, if Louie B was still alive, he'd be jealous of you.

What a great party. Sorry we had to leave early.

Well, to be honest, I was surprised you could make it at all,

what with literally zero cast and more budget concerns than the Fed.

- MAN: Bravo, Evans! - Thank you.

Look, producer's tip 101,

if your movie's on shaky ground,

do not bring that vibe to another man's premiere.

- Just no. Thank you very much, Johnny. - Got it.

I'm in town for casting meetings.

Luca Brasi, Fontane, a lot of actors want in on this picture.

You don't cast Michael and the Don, you don't have a picture.

Seriously, don't give Bluhdorn a reason to pull the plug on this one.

Speaking of the Don, I got good news.

Marlon Brando is interested.

- Brando? - Yeah. Now I got your attention.

Yeah, for all the wrong reasons. Brando's a fucking nightmare.

Box office poison. Just a very difficult human being.

Look, do you want my advice?

- Always. - Don't waste your time.

There's plenty of other good actors out there.

Just move on to someone realistic and use Andrea.

She knows what she's doing, man.

I know. One more thing.

Don't do Peter Falk. It hurts my head.

It's about Pacino.

Give him another shot. Francis loves him.

No. No Pacino.

How many fucking times do I have to tell you?

You trust my taste and stop it, all right?

Look, Love Story is poised to be

one of the biggest grossing movies of all time.

And The Godfather needs to follow suit, do you hear me?

Do you understand?

Do not fuck up my streak, all right?

BETTYE: I don't think one movie in a row constitutes a streak.

He needs to have his head examined.

I should have my head examined for what we're about to do.

Why? He didn't say you couldn't go after Brando.

He just said it was a waste of your time.

Let's hope Bob appreciates that distinction.

I mean, Brando has canceled this meeting four times,

so maybe he won't have to.

Hey, boys.

- Hi. - Morning.

So this is the Marlon Brando's house?

(GATE BUZZING)

MARIO: I imagined it differently in my head.

Mario.

When I got your letter,

I thought, "This you could do, Marlon."

So, thank you for allowing me to come into your life.

- I mean, you're Marlon Brando. - Sit.

Thank you.

So, um, thank you so much for having us.

Have you, uh... Have you seen my movie Burn?

- No. Not yet, no. - No.

I've never heard of it.

They called me "Burned-out Brando."

I haven't heard that.

I don't know who "they" is, but they're morons.

You two... You two are good actors.

Acting is a social lubricant.

People lie constantly by not saying what they think

or by saying what they don't think. By not saying what they mean

but saying what they think you want to hear.

Yes. And the difference with acting is that you're given the words.

Well, dialogue changes.

Motivation doesn't.

You'd like to know my motivation for being here, sitting with you?

- Yeah. - You like the part.

(CHUCKLES)

Sinatra hated that I sang Luck Be a Lady in Guys and Dolls.

He hates The Godfather.

So, I thought I'd piss him off.

- (SNICKERS) - That's the real reason.

It's not for the money.

(ALL LAUGHING)

I see you.

Come on.

- BETTYE: Hello. - Come on, Bettye.

She works for me.

Uh...

You know, ever since your letter,

I keep thinking about the Don.

It's... It's all I see anymore.

(CLEARING THROAT)

I was...

I was thinking maybe the Don got shot in the throat,

which affected his voice.

Maybe...

Maybe his jowls droop like a bulldog.

Kai, bring me the black shoe polish.

Buonasera. Buonasera.

- Thank you again. - MARIO: Bye, Kai.

FRANCIS: Bye, Marlon. RUDDY: Bye, Marlon.

Holy shit!

Tissue paper and shoe polish and Brando disappears.

He's a genius.

Francis, you're actually smiling.

Let me tell you something.

John Ford, he once said that you make one for them

and then you make one for yourself. Well, guess what?

I just realized the one that I'm making for them

could be the best one that I'm making for myself.

And I'm not talking about some upgrade to a Warner Brothers gangster flick.

Now we got a shot at making the real thing here, people.

- Francis. - Yes?

You're gonna make a great film.

Thank you, Bettye.

Pacino and Brando in the same frame.

I'm working on it, okay? I promise.

We're making a movie. (LAUGHS)

- See you later, boys. - Bye.

FRANCIS: Take care.

