I heard from some of Gambino's guys
that the old man's not too happy with our move.
Fuck him. This is an internal dispute.
Francis, Sicily-- do we really need
that whole section?FRANCIS: Yes.
It's so important to Michael's story.
[engine rumbling]
Hiya, Bob. What are you doing here?
Is there somebody in there?
Please, just go.
You give everything to this business,
and there's nothing left for me.
[snorts]
You sure you know what you're doing?
BOB: Lighten up, Ruddy. You know what kings do?
Whatever the fuck we want.
You're fired.
Get the fuck off my set.
JACK: This isn't over, Evans.
COLOMBO: You have to learn early in life
if you're the kind of guy who could hit somebody
over the head with a baseball bat.
I don't know if I could do that.
I think that's why I like you.
You gonna be at the rally tomorrow?
RUDDY: Wouldn't miss it for the world.
[cheers and applause]
[gunshots]
[soft dramatic music]
♪
[upbeat dramatic music]
♪
ALL: Colombo! Colombo! Colombo!
[muffled chants, cheers]
[dramatic music]
♪
[gunshots]
[people screaming]
[gunshot]
[gasps, panting]
[pounding on door]
How can I help you boys?
RICHMAN: Did you see this guy at the rally?
Never seen him before. Who is he?
ZABEL: Name's Joe Gallo.
He's a person of interest in yesterday's shooting.
Well, the guy who shot Colombo was Black.
I saw him.Yeah, we know.
We read the statement you gave the NYPD.
[exhales]
You think this Gallo guy had something to do with it?
We're, uh, exploring all avenues.
Listen, guys, I don't know what this has to do with me.
You're close with Colombo, right?
My only interaction with Colombo
has been about my movie.
Huh.
Was that what you were talking about
when you had dinner at his home?
That was a courtesy.
RICHMAN: That's what you say, but we have
more surveillance footage on you
than we do of some of the boys in his crew.
Well, I don't know shit
about what goes on in his world.
Well, then let me explain it to you.
Joey Gallo puts a hit on a boss and he lives,
there's no way Colombo doesn't retaliate.
Just make sure you're not standing
in the crossfire when he does.
RICHMAN: Hmm.
Thanks, fellas.
If you happen to remember anything,
give us a call.
[door closes]
[ominous music]
♪
Fuck.
[sighs]
Robert, Robert, Robert.
Nicholson's in.
He is? Did he read the script?
He didn't have to.
I said, "Jack, baby, it's me, it's you,
"it's Polanski, it's 'Chinatown.'
Let's do it!"Wait, wait, Polanski?
I think he's perfect for it.
I loved "Rosemary's Baby."
Well, you're welcome. Yeah, he's got
a European point of view on this country.
And it ain't squeaky clean.
It's a dark story.Hey, lifesaver,
can I get a vodka martini with a whisper of vermouth
and a twist. Two?
Uh, it's 11:00 a.m.
One.WAITER: Yes, sir.
Everything okay in your world?
Yeah, yeah. Why wouldn't it be?
Robert, Robert, Robert. I love the script, man.
I love the twists. I love the tone.
You've really elevated the idea of a PI.
Thanks.If there's one thing--
just one small thing--
the conspiracy is a little hard to follow.
So if you had to, just for me--
if you had to talk about "Chinatown,"
the themes, et cetera,
what would the pitch be, man?
It's about something so essential
that people need to live,
the water supply in Los Angeles,
being manipulated for the sake of power.
WAITER: Here you are, sir.Uh, and the greed
of these rarified, corrupt individuals
who think they can manipulate whoever they want to
like puppets.Yeah.
TOWNE: Now, beyond that, there's a certain fragile...
There is no other place that can double for Sicily.
We've been over this. We can't afford it.
Well, where do you want to shoot those scenes?
In--in Palm Springs? Chatsworth?
I didn't say that.Okay.
We have to shoot in Sicily.
I mean, that's where all the authenticity
is gonna come from for this movie.
