All language subtitles for The Offer - 01x07 - Mr. Producer.BluRay.x264-MiMiC+iMPRiNT+ION265+RARBG+OPTiCAL.English.HI.C.orig.Addic7ed.com

RUDDY: Jack,
what are you doing here?

Have you met our editor?
Aram Avakian, Al Ruddy.

- Aram.
- 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.

BALLARD: What do you think?

You could have shot it tight
and been done by now.

And what's with all the presents?

It makes him look
even smaller than he is.

That is no leading man.

I'm... I'm just a little nervous,
you know.

So what are we gonna do about it?

EVANS: The producer of my movie
just shook hands

with a goddamn mobster on TV.

I've got to get to New York.

We are going to Texas, remember?
My movie?

I'll meet you there later.

ALI: I'll hold my breath
waiting on that promise.

PHILIP: Gallo's an animal.
It's unforgivable what he did.

How you doing, Joe?

JOE: He blew Carmine's head off
with a sawed-off shotgun.

If he had done this
to a member of your family,

what would you do? You'd talk to him?

I want your word you will not take
any action at this time.

You have my word.

(GUNS FIRING)

(THEME MUSIC PLAYING)

What the fuck is that?

My thoughts precisely.
This is garbage.

This is a mock up.
The real one will be different.

How so? Less real?

Okay. Francis, I promise,
on the day, it will look better.

Let's put an apple in its mouth.

I'm not going to put this crap
on screen.

Yes, you will have to use
some lighting and shadows...

I'm concerned now, Dean,
that you think that this is acceptable.

You don't need to be concerned.

Okay, guys, just relax.
We're all on the same team here.

You know, it doesn't feel that way.

Hey, Francis, cool it.

I will cut this scene
before I put this crap on screen.

I'm not cutting the scene.

I'm not cutting the scene!

I mean, he's not wrong, Al.

It does look pretty fake.

I need someone I trust
to find me a better one.

- Find me a better one.
- Me? What?

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

This requires somebody
with great taste and ability.

Uh-huh.

If you blow any more smoke,
my hair might catch on fire.

Aren't you the girl who met
with Joe Colombo at his social club?

Wasn't exactly a social call, was it?

Should've let you stay fired.

Stop!

This is boring.
Why am I watching this?

Pacino is ruining this movie.

I mean, look, he can barely see
over the presents he's carrying.

He's supposed to be a war hero.

Doesn't look like any hero
I've ever seen.

The character's
supposed to be intimidating.

What would you know about that, Barry?

He's gonna be the Don.

People kissing his ring.
People scared of him.

You scared of him?

We need to fix this while we still can.

Our stock just rebounded,
but it's not going to take much

for the board to change their minds

about keeping Paramount
in our portfolio.

What are you still doing here?
Get your ass back to set and fix it.

Find me a Michael Corleone
who can deliver.

- Jack has your blessing?
- Blessing?

If you let this film fail,

I'll rip out your hearts
and show them to you

before you fucking die.

Now, get the fuck out of here!

There is nothing quite like
the intoxicating authenticity

of being on location.

Bob.

What are you doing here?

Well, that's not the greeting
I was expecting.

I'm sorry. You just...

You surprised me.

That's the idea, sweetheart.

Is there somebody in there?

- Ali, who's in there with you?
- Stop.

It's McQueen, isn't it?

- You're fucking the Blob!
- Please, just go.

You asked me never to leave you.
Do you remember that?

Well, I kept my promise.

You left me a long time ago.

I haven't even heard from you
in over two weeks.

Don't kid yourself.

I've just become something for you
to check off on your to-do list.

You give everything to this business,
and there's nothing left for me.

I'm just getting out of your way.

(CAR ENGINE STARTS)

So where is he?

LENNY: Nobody's seen him, boss.

Gallo's gone underground.
I think he got the message.

Don't underestimate
that crazy bastard.

I heard from some of Gambino's guys

that the old man
is not too happy with our move.

Fuck him. This is an internal dispute.

I'll wet his beak.
Gambino will be fine.