Hopefully, the guys in the tower see what we just saw.

- I mean, that was incredible. - Yeah.

My God, what an actor.

Do you think Pacino is actually a possibility?

No, but I'll figure something out.

When I started working for you,

I really wasn't sure you knew what you were doing.

Most of the time I don't.

Well, let me tell you,

you're doing something important.

That's why I don't mind trading in a love life

for reading Godfather rewrites.

You just fucking swing, and that matters.

Thanks, Bettye.

Yeah. You're gonna be late.

BILL: So we've covered Vegas and Palm Springs.

Here's another one for you.

What's your favorite song to do with Dino and the boys?

Let me ask you this, Bill.

You wanna do a puff piece or you wanna write something real?

What do you have in mind, Frank?

What does the Times think of Joe Colombo

and the Italian-American Civil Rights League?

Well, more importantly, how do you feel about it?

Well, they're supposed to be protecting the image

of hardworking Italian-Americans,

but this Colombo,

he hasn't done a goddamn thing about this Godfather movie,

even though it denigrates Italians.

I'm telling you, Bill.

You've got 200,000 Italian-Americans following one man,

and he doesn't give a shit about what's good for them.

What do you think he should be doing?

He ought to shut the fucking picture down.

FRANCOISE: I think I'm tired.

I'm tired of having the same conversation

over and over again.

That makes two of us.

And what conversation is that, Francoise?

Well, he's never honest with me and it's hurting me.

What have I lied about?

Al, you lied about everything.

You lied about Mickey Cohen

and the fact that you're now in bed with the Mafia.

And now you're lying about wanting to be my partner.

You are my partner.

No, I'm not. Nobody is.

Francoise, can you tell Al what you mean by that?

You're placating me.

You don't treat me like an equal.

Do you think I'm too delicate or something?

No, I think you're tough as nails.

Then treat me with respect.

I'm sorry.

I don't want you to be sorry or say what you think I want to hear.

I just want you to be real. Be honest.

That's all I've ever asked of you.

Life is complicated, I understand. Some things are private, no problem.

But some things aren't, or at least they shouldn't be.

And the truth isn't complicated.

It's always the truth.

And if someone's your partner, you don't bend it or avoid it,

you fucking tell it.

I don't want to produce with you.

I need to do this on my own.

I love you.

I want to be with you.

But this, this movie...

I just need one thing that's my own.

Okay.

I asked you for the truth, and you gave it to me.

So, thank you.

(SOUL MUSIC PLAYING)

Ah, man. The area north of 120th is no good.

Could cause us some problems.

See something you like, huh?

Could arrange an introduction.

All right.

Well, let me know when window shopping turns to buying.

(BOTH LAUGH)

Carmine. Lenny.

Is there some place to go?

How about a seat right here?

And don't worry, Carmine.

We'll get a high chair for you.

Yeah. This is business, Joe.

This isn't a place to discuss...

What? You don't feel safe here in Harlem?

(SNICKERS)

GINO: From Colombo.

A thousand dollars?

Colombo sent you all the way up here just to fucking insult me?

Go back and tell your fucking boss I got my own family now.

I don't need his charity.

Known you guys for a very long time.

You got 30 seconds to get the fuck out of here

or I'm gonna send you back to Colombo with your heads in a box.

Let's go, Lenny.

- So you got the list? - Yeah, I got it.

Okay.

(ENGINE REVVING)

Gianni, what the hell are you doing here?

Bettye Boop!

Is that the way you greet an old friend?

Come here, give me a hug.

How the hell did you even get on the lot?

You know I know people. I thought I'd surprise you.

Brought you something.

Wow.

A whole scone.

Yeah, I got it on the road from this little cafe

that'll change your life. Right outside of Vegas.

Hand to God, the best pastries in the world.

(CLEARS THROAT) Hey, who's this?

- You're Al Ruddy, right? - Yeah, that's me.

Just the man I was looking for.

Al, this is Gianni Russo.

He used to date a girlfriend of mine, but he was just leaving.

But first, sir, I brought you something.

What? Another scone?

Nah, something much better.

Gianni, you cannot just bring your reel.

I can't just what? AI's got a movie to cast.

Ain't that right, Al? I'm just helping him.

Nice of you to stop by.

