Original subtitles

GALLO: Carmine. Lenny. LENNY: Is there some place to go?

You don't feel safe here in Harlem?

BETTYE: Carmine. RUDDY: Fuck.

Al, this is really scary.

JOE: You did the right thing by coming here, Al. I appreciate that.

RUDDY: Pacino can't do the film. He signed on to another project.

I need you to get him out of it.

You have got to be fucking kidding me.

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

Pacino does The Godfather. Everybody wins.

You got Pacino? You got him!

Al, there are two FBI agents waiting for you.

CAESAR: We need to take Gallo out now.

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

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

CHARLIE: This is turning into a fucking fiasco.

- We should be partners. - No.

I hear that Paramount's getting spun off.

Gulf and Western want out.

BARRY: We can get a much better price

if we off-load Paramount now and cash out.

- Come work for me. - You're selling Paramount.

RUDDY: Big day tomorrow. FRANCIS: They said that

this was not going to succeed.

You made it happen.

JOE: After intense negotiations with Gulf and Western,

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

And it's all because of this man right there, Al Ruddy.

(AUDIENCE APPLAUDING)

(THEME MUSIC PLAYING)

JOE: I'd also like to announce

after intense negotiations with Gulf and Western,

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

(AUDIENCE APPLAUDING)

That's right.

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

Al, come up here.

He's the film's producer.

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

Fuck!

JOE: This is the man solely responsible

for the alliance between the Italian League,

Gulf and Western, and Paramount Pictures.

Fuck!

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?

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

REPORTER 3: How does Paramount Pictures feel about this, Mr. Ruddy?

- Fuck. - (KNOCKING AT DOOR)

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

How does Gulf and Western feel about...

(KNOCKING CONTINUES)

- Hey. - What the hell, Al?

I take you're not here to pick me up for our first day of shooting.

I would be

if you hadn't decided to make your romance

with Joe Colombo official.

You really think that was my decision?

- Why didn't you tell me? - Because...

- (TELEPHONE RINGING) - Do not answer that.

Maybe nobody's seen it.

Are you kidding me?

Everyone in the five boroughs has seen this.

Look, I walked into an ambush, okay?

Joe invited me down to the League office.

I had no idea that he was going to do what he did.

You need to tell Charlie that.

I need to go to set because I promised Francis

I'd be there first thing.

No. Bluhdorn first.

Francis needs you to keep your job, Al, and so does the rest of the crew.

Fine. Relax, nobody's losing their job.

(TELEPHONE RINGING)

- I wish I had your confidence. - It's kind of all I got.

Barney says we're going to open four points down

and that there's going to be blood in the streets.

- Fuck. - And The Journal, Jesus.

"Is Gulf and Western in business with organized crime?"

I don't need you reading me the fucking papers.

Where's the head of PR?

Where the hell have you been, Gary?

I... I was just...

We've been monitoring the situation.

CHARLIE: "Monitoring the situation."

Where from, your bedroom? You're fired.

- I'm what? - Charlie...

The story broke this morning,

and now you're just starting to think about damage control?

You fucked up. You're fired.

It broke two hours ago. How is this my fault?

You're lucky this window doesn't open. Get out!

Charlie, I don't think it's prudent to fire the head of PR.

I don't believe I asked for your opinion.

Where are we on the sale?

We're still in preliminary talks.

We had four interested buyers, but after this fiasco...

Line up calls this morning.

I want Paramount off my books by the end of the day.

What do we tell Evans?

Screw Evans.

After today, that oily fuck is someone else's problem.

- (YELLS) - (SHATTERS)

- This is going to be a shitstorm. - You don't know that for sure.

The producer of my movie just shook hands

with a goddamn mobster on TV.

I've got to get to New York.

OPERATOR: Waldorf Astoria. EVANS: Al Ruddy, 304.

Are you kidding me?

Do I look like I'm kidding you? We're in deep shit, babe.

We are going to Texas, remember? My movie?

Dinner at McQueen's?

Or do you just forget every promise you make

the second it leaves your mouth?

I have to deal with this right now. I'll meet you there later.

Yes, I'll hold my breath waiting on that promise.

- OPERATOR: Hello, sir? - Yeah.

I'm sorry, Mr. Ruddy doesn't appear to be in his room.