Where are we at with the skim
on the movie?

I met with the union reps.
They're all kicking up to us.

- The drivers?
- Even better.

Every department in this movie
has its own union.

They're like capos.

We're getting a taste
from all of them.

What about Ruddy?
He doesn't get a taste?

That's what they're saying.

All right. Good work. (CLEARS THROAT)

Let me know how we're doing
with the collections.

We'll get Gambino his cut.
Keep him calm.

I need more money.

For the wall around the compound.

You said it was doable.
Styrofoam and paint.

The city is making me build
a real wall to pass inspection.

It's... It's ridiculous.

If I do, I won't have enough money
left over for the rest of the shoot.

Here's what you do.

Build four feet
on either side of the entrance

and make the rest Styrofoam and paint.

If they find out and wanna fine us,
I'll deal with it then.

We have a big problem.

Are there any little ones?

Andrea called.

We lost the actor
who was gonna play Luca Brasi.

What? What are you talking about?

What do you mean we lost him?
There's a signed contract.

He's dead.

- A stroke, this morning.
- Jesus.

Does that mean
we need to cut the scene?

FRANCIS: No. No, no.

Absolutely not.
We're not cutting the scene.

Unless we can find another 6'6",
300-pound actor just hanging around.

What about your friend?

My friend?

BETTYE: "I am honored and grateful."

"Don Corleone, I am honored and..."

"Grateful."

Right, right.

"Don Corleone,
I am honored and grateful that..."

"That you invited me."

Okay, okay.

"Don Corleone, I am honored and..."

My God. What the fuck?

Lenny, how many times did your mother
drop you on your head?

"I am honored and grateful
that you invited me into your home

"on the day
of your daughter's wedding."

Well, why don't you do it?

Because they need a fat fuck like you.

Hey!

It's okay. We're gonna try again.

- Unbelievable.
- (LENNY CONTINUES PRACTICING LINE)

A head that big
and it can't hold a goddamn thing.

Can we cut down the lines?
Make it easier?

Luca Brasi is formal.

He wants to get the lines
just right for the Don.

He's nervous.

So, on the day,
we shoot him right outside the office,

- and he's practicing with his cards.
- "Don Corleone, I am honored

- "and grateful..."
- And we shoot it like that.

LENNY: "Don Corleone..."
BETTYE: "I am..."

- Hi, kitty.
- (PURRING)

- Hey. Aren't you a cute kitty?
- Excuse me, Marlon.

You're a cute kitty, huh?

Aren't you a pretty cat? (CLICKS TONGUE)

What's with the cat?
Did you do a rewrite?

No, there's no cat in the scene.

That sure looks like a cat.

- (CONTINUES CLUCKING TONGUE)
- RUDDY: Is it Brando's cat?

It's one of the stray cats
from the alley behind the studio.

You looking around? What do you see?

I like it.

Yeah. Me, too.

Of course. Because neither one of you

wants to be the one to tell Brando
he can't have it.

- True.
- (BETTYE CHUCKLES)

So, what are we doing, cat or no cat?

I think it's inspired. Can we try one?

Okay, let's lock it up.

Last looks, everybody.

Hey, we got a small problem.

Yeah.

(CAT PURRING LOUDLY ON MIC)

Huh.

FRANCIS: We'll fix it in post.

I'm sorry, sir.

Mr. Evans
is on the phone in your office.

He said it can't wait.

Okay. Put us on a bell.

- (BELL RINGS)
- And action.

Bob?

Where are you?

Where am I? I don't fucking know.
I'm over one of those square states.

Look, we got a problem.

Bluhdorn and Lapidus saw dailies
of Pacino's first day,

and they wanna fire him.

What the fuck?

No, no.
Look, we're not changing horses now.

EVANS: This is all Lapidus, man.

Barry's a fucking rat
who's always wanted my job,

- and this is part of his power grab.
- Hey, listen to me.

I know you haven't always been

the biggest supporter of Pacino,
but we...

Never mind that.

Pacino's our boy now
so let's not fuck this up.