Isn't that what Evans wants?
He wants to "smell the spaghetti."
No. What he said was
we could go if we could get there on the budget.
Do you remember the budget?
Do you remember telling Charlie that any overages
would come out of our personal fees?
Okay, so we get minimal crew, you and me, Gordy,
uh, Dean, Pacino.
That's it.
What about gaffers, costumes, lighting?
Okay, Gordy can light
the whole thing with a matchbook.
You're gonna save a lot of money
because you won't have to dress the set.
It's all authentic.
Okay. Travel, lodging, fine.
But then cast and crew all local.
That's 25K max.
Francis, we still have a week left in New York.
And $25,000 isn't nothing.
Please, I need this.
You're very needy. [sighs]
But I get it. I hear you.
And I'll find it.
Grazie. Grazie amico.
Get out.
[groans]
[door closes]
[exhales heavily]
[phone rings]
[door closes]
BETTYE: Hey. Hey.
How are you?
Good, just dealing with some budget stuff.
Nothing new.Don't do that.
Don't pretend you don't know what I'm talking about.
Fucking Colombo.
I know.
One minute he's on stage, king of the world,
and the next-- [sighs]
It's fucked up.
[soft music]
You should have called me.
I was with the police till pretty late.
That doesn't matter.
How is he?[exhales] I don't know.
I'm gonna go see him at the hospital later.
Do you really think you should be doing that?
Just stay away.
No. I can't not go.
I'm fine.
Look, we are fine.
Do you trust me?
Yeah. It's them I don't trust.
♪
Look, we got a week left in New York.
We'll just keep our heads down, finish the job.
Try and stay calm.
If I'm drunk after lunch, it's your fault.
I accept that.[chuckles]
Come here.
You know, if there is a silver lining
to any of this stuff,
at least we're done with the mob.
[opera music playing]
He lost focus.
Between that goddamn Italian League and the movie,
he was bringing too much heat.
It was time for him to go.
A real boss would know how to keep a low profile.
Look...
I agree he wasn't doing the right thing.
But what's to say Gallo doesn't have
his sights set on one of us next?
Let's find out.
I saw we hear what Gallo's gotta say.
[door opens]
Joe, welcome.
Joey.GALLO: Hey.
How are you, kid?GALLO: How you doing?
[inhales deeply]
[clears throat]
I appreciate you all taking this moment with me.
And all due respect, I understand
why some of you might feel uncomfortable
with me at this table.
I always had a great respect for Joe Colombo.
But he never understood our way of doing things.
And I want you all to know that your way is--is my way.
A family of Blacks is not our way.
They're not family. They're useful now.
And I tell you, they earn more than Colombo's guys ever did.
But don't worry, I'll never bring them here again.
Colombo never kicked up fairly on the League.
And he never shared the skim from that fucking movie.
But with me you get a fair shake.
I'm a straight shooter.
I saw we shut down the League.
It brings too much heat.
Oh, I hear that.
GALLO: And as for the movie,
I promise we will all share equally.
You have my word.
I'll squeeze that prick producer dry.
♪
You can't fire Jack Ballard.
Oops.
You should have run this by me.
Last time I checked, Jack Ballard,
though your personal lap dog, Barry,
was an employee of Paramount Pictures,
not Gulf and Western.
His title was Vice President.
My title is Senior Vice President.
Ergo, I can fire him, I did fire him,
and now he's very, very fired.
You look like an unmade bed.
CHARLIE: What are you two lovers talking about?
Your golden boy here fired Jack Ballard
without consulting us.
Well, I'm sorry he broke it off
with your girlfriend.
What do you got, Evans? What's next?
You promised me and the board lots and lots of money.
"The Godfather" is, uh, really coming together.
Yeah, no shit. Maybe I've heard of that.
Maybe I'm tired of hearing about that.
Maybe you can stop telling me what I already know.
Next, next, next. What's next?
I got a great script by Robert Towne.
"Chinatown."
Chinese food makes me fart.
Well, it's a thriller.
