All language subtitles for The Offer - 01x05 - Kiss the Ring.BluRay.x264-MiMiC+iMPRiNT+ION265+RARBG+OPTiCAL.English.HI.C.orig.Addic7ed.com

This picture is an assault on
Italian-Americans everywhere.

If I had my way,
you won't make this movie at all.

BARRY: The Godfather
is becoming a problem.

We want to give you some help.

No.

One more thing. Pacino.
Give him another shot.

No Pacino. How many fucking times
do I have to tell you?

RUDDY: I got a script
the size of an encyclopedia.

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.

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

If Gallo comes gunning for Colombo,
you get caught with a stray bullet.

NICKY: What do you got in mind for him?

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

You're with me now.
Your enemies are my enemies.

Please. I don't want no trouble.

MARIO: The Marlon Brando's house.

Ever since your letter,
I keep thinking about the Don.

Pacino and Brando in the same frame.

I'm working on it.

Side with Francis. Pacino's the guy.

CHARLIE: Evans gave you your shot.

If I say yes, he's going to be pissed.

You stabbed me in the back.
I don't like Pacino!

I wanna be with you. All of you.

Or none of you.

ANDREA: This is the life
that we've chosen.

We can only be around
other people who understand that.

You got the part, kid.

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

I signed a contract.

(MOTOWN MUSIC PLAYING
ON CAR STEREO)

What are you doing?
Come on, I like this song.

No. You're sending
the wrong message, kid.

What fucking message?

(STATION CHANGES)

There we go. That's good, no?

Whatever, old man. I like this, too.

Man, fuck you with the "old man."

Would you look at this jamoke?

CAESAR: The fuck?

Fucking guy.

- Come on!
- (HORN BLARES)

What the fuck is he doing?

Hey, buddy, you got to move this
fucking car before I move it for you.

Fuck.

Let him go.

NICKY: What do you think's
in the truck?

Don't matter.

(GUN FIRES)

(THEME MUSIC PLAYING)

(KNOCKING AT DOOR)

What the fuck are you doing here?

Oh, my God, you smell like a sick dog.
What the fuck?

I just got off a plane.

I need your help.

Boy, did you come to the wrong place.

You told me, do whatever it takes
to get my movie made.

- You said to color outside the lines.
- I never told you to fuck me over.

- That was never my intention, Bob.
- Yeah.

And Yoko Ono never intended
to break up The Beatles.

I don't give a fuck
about your intentions.

It was for the movie.
It was for the good of the movie.

Keep saying that to yourself.

(CLEARS THROAT)

Listen, Pacino can't do the film.
He signed on to another project.

Problem solved then.

I need you to get him out of it.

You have got to be fucking kidding me.

Come on, Bob.
You've never even given him a shot.

He's got something special.
We need him.

What you need
is a fucking shower. Mush.

Now, Paramount is just one asset

among dozens
in the Gulf and Western portfolio.

Now, by God's grace,

we have a record-breaking hit
called Love Story,

but I won't pretend that we knew
it was going to hit like this,

and that is actually my point.

Making movies
has become too unpredictable.

Hollywood was founded
by men who understood

that the bottom line of making movies
is to make money.

But, gentlemen, that system is broken.

The men with their hands
on the wheel now,

they are, quite frankly,
bullshit artists

who like to think of themselves
as the talent.

They know exactly what to say to us
to get our money,

but they can give a damn
about making it back

because they are not businessmen.

Now that we have
finally had some success,

we can get a much better price

if we offload Paramount now
and cash out.

So that's why we're here today.

We are here
to seek the board's approval

to begin the exploration process

because we have already had
four suitors interested.

Charlie, anything to add?

Some of you think that I have
a sentimental attachment to Paramount.

I have a sentimental attachment
to many things,

which is why, when I sell them,

I sell them for a lot of money.

FRANCIS: Tessio, he's gotta be older.

He's like the oldest guy
in the whole family.

ANDREA: So what you're saying is

you want Clemenza to be
two or three years younger?

Yeah, that'd be good.

- Yeah.
- You got anybody in mind?

- Hello.
- Hi.

Where's Ruddy?