I told Bluhdorn
we'll talk when I land,

but you need
to figure something out, man.

All right, I'll get back to set
and deal with it. But first...

How was Texas?

Bob?

Hot as a fucking sauna.

See ya.

(SNORTS)

BRANDO: Look, power in and of itself
is not an important thing to him.

No, he would never
talk about his own power.

FRANCIS: No, his power
comes from his confidence.

From what he doesn't have to say.

BRANDO: And he's not a criminal.

He's got a deep moral center.

Politicians are the criminals.

They're drug dealers, getting people
hooked on empty promises.

Hmm.

The Don, he serves his community
more than any politician ever would.

Yes, he does.

Yeah, and when people come for
his help, he knows right from wrong

because of his overall values.

He just wants to do right
by his people and his family.

Yeah. That's it. That's exactly it.
You want to try another one?

- All right.
- Okay.

- Freddie.
- FRED: Okay, lock it up.

Going again. Last looks, please.

What the fuck is Duvall wearing?

Oh, Brando likes to be in the moment.
He doesn't memorize his lines.

Apparently, no one does.

Listen, I just talked to Bob.

Charlie and Lapidus wanna fire Pacino.

(LOUDLY) What?

Um, one second, Freddie.

What are you talking about?

They saw the dailies
from his first scene.

They're not happy.

They don't even know
how to look at dailies.

How can they judge him on one scene?

Look, we just need to
get 'em excited about him.

What's his best scene?

What the fuck? There's a lot!

Um...

What about the restaurant scene,

where he shoots
Sollozzo and McCluskey.

I mean, they gotta be able to see
what he can do there.

Perfect. When do we shoot that?

- (SIGHS)
- End of the week.

We need to shoot that tomorrow.

Fine. Yes, fine. I can do that. Yes.

- See if we can get the location.
- Yes, sir.

Gordy. Let me chat with you.

You too, Aram.

What do you need, boss?

Okay, new policy.

As of right now, only the four of us
have access to dailies.

No one else sees them
unless Francis or I approve it.

- You got it.
- Yeah.

- Freddie?
- FRED: Okay. Roll sound.

FRANCIS: And action.

Business is good.

This is for you.
Twenty large from the fundraiser.

Twenty, huh?

How many tickets
you sell to that event?

Well, we're still counting.
This is just to show respect.

There's more where that came from.

I appreciate that, Joe.

I had my concerns about
this Italian League thing of yours

from the very beginning.

But I gotta say,
you've proven me wrong.

Yeah, well,

the unions on the movie
are starting to produce too.

I'll have your cut on Friday.

It was good that we got in
on this thing from the ground up.

You're doing great, Joe, hmm?

Keep it up.

Okay.

GALLO: This kind of trouble
is just the beginning.

- Kiss my ass.
- Come on. The lighting's not working.

We're falling way behind.

GORDY: The lighting is perfect.
It's perfect.

But if you don't direct the actors,
none of it means a fucking thing.

Clear the set.

FRANCIS: You're so precious
about everything.

I give a shit what it looks like.

Okay, everybody, take five.

- (BELL RINGS)
- More fucking drama than a soap opera.

They're not on the same page.

They're not even
reading the same book.

Coppola's lost this crew.
We have to tell Charlie about this.

FRANCIS: Is that what you think, man?

Of course I care about
what it looks like!

But the actors, they can't even
walk around a set, man.

Yes, that's right. They can't.

They have to hit their marks.
That's the point.

Unless you just want me to point
a 10K at the room and walk away.

(CHUCKLES) You know lighting!

You don't know a goddamn thing
about the needs of actors.

They need freedom.
They need to be able to walk around

so they can bring
the characters to life.

We talked about this.
How simply can I put this?

- So, there's light and there's dark.
- Mmm-hmm.

If they're not in the light,
they're in the dark!

RUDDY: All right.
Hey, boys, bring it down a notch.

Okay, let me make it simple for you.

Anybody coming to see this movie
is not going to care about your lights

if they can't connect with the actors!

GORDY: You're impossible.