Nicholson's interested,
and I can get Polanski to direct it.
Well, what is it?
It's about water.
I mean, it's about more than that.
There's--there's a mystery in the center.
Uh, there's a guy, um, Nicholson's character,
and he's trying to find out what's going on.
Uh, it's Los Angeles.
Uh, water in Los Angeles.
And Nicholson.
So why's it called "Chinatown"?
BETTYE: It's about 200 people for a wrap party.
Oh, like, when you're done shooting a film
and you want to celebrate.
A DJ? Uh-huh.
Okay, most importantly,
how much would an open bar cost?
GIANNI: It's chilly in here.
Just needs a little massage, that's all.
SEAMSTRESS: Please don't do that.
GIANNI: Hey, you give me a little prick,
I give you a little prick.
You know what I mean? [chuckles]
Is it possible for you to behave yourself?
Betty Boop.
Depends on what I get in return.
How about some general respect?
I don't need that. I'm a movie star now.
You do realize your character dies?
And he's the biggest asshole in the movie.
Yeah, but he's an asshole
who gets killed by the main character.
You okay, Boop?
You look a little bit harried.
I'm fine. Thank you.
Mr. Russo, could you turn around for me?
What a coincidence.
I was just gonna ask you the same thing.
But from this angle you look pretty good.
[grunts]
Ow! What the f--
No one has time for your shit, Gianni.
Ugh. Feel free to stab him
if he opens his mouth again.
GIANNI: [groaning]
She has a thing for me, trust me.
[groans]
[indistinct chatter]
RUDDY: Hey.
How is he? Not good.
Can I go see him?
No, they're not taking visitors yet,
but we'll let you know.
How late they hold you last night?
I got out this morning.
It don't matter. They got nothing.
How are you guys doing?
Okay.This shit happens.
LENNY: Yeah, every ten years or so.
So what happens now?
Uh, you know, Al,
when you come to a line with us,
you don't cross it.
Because once you do,
you won't be able to cross back.
Now, I could be wrong, but I don't think
that's a line you want to cross.
Am I right?
[soft dramatic music]
♪
PERSON: How're you doing?
Ah. Where's Evans? He's supposed to be here.
I don't know.
Well, we're not waiting. Speak.
We need a little more money
if we're gonna shoot that whole sequence in Sicily.
Then don't shoot in Sicily.
If Evans can't be bothered to be here,
then maybe I can't be bothered either.
No, Charlie, listen, we have to shoot in Sicily.
It's the only way to achieve the full vision of this film.
Ruddy, where do I work?
Come on, those big fat letters behind the receptionist.
Gulf and Western.Great, you can read.
So there's no excuse for you coming to me again
when you should be talking to the head
of Paramount fucking Pictures.
Am I clear?
[grunts]
Now come on. Cut the shit.
Something's up with Evans. What's happening there?
I don't know.
Well, you better figure it out
or I will.
[tense music]
♪
[buzzer rings]
Hey, Talia.
What happened? How'd it go?
I'm not sure.
The scene was pretty intense.
Should I go check on her?No, I'm gonna go.
Hey, have you seen Bob today?
[knock at door]
Talia?
Is everything okay?
Gianni hit me.
He actually fucking hit me in the face.
Oh, my God.
Why didn't you say anything on set?
I didn't want to ruin the shot.
You know, I know it sounds stupid,
but it felt like he actually wanted to hit me.
Like he enjoyed it.
Hey.
I'm gonna say something.
No. Mm-hmm.
No, please don't.
Francis already risked so much to put me in the movie.
I'm fine, really.
[sniffles]
RUDDY: He did what?
I want to fire him myself.
What a fucking prick.
Is she okay?BETTYE: She's pissed.
But she didn't want to rock the boat for you.
RUDDY: Does she need a medic?
BETTYE: No.
She didn't even want me to say anything.
What the hell are we gonna do?
I got an idea.
And we're gonna keep it in the family.
[exhales heavily]
I will handle this. Trust me.
