All language subtitles for The.Offer_.S01E04.1080p.WEB_.H264-CAKES

COLOMBO: 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
fucking 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.

[soft dramatic music]

♪

[dramatic fanfare]

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.

I had to go.
No, you didn't.

I had to support Bob.
"Love Story" is his baby.

Well, it's his baby,
not yours.

You didn't want to go,
you should have stayed home.

Oh, 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, huh?

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, 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 want to have
a real conversation now.

We're talking now, aren't we?

The fact that you think so
is the fucking problem.

[lively music]

EVANS: I already live
on a mountaintop.

Hey!

Last night
was out of sight, right?

PERSON:
How 'bout those reviews?

Reviews?

The critics
are raving about it.

[cheers and applause]
Todd, my usual.

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

Well, maybe
a little bit louder.

Bob, what a film.

You made
the classic tearjerker.

I mean, if Louis 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.

With literally zero cast

and more budget concerns
than the Fed.

PERSON: 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, mm-mm, no.

Thank you very much.
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.

Mm-hmm?

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?

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.

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.

Morning.

So this is
the Marlon Brando's house.

[gate buzzes]

I imagined it differently
in my head.

[wind chimes tinkling softly]

Mario.

When I, uh, got your letter,

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

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

Well, 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"?

Uh, no.
No.

Not yet.
I've never heard of it.

They call 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

or not saying what they--
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.

[sighs]

You'd like to know
my motivation

for being here
and 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.

That's the real reason.
[chuckling]

It's not for the money.

[all laughing]

I see you.

Come on.

BETTYE:
Hello.

Come on, Bettye.

RUDDY:
She works for me.

Ah.

You know, ever--
ever since your letter,

I keep thinking about the Don.

It's all I see anymore.

[clears throat]

I was--

I was thinking maybe--

maybe the Don
got shot in the throat,

which--which
affected his voice.

Maybe--maybe his jowls
droop like a bulldog.

Huh.

Kai.

Bring me the black shoe polish.

[soft dramatic music]

♪

[camera whirring softly]

Buona sera, buona sera.

Thank you again.
PUZO: Bye, Kai. 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 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.

BETTYE: 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.
PUZO: 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's
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 them 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.

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 want to do a puff piece,

or you want to 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?

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.

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--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.

[sighs]

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.

[soft dramatic music]

♪

Okay.

♪

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

so thank you.

♪

SINGER:
♪ Baby, you're laughing

♪ But I'll be around for
a while, yeah, yeah, yeah ♪

Ah, man, the area
north of 120 is no good.

Could cause us some problems.

See something you like, huh?

Could arrange an introduction.

All right.

Let me know when window
shopping turns to buying.

[both chuckle]

♪

SINGER: ♪ Do the shing-a-ling
or the funky Broadway ♪

♪ Too, too sad

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?

[both chuckle]

CARMINE:
From Colombo.

$1,000?

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.

[engine rumbling]

[brakes squealing]

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.
Oh, what, another scone?

Nah, something much better.

Gianni, you cannot just
bring your reel.

I can't just what?

Al'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?

[chuckles]
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.

Ha! 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.

How the fuck you know
what Bluhdorn likes?

'Cause I did my homework.
Oh, teacher's pet.

What about
Falk for Moe Green?

Can we get him
out of his 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 a great actor.
Changes nothing.

What about Brando?
We don't have Brando.

What we have
is a silent 8-millimeter 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 is a schmuck.

Typecasting at its best.

Show it to Francis.

[scoffs]

Who?
Don't ask.

I'll 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 want to 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.

[smooth jazz playing]

♪

EVANS:
I love this tune.

Yes, mama.

Hey, baby.
Hello.

You smell good.
Mm.

[phone ringing]

It could be important.

I got it, I got it.

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,"
the 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.
[laughs]

BLUHDORN: Yeah, run
the agreement and get it done!

Get the car ready.

Hello.

Mr. Director.

Charlie,
can I get a minute?

No.

[elevator bell dings]

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?

[whispering]
Thanks.

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 rings]
Anyone?

Yes?