I can leave a message, if you want?

Fuck!

I'll have the office get the jet ready.

You're literally going to New York right now?

If Ruddy manages to survive this thing,

he's gonna need backup.

And if he doesn't, I gotta be there to produce this thing myself.

Don't you have people that work for you

- who can deal with this? - Honey,

I'm the head of the goddamn studio.

I am the fucking people that deal with this.

MARIO: I'll take one of those.

- And, ooh, one with the sprinkles. - Put a 10K in that window.

- Yeah, two. - Guys.

Another five feet of track toward the corner.

CREW MEMBER: Okay.

- FRANCIS: No doughnuts? - I already had two.

Hey, thanks for getting the truck. It's very nice of you.

- All right, just about ready. - Okay, great.

- Francis. - (BOTH CHUCKLE)

We're finally here, huh?

We're making snow. I mean, this is great.

(BOTH LAUGH)

FRANCIS: Oh, it's very exciting, Mario.

We wouldn't be here without your beautiful words.

You and I make a hell of a team, hmm?

- Yeah. - Where's Ruddy?

Good question. He should be here any minute.

- Freddie! Where's Ruddy? - FRED: Yep?

Haven't seen him.

Okay. Let's do it.

Okay. Everybody, first shot is up. Lock it down.

Quiet on set.

I'm trying.

CREW MEMBER: Places, everyone.

Where's he going?

CREW MEMBER: Hold the roll!

Hold the rolling!

Off to a great start.

What do you think?

Do we really need a dozen picture cars, 140 extras

just for a shot of two people walking down the sidewalk?

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.

So what are we gonna do about it?

Give 'em enough rope.

FRANCIS: Al. PACINO: Yeah?

- You okay? - Oh, yeah. I'm, uh...

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

And holding the presents and everything,

the lines keep flying out of my head.

Yeah.

Hey, I don't really care

if you get all the lines exactly right.

Don't tell Puzo. You know?

- (BOTH CHUCKLE) - Okay.

It's the motivation, that's the most important thing.

And you got that.

Look at this beautiful girl. Look in her eyes.

Yeah? Just be in the moment with this woman that you love.

That's all I need.

All right. I could do that.

You wanna try one?

- Yeah. - Come on. Let's do it.

PACINO: I'll give it a shot.

FRED: Okay, everyone, here we go.

Did he at least yell "fore"?

You're funny, huh?

Oh, that's right. You got your start in sitcoms.

Look, is he coming or not? Because I gotta get to set.

- Charlie, I'm sure you're not... - Shut the hell up.

Save it. I don't wanna hear your fucking voice.

- What the hell is this? - Al brought you a little gift.

Ah, pastries.

You fucked me, Ruddy.

You fucked me good. You destroyed my company.

I'm sorry, but it's not my job to care about your company.

My job is to do what's best for the movie.

And I would do it all over again.

- Is that so? - Yeah, that's so.

You're in bed with the fucking Mafia for the whole world to see.

There's not a single production in this town that isn't, okay?

The unions, the teamsters, who do you think controls them?

And I'm sorry, but I didn't exactly see

anybody at this office

- lining up to deal with them. - Yeah, for good reason.

And I don't see any other producers

holding their hand on the front page of the paper!

I did what I had to do.

So either fire me or let me get to work.

There is no "or." You're fired. Get the fuck out.

Good luck finding somebody that'll do my job.

(INTERCOM BEEPS)

Mr. Bluhdorn, Mr. Dunston's here to see you.

He says it's urgent.

(ELEVATOR DINGS)

Al, what's going on? Why do you have Charlie's cigars?

He fired you.

Call Evans. He won't wanna bring on somebody new.

He's not returning my calls.

It will take them way too long to catch up,

and that's money out of their pockets.

Maybe I can talk to Charlie.

Oh, fuck Charlie. And Lapidus and Bob. They don't get it.

So make them get it. Don't just walk away.

I don't really have much of a choice.

Al, what do you want me to do?

I don't know. Go back to Oklahoma.

Go back to your pies, your husband. I don't care.

You selfish prick.

Hey! When you cozied up next to Colombo,

did you ever stop and think about what would happen?

About the repercussions?

About what that meant for the rest of us?

No, but it wasn't exactly my idea.

No one forced you to have your picture taken.