A transistor radio changed my life.

Hand to God. Listen to this.

You're never gonna believe this shit.

I heard Frank Sinatra on it,

and I thought to myself, "He's Italian. I'm Italian..."

Wait, wait, wait. You're Italian?

My point is, is if he can do it, why not me?

Who could argue with that logic?

You gotta watch the whole thing. It's incredible.

I did Michael, Sonny and the Don.

Wow, that is a hell of a hat-trick.

RUDDY: Hopefully, not all at the same time.

I just figured those are the ones I'd be believable in.

Well, if you need any help with any research, I'm your guy.

The Godfather ain't got nothing on my life.

Hand to God.

At the very least, Gianni just marked three roles off our casting slate.

That's a relief.

Evans wants to have a state of the union tomorrow

before we head back to New York.

Hi, we put a bunch of Dons on tape.

Anthony Quinn, Danny Thomas.

- We'll show him then. - What about Fontane?

Francis likes Al Martino for it.

I have no idea who that is, but if Francis likes him, I'm good.

Have you spoken to Francis about casting his sister, Talia, for Connie?

She's strong. She wants to do the role.

He's got enough drama with the Corleone family.

He may not want to involve his own.

And dare I bring up Michael?

Has Evans approved Pacino for the role?

Francis has a better chance of seeing God

than getting Pacino that part.

He's tested four times. Caan is a strong choice.

Francis will never go for it.

Bluhdorn saw Pacino off-Broadway, and he likes him if that helps.

ANDREA: Not while Evans is still running this place.

He's angling for Redford or Nicholson.

And how the fuck do you know what Bluhdorn likes?

'Cause I did my homework.

Teacher's pet.

What about Falk for Moe Greene? Can we get him out of this NBC deal?

No longer interested. He said, and I quote,

"I had to hire a detective to find the part, and I still couldn't."

Can one fucking thing go right with this picture?

I mean, is that too much to ask?

I got a script the size of an encyclopedia,

a budget that's less than Bluhdorn spends on cigars in a month, no cast.

We got Duvall in for Hagen.

He's a great actor. Changes nothing.

- What about Brando? - We don't have Brando.

What we have is a silent 8mm film to try and get him approved.

Which, let's be honest, that could blow up in our faces.

I got a director in love with

the shortest unknown actor on the fucking planet,

and Biaggi's making waves.

Am I forgetting anything?

No, I'm pretty sure that covers it.

He's having a day.

Evidently, yeah.

I think that Gianni guy would be good for Carlo.

Are you serious, Ruddy? The guy's a schmuck.

Typecasting at its best. Show it to Francis.

Who?

Don't ask.

I tell you what,

Ol' Blue Eyes better start using that microphone for singing,

or I'm gonna strangle him with it.

CAESAR: What's it say?

Motherfucker's questioning my loyalty to my people.

You want me to do something about it?

I think it's a little more complicated than that.

How'd it go?

Not good.

He was out of order, Joe.

He wasn't happy. He said it was an insult.

Because it was.

And now we watch.

Gallo's gonna do something crazy,

then I'm gonna go back to the Commission

and get the okay to take him out.

What do you wanna do about Sinatra?

You know, if I let a wannabe tough guy singer

and a corrupt congressman beat me at this,

I might as well move to Boca.

I gotta double down on this movie.

(JAZZ MUSIC PLAYING)

EVANS: I love this tune.

Yes, Mama.

- Hey, baby. - Hello.

- You smell good. - Mm.

(PHONE RINGING)

It could be important.

I gotta. I gotta.

Yello? Jack!

Jackie, baby, what's going on, man? How you doing?

I'm good. I'm good. I'm good.

Huh?

Yeah. Yeah, I'll tell her.

Yeah. Hey, did you see those box office numbers, baby?

- Evans... - Yeah, right?

It's Nicholson. It's Jack.

Hey, look, that's not the reason I called earlier.

No. The Godfather. Role of Michael.

Listen, star, you can play anything. Irish, Italian, what's the difference?

You make it your own, baby.

You're the Easy Rider, no one can put a tag on you.

And when I say Easy Rider, it's not a tag, it's a compliment.

You son of a bitch. I know. I...

(LAUGHS)

CHARLIE: Well, sign the agreement and get it done.

And get the car ready.