Got it, got it.

It's Charlie.

He wants us to watch something.

Huh?

Hi, Charlie.
We're starting now.

Mm.
[projector whirring]

Who is that?

Is that Rod Steiger?

That's not Steiger.

Look at those eyes.

BART:
Is that Brando?

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.

BLUHDORN
And puts up a bond.

Make it a million dollars.

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

Sure.
[line disconnects]

[upbeat dramatic music]

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.

It'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.

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

Yes, you do.

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

[soft dramatic music]

"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 is gonna
want to 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.

One low-budget biker film

and a sitcom
that he walked away from--

that's his résumé.

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.

[door opens]

EVANS:
I gotta tell you, Marlon,

Jimmy Cagney told me
he thinks that you are

the transformative actor
of your 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 the 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 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.

That means so much to me.

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

Well,
I'd love to hear it, Marlon.

Who are you thinking?

Well, he's a--

he's a great theater actor.

He won an award
for "Tiger in the Bowtie."

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

and to the left.

How was your flight?
Long and bumpy.

And?
Everything at home?

Don't ask.
Roger that.

Hey, anything on Brando?

Home run on the offices,
Ruddy.

That's all Bettye.
Aww.

Your office is right here.

I've got Evans.
In my office.

[clears throat]

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 his signature.

This is your shot, Ruddy.

You nail him down.
[line disconnects]

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.
GOLDSTEIN:
You're one lucky SOB.

Mr. Brando
never wants to work,

but I convinced him
for 100 grand a week,

five-week guarantee,

with his usual perks
to do your movie.

Way to go.

Irv, it's a $4 million picture.

Everybody works for scale.

GOLDSTEIN: Then Marlon
isn't in the picture.

That's right.
GOLDSTEIN:
Who else you gonna get?

There's always
somebody else.
No, there's nobody else.

Irv, Andrea Eastman here.
GOLDSTEIN: Oh, Jesus.

Do you know who passed
on "Casablanca"

before Bogart took the role?

GOLDSTEIN:
Yeah, Ronald Reagan,

I know that one.

Tell Coppola
Reagan's available.

Reagan's, um--

The deal
is scale plus five points

once box office
hits $50 million.

GOLDSTEIN:
Pass.

Here comes Anthony Quinn.

No!

What are you--
what are you doing?

Bottle of Dom Pérignon
he calls back in five,

four, three, two, one.

Fuck.

[phone rings]

It's Goldstein.

Yes, I will connect you.

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

GOLDSTEIN:
You go over, you pay.
That's right.

GOLDSTEIN: Welcome
to the world of Marlon Brando.

[exclaims]
[chuckles]

What--how did you know
that he would call back?

Because he needs us
more than we need him.

[knocking on window]
Al Ruddy,

you're under arrest.

Sonny.
What's up, buddy?

You don't start till next week,
you know that, right?

Yeah, yeah.
Yeah, okay.

Uh, everybody,
this is Sonny Grosso.

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

He's from "French Connection."

That was me.

Billy Friedkin
is a good friend of mine.

Billy is the best.

You got a second to talk?
Yeah.

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

RUDDY:
Yeah, good.

Finally getting going
on this thing.

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?

Getting into bed
with Joe Colombo?

That's a bad idea.

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

You 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 the boss,
Albert Anastasia.

He recently got out of jail.

What's that got to do
with me?

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--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 that you wanted us to.

I'm not coming back, Al.

Not to this.

I want to be with you.

All of you

or none of you.

[soft dramatic music]

♪

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.
Yeah.

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.

Whoo!
[chuckles]

Well, 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.
[chuckles]

I'm sorry, Bettye.
I'm not.

I am not gonna change
for anyone.

What I want or who I am.

[inhales deeply]

[sighs]

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.

[sighs softly]

Cheers.

♪

SINGER:
♪ Like you hurt me

Morning, Bettye.

Need you 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?

COLOMBO:
Is that Al Ruddy I hear?

[upbeat dramatic music]

♪

Joe.
What are you doing here?

Look at his face.

Look at--
look at the worry on his face.