You try say no to Joe Colombo,

let me know how that works out for you.

You did it because you were thinking of nobody but yourself.

You bulldoze through life with blinders on,

just focusing on what is right in front of you,

and that is great for you and your job.

But it sucks for those of us who are stuck standing behind you,

trying to protect you from whatever is outside of your eyeline.

I didn't hire you to protect me.

You're a fucking assistant.

Go find another fucking job.

(FUNKY ROCK MUSIC PLAYING)

You know what, whatever that crazy Austrian thinks he wants to do,

we're gonna stop him.

BART: G and W is cratering. He's losing his shit.

We're ready, Peter.

Love Story's made him a ton.

If we can just get The Godfather out there.

Two hits in a row. We show Charlie, we're back to printing money.

Bottom line, baby. Bottom line. That's all he cares about.

But if he fires Ruddy, and Ballard takes over...

(SNIFFS)

It's gonna be a shitstorm for the picture.

I hate that asshole.

Fuck it.

Fuck it. I'll produce the movie myself.

Big, big misunderstanding, Dickie.

Al Ruddy is a two-bit producer who has no authority to speak for us.

He's been terminated.

We're dealing with the fallout, but we'll survive.

Survive? That's what you think I want? Look at this headline.

BARRY: It's bad. We understand.

But Charlie's handling it.

It'll be a bumpy week, but G and W is bigger than Paramount.

I told you we shouldn't be in the goddamn movie business.

- We're not... - I'm dealing with it.

I don't think you're equipped to, Charlie.

I think you need help.

I called an emergency board meeting this afternoon

so we can offload this quickly.

You better have some people ready to buy.

Fine. I'll see you at the meeting.

We'll stock the bar.

GAMBINO: You said you could control Gallo.

I'm gonna take care of it, Carlo. Don't you worry about that.

We trusted you.

You said "don't worry" once before, yet here we are.

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

I thought this was going to be peaceful, but...

This cannot escalate.

We cannot have another war.

Then what happens?

I just sit on my hands and wait for this...

while this fucking animal runs wild?

I'll talk to Gallo.

What good is that gonna do?

Huh?

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

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

It's a sensitive matter, Joe.

Come on. Come on.

I want your word that you will not take

any action at this time.

- I want your word. - Okay.

Okay. You have my word.

Okay.

Let's go.

How you doing, Joe?

You should have stayed in prison. It was safer for you there.

(CHUCKLES) Yeah.

- Okay. Hey, Joe. - What?

- For Carmine's family. - What?

JOE: Okay. Okay.

I wanna pay my respects.

It's $1,000, Joe.

Go ahead. Count it.

GALLO: Ciao, Joe.

- Good morning, Bettye. - I need to see him. It's urgent.

- It's not a good day. - This cannot wait.

Trust me, now is not the time.

BETTYE: Thank you.

CHARLIE: Where are we with buyers?

LAPIDUS: Well, yesterday we had four potential suitors

- looking to acquire Paramount. - So who are we calling first?

BARRY: But this morning, three of them called to formally withdraw their bids.

No one wants to be in bed with the mob, Charlie.

- Fucking Ruddy. - BARRY: We do have one option, though.

It's this guy out of Texas, oil money.

It's not my first choice, but that's what's still on the table.

Set up a lunch, tell Texas he has to meet us today.

- That's short notice. I'm not... - CHARLIE: Today!

Fuck.

- Cut! - That's a cut!

CREW MEMBER: Check the gate!

Terrific. It's terrific.

How did it feel for you?

- Feels great. - Feel good?

Really good for me. And thank you for taking the pressure off.

DIANE: I'm so glad we started with this scene.

So nice of you to join us after the scene already wrapped.

FRANCIS: Moving on! Ruddy.

Francis, let me talk to you for a second.

I saw the headlines,

and I thought that they were gonna fire you for sure.

They did fire me.

What... What are you talking about?

They can't do that. It's the first day of shooting.

It's done.

I just came by to tell you something before I head out.

You're going to make a beautiful film.

You've got your yellow.

- And another thing. - Yeah.

Grow eyes on the back of your head.

Ballard's out for blood.

What are you doing now?

I don't know, but there's probably a drink in my future.

You got this.

Ruddy, what...

Where's Ruddy going? Why's he leaving?