He's on his way back from LA.

His flight lands later tonight.

(SIGHS) Why is he in LA?

Doesn't he realize that the producer

is supposed to be here
for pre-production?

We have a sit-down
with Tavoularis and Gordy.

- Did you tell him?
- I was waiting until Ruddy got back.

Tell me what? What is wrong?

Pacino signed a contract
for another movie.

(FRANCIS GROANS)

Come on, Francis.

Jimmy Caan's screen test was good,
and you know it.

We just set him for Sonny,

and now you want me
to just make him Michael?

Francis, you know
this shit happens all the time.

Andrea, this isn't musical chairs.

Caan is not even Italian.

Okay. You're making a movie
with Marlon Brando.

And don't worry.
We'll find another Michael.

EVANS: Will you just look at Pacino?

- Roll it back, would you?
- Again?

How many times do we have to watch
Panic in Needle Park?

There's a scene
in The Godfather script.

Michael tells his brother-in-law
he's not gonna kill him,

but we know he's lying.
It's a shocking scene,

but it's got to be played
in the subtext.

Pacino doesn't have to say a word,
and I can't take my eyes off him.

An ice-blue terrifying film

about people you love.

Fucking Ruddy.

- Hi.
- Hey, Bettye.

Oh, you smell nice.

Fancy hotel, fancy soap.
Gotta love the Waldorf.

How'd it go with Evans?
What did he say?

He said, "Do whatever it takes
to get your movie made, Ruddy.

"I support you."

So not well, I take it?

Have you...

Have you seen this?

- That's Carmine.
- RUDDY: Fuck.

I liked that guy.

Al, this is really scary.

We're gonna be okay.

Have you got any good news for me?

Well...

Your buddy Jack Ballard
is waiting for you in your office.

Shit.

You and I are going to need
to have a little chat

about what exactly
constitutes good news.

- Just the man I want to see.
- Jack, what are you doing here?

Anything you need, Mr. Producer.

Have you met our editor?

- Aram Avakian, Al Ruddy.
- Aram.

Aram. I thought you weren't
getting in until tomorrow.

Jack called me.

He wanted to get acquainted
a day earlier.

- Oh, did he?
- Glad to be aboard.

Glad to have you.
Jack, did you see The Miracle Worker?

- No, missed it.
- Aram cut it. It's beautiful work.

- Thank you.
- AI's going to need a miracle

to bring us in on budget.

Aram, tell you what,
we'll have a drink,

take each other's temperature

- and solve the world's problems.
- Sounds good to me.

Where and when? Count me in.

RUDDY: For the second round, Jack.

I like to meet the team
on my own first.

Oh, sorry. I wasn't sure about that
since you missed the meeting

with the production designer
and cinematographer this morning.

Looking forward to that drink.

Johnny.

Question.

Why isn't Jim Aubrey
seated at my regular booth?

I am so sorry, Mr. Evans.
Mr. Aubrey got here early.

He insisted on sitting
at his usual table.

Aubrey runs MGM, I run Paramount.

MGM just had an auction
to sell off props and costumes

to pay the mortgage.

Come on. How long's he been here?

- About six minutes.
- Son of a bitch.

You couldn't stall him for six minutes
until I got here?

(SIGHS)

Coffee.

Please.

Terry.

- Looking good. You lost weight?
- Hi, Bob. How are ya?

- Anabelle, my dear.
- Hi, Bob.

Nice to see you. We'll catch up later.

- Jim, I'm so sorry I'm late.
- You're still early.

Well, I grew up under the rule that

if you're ten minutes early,
you're still late.

(BOTH CHUCKLE)

Hell of a job you're doing at MGM.

It's all anyone can talk about.

Last year, we were in the red.

This year,
we are seeing nothing but black.

How about you?

We haven't started selling
our props and furniture just yet.

Nothing's too precious, huh?
Not even Dorothy's ruby red slippers?

Thank you.

So we've got a small piece
of business between us.

Let's make sure
we're on the same page.

This is about swapping actors.

Pacino and De Niro.

Two guys starting out
in their careers,

getting paid scale plus ten. Come on.

You're treating them like we're
trading an outfielder for a shortstop.