- Hello. - Mr. Director.

Charlie, can I get a minute?

No.

I have something you need to see.

What? The Coppola Family goes to Coney Island?

I promise you it's important.

Yeah, well, make an appointment, Francis.

Charlie, what I have to show you,

it's the difference between a good movie

and a cinematic classic.

You gotta see it.

Hey, did you slip it in?

Thanks, Bettye.

ANDREA: Hi, Bob.

We've got Oscar winners lined up for you to see.

We've got Steiger, Anthony Quinn, Ernest Borgnine.

I don't know why the hell we're doing this without Francis.

- I need his opinion. Where is he? - He's in New York.

What the fuck is he doing in New York?

- (PHONE RINGING) - Anyone?

- All right. - Yes? Got it.

It's Charlie.

He wants us to watch something.

Huh?

Hi, Charlie. We're starting now.

Who is that?

Is that Rod Steiger?

It's not Steiger.

Look at those eyes.

BART: Is that Brando?

CHARLIE: It's fucking magic. I love it.

I love it.

It's the first time I got a clue of what Francis wants to do.

I'm sorry,

but what does a silent three-minute home movie prove?

It proves that he's still the greatest actor of our time.

ANDREA: Brando will bring something no one expects.

'Cause he's a nutcase.

The budget will skyrocket.

RUDDY: No, guys, he'll play ball.

He invited us to his home.

He let us put him on film.

Okay? He wants to do this.

I mean, look at the screen, you can't take your eyes off him.

Charlie, you're watching something very special.

Evans, he works for scale.

EVANS: All right.

And puts up a bond.

Make it a million dollars.

That way he doesn't pull any of his games.

Sure.

Marlon Brando.

He's great, right?

Yeah, he's great.

If we lock him in, it's a go picture?

Mm-hmm.

It worked out for you this time, kid.

Don't ever try and go around me again.

Not gonna happen. Thanks, Bob.

What are you reading?

They finally approved Brando today.

That's a big deal.

So, you're heading back to New York?

Yeah, I'm leaving tomorrow.

Things are just really starting to move fast now.

(SIGHS)

Francoise, I don't know what you want from me.

Yes, you do.

It's just not the same as what you want from me.

BIAGGI: The Godfather is a threat to our very existence.

It's an insult to our businesses, to our culture.

This picture is an assault on Italian-Americans everywhere.

And as a public servant,

I have to address the concerns of my constituents

and hold everyone behind The Godfather accountable.

Thank you.

Fuck. Fuck.

And that is only the beginning.

There's a Biaggi piece in the Chicago Sun-Times.

The Tribune quotes some Italian baker that The Godfather is blasphemous

- and he's gonna boycott Love Story. - Fuck!

And Sinatra is on record as well.

If you ever do decide to sell Paramount,

no buyer's gonna wanna touch us.

This is turning into a fucking fiasco.

Charlie, Ruddy needs to be supervised, all right?

He's in way over his head with this kind of stuff,

and one small little misstep from him is gonna be a disaster.

It's our fault. We gave him too much responsibility.

And so, one low-budget biker film and a sitcom that he walked away from.

That's his resume. But I don't care

about how he got Marlon Brando in his little home movie, all right?

We need to do something to save this movie,

and we need to do it now.

Talk to legal.

Let me know what our options are.

Okay.

EVANS: I gotta tell you, Marlon.

Jimmy Cagney told me he thinks

that you are the transformative actor of the art form.

Well, after the war, people were looking for rebellion.

I happened to be at the right place at the right time

with the right state of mind.

Well, you're at the right time with The Godfather.

We want you for it.

We just need to talk about your approach.

Not just creative, but as part of a team.

We need to know that you're gonna play nice, Marlon.

- Play nice? - Mm.

What is this, a sandbox?

Who are you?

What? We're just talking things through here.

I don't talk things through. That's what I have an agent for.

I know that,

but this is in the spirit of how we're making the movie.

We've got no problem with your artistry

or your chemistry with Francis.

We just need to know that you'll accept

that we're working on a limited budget, man. That's all.

Cagney said that?

Mm.

BRANDO: That means so much to me.

I have a A-list suggestion for Michael, if I may.

Well, I'd love to hear it, Marlon. Who you thinking?

Well, he's... He's a great theater actor.