(LAUGHING) You are impossible.

Nobody can talk to you.

FRANCIS: I'll light it.

I can light it!

Look at this guy!

Let him go. No, let him go!

- Gordy, come on.
- No, no!

He's being an asshole!

He acts like this is just
between him and the actors.

There's 150 fucking people
on this crew, busting their asses,

trying to make this work for him!

He has no appreciation for anyone.
And I'm done with it. I'm done.

Okay. Listen to me, Gordy.

You leave, there's a good chance
those 150 people are unemployed, okay?

So I'll fix this, okay?

But you got to give me
a chance to do it, okay?

Please.

I'll finish the day.
But that's it unless he apologizes.

- Fuck.
- (SIGHS)

Coppola thinks he's a god,
but the product is a mess.

First Pacino,
now everything's incredibly dark,

and Brando's a mumbling fool.

The scene Coppola shot
in the Don's office is unusable.

The star of the scene
is a goddamn cat.

The DP is this close to quitting
and the crew is not far behind.

So what's our solution?

We need to get rid of Coppola.

Right after we get rid of Pacino.

Aram should take the helm.

He's been on set the whole time,
he knows the footage.

He can fix this.

Fine.

Put together the worst set of dailies
you possibly can.

We'll show Charlie.

And if it's what you say,

the two of you
better be ready to take over.

Good.

I don't apologize to anybody,
unless it's my mother.

And even if I had a reason
to apologize to her,

my father would kill me
before I had the chance.

A lot of people want us to fail,

and even more of them
want you to fail.

I'm aware. Thank you.

Gordy isn't one of those people.

He's not hearing me.

Francis, listen to me.

You're the director of this film.

But you can't achieve your vision
unless you have the crew on your side.

You can't do it all on your own.

You need them
and you really need Gordy.

So do the right thing and apologize.

- Just pretend he's your mother.
- (SIGHS)

(GRUMBLES)

Thank you.

(EXHALES)

EVANS: Hey, Ruddy.

There he is. There he is.
My favorite producer.

RUDDY: I didn't know
you were coming today.

- Yeah, why not?
- We're on the last scene now,

and then we're wrapped for the day.

Good, 'cause we're going out, bubbe.
Grab your coat.

And maybe spritz yourself
with some cologne.

You got that sweat smell. Phew!

It's called working.

- Where are we going?
- We're going out.

We're gonna fuck this town in half.

(EXHALES)

(HARD ROCK MUSIC PLAYING)

Whoa.

(CROWD CLAMORING)

Ruddy, welcome to paradise.

Shall we?

I think so.

Sure you know what you're doing?

If I don't, maybe they'll teach me.

Lighten up, Ruddy.
We're shooting a movie.

We're the kings of New York.
You know what kings do?

Whatever the fuck we want.

Let's have some fun. Right, girls?

Come, all ye faithful!

That's it, baba.

Bring it in. Show me the hooch.

Get on the dance floor. Yeah.

Come on, Ruddy. That's it.
Show me the cooch. Oh, yeah.

(HARD ROCK MUSIC CONTINUES)

(SNORTS DEEPLY)

You lose someone?

Yeah, the guy I came with.

Tall, dark, emotionally unstable.

- Ah, the king.
- Yeah, sure.

He left with his twin subjects
ten minutes ago.

Fuck.

If you're worried about him
making it home, don't.

He's not going home.

Yeah.

Have we met?

No. But I saw you on the dance floor.

Oh.

Great.

I'm not a very good dancer.

No argument there.

(BOTH CHUCKLE)

I'm Al.

Rosie.

You come here often?

(LAUGHS)

Really?

Genuine question.

Only for work.

What do you do?

I designed it.

Which part?

All of it.

Very impressive.

You wanna get outta here?

RUDDY: And take the Mona Lisa,
for example.

Arguably the most famous painting
of all time, right?

But that was only after it got stolen
before the First World War.

It got a lot of press.
And is it a good painting?

Yeah, it's great.

The enigmatic smile, and all that.
But is it the best?

I don't know.