Why not?
It's for the good of both movies.

Each wants the other's part. Simple.

(CHUCKLES) You know,
you make fun of the MGM yard sale,

but I hear that
Paramount's getting spun off.

The whole show.

Gulf and Western's getting tired,
and they want out.

- No.
- If you didn't know,

I just did you a favor,
and that's on top of the favor

you're here to ask me for.

I think I'm doing both of us a favor.

You want this more than I do.

Personally, I don't see
such a difference

between Pacino and De Niro.

De Niro does
The Gang That Couldn't Shoot Straight,

Pacino does The Godfather.
Everybody wins.

Pass. What else?

You have a couple
of Harold Robbins' books I want.

- Can't do it.
- Then we don't have a deal.

One book.

One book, my choice.

Wow.

That had to hurt.

Are you sure this is really worth it?

You know, I'm a production designer,
not a magician.

Dean, what's the problem?

Well, having permits to build sets

where I'm supposed to build them
would be nice.

- We have permits.
- They got pulled.

Some congressman is fucking with us.

Look, this should have been handled
a long time ago.

Take it easy, okay?
It's a misunderstanding.

Bettye, call that kid
in the film office I talked to,

- Kevin something.
- Yeah.

He'll sort this out.

Hi. I have Al Ruddy
on the line for Kevin, please.

Since when?

Okay. Thank you.

Kevin's been fired.

Because he gave us the permits.

CAESAR: We need to take Gallo out now.

No.

No, not yet.

I got to talk to Carlo
and the rest of the Commission

to get the okay
to rip this motherfucker's face off.

All right, in the meantime,
hit the streets.

Make your collections.
Everybody pays today.

I want 20% kicked back
to Carmine's widow.

FBI! Nobody move!

Keep your hands where we can see 'em.

Okay, guys. Come on. You, over here.

Oh, this is nice.

A family reunion. You bring presents?

We got warrants.

- You know the drill.
- JOE: Okay, okay.

Tear this place up.

- What's this?
- Go fuck yourself. (GROANS)

- AGENT: Teach your people some respect.
- I need that.

Congressman Biaggi sends his best.

(PHONE RINGS)

- Hello.
- Listen to me.

You're still a putz.
But I got Pacino. He's in the picture.

Bob, thank you.

- I can't tell you how much that...
- (PHONE HANGS UP)

They can't breathe.
The leaves. Look, they're turning...

GORDY: See? Caravaggio has the light
coming in from the top

- and stopping on the edges.
- I know.

I love it. It's beautiful.
I love the shadows.

It doesn't give the actors much leeway
to move around, though.

That's right.

Well, they have to have
freedom to move.

Well, they have to hit their marks.

They need to be free to move,
so we're gonna test it.

Sure. Yeah. If you want.

It's not an insult, Gordy,

to work all this out before we get
on the set with 100 people.

You want a test?
We'll test. It's fine.

- It's fine.
- Good, great.

See it as an opportunity to show off.

What, is that what you think
that I'm doing here?

Uh-oh.

Are Mom and Dad fighting again?

Hello. Can you give us a minute?

- Because we're working.
- Yeah, sure.

I just came by
because I had a little piece of news,

a very small piece of news to deliver.

FRANCIS: Ruddy, what?

And I wanted to do it in person.

FRANCIS: No. You got Pacino?

You got him! What did you...
Are you kidding?

You did it? How'd you do it?

There's a certain shade of yellow.

And we're not making this movie
without it.

Oh!

Do I want to know how this happened?

Nothing my mother
would be embarrassed by.

Okay.

FRANCIS: What's with the suit?
You never wear a suit.

I gotta see a guy about a thing.

- Hey.
- Oh, my...

(CAMERA SHUTTERS CLICKING)

Hi. Hello.

CAESAR: Thank you for coming.
It's so good to see you.

- Hey.
- Sorry for your loss.

Thank you.

He was like a brother to me.
It's a fucking shame.

I'm sorry about Carmine.

Al.

They made it so he couldn't even have
an open coffin.

That way, the people that love him
can't say goodbye the right way.

It's just not done.

You did the right thing
by coming here, Al.