He won an award for Tiger in the Bow Tie.

This kid, you can't take your eyes off of him.

Al Pacino.

Yeah, I never heard of him.

BETTYE: Oh, that's gonna go straight down the hall

- into the left. - Yes, ma'am.

- How was your flight? - Long and bumpy.

And everything at home?

- Don't ask. - Roger that.

- Hey, anything on Brando? - (TAPPING)

Home run on the offices, Ruddy.

- That's all, Bettye. - Aw. Your office is right here.

I've got Evans in my office.

Hi, Bob. I've got Al and Francis with me.

- EVANS: Did you find me a Michael yet? - Hey, Bob.

I didn't think so. Francis, stop pimping Pacino.

Brando couldn't even get the name of Pacino's play right.

RUDDY: So, Brando, you nail him down?

Nail him down? He's like nailing jelly to a tree.

Look, we need a deal at scale, we need him bonded for a million,

and we need a signature. This is your shot, Ruddy.

- You nail him down. - (PHONE HANGS UP)

Bettye, get Irv Goldstein.

Yes.

Why does he have such a hard-on against Pacino?

Francis, look, please.

BETTYE: Al Ruddy for Irv Goldstein.

I have Goldstein.

You know how to play hardball?

I invented the game.

- Irv... - IRV: You're one lucky SOB.

Mr. Brando never wants to work,

but I convinced him for a hundred grand a week,

five-week guarantee, with his usual perks to do your movie.

Way to go.

Irv, it's a four-million-dollar picture.

Everybody works for scale.

Then Marlon isn't in the picture.

- That's right. - Well, who else are you gonna get?

RUDDY: There's always somebody else.

No, there's nobody else.

Irv, Andrea Eastman here.

Oh, Jesus.

Do you know who passed on Casablanca before Bogart took the role?

Yeah. Ronald Reagan. I know that one.

Tell Coppola Reagan's available.

Reagan's...

The deal is scale plus five points once box office hits 50 million.

Pass.

Here comes Anthony Quinn.

No!

What are you... What are you doing?

Bottle of Dom Perignon, he calls back in 5, 4, 3, 2, 1.

Fuck.

(PHONE RINGING)

It's Goldstein.

Yes, I will connect you.

- IRV: This is a no-quote deal. - That's right.

- You go over it, you pay. - That's right.

Welcome to the world of Marlon Brando.

- (WHOOPS) - (CHUCKLES)

Hey. What?

How did you know that he would call back?

Because he needs us more than we need him.

Al Ruddy, you're under arrest.

Sonny. What's up, buddy?

You don't start until next week. You know that, right?

- Hi. Yeah. Yeah. - Yeah, okay.

Everybody, this is Sonny Grosso.

He's ex-NYPD and overall fixer for guys like us.

He's from French Connection.

- Yeah. - That was me.

Billy Friedkin is a good friend of mine.

Billy is the best.

- You've got a second to talk? - Yeah.

RUDDY: How you been? SONNY: I'm good. You?

Yeah, good. Yeah, finally getting going on this thing.

SONNY: Yeah, good, good.

What do I need this for?

Look, I know you think you know what you're doing, all right?

But you don't, okay?

You're getting into bed with Joe Colombo?

And that's a bad idea,

and from what I understand, it's already done.

You've gotta protect yourself.

Colombo's been nothing but a friend to me.

I'm covered. Honestly.

You, uh... You ever hear of Crazy Joe Gallo? Maniac.

Former Profaci capo, murdered a boss, Albert Anastasia.

He recently got out of jail.

What's that got to do with me?

Well, if Gallo comes gunning for Colombo like I think he will,

he either, I don't know, tries to take over your movie,

or worse, you get caught with a stray bullet.

(SCOFFS) Well, let's hope it doesn't come to that.

But I appreciate the warning.

And this.

If you get into a bad situation,

that'll buy you some time. Maybe.

- Thanks. - I'll see you.

Hey. What a nice surprise.

I didn't know you were coming today.

What's wrong?

I'm not staying.

I'm going to Paris.

Paris?

I just need to get away, clear my head.

But I wanted to say goodbye.

When you get back, we can... We'll talk.

Really talk the way you want...

I'm not coming back, Al.

Not to this.

I wanna be with you.

All of you.