For me, personally,
it doesn't exactly...

- Inspire you?
- Yeah.

But that's because
I don't know any better.

You don't have to know anything
about art to appreciate it.

Did you ever see the moon landing?

- Who didn't?
- Inspiring, huh?

How do the rockets work?
How did they land?

How did they know how to make
their way back to this tiny planet?

I don't know either. (CHUCKLES)

But we don't have to know.

We can just enjoy
the spectacular wonder of it all.

- Hey.
- Hey.

What are you still doing here?

My grandmother told me to never let
a woman walk home alone at night,

so here I am.

So, you've just been waiting for me?

- Yeah.
- (CHUCKLES)

- How chivalrous.
- Yeah, I know.

(LAUGHS)

Where do you live? I don't want
to take you out of your way.

No, that's okay. I live in Brooklyn.

Same part as I grew up in actually.

- Really?
- Yeah, my grandma's real old,

so I stop in from time to time
to make sure she's okay, you know?

That's pretty sweet.

Yeah. My mom died when me
and my brother were really young,

so she's the one that raised us.

It's home.

Yeah, it'd be nice if there was
one nice bed in the house but...

- Hey!
- Hey, where do you think you're going?

(BOTH STRUGGLING)

Oh, my God!

(BOTH GRUNTING)

(GASPS, TREMBLING)

Oh, shit.

You all right?

- What happened?
- It's just my watch. I...

(STAMMERS) It's fine.

I'm okay. Thank you.

If I'm going to consider dating you,
I have to know some things about you.

Ask me anything you want.

Are you an honest man?

Yeah, I am.

Are you married?

- No.
- But you were?

- It's complicated.
- No doubt.

So, what do you do, Al? Hmm?

Movies. I make movies.

So you're a director?

No, I'm the producer.

- So, you write the script?
- No.

But I put it all together.

(LAUGHS) What does that mean?

Tell you what,

why don't you come to set tomorrow
and I'll show you what I do?

Well,

I guess you just got yourself
a second date.

(CROWD CLAMORING)

There's my guys.

Hey, saw everything from yesterday.

It looks really good.

- I hope so.
- How's the coffee?

- Shit.
- Terrific.

It's always shit.

Hey, buddy. Do me a favor.

I got a girl coming to set today,
I need you to keep an eye out for her.

All right. You got it, Al.

Oh, and don't hit on her.

- No promises.
- FRANCIS: Has anyone seen Pacino?

He's right there.

- Why is he not in wardrobe?
- I don't know.

But the kid better bring
his A game today,

otherwise we're fucked.

- Hey, Al.
- How are you?

Uh...

Hi, Al.

Francis, can we talk
for a second, please?

Yeah, of course.

Uh, Francis, why'd we...
Why'd we move the scene up today?

Just wanted to give you
a chance to shine.

Uh, yeah.

They... They wanna fire me,
don't they?

Listen to me. Look at me.

We're not gonna
let that happen to you.

Uh-huh.

- All right?
- Mmm-hmm. Okay.

Come here. I wanna show you something.

All right.

Props?

Who's back there? Bruno?

Hey, pal, do me a favor.

Give us a moment. Thank you, sir.

Okay.

- So, when you come in here...
- (EXHALES NERVOUSLY)

- I want you to be extremely nervous.
- -(SIGHS NERVOUSLY)

That shouldn't be a stretch, Francis.

- Got you.
- Out there,

you're trying very hard
not to show it.

But in here,
the reality of it all hits you.

Boom. Here, okay?

- Take a moment.
- Mmm.

This is where you gotta step up.

This bathroom.

This is the birthplace
of the future Don, Michael Corleone.

Come in here.

Where's the gun gonna be? Here?

Behind the tank.

- Good. Try that.
- All right.

But I do want a moment...

- Uh-huh. Uh-huh.
- Before you go for the gun, okay?

So you look up, you see the tank.

You don't know,
was Clemenza even able to plant it?

Right? That's the motivation.

Then you go... Go for the gun.

Where should I put it?
My pocket? My belt? What do you think?