I appreciate that.

RUDDY: Well, there's an old saying,

"Nobody should be invited to a funeral
and everyone should come."

Carmine would have liked that.
He had a great sense of humor.

He was a funny motherfucker.

Come on, come on.

How's the movie going?

Actually, Biaggi's making
more problems for us.

He pulled all the permits
from the film office.

I'm taking care of it.
I got my own issues with that fuck.

(SNIFFS)

I'm sorry to bother you
on a day like this.

It is what it is.

BIAGGI: How's your son?

He's good. He's really good.

He... He's thinking about politics.

- Politics?
- Yeah, he's a smart kid.

He's smarter than me.

He's looking
for a less complicated life.

Well, what I do
is hardly uncomplicated.

But I wish you and your family
only the best.

Is that your way
of apologizing for the raid?

The raid?

Think twice
about lying to me, Congressman.

The League is now over 200,000 strong.

And as we both know,
you have a campaign coming up.

I got plenty of friends
who wouldn't mind

taking a shot at your seat.

And with the full backing
of every member in the League,

plus their big, fat Italian families.

Joe...

...there's been a misunderstanding
between us.

- Maybe.
- If I may...

I want a clean slate.

I'm listening.

We're both proud Italian-Americans
who want what's best for our people.

So what can I do to heal
the rift between us

so we can, you know, help each other?

Stronger together.
Is that the tune you're singing now?

Good. Good.

Get the feds off my fucking back.

Consider it done.

And one more thing.

Film noir, set in the '20s,
about city politics.

Bob Towne wrote it.
It's called Chinatown.

I read it over the weekend.
Actually, in one sitting.

Is this the one
with the winning combination

of incest and water rights?

That's it.

I'll take a look at it.

- Bob.
- Mm.

Something going on?

When I was negotiating for Pacino,

Aubrey told me that he heard
that Paramount was being spun off.

- You heard anything about that?
- No, nothing.

Not since months ago,

but I thought Bluhdorn said
he'd keep you in the know.

Yeah. He told me
Love Story had to deliver.

It just passed $100 million.
I'd say that qualifies.

No, Aubrey's just trying
to get under your skin.

It's too exposed, it's too open.
It needs to be protected.

Well, you know, we can build a wall.

How much?

Ballard's up my ass
about the budget, guys.

Um...

It's... It's cheap.
You know, it's Styrofoam.

We just paint it to look like stone.

How tall is that wall?

Eight feet.

Well, it's gonna cast a shadow
in the late morning.

FRANCIS: We can light that out.
GORDY: Maybe.

If I get the lighting package
I asked for.

FRANCIS: The shadows,
they help tell the story.

- If that's the intention.
- RUDDY: What the fuck is this?

A kitchen that costs $75,000?
Is this a joke?

They gotta cook.

We're not opening up
a restaurant, Francis.

They can pretend.

All department heads
in the conference room now.

No gangster film since the beginning
of recorded history

ever needed a working kitchen.

It's not just about the cooking.

This is the scene
where Clemenza is talking to Michael,

and he tells them the families

have to go to war
every ten years or so.

And while he's telling them that,

they just happen
to be making tomato sauce.

And that's why the scene
is so important.

DEAN: I love this scene.

You've never seen anything like it
in a gangster film.

It's essential. You have to see them
making the tomato sauce.

It humanizes them, remember?
It makes them relatable.

If you want it so badly,
you could pay for it.

Francis, is that a propane line
with special effects?

- It's a practical gas.
- Propane's fine.

No, propane does not burn
like practical gas.

It does now.

BETTYE: Sorry to interrupt.

I just got off the phone
with the film commission.

We got our permits back.

Why was that ever in doubt?

You guys meeting about this budget?

- Oh, God.
- Yeah, we're making some cuts.

Good. Then my timing is perfect.

- Anna, where are we at with costumes?
- Over budget.

We know, Jack. That's why
we're talking it through, buddy.

There's just nothing quality
in inventory from the '40s,

so we're going to have to do a build
on most of the major players.

That's at least two suits
per player per scene.

And an additional 200 grand
we don't have.