He does look
fucking worried.
[chuckling]

I'm not worried.

What is this?
It's a cannoli.

It's the best cannoli
in Brooklyn.

Joe, you didn't
have to do that.

I appreciate it.

Hey, look at this.

Look at this.

That's for you right there.
Oh.

Hey.

Have 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.

Problem for you too.

I may have
a solution to that.

He doesn't want
to be humiliated, right?

Yeah.
That Fontaine 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.
CAESAR: A mensch.

I'll make sure to tell
Frank personally.

Please do.
All right, bye. Bye. Bye.

Thanks, Joe.
COLOMBO:
Bye.

COPPOLA:
Damn it!

We lost the Staten Island
compound.

That was Lovano.

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...

BETTYE: Al? Al.
When I saw the house--

The world's looking for you,
including Bluhdorn.

He wants to you by end of day.

Okay.
Francis, I'll deal with it.

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

Okay.
All right?

Hey.

What's that about?

Colombo pinned me.

[chuckles]

That meant something
very different

when I was in high school.
[chuckles]

LAPIDUS: "The Godfather"
is important,

but it's becoming a problem.

What's the problem?

We just got Brando.
We're greenlit.

LAPIDUS:
The problem is the bad press

that the picture is getting.

I mean, Sinatra, Biaggi,

it's coming at us
from all sides.

Ruddy, we want to
give you some help.

What kind of help?

Al...
[clears throat]

We should be partners.

No.

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: 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's 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 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?

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.

[laughter]
All right.

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

Now that we are
finally greenlit,

we can really get
the ball rolling.

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 artists.

Captain, my captain,
Francis, toast.

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, so...

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.

Um...

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.

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."

ALL: To "The Godfather."
To "The Godfather."

All right.
Okay, enjoy yourselves.

Wh--where 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?

That was kind of
a weird toast.

Look, Van Gogh
paints sunflowers, okay?

He needed 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
is not gonna quite work,

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.

Is everything okay?

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

I'll take care of it.
Yeah.

Hey.

Some of your special friends
are here.

I just want to 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 overhead 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.

[chuckles]

[tense music]

♪

You remember him?

Peter, Peter, stop crying.

I ain't gonna hurt you.

I don't want no trouble.
Please.

I have a family.

COLOMBO:
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?

But 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 want to rethink that?

I'll do it.

Take the house.

No money.
COLOMBO:
No, you're gonna get paid.

After all,
what are we, animals?

Take him home.

Al, come here.

♪

Oh, thank God.

Al.

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.

[gasps]

You said you need
to talk to Charlie?

He'll be at the Belmont
Race Track tomorrow morning.

How do you know that?

I'm supposed
to meet him there.

["Call to the Post" playing]

♪

[horse whickering]

What the fuck
are you doing here?

Expecting someone else?

Ha, 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.

[soft dramatic music]

♪

EVANS: Honey.
ALI: Hmm?

I booked a private dinner
at Perino's tonight

with all the key foreign press
for the Golden Globes.

ALI: We've gone out 11 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.

[phone rings]

Okay.

RUDDY:
Shut the door.

Mm-hmm.

[breathes deeply]

EVANS:
You motherfucking Judas.

I warned you
not to go around me.

RUDDY:
Bob, look,

that's not
what I was trying to do.

EVANS:
You ungrateful fuck.

Charlie Bluhdorn sells
auto parts, sugar, cigars,

and a tiny part
of his business 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 Carridi.

Well, then you
fucking unset him!

[phone receiver slams]

Ah, f--
[sighs]

I'm not gonna do that.

Fucking Francis.

Caan's not gonna hurt
the movie.

Okay, so he's not Carridi.

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 I have to do.

But, hey,

I want to call Bob, and
I'll tell him that Caan is in.

Good.

Al, thanks.

We're good.

Scotch, neat.

Sorry I'm late, gang.
You didn't tell him, did you?

No, scout's honor.
Tell me what?

Um, Francis
wanted to be here,

but he's deep into prep.

[sighs]

It's official.

You're Michael Corleone.

You got the part, kid.