Something wicked this way comes.

Hey, Jean. Can I talk to you for a second?

Do me a favor. When we get to the next location,

I want you to find me a telephone.

You get Charlie Bluhdorn on the line, you tell him it's an emergency.

Hey, Jack, look at that. We're ahead of schedule.

A good start. Let's keep it that way.

"Keep it that way."

Hey. Come here.

Where is everybody?

Where is everybody? This is everybody.

All right. Who else you waiting on?

You.

Sit down.

It's just you and me?

Take it easy. Here, have some wine.

I got some antipasti coming.

What's the matter with you? Every time I see you,

you're choking down on some fucking hoagie,

and now, all of a sudden, you're shy?

Come on. Eat. I gotta talk to you.

Yeah, we talk every day.

Yeah, but this is a different kind of talk.

Okay.

How's your nonna doing?

She's all right.

You know, when I was a kid,

I'd be playing with my friends out on the street.

If it got late, she'd come out screaming,

waving a broom in her hand around while she says,

"Vai a casa, vai a casa, you bad boys!"

After she caught you, she'd beat the shit out of you with that thing.

But you know what?

No matter what I did, she never told my mother.

Some things never change.

She's still a tough broad.

How long have we known each other?

My whole life.

You know, after this business with Carmine...

I realized I never asked you what you wanted to do.

What do you mean?

Well, sometimes in life,

unfortunate things present opportunities.

But to take it, you've got to be ready to step up.

Really be a man.

Is that what you want?

Yeah.

Think about it.

No, I don't need to.

I'm ready.

I'm with you.

- Cin cin. - (GLASSES CLINK)

(PIANO PLAYING SOFTLY)

Barry, if you don't order steak, I'll stick you with a fork.

Oil people, they don't trust fish.

Technically, caviar is fish.

It's a delicacy. And expensive as fuck.

This must be him.

- Andy Calhoun. - Does your father know you're here?

Mr. Bluhdorn, your reputation precedes you.

Barry Lapidus. We spoke on the phone.

You spoke to my brother.

He drank a little too much on the jet, so you just get me today.

What can I get you, sir?

Sparkling water. Thanks.

How can I trust a man who drinks seltzer with caviar?

Oh, no worries there. I hate caviar. (CHUCKLES)

BARRY: Well, the steaks here are fantastic.

Ah, business works up my appetite.

I love movies, Mr. Bluhdorn. I always have.

It's a sexy business.

It's full of vagrants and lowlifes, but if you hit it right...

Love Story, have you seen it?

I took my mom.

She loved it.

Takes his mother to the movies, that's a good kid.

Calhoun, I love Paramount.

But Gulf and Western is so big

that it takes up

more of my attentions these days, so...

I'm sure recent headlines make it

a little easier to part with Paramount.

(BARRY CLEARS THROAT)

Thank you.

Your offer was definitely in the ballpark, Andy.

Oh, well, we're in a new ballpark now, Barry.

Based on the news, I would assume some sort of discount

from what we discussed.

BARRY: We're open to an accommodation, given the circumstances.

ANDY: Oh, well, I'm glad to hear that

because my first, middle and final offer is 50%.

(PEOPLE CHATTERING INDISTINCTLY)

Sorry, sweetie, no women allowed.

Really?

CAESAR: Bettye.

Hi.

What are you doing in Brooklyn?

Um...

That one right there.

Mr. Colombo.

You know, you could have called. You can call me anytime.

Thank you. I know how phones can be.

- Smart girl. Ruddy is lucky to have you. - (CHUCKLES)

Here, sit down.

Ruddy was lucky to have me.

Oh, what's that supposed to mean?

I just wanted to come and tell you in person

that Ruddy's been fired off the movie.

They can't do that.

What happened?

Don't be nervous. Here.

Thank you.

It's good.

They're pissed about this.

Look, Ruddy did what he had to do.

He's a stand-up guy that way.

The suits at Gulf and Western,

they don't see it like that.

- Is that right? - Mmm-hmm.

Well, thank you for telling me. I'm going to look into this.

Don't you worry your pretty little head, okay?

Listen, you got some stones coming in here.

All my life, I ain't never seen a broad inside.

I'm not trying to make history. I just came for Ruddy.

- Thank you. - Okay. Okay.

Come to my office.