ANNA: Well, more because we still
have to dress everyone at the wedding.

What if it's a small, intimate affair?
Maybe only family?

FRANCIS: Stop!

It can't be a small affair.
She's the daughter of the Don.

There are a lot of speaking parts.
Maybe you can combine some of them?

I forgot, we're doing
an off-off-Broadway play now.

Okay. Look, everybody just relax.

We are still making the movie
that we all set out to make.

Well, we're also still
about $2 million over budget.

So unless you know something
I don't know, Mr. Producer,

I suggest you grab your scissors
and start making cuts everywhere.

Where there's a will, there's a way.

Hey, Al. Got a sec?

- Yeah. Come in.
- So, we've got a problem.

Look, Andrea, I just want to say

I think you're doing an incredible job
casting this movie.

And it's obvious to me that Paramount,

they knew what they were doing
when they hired you.

- Thank you.
- You're welcome. It's true.

And, uh, listen.

About the other night,
we both had a lot to drink.

And I'm not saying I was drunk.
Obviously, I knew what I was doing.

But, you know, we're working together.

And for me, personally,
I just got out of a relationship.

So it's probably best if we just...

Al, stop.

(CHUCKLES) That's not the problem
I was talking about.

Oh.

We still don't have an actor
to play Luca Brasi.

It's the last big role
we need to cast.

Don't worry about it.
We'll find somebody.

ANDREA: Just so we're clear,

I'm a grown woman.

We both know what it was
and what it wasn't.

Relax.

You know how we said that we could
make this picture for 4 million?

Well, unless half the crew
works for free,

we're never gonna get there.

- You've got to call Bob.
- No, that's a check I can't cash.

I used it all up on Pacino.

So, what, you just quit?

That's not fair.

What does fair
have to do with anything?

(SIGHS)

What's this?

A script.

It's called Chinatown.

Any good?

A lot of talk
about water and the future.

You'd think it would be dull,
but it's oddly compelling.

Anything for me in it?

No.

Can we talk about something
that's important to me?

Yeah, what?

The Getaway.

We passed on it.

Well, Warner Brothers didn't,
and they're making it.

Steve McQueen just signed on,
and there's a part that I really want.

McQueen is in prison,
he helps a crook plan a heist.

The crook betrays Steve,

and they take off across Texas
with the money,

running from the law
and the criminals.

A strong woman, quick thinker.

Walter Hill wrote it.

Peckinpah is directing,
and they want me.

It's not good enough for you, Al.

And I really don't have time
for this right now.

I'm going to do it.

Starts shooting next week.

Do you want my opinion or my blessing?

I want you to support my opinion
with your blessing.

How about I tell your agent
I'm not gonna work with him

if they let you do this?
How about that?

And destroy your marriage?

Ali.

Ali, come on. Come back. Hey.

- What?
- Look, I don't want to fight,

but I am under a lot of pressure
right now.

Thanks to you,
Love Story was a huge hit,

but if The Godfather doesn't follow,
I'm fucked.

I can't give Bluhdorn
a reason to sell.

Okay?

Bob still hasn't returned
any of my calls?

Sheila says he's still pissed.
He needs time to cool off.

She said you should just go
to Bluhdorn yourself.

Remind me
never to cross the assistant pool.

It's more dangerous than the Mafia.

You have no idea.

You made any headway with the budget?

Not unless you got
a couple extra million lying around.

Do you want me to take a look at it?

The budget? Yeah, sure.
Knock yourself out.

You gonna take Sheila's advice?

(SIGHS) Yeah.

How is he today?

(CHARLIE SCREAMS)

Mr. Bluhdorn will see you now.

We're going in.

You want more money.

Charlie, come on. We just came by
to see how your day was going.

Ah, it's all bullshit.

This being polite is a waste
of at least an hour every day.

How are you?
How's your kids? How's your wife?

Well, what do you say?
She's got a suspicious mole?

Who gives a shit?

You're being polite, that's your tell.

You want more money.

And you agreed to do this film for 4.5.

It can't be done for 4.5.

CHARLIE: Low budget specialist, my ass.

RUDDY: Look, Charlie,
I got all the actors to work for scale,

including Marlon Brando.