Where does it feel natural for you?
Put it wherever feels right.

So, I'm gonna take it and...

In here, we're nervous.

Out there, we're playing somebody

- trying not to be nervous.
- Not to be nervous.

Look, you got it. All right?

- Go get dressed.
- Okay.

- You got it.
- Yeah, okay. Thank you, Francis.

All right.

(SIGHS)

Bruno.

Do me a favor.

When you put the gun back there,
don't put it there.

Put it to the left.

Yeah. And like six inches higher.

That's perfect. Do not tell him, okay?

Good man.

RUDDY: You picked a good day.

I mean, this is
one of my favorite scenes in the film.

So Michael's
about to sit down to dinner

with these two guys
who tried to kill his father.

They want peace,
Michael wants revenge.

So this is a gangster film?

It's more than that.

I'm sorry. I still don't really know
what it is that you do.

CHARLIE: Ruddy.

Hey, Charlie.
I didn't know you were coming today.

Yeah, I saw the dailies.
They're terrible.

They're too dark.
And what's with the fucking cat?

I couldn't hear a goddamn thing
over all that purring.

They weren't ready
for you to see, Charlie.

They still need to be color timed
and engineered.

But Francis is getting
some amazing footage.

You gotta trust me.
It's gonna be great.

Yeah. Trust has to be earned, Ruddy.

Let's see what the little shrimp
can do.

Charlie.

- They let you out of the tower, huh?
- (BOTH CHUCKLING)

- You need a bath.
- Oh, nonsense.

Women find
my natural musk intoxicating.

Hey. Bob, we still got
a little bit of time

- before the scene.
- Sure.

So I got a nice trailer set up for you
if you want it.

Oh, I knew you were a good producer.

All right. Yeah, sure.
Why not? Yeah, yeah.

Good.

Take him to my trailer,
get him a coffee and water.

Copy.

Can I get you anything?

How about a big steaming pile
of elephant shit?

Because this looks like
a goddamned circus.

The thing about the circus is,

when you're staring at a guy
put his head into the mouth of a lion,

you completely forget
about the elephant shit.

Come here. We've got a problem.

The restaurant owner
wants us out of here.

All right, I'll handle it.

Go handle this.

I'll be right back.

- Hey, Charlie.
- Bettye.

That's the worst smile
you've ever given me.

Only because I didn't mean it.

Hey, uh, get me a martini.

It's not a real bar, sir.

Boys, boys, boys.

(CHUCKLES)

So, what do you do on the movie?

I manage.

- What do you manage?
- Whatever I have to.

Sounds like you and Al
sort of do the same thing.

Yeah. He just gets paid a lot more.

(BOTH CHUCKLE)

SPIRACHIO: Four hours.

Now, you say four hours,
and it's already been six.

And I gotta get ready
for the dinner crowd now.

Mr. Spirachio, we're more than happy
to pay you for the extra time.

No. I don't want any more money.
I want you out. Now!

I feel like we can work something out.
I'm gonna grab my locations manager.

No, no more talking.

I want you to take all your people
and leave my restaurant.

(SPEAKING ITALIAN)

What is it with this guy?

Okay.

This is Mr. Spirachio,
he owns the restaurant.

- Nice place.
- No, I want youse out.

We just need a couple more hours.

- No. No more hours.
- Don't let him call anybody.

No more minutes. You had enough.

I want you out. No, I don't...

- Hey! Come on! What?
- Come on. Get...

(MUFFLED YELLING) Goddamn it,
let me out!

Once I get in there...

Movies.

(GUNSHOTS)

(TABLE CRASHING)

Don't worry, Charlie. It's not real.

And cut!

I've never seen you
look at anyone like that before.

I might be a little jealous.

I'm happy
he's not just burning my money.

Come on, Charlie.
Admit it. You love him.

I don't love anybody, but I like him.
I like him!

That Don, huh?

Al, that was really something.

All right. Ready to go again.

Get over here.

That's what they call
method acting, Charlie.

Thank you, Mr. Hollywood.