DEAN: I can't believe they fired Ruddy.

GORDY: Who's going to produce the picture now, huh?

- What are we gonna do? - FRANCIS: "What are we gonna do?"

We're gonna make the best damn picture we possibly can.

That's what we're gonna do.

Okay.

Okay.

Good.

Michael and Enzo, right here.

They're looking down.

They see the hitmen car. It drives up to right about here.

They look up, they see them, they think they're muscle. Right?

And then they keep driving.

The next part of scene, we play here

where Michael gets his jaw broke by McCluskey.

And then we have Tom Hagen's car, stops here.

And that's it. That's the end of the scene.

We play everything on the spot.

GORDY: We'll need a 5K across the street for this.

- Like it's the moon or... - No, like a streetlamp.

Questions?

- Okay, let's do it. - All right.

Set belongs to the crew.

First shot from the street looking up the stairs.

(ELEVATOR DINGS)

(SNIFFS AND CLEARS THROAT)

We should take it.

In this climate, the faster we can sell Paramount, the better.

I know it's not what we were looking for.

(ALARM RINGING)

Big fucking Wharton bullshit, fuck!

You never show your hand, you desperate fucking idiot.

You never let them know what we're thinking!

Okay.

(ALARM RINGING)

(SNIFFS AND CLEARS THROAT)

(ALARM STOPS)

- (SIGHS) - (TELEPHONE RINGING)

(CLEARS THROAT)

- Hello. - JOE: Al, Joe.

Listen, I heard about what happened.

It ain't gonna stand. I'm shutting this down.

No. Joe, you gotta listen to me. I appreciate that.

But this movie is important to a lot of people, so please don't...

JOE: No. Fuck that. I let you make the movie.

I didn't let them make it.

You're my guy.

No you, no movie.

RUDDY: But, Joe...

(GROANS)

How you doing?

Francis, you need something for lunch?

FRANCIS: Freddie.

I need this truck to move.

FRED: Can somebody move this fucking truck?

It's in the picture, and we need to get started right after lunch.

FRANCIS: Thank you.

- Hey, Francis. - Yes?

- We got a problem. - What kind of a problem?

(SIGHS) Union problem.

Some of the crew, they're threatening not to come back after lunch.

- You're kidding me. Why? - I can't say for sure,

but we know who's got control over the unions, right?

You did the right thing.

I hope so.

Hey there, beautiful.

I need to see Charlie right away.

I'm sorry, Mr. Evans. He's in an emergency board meeting.

DICKIE: Gentlemen, I think we can all agree

that Paramount Pictures is an embarrassment

to Gulf and Western.

I move the motion to sell Paramount Pictures

to Calhoun Enterprises.

Forward to a vote.

(KNOCKING AT DOOR)

(KNOCKING CONTINUES)

- EVANS: Sorry, it was locked. - Bob, this is outrageous.

- You can't just storm in... - CHARLIE: Evans.

Got something to say?

Yeah. I do, Charlie. Yeah.

CHARLIE: Sit down, Barry.

EVANS: Thank you, Barry.

Hello, everyone.

I'm Robert Evans.

Senior Vice President of Paramount Pictures.

Now, look, last few years have been rough for Hollywood,

and I'm sure the only question on your minds is,

should you sell short or go long? And I understand that.

I do. You're a Fortune 500 company, you're worried about your reputation,

but take a look around this table.

You're politicians, innovators, captains of industry.

None of you is sitting here because you played it safe.

And you all know in some way, that the most important tool

to help you in your pursuits is loyalty.

I mean, you don't want your investors

looking for a good time on a park bench.

No, you want to develop a deep relationship.

You want to create trust and love.

But you can't do that with empty promises.

No. You have to... You have to feed their souls.

How do you do that? Well, that's hard. That is hard.

Right now, the soul of America is broken.

War, assassinations, civil rights protests.

We're hurting. We're hurting.

And people don't trust politics or big business.

So what can America look up to?

And I'll tell you, I'll tell you.

Excuse me, Charlie.

Paramount. Take a look at the logo.

We're the mountain top.

We're the goddamn Statue of Liberty

because you can give us your tired, your poor, your huddled masses

yearning to breathe free,

and we'll give them two hours of respite

from the harsh realities of this world,

complete with popcorn and Coca-Cola.