I'm getting tax breaks from the city.

- It's just still not enough money.
- Have you spoken to Evans?

He's not returning my calls.

Ah, and whose fault is that?

I warned you.

You made this bed
you're sleeping in, Ruddy.

I'm gonna make you an offer.

You take it or leave it.

Ruddy, you and Coppola
can get 6 million.

But you both have to put up your fees
against any overages.

- We'll have to talk about that.
- We'll take it.

He spoke. We're done.

Get the fuck out of my office.

- We could've gotten to 6.5.
- He said take it or leave it.

Let it go, Al.

The Corleones
are expecting us for dinner.

- (INDISTINCT CHATTER)
- Hey.

Yeah. Right over here. Here we go.

Very nice.

Hello. How are you doing, Bob?
Morgana.

- Talia.
- Oh, look at you.

(CHUCKLES) Hey.

- John. How are you, sir?
- How you doing? Good.

- Jimmy. Come here.
- Look who's decided to show up.

I guess you're the boss.
You're the boss, huh?

- How are you? Good.
- Hey.

- What's going on, buddy?
- Hey, boss, huh?

FRANCIS: Diane. Al.

Beautiful.

CAAN: Hey, look. It's Carlo.

The douchebag has arrived.

(CHUCKLES)

- Here you go, Marlon.
- Thank you. Thank you.

Thank you for being here.

FRANCIS: All right.
Ladies and gentlemen.

Ladies and gentlemen,

may I have your attention, please?

(GLASS CLINKING)

I want to thank you all
for coming out tonight.

This is very exciting.

You all look wonderful.

And I just thought
it would be really nice

to have the Corleone family
come together

for a real Italian dinner.

(ALL CHUCKLE)

Before we all start shooting
in a couple days.

That's it. Just enjoy yourselves.

Sit wherever you want. And let's eat.

- There we go.
- I'm not the head of this family.

- Right.
- I should help.

No. She's got it.
You can stay here with me.

No. Your mother first, always.

Are you gonna sit down or what?

- You get any eggplant?
- No.

- You gotta try some.
- Do you want me to get you some?

I... It's just I was gonna
get some anyway,

you know,
so I thought I could get you some.

I appreciate having the whole family
together for my birthday.

Many things happen in life,

celebrations, tragedies,
births and deaths.

But through it all,
what's right here is what's important,

family.

May you live forever!

- Salute.
- Salute.

(CHUCKLES SOFTLY)

- You make this?
- Mm.

Mom's recipe.

CAAN: Christ, this is the best thing
I ever put in my mouth.

Hey, stugots,
you know how lucky you are?

(CHUCKLES)

I think she's the lucky one.

JOHN: You don't know what you're in for.

You're gonna need both hands
to deal with that one, right?

(LAUGHS)

I only need one hand
to enforce my rules.

CAAN: What did you just say?

Did you just threaten her?

Everybody needs a smack
once in a while, right?

Hey. Hey, come on.

That's enough.

Who's this jamoke think he is?

Has this man laid a hand on you?

No, Pop. No. It... It was my fault.

I didn't do nothing.

You know what the name Corleone means?

Heart of a lion.

So, if I were you,

I wouldn't bring
any attention to the fact

that I'm the slowest in the herd.

If I offended you,
I'm sorry, Godfather.

What do you have to be sorry for?
You said you never hit her.

I'm just happy to be in your family.

Kiss the ring.

Hmm?

Huh?

Kiss the fucking ring,
you fucking idiot.

- Kiss it.
- Kiss it.

ALL: (CHANTING) Kiss it, kiss it,
kiss it, kiss it.

- Kiss it, kiss it, kiss it, kiss it.
- (CHUCKLES)

(ALL LAUGHING)

BRANDO: Everybody, mangia.

CAAN: Can you believe
this guy? (CHUCKLES)

You know what I'm thinking?

This is gonna be a great film.

Yeah. And they need a stove.

You had to bring that up, didn't you?

Can't I just have one good moment

without it being taken away from me
on this project?

I'm sorry.
You're right. You're absolutely right.

But the food is so important
to this family.