Or none of you.

BETTYE: There is a simple way to save your relationship if you want to.

Tell me.

Get on a plane, and get on your knees.

I understand why you won't, though.

Thank you.

I got divorced a few years ago. Did you know that?

- You mentioned it. - Childhood sweethearts.

He grew up down the block from me.

Not a single memory I have

where we weren't planning our future together.

And he had this phenomenal ass.

What happened?

Life, I guess.

I don't know. We got older,

realized we didn't want the same things anymore.

I wanted to have a career.

He wanted me to bake pies.

I hate fucking pies.

- Sorry, Bettye. - I'm not.

I'm not gonna change for anyone.

What I want, or who I am.

Was it easy to walk away?

No.

Sometimes I think about how hard this is.

All the time, every single turn.

It's like the universe has made my balls its own personal punching bag.

And yet, I still can't seem to walk away.

Then go after the girl.

I wasn't talking about the girl.

Cheers.

Morning, Bettye. I need you to call P.J. Clarke's, get a table for dinner.

Now that Brando's on the movie, it's finally a go. We gotta celebrate.

- Al. Al. - What? What is it?

JOE: Is that Al Ruddy I hear?

Joe. What are you doing here?

Look at his face. Look at all the worry on his face.

He does look fucking worried.

- I'm not worried. - (JOE CHUCKLES)

What is this?

That's a cannoli. It's the best cannoli in Brooklyn.

Joe, you didn't have to do that. I appreciate it.

Yeah, have a look at this. Look at this.

- That's for you right there. - Oh.

Hey. How's that?

You're one of us now, kid.

We need each other, all right? We gotta trust each other.

Yeah, of course.

Sinatra's still a problem for me, a problem for you too.

I may have a solution to that.

He doesn't want to be humiliated.

- Right? - Yeah.

That Fontane character's in almost a third of the book.

Tell him, thanks to you,

I was able to cut that character down to two scenes in the movie.

You can do that?

I mean, it's a lot of work re-typing those scripts.

But, Joe, for you, we can do anything.

We're so grateful to have your support, truly.

This guy. This guy. As his own tribe would say, a mensch.

Mensch.

I'll make sure to tell Frank personally.

- Please do. - All right, bye.

- Thanks, Joe. - Bye.

FRANCIS: Damn it!

We lost the Staten Island compound. That was Lovano.

RUDDY: What do you mean we lost it?

We lost it. Lovano, the owner, he backed out.

I need that house.

The whole thing came alive when I saw the house.

Al? The world's looking for you, including Bluhdorn.

He wants to see you by end of day.

Okay, Francis, I'll deal with it.

Just give me a minute and I'll work on it.

Okay.

Hey. What's that about?

Colombo pinned me.

(CHUCKLES)

That meant something very different when I was in high school.

The Godfather is important, but it's becoming a problem.

What's the problem? We just got Brando. We're green-lit.

BARRY: The problem is the bad press that the picture's getting.

I mean, Sinatra, Biaggi. It's coming at us from all sides.

Ruddy, we wanna give you some help.

What kind of help?

Al, we should be partners.

- No. - BARRY: Jack is gonna produce with you.

He knows how the press operates. He can take that burden off you

and he's gonna be on set with you anyway.

Just to have your back, help with the extra heavy weight.

I got it. What's Evans think about this?

Ask him, he's listening.

EVANS: (ON PHONE) I said let's hear what you have to say.

We're all ears.

Well,

I'm assuming for the three of you to get this whole party together,

- you already talked to legal? - So?

So, my contract states I'm the sole producer on this project.

Al, it's not unusual for the producer to get a little help.

It's unusual for me, that's why I negotiated it that way.

This guy got suckered into a pissing contest

with Sinatra, Biaggi and the Italian League.

Sinatra is not gonna be a problem. I took care of it.

Charlie, I'm the sole producer on this project.

If Jack wants to come along and join the party, fine.

I'll even get him a fancy chair on the set.

But I'm doing this on my own.

I'm not putting my neck on the line every day

to make you a great movie so that Jack or anybody else can second-guess me.

I make the calls.

Evans?

I'm with Ruddy.

Fine.

But a word to the wise, Ruddy.

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

That's the only way I want it.

- (FRANCIS LAUGHS) - All right.