And we'll do what other people can't. We'll... We'll entertain them.

We'll give them escape.

We'll feed their souls until they're fit to burst.

And that's something that you can't quantify

by checking the stock on the daily ticker.

So, sell short or go long?

A year ago, the answer might have been obvious.

But then came Love Story, which has grossed over $100 million

and fed the souls of America.

And people might say, "Evans, you only get lucky once."

At Paramount, we make our own luck.

Love Story was the second biggest-selling book of the decade,

beaten by only one other.

And let me tell you, gentlemen, you do not throw in the towel.

You do not throw in the towel when your fighter

is about to land the second part of a one-two combination.

And that right cross, which is gonna bring us the championship,

is gonna bring Paramount right back to its glory.

That's the biggest-selling book of all time, it's The Godfather,

and it's ours. It's ours!

We can feed their souls because we know what people want

more than sugar or auto parts or whatever else Gulf Western does.

They want... They want stories, Charlie.

They want escape, they want love.

And they want guns, romance and violence.

Love Story and...

The Godfather.

Is that it, Evans?

That's it, Charlie.

Then get out.

Thank you, gentlemen.

(INTERCOM BEEPS)

SECRETARY: He's on, sir.

Mr. Calhoun, I appreciate all the time that you've given us,

especially at such short notice.

I've, um, given your offer some serious thought,

and, uh, I'm happy to say that my board and I have decided

that you can go fuck yourself, you inbred, toothy motherfucker.

(INTERCOM BEEPS)

SECRETARY: Francis Coppola's on the line.

This is the second time he's called. Says it's urgent.

What is it, Francis?

I gotta get Ruddy back. Uh, I don't care what you have to do.

CHARLIE: Francis, trust me.

The production is better off without him.

FRANCIS: Well, someone ought to tell that to the Mafia,

because they're threatening to shut us down.

Do you understand? Don't let him get on a plane.

They're gonna stop everything. I need you to please stop him.

This movie is never gonna get made without him.

Charlie?

MARIO: I can't believe you talked to Joe Colombo.

Even I wouldn't talk to Joe Colombo. It's the craziest thing I ever heard.

You're a little... Little kooky in the head.

(BOTH CHUCKLE)

My ex-husband would agree with you.

(LAUGHS)

You know, that's... That's some loyalty you've got for Ruddy.

I didn't do it for him. I did it for me.

I am so sick of living a life that's determined by everyone else's choices.

Huh...

When I was a kid, all I ever had were hand-me-downs.

Nothing I wore was my style or my choice.

It all depended on what my siblings wanted or what they chose.

And then I got married and moved into a house paid for by my husband.

Yet another thing I didn't choose.

I hate that feeling.

Other people making choices for me,

because I don't have the power to make those choices myself.

So I'm getting Ruddy his job back.

- Or I'm gonna die trying. - (BOTH CHUCKLE)

Looks like it worked.

Hey, Ruddy. Where you been?

FRANCIS: Ruddy.

Man, am I glad to see you.

You know that the mob is trying to shut us down?

Sonny said no one's coming back after lunch.

- I got it. I'll handle it. - Okay.

- RUDDY: Caesar. - Hey, you're back.

I'm back.

Good. 'Cause the boss said nothing moves without you.

Well, I'm here, so let's get it moving.

- Thanks, buddy. - (TRUCK ENGINE STARTS)

I got it.

CREW MEMBER: Places, everyone.

(PEOPLE CHATTERING INDISTINCTLY)

And I thought you were fired.

I was. I am.

Why are you here?

This movie is important to a lot of people I care about,

so I thought I could help 'em out.

So my backstabbing producer turns up to save the day,

even though he can't save himself.

Why in God's name did you do that press conference with Colombo?

You were threatened.

You asked me to deal with it. That was my way of dealing with it.

You are one crazy motherfucker, you know that?

Takes one to know one.

(CHUCKLES)

We good, you and me?

Always, bubbe.

I wish I could say the same about you and Bluhdorn. I'm sorry.

- Charlie. - (CLEARS THROAT)

Thank God you came.

I have to tell you, I have no faith in these people.

FRED: Quiet on set!

CREW MEMBER: Hold the work.

Rolling.

CREW MEMBER: Sound speed.

Action!

