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.