So glad you spent time
as a shitty actor,

so you can illuminate us all
on useless crap.

- Hey.
- Hey, I think I'm gonna head out.

- You sure?
- Yeah.

You don't wanna see more...

- More of that?
- I've seen more than enough.

- All right. I'll walk you out.
- Thank you.

Thank you so much.

I think I understand what you do.

You're a problem solver.
You're a ringmaster.

Something like that.

Holy shit. What is this?

That's a prop.

Horses are supposed to represent
courage and freedom,

and to cut off its head...

That's America right there.

This is art.

Most women like jewelry,
but if you like it, you can take it.

Really?

Yeah. Knock yourself out.

(CHUCKLES)

All right.

Thank you.

Call me.

Hey, Bettye. Let's grab a drink.

Another time, Charlie.
I got somewhere to be.

3-1 odds. They're still setting up.

I feel like I upset you last night.

I just don't like violence.

Okay.

Guy did rob you, though.

I know. And I appreciate you
sticking up for me.

But it was just a bag.

I understand.

I'm sorry, Bettye.

It's okay.

You didn't get this from me.

Great. Thanks.

What the hell
you need this for anyway?

What, do you want
my social security number too?

Get the fuck out of here.

Not bad, right? (CHUCKLES)

- Okay, come in. Everybody in.
- Everybody in.

Jesus Christ.

We really need
to upgrade your office, Ruddy.

We're working on it.

Listen, Charlie saw the dailies
from the Don's...

Shake it somewhere else, sweetheart.

Charlie saw the dailies from
the Don's office, and he hates 'em.

He said they're too dark,
and he can't hear anything.

Of course they're dark.
I haven't color timed 'em yet.

His lighting is gonna be gorgeous,
okay? It's gonna be like a Caravaggio.

You understand, Evans.
The light and the dark.

Calm down, Francis. I'm on your side.

Gordy, you color time
those dailies tonight.

Ruddy and I will show Charlie
first thing in the morning.

All right, all right? Good.

I don't understand. How the hell did
Bluhdorn even see the dailies again?

I didn't release them,
you didn't release them.

No, but I bet I know who did.

Do you wanna share?

- Who released them?
- Yeah. Who did?

Hey. Hey, Aram.

I told you nobody sees the dailies
unless I approve it.

Why are you showing 'em to Charlie?

If you have a problem, talk to Jack.

What about it, Jack?

I told Aram
to show Charlie the dailies.

You can't do that.

Mr. Producer,
you seem a little confused.

I'm the vice president
of production at Paramount.

I can do whatever the fuck I want.

- Fucking snake.
- Hey, Al.

Joe wants to see you.

- What is this?
- The address.

Brooklyn.

You must be Mr. Ruddy.

- Please call me Al.
- (CHUCKLES)

Welcome to our home.
I'm Joe's wife, Madolina.

So nice to meet you.
Thanks for having me.

He never invites anybody over.

I'm so thrilled
to have someone to cook for.

Come on in. Joe's waiting for you.

JOE: I hope you came hungry.

There he is.

- This is so thoughtful, Joe.
- Only the best for my friend.

- Look at that, huh?
- Wow.

JOE: You want something to drink?

RUDDY: Oh, my God.

That was the best meal I've ever had.

- Yeah?
- Yeah.

- Oh, you're too kind.
- You have to roll me out of here.

(BOTH LAUGHING)

All right.
I'll start the espresso. All right?

- All right.
- Let me take your plate.

- I can help.
- Leave 'em.

- No. Please.
- Leave 'em. No, Al. Sit down.

- You're sure?
- Yeah. Sit down.

Thanks, bubbe.

She's some cook.

She's a good woman. I'm a lucky man.

I would gain 80 pounds married to her.

(LAUGHS) Well...

(BOTH LAUGHING)

Hey, so, Lenny
was a little on edge today.

I had to break up a fight
between him and the caterer.

He was saying something
about Joe Gallo.

Lenny's fine.
Ain't nothing to be concerned about.

Okay.

How about you, though?
Everything okay?

Are you worried about me?