EVANS: Paramount. We're the mountain top.

We're the goddamn Statue of Liberty

because you can give us your tired, your poor,

your huddled masses yearning to breathe free.

And we'll do what other people can't. We'll entertain them.

We'll feed their souls until they're fit to burst.

FRANCIS: Cut!

FRED: Check the gate!

EVANS: Would you look at that?

Mob threatens to shut it down, Ruddy gets it going again.

Who said loyalty doesn't exist anymore?

I'm guessing as you are here, Charlie...

Paramount lived to see another day.

With a performance like yours, how could it not?

You know you gotta hire him back, right?

Looks like you've got friends in high places.

Not the same places you do.

Yeah, no shit.

If you ever talk to the press again, I won't just fucking fire you.

I will kill you.

And I mean that, Ruddy.

Understood, Charlie.

Bettye, let's get a drink.

Yeah. Just give me a second.

Apparently, you're not replaceable.

Bettye, I'm sorry.

I shoulda never have talked to you the way that I did.

And you were right.

- I know. - (CHUCKLES SOFTLY)

Try not to fuck this up again.

We'll see.

(CHUCKLES SOFTLY)

Is it cool if I go grab a drink with Charlie?

Do I have a choice?

No.

She's something else, that broad, isn't she?

RUDDY: Yes, she is.

It's a good thing that she did, going to the boss like that.

- She did what? - Oh, yeah.

How do you think the boss found out?

FRED: All right. Quiet on set.

CREW MEMBER: Hold the work.

FRED: Rolling.

CREW MEMBER: Sound speed.

- FRANCIS: Action! - (SIGHS)

You had a lot of people nervous, Charlie.

Do I make you nervous?

Me? Of course not.

So what happened? The board decided to keep Paramount?

It was split six-six.

Ah.

So you decided to keep it.

What swayed you? Was it Evans?

Nah, that Evans, he's too emotional.

- Why, then? - It wasn't personal.

It was business.

Do you know why dogs show their bellies?

- Tummy rubs? - It's a sign of submission.

When the other dog sees it, he knows he holds the power.

In business, you never want to be a bitch that shows its belly.

Hmm.

I heard you wanted to see me?

Lapidus told me to meet you here.

Well, I'm glad that Wharton fuck could get one thing right.

You're done, Dunston.

Off the board. Effective immediately.

- What? You can't do this. - I can and I did.

Now, get the fuck out of here.

(BARKS)

(BARKING AND SNARLING)

You're out of your fucking mind, you crazy Austrian fuck.

(GROWLS)

(BETTYE CHUCKLES)

(COUGHS)

Just business, huh?

That fucker questioned my hold on the company.

Sometimes it is personal.

Get me another glass of Scotch, you crazy Austrian fuck.

(CHUCKLES SOFTLY)

JOE: I'm so glad you could make it.

So how was your first day on set?

- Really good. Yeah. - Yeah?

I can't believe we're actually filming.

(CHUCKLES) Yeah.

And, Joe, I can't thank you enough for everything you did.

- Hey, pal, forget about it. - We couldn't have done it without you.

I told you we're friends. Here, come here. Come here. (CHUCKLES)

All right. Come on, let's go meet this fucking joke.

- Hey. - Joey Colombo. Get in here.

(CHUCKLES) Good to see you. How are you?

Good. Good.

- Come on. Let's have a drink. - Come on.

(ENGINE RUMBLING)

JOE: Thanks for doing this, bub. FRANK: It's the least I could do, Joe.

- The League is very important to me. - Yeah. Yeah.

Frank, I want to introduce you to my friend Al Ruddy.

He's the producer I was telling you about.

How are you?

Wait. Do I know you from somewhere?

Not officially. Big fan.

Ah, I appreciate that, kid. Sit down, gents.

Wait a second. Hold it. Hold it. Hold it.

You're the guy who straightened out the script, right?

That's right. That's right.

I just do whatever my friend Joe asks.

(ALL CHUCKLING)

- FRANK: Smart man. - That's right. (CHUCKLES)

Really, thanks for making it happen for me.

Not a problem.

(SPEAKING ITALIAN)

(BOTH LAUGH)

What's that mean?

Loosely translates to, um...

"Those that wish us harm can go fuck themselves."

Cin cin.

(TIRES SCREECH)