This family's gonna have
to get by with one burner.

Yeah?

BETTYE: Hey, Al.

I heard last night went well.

Your friend Gianni didn't think so,
what a shmegegge.

So, I've been
going through the budget.

Uh-huh.

And?

And there seem to be three men
with very Italian-sounding names.

They don't belong to any department.

They're on payroll,
but I can't find them on the crew list.

Al...

one of them is Caesar.

Caesar? I just saw him at the wake.

He didn't mention anything.
Who hired him?

Probably one of the unions.

But that's not the weirdest part.

All three of these guys, they have
the same social security number.

Really? I don't know
why you find that funny.

Gulf and Western
is a publicly-traded company.

If they find out
we have mobsters on payroll,

it's over for all of us.

Look, get me Caesar. I'll talk to him.

Caesar.

- What's up, Al?
- You could've finished lunch.

That's not how I like to do things.
You never make the boss wait.

Right. Let me ask you something.

What exactly do you do here?

I am a production assistant.

And who do you assist?

The production.

And what does production do?

Like...

If there's a problem with the unions,

I assist the unions
to not be a problem.

Moving right along.

These guys, down here.
What do they do?

Those are my guys.

They're production
assistant's assistants.

Listen, you guys can't all have
the same social security number.

Al, you know
who you got to talk to about that.

You need anything else, boss?
'Cause I gotta take a dump.

Good luck with that.

- How you doing?
- Hi.

Al, there are two FBI agents
waiting for you.

Thanks so much
for seeing us on short notice.

I'm Agent Zabel,
this is Agent Richman.

What can I do for you boys?

What exactly do you do here,
Mr. Ruddy?

I'm the producer.

You mind telling us why you were
at Carmine Vispiciano's wake?

He was a friend. Where's this going?

Well, I guess we were just wondering
how a man with top security clearance

with the RAND Corporation
is now in bed with the Mafia.

Well, fellas, you know how they say
that truth is stranger than fiction?

(IN GERMAN ACCENT)
I see nothing. Nothing.

- (CHUCKLES)
- Exactly. That's pretty good.

So, why did you walk away
from Hogan's Heroes?

TV is too limiting.

You can't tell real stories on TV.
It's fake.

And Marlon Brando doesn't do TV.

Al, you seem like a nice guy.

Let me give you some advice.

These guys are a lot more dangerous
than they first appear.

Look, honestly,
I'm just trying to make my movie,

and that's where the association ends.

So I gave one of them a job,
hence the badge.

It's safer for him here
than working out there.

Not safer for you.

And we'd feel a lot better
if we can keep a closer eye on you.

If you let us put a wire on you,
we can protect you.

I appreciate it, guys,
but I'll take my chances on my own.

Yeah, she's gonna do The Getaway next.

(PHONE RINGS)

Well, Peckinpah's a great director.

We just figured it was the best move
after Love Story,

so she doesn't get typecast
as the shiksa goddess. (CHUCKLES)

No. I've never worked with McQueen.

What do you know about him, Cary?

Look, I've got to go, Cary.

Thank you so much for the info,
and I'll speak soon.

All right. Bye.

It's Lapidus.

- (PHONE BEEPS)
- Barry, how they hanging?

Guess what I'm calling about.

Another sock sale at Brooks Brothers?

You were right about Love Story.

Well, thank you, Barry.
Maybe I do know what I'm doing.

You have made the board very happy.

Gulf and Western's stock price is up.

Nice work, Bobby.

Peter, I just had a wacko call
from Lapidus.

Aubrey wasn't bluffing.
They're trying to sell Paramount.

And?

It tastes like fish bait,
but it's too small to slip on a hook.

(CHUCKLES)

That's impossible.
It's $200 caviar from the Caspian Sea.

I don't care if it was $1,000
and came out of God's ass.

If I'm eating eggs,
I want 'em cracked, fried,

and covered in cheese.

(CHUCKLES)

I'm glad
you could make some time for me.

I know Ruddy keeps you very busy.

Yeah.

Well, anything for a free drink.

(CHUCKLES)

So tell me. What does Bettye want?

I'm not sure what you mean.