I'm gonna go check on her.
Okay. Fuck.
We also need to look at the budget ASAP,
see if we can squeeze any more dough for Sicily.
All the departments are already overextended.
Wardrobe, design--
they're all looking for more money.
I know.
And that's why we're gonna have to get creative.
Jimmy Caan in here?
Can you give us a sec? Thanks, buddy.
Ah, Mr. Producer.
What, you got notes or something?
Yeah.
I'm gonna need a little help on the next scene.
Anything for you, buddy.
[devious music]
♪
FRED: Uh, we're about to roll. You good?
Can you two switch?
First positions, you guys.
You guys good?
And we're rolling!
I like that fire hydrant.
FRANCIS: Yeah, adds a little authentic texture.
Anything on Sicily?
I'm working on it.Hey, go ahead.
And action.
All right.
Yeah, I like that broom handle.
There he goes.[crash]
Oh! That's a good takedown.
That's not what we rehearsed.[actors grunting]
Those kicks look good.
Very authentic.FRANCIS: Yeah.
COORDINATOR: Jesus.
Looks like Caan is really hitting Gianni.
RUDDY: That's because he is.
What's he doing now?
[metal clangs]Yeah.
Looks like he's yanking his foot.
Is his shoe supposed to--[Gianni groaning]
Definitely not what we rehearsed.
Francis, uh, think we got it?
[Gianni groans]
BOTH: Give it another minute.
[crash]
Holy shit.
We're gonna need a medic in here.
I just said give it another minute.
It's a good scene.
Beautiful scene. It's my favorite scene.
[chuckles]Take a break.
[groans]
That looked pretty painful.
It's called committing to the part.
Mm.
That's some method shit right there, hand to God.
Hey, can you help me out here, Boop?
My arm--
[sighs]
[lighter clicks]
That a girl.
Jimmy Caan beat me up.
Jimmy fucking Caan. [chuckles]
How cool is that?
Ah, fuck!
The next time you even think about hitting a woman,
you remember that feeling.Ah! Fuck!
Fucking bitch.
[whimpering]
The accountant laughed
when I asked if we had any extra money.
[grunts]
He suggested I sell my future first-born.
Mm. Then just to prove his point,
he proceeded to go over all the books with me
in great detail.
And that is two hours of my life
I will never get back.
He's right. That's what we do.
I'm not saying I want to be a mother, but--
No, not the child, the future.
You ever play the stock market?
Like, with Monopoly money?
Better. A promise.
We get the money because we make a promise
for the future.
In the stock market, you can buy futures,
meaning you're betting something is going to be
worth more later.
For vendors, production is like that.
There's supply and demand.
We, the customers, we demand.
Lumber, cameras, lighting.
They, the vendors, they supply.
And how do they keep making money?
By making sure in the future we don't use
a different supplier.
Ruddy.Hey.
Great to see you.
RUDDY: Production doesn't pay all its bills upfront.
And when you're still holding the money,
Thanks, my friend.
There's always a chance to negotiate.
SALESMAN: Appreciate your business.
Thank you. Anytime.
You mean...like, a threat?
No, like a guarantee.
We get a discount on the money we owe right now,
because we guarantee our business
on the next movie.
Next movie?
What, you set one up when I wasn't looking?
Not yet, but they don't know that.
Thanks, buddy.Been a pleasure.
Appreciate it.
[engine rumbling]
And the total discounts come to...
[machine clicks]
$26,423.
Look at that. Wow.
If you were a broker, you'd be making
a lot more money.
Food for thought if this gig
doesn't work out.
You got everything booked for the wrap party?
Mm-hmm. Okay, good.
I want to make sure the crew has
a nice New York send-off before we head to Sicily.
Yes, Your Majesty.
I got us a deal with that open bar.
That's my girl.
Are you headed back to the hotel?
Yeah. Looking forward
to a good night's sleep for once.
Have you heard from Bob?No.
Something's going on with him.
I gotta figure it out.