- (CHUCKLES)
- Yeah, maybe.

Well, thanks. I got it covered.
I got it covered.

All right.

You see that right there?

This was the first rally.
50,000 people showed up that day.

That's impressive, Joe.

That ain't nothing.
Tomorrow is supposed to be a lot more.

- Is that your boy?
- Yeah. He's a good kid.

He's smart, he's personable.

I'm gonna get him into law school
and then politics.

- Politics?
- Yeah.

I like the sound of "Senator Colombo."
What do you think?

- That's got a nice ring to it.
- (LAUGHS)

So no family business for him, huh?

No, no, no.

No, he's not cut out for this life.

You're probably the only guy
I can admit this to, but he's soft.

He doesn't have it in him.

You have to learn early in life

if you're the kind of guy
who could hit somebody over the head

with a baseball bat,
you know what I mean?

Yeah. If we're being honest,
I don't think I can do that either.

I got no problem
standing up for myself,

but I don't know if I could do that.

I think that's why I like you.

And you're sure you don't wanna take
some of this gnocchi?

- No, I can't.
- You might get hungry later.

I'm not gonna be hungry
for a year after that.

We gotta do this more often,
you and me.

Say the word, I'm there, buddy.

You're welcome here anytime.
You know that.

- Thank you.
- You gonna be at the rally tomorrow?

Wouldn't miss it for the world.

But you know I can't get on stage
with you this time.

(JOE LAUGHS)

Fair enough.
I'll save a place for you up front.

- See you, Joe.
- All right. Bye. Bye.

- These aren't the same.
- They are. They're just color timed.

What does that mean?

It's technical. It doesn't matter.
Do you see what we see?

Stop.

It's beautiful.
I can't take my eyes off Brando.

- I'm glad you're happy, Charlie.
- Now, do you trust us?

(GRUMBLES) As far as I can throw you.

Oh, uh, just one more thing.

I need your blessing on something.

Everyone wants my blessing.
What am I, a fucking priest?

I like how the red pops on the gold,
that's nice.

But I want more.

Like a lot more.

Yeah, everywhere.

Get Aram and Jack in here
and clear the set.

Okay everybody,
let's clear the set, please.

That's not fucking real, right?

No. Of course not. Come on, Bob.

Well, fuck me. Props to the props.

Hey! Hey! Whoa, watch it.

- Jesus.
- Hey, Jack.

Bob.

- What's going on?
- Wow.

- Out of sight. Wow.
- Yeah.

Looks great.

You like that?

How can I put this delicately?

You're fired,
you backstabbing son of a bitch.

Get the hell off my set.

- Okay, wait a second.
- Why don't you get the fuck

outta here too, Jack?

Listen, Mr. Producer,
that's not the way this works.

- You can't do that.
- But I can.

Excuse me, Al.

Jack...

...you're fired.

And to quote something
I heard mere seconds ago,

get the fuck off my set.

Let's go.

BALLARD: This isn't over, Evans.

Oh, we'll agree to disagree on that.

Oh, Jack, you got a little blood
on your collar.

It's right there.

Right there, pal.

- Who wants a drink?
- Ooh.

I can't. I got somewhere I gotta be.

Oh, rain check? Francis?

- Absolutely.
- Ah...

- Francis. Good touch.
- That felt very good.

You know what, man? That fucking head.

- That's something, right?
- FRANCIS: Yeah.

EVANS: That's something.
It could be iconic.

- Great work today, Marlon.
- Mmm.

Not as great as the show back there.

You should have
charged admission for it.

You saw that, huh?

Listen, it's not going
to affect production.

- Trust me.
- Oh, no, no.

I'm not worried about the production.

As long as Francis is at the helm,
the rest of it's just white noise.

I guess that's the funny thing
about power.

What's that?

The ones who truly have it,
don't gotta talk about it.

(CROWD CHEERING)

(CROWD CHANTING SLOGANS)

(GUNSHOTS)

(AMBULANCE SIRENS IN DISTANCE)

(DRAMATIC MUSIC PLAYING)