What do you want for yourself?
What do you want to do with your life?

What is this? Are you trying
to be my mentor now or something?

Do you enjoy
working as Ruddy's secretary?

Pouring coffee? Answering phones?

Ah.

Is that what you think I do?

That's what all secretaries do.
That's what they're supposed to do.

I'm not "all secretaries."

No, you're not.

No.

Come work for me.

Ah, for once, she has nothing to say.

- I work for Ruddy.
- Who works for me.

So, technically,
you already work for me.

With all due respect, Charlie,
I love where I am.

They say movies are magic,

but they don't care about magic,
they care about money.

And so do I.

You're selling Paramount.

I never said that.

I like you, Bettye.

Think about it.

RUDDY: (ON PHONE) Who else knows?

I assume the word is already out.

Did he say anything about the movie?

Not exactly.

You speak Charlie.
What did he say exactly?

He offered me a job.

EVANS: I'll tell you
what they're doing, Peter.

They are using my success
against me, yeah.

Nothing's set in stone.

They fought me tooth and nail.
They told me not to make Love Story.

I put my balls on the line.

I knew people wanted a romance.
I knew that Ali was a star.

I knew
people would fall in love with her.

I fucking delivered
the biggest movie ever. Ever.

And now they're taking my baby away,
selling her off for spare parts?

I don't think so. Fuck that.

What the fuck?

Hey!

Hey!

What are you doing here?

We got a work order
to map out the cemetery expansion.

Get the fuck off my lot.

- Excuse me?
- I said get the fuck off my lot.

Hey, hey, hey.

This is exactly what I said
was gonna happen.

A fucking conspiracy.

JOE: (ON PHONE) I heard you were
asking Caesar a lot of questions.

No, Joe. I was just curious about...

Hey, look. Al, I don't like
to talk business over the phone.

Come by the League office.
We can talk about whatever you want.

Joe, I'm a little busy right now.

Great. I'll see you in an hour.

I got to go see him.
Hold down the fort.

In the middle of all this?

He called for me. I got to go.

You sound like a gangster.

Be back in an hour.

If you're not, I'm gonna
send for your special agents.

I'm sure they'll be around.

Big day tomorrow. Are you ready?

Yeah. I'm just going over the scene
a million times in my head.

Is the weather gonna be bad?

Clear skies. Forty-five degrees.

Perfect weather.

Yeah. I... I just can't believe
that it's actually beginning tomorrow.

I know. You made it happen.

"We." We made it happen.

It's a miracle.

With everything
that we've been through.

They said that
this was not going to succeed.

They did.

And now it's up to me
to make sure that it does.

And it will.

You're going to make it happen,
Francis. It's gonna be great.

Hey. Good to see you, Al.

Come on. He's inside waiting for you.

And because of courageous men
like Congressman Biaggi

who's willing to fight
for Italian-Americans

that we're able to make
any progress with civil rights.

That's why the League
wholeheartedly throws its support

behind the congressman
for his reelection.

- (ALL APPLAUDING)
- Yeah. Thank you.

Oh, oh, oh.

I'd also like to announce

that after intense negotiations
with Gulf and Western,

the League has decided to allow them
to make the movie The Godfather.

- (APPLAUDING)
- That's right.

And I should say that it's all because
of this man right there, Al Ruddy.

Al, come up here. Come up here.

He is the film's producer.

It's because of him that we were able
to come to this agreement.

It was his brilliant idea that
Gulf and Western donate the proceeds

from the premiere
to the League's hospital fund.

We can't thank you enough, Al.

This is the man solely responsible

for the alliance
between the Italian League,

Gulf and Western,
and Paramount Pictures.

You're one of us. Hey, come on.

Come up here. Come on. Take a picture.

REPORTER 1: How long
have you been working

- with Mr. Colombo?
- Come on.

REPORTER 2: What are the details
of this financial relationship?

- Let's take a picture. Take a picture.
- REPORTER 3: How does Paramount Pictures

feel about this, Mr. Ruddy?

REPORTER 4: Is it true that the movie
is still about the Mafia?

REPORTER 5: How does
Gulf and Western feel

feel about being in business
with Joe Colombo?