I just want to thank all of you for coming tonight.

Now that we are finally green-lit, we can really get the ball rolling.

We closed our deals with Dean Tavoularis

for production design,

and Gordy Willis is gonna head up cinematography.

It's really an incredible team.

But I will defer to the artist.

- Captain, my captain, Francis, toast. - (ANDREA CHUCKLES)

BETTYE: Yes! Whoo!

Mario, you do the honors.

No, Francis. Come on, this is your show.

I mean, I could say a few words,

but it would take me at least a month to write it.

(ALL CHUCKLE)

Take it away. Take it away, boss.

Okay.

Well, I'm very honored and humbled

to be surrounded by such talented people.

I hope I deserve you.

We're making a movie.

And you're only allotted,

you know, a certain amount of time during the day to get everything done,

and you want everything just perfect. Every shot.

But sometimes it's great and it's out of focus,

or sometimes a dolly wheel squeaks.

Sometimes it's magic and the actor goes up on their line.

So, you do it again. You check the gate, you move on.

Cheers.

- To The Godfather. - Drink to The Godfather.

- To The Godfather. - All right.

Okay, enjoy yourselves.

Where are you going? We didn't even order yet?

I know. I gotta run. I'm late.

I gotta go to Martin Scorsese's parents' house.

Tape their conversations over dinner.

For the accents, for the actors.

I'll see you all later.

Hey, Francis. What's going on? Everything okay?

It was kind of a weird toast.

Look, van Gogh paints sunflowers, okay?

You need a particular shade of yellow.

No yellow, no sunflowers.

I feel like I'm going to have to cave

on the particular yellow that I want, right?

And the dreams that I have.

Without Pacino, this whole movie,

- it's not gonna quite work. - Yeah.

And then my dreams won't happen.

I'll make a good enough movie, but that will break my heart,

which will kill me.

Wait. Oi.

Everything okay?

I need to see Charlie, alone, and as soon as possible.

I'll take care of it. Yeah.

Hey, some of your special friends are here.

I just wanna sleep.

Get me a drink.

- Al. - What's going on, Joe?

I got something for you.

Forgive me, but when I was leaving your office,

I overheard something about a problem with the Staten Island house.

That location was important to you, yeah?

Yeah, but we'll find something else.

Yeah, but that's the one you wanted, right?

- It's okay. These things happen. - Come here. Come here. Come here.

You remember him?

Peter. Peter, stop crying. I ain't gonna hurt you.

I don't want no trouble. Please.

I have a family.

We all got a family, Peter.

But you got a signed contract

to rent your house to The Godfather movie.

That's a project that's very important to me.

You understand that?

(STAMMERS) Congressman Biaggi, he says it's bad for us Italians.

You got a problem with certain people, you should come to me for help.

We're all Italian here.

We all want to see this movie get made.

Why not use another house?

Use another house?

Is that what you just said?

You wanna rethink that?

I'll do it.

Take the house.

No money.

No. You're gonna get paid. After all, what are we, animals?

(CHUCKLES)

Take him home.

Al, come here.

- Thank God. Al. - RUDDY: Hey.

What happened?

We got the Staten Island house back.

Okay.

Colombo bullied the owner into giving it back to us.

The guy pissed himself he was so scared.

He thought that they were gonna fucking kill him.

So did I, actually.

I've never felt so dirty in my life.

Why would you ask him for help?

I didn't.

He overheard Francis tell me about it.

The last thing I want is to be in his debt. Trust me.

Can't get the picture of that guy out of my head.

(EXHALES)

You said you need to talk to Charlie.

He'll be at the Belmont racetrack tomorrow morning.

How do you know that?

I'm supposed to meet him there.

(HORSE BRAYS)

What the fuck are you doing here?

You expecting someone else?

Yeah, someone a lot cuter.

Well, I didn't know you had horses.

Yeah, I love horses.

Who doesn't love a sick way to lose money, you know?

Look, I'm gonna make this quick.

We need to cast Michael.

Francis and Evans are deadlocked over Pacino,

and I need you to make an executive decision

so we can get this movie made.

Side with Francis.

Why?

You saw what he did with Brando.

I mean, you should trust him. He's an artist. He's got integrity.

Yeah, I love Brando,

but artistic integrity, all this bullshit.

You think Francis is right?