Evans approved you.
You're opposite Marlon Brando.

[exhales deeply]

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]

I am truly sorry.

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

Good luck to you.

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.

[exhales deeply]
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.

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've 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 mantlepiece.

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.

♪ [Procul Harum's
"A Whiter Shade of Pale"]

♪

SINGER: ♪ We skipped
the light fandango ♪

♪

♪ Turned cartwheels
'cross the floor ♪

♪

♪ I was feeling
kind of seasick ♪

♪

♪ But the crowd
called out for more ♪

♪

♪ The room
was humming harder ♪

♪

♪ As the ceiling flew away

♪

♪ When we called out
for another drink ♪

♪ The waiter brought a tray

♪ And so it was that later

♪

♪ As the miller
told his tale ♪

♪

♪ That her face,
at first just ghostly ♪

♪ Turned
a whiter shade of pale ♪

♪

[mellow funk music]

♪

♪

I'm gonna make you an offer.

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

(DRAMATIC MUSIC PLAYING)

CHARLES: We're done.
Get the fuck out of my office.

How did it go with Evans?

I need your help.
Boy, did you come
to the wrong place.

So not well?

Making movies has become
too unpredictable.

ANDREA: We've got a problem,

he signed a contract
for another movie.

Can't I just have
one good moment?

MAN: FBI!

I got plenty of friends
who wouldn't mind

taking a shot at you.

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

Al, this is really scary.

You did the right thing
by coming here.

AL: We are still
making the movie

that we all set out to make.

What's right here
is what's important.

(GUNSHOT)

Family.
ALL: Salute!

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.

Look at those eyes.

Is that Brando?

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

I love it!

How do you play Marlon Brando?

He was the greatest
actor of his generation.

NIKKI: From the moment
that Justin Chambers

went and sat down
as Marlon Brando,

he just rocked it out.

Thank you for allowing me
to come into your life.

You're Marlon Brando.

The biggest challenge
I think for Justin,

was not to do an
imitation of Brando,

and he doesn't.

He's Brando.

He's amazing.

They call me burned-out Brando.

I haven't heard that.

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

He was quite open about wanting
to honor the two legends

that he was taking on,
this legendary performance,

and the legendary actor
that was responsible for it.

You'd like to know
my motivation for...

for being here and
sitting with you?

ADAM: Because he knew
that I was
an actor as well as a director,

I think he trusted
my appreciation

of how intimidating what
he was taking on was.

(LAUGHTER)

I see you.

JUNO: I'm sort of hiding

and he clocks me

and says, "I see you.
Come in and sit down."

Come on.

JUNO: It was uncanny, how much
he looked like Brando.

And then the way he held a room

with the pauses and with
the volume of his voice

and the power that he
managed to portray.

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

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

In Justin's case,
it really was like

a double transformation
he had to make,

because he had to take
on becoming Brando,

and then as Brando, transform
himself into Vito Corleone.

(HOARSELY) Maybe the Don got
shot in the throat,

which uh, which
affected his voice.

Both of those things he does,
I think, quite masterfully.

I'm very happy with how
the scene in which he transforms

into the Don turned out.

And we did it very
impressionistically.

We just showed glimpses,

so that this transformation
was something

that we almost felt
before we saw it.

Bonasera, Bonasera...

ADAM: There's something
very empowering

about an actor to
be doing something

and then see the characters
that you're working with

impressed by that.

It sort of reflects your own
power back to you in a way.

That was a pretty
spectacular thing
to be a part of.

I knew that the effect
was gonna be magical

on the other cast members.

They were all in awe of
what Justin was doing.

ADAM: And cut!
Beautiful.

I thought he was extraordinary.

Tissue paper and shoe polish
and Brando disappears.

He's a genius.

So does Justin Chambers
pretend to be Brando?

Yeah, we all do.

They're actors,
yes, they pretend.

But his performance really
has all the subtleties

of a man who has
a deep inner life

and a deep inner monologue

that's constantly,
constantly running.

That was incredible.
Yeah.

My God, what an actor.

It's like... (BLOWS RASPBERRY)
...magic every day.

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