I do.

Pacino's the guy.

Jesus, Ruddy.

Evans gave you your shot.

He's just backed you as a sole producer.

You really think about what you're doing here.

If I say yes, he's gonna be pissed.

It's what the movie needs.

Fine.

Thanks.

Good luck out there.

Yeah. You too.

Honey, I booked a private dinner at Perino's tonight

with all the key foreign press for the Golden Globes.

ALI: We've gone out eleven nights in the past two weeks.

This is your time. When they come, you have to answer.

I want to stay home and read.

This book is far more interesting than another dinner party.

Ali, baby, you're the biggest star in the world.

Oscar nominations are right around the corner,

and the Golden Globes get the buzz going. Come on.

Thank you.

(PHONE RINGS)

Yello?

What?

Al, Evans is on the phone.

Okay.

- Shut the door. - Mm-hmm.

(EXHALES)

EVANS: (ON PHONE) You motherfucking Judas.

I warned you not to go around me.

RUDDY: Bob, look. That's not what I was trying to do. Just...

You ungrateful fuck. Charlie Bluhdorn sells

auto parts, sugar, cigars

and a tiny part of his businesses is Paramount.

He could sell it off tomorrow and not give a fuck.

I took a chance on you and you stabbed me in the back.

I don't like Pacino!

He's a huge mistake. But I guess he's in the picture, isn't he?

But you know what? Now we're gonna do things my way.

You got Pacino for Michael.

I get Jimmy Caan for Sonny.

Not a problem.

I already set Carmine Caridi.

Well, then you fucking unset him!

(SIGHS) Ah, you...

I'm not gonna do that.

Fuckin' Francis. Caan's not gonna hurt the movie, okay?

So he's not Caridi.

You begged me for Brando and Pacino, and I delivered 'em!

Take the fucking win, man.

Give Bob his dignity and let's move on.

Pacino's approved?

Yes.

Invite him to P.J. Clarke's. We'll tell him in person.

- Thank you. - Yeah.

Al. Why don't you go tell Pacino the good news?

I can't. I have to go prep. I have too much that I have to do.

But, hey, I wanna call Bob

and I'll tell him that Caan is in.

Good.

- Al. Thanks... - We're good.

Scotch, neat.

Sorry I'm late, gang. All right.

You didn't tell him, did you?

- No, scout's honor. - Tell me what?

Francis wanted to be here, but he's deep into prep.

It's official.

You're Michael Corleone.

You got the part, kid.

Evans approved you. You are opposite Marlon Brando.

(SIGHS)

What?

What's going on?

I was told Paramount would never approve me.

They called me a shrimp, these guys, right?

No, no.

Al. I'm doing The Gang That Couldn't Shoot Straight for MGM.

That's a comedy.

Al, you're a serious actor.

Michael Corleone is the part of a lifetime.

I signed a contract.

(ANDREA SIGHS)

PACINO: I am truly sorry.

You know how badly I wanna do this with you, Francis.

Good luck to you.

ANDREA: We'll figure something out for Michael,

and Evans will get over it.

You didn't hear him on the phone.

He sounded pretty pissed.

Why'd you do it?

Because Francis needed Pacino.

And I can't lose Francis.

If I lose Francis, I lose the movie.

And at this point, that's all I have left.

Well, at least no one can say you don't have

a whopping pair of balls on you.

(CHUCKLES) No, but they can say I don't have brains.

I mean, Evans took a chance on me when no one else would.

And now that trust is gone.

My relationship's done.

For what?

You're looking at this the wrong way.

The question you should be asking yourself is,

"Why are we here?"

In show business.

We're here because this is the life that we've chosen, right?

You, me, Bettye, Francis and Evans,

we all ran away from home so that we could join the circus.

And everything that we say to make it seem like

we care about the life that we could have had,

wife, kids, house, dog, it's bullshit.

'Cause what's really making you miserable

isn't the fact that you don't have a membership at the country club

or the head of a 12-point buck on your mantelpiece.

None of that matters.

What you really want in life,

in fact, all you want in life

is just for a man named Al Pacino

to pretend he's a man named Michael Corleone.

And you're right

to be miserable over this.

It is that important.

'Cause I feel the same way,

and we can only be around other people who understand that.

Everyone else is just a civilian.