Night, Bettye. Night, Rud.
[lock clicks]
What? Get off.
What's going on?
All right.
What's going on?
[sighs]
You know who I am?
I got an idea.
Just for formalities, I'm Joe Gallo.
And I'm in charge of your movie now,
which means whatever you were giving Colombo,
you now give to me.
Well, Mr. Gallo,
I wasn't giving Colombo anything.
[laughs]
Honestly, I'm not trying
to be disrespectful or anything, Mr. Gallo,
but, truthfully,
I never gave Colombo any money or anything.
All I did was I worked a deal with him
to eliminate any words from the script
that he felt might be offensive to guys like yourself.
That was it.
GALLO: Don't fuck with me, Al!
I do not enjoy repeating myself.
I think I make my point.
Right, Al?
Al, say it.
You made your point.Good.
But, honestly, we're almost done filming.
There's no money.
Sounds like not my fucking problem.
Next time I see you, you have my end, right?
Right? Right.
All right. Good night, Al.
Sleep well. You look like shit.
[ominous music]
♪
[door closes]
[groans]
Sorry for calling you so late, but...
you're really the only person I can talk to.
Same for me.
[indistinct chatter]
So what does this guy Gallo want?
Money. From the production.
[scoffs] There is no money.
Except what we have left for Sicily.
Jesus. I know.
Are we safe?
Honestly, I don't know anymore.
Are you gonna give him the money?
I don't know.
For the first time making this thing,
I don't know what the fuck to do.
And the one guy that can help me
is in the fucking hospital.
I need to talk to Joe.
You're sure that's a good idea?
Caesar told me that I was coming up to a line
that I probably didn't want to cross.
But, honestly, I think I crossed that line
a long time ago.
[lock clicks]
[soft dramatic music]
♪
[glass clinks]
[liquid pouring]
♪
[phone rings]
BOB: And what the hell happened to you last night?
Huh? Me?
Bob, where the hell have you been?
Where the hell have I been? Where the hell have you been?
I called you.
Told you all about it last night.
Screening, "Plaza Suite."
You stood me up, son of a bitch.
No. You never told me any of that.
Well, then it's a fucking mystery, huh?
[clears throat] How're you doing?
What do you mean?
I mean are you feeling all right?
Movies, movies, more movies, bubbe.
Working hard making magic. Wa-pa-pow.
[chuckles] [clears throat]
Yeah. Gum.
You trying to tell me something?
I'm just trying to be polite.
I don't trust polite.
Polite people never tell you what they're thinking.
Ever.
Call time pushed a little bit.
You got time to go back to the hotel.
Rest up.
Yeah, maybe I'll do that.
[phone rings]
See you on set.
Bob...
Charlie asked me about you.
Crazy Austrian's obsessed with me.
[phone rings]
PERSON: Let's stack 'em up.
These go in front of the truck.
Buon giorno.
You been practicing your Italian yet?
Francis, I hate to say this,
but we may need to shoot those Sicily scenes here.
No. Everything is new here.
The buildings are new, and the sidewalks are new,
and the trees are new--I can't do--
I can't do this right now.I said that I needed it.
You said you'd get it!
I said I can't do this right now!
I'm tired of throwing myself on the fire
ever fucking day on this thing.
And if you think you know what that means,
trust me, you don't know the half of it.
[sighs]
[phone rings]
Al... you know what is necessary
to get the job done. Sicily is a necessity.
We have to see Michael--
we--we have to see that last chance of happiness
go up in flames.
His heart turned to ice and stone.
He has to live in Sicily
in order to feel that beauty evaporate.
And we have to live in his skin
in order to feel that pain.
And this movie--
without Sicily it doesn't live or breathe.
I need it.
Please, Al. I'm begging you.
If we don't shoot it there, they're gonna cut
this whole sequence from the movie.
And for us to get this far...
Please, I--I-- I just can't give it up.
I can't find the money.
I'm sorry.
I know you're gonna find a way.
[door closes]
[sighs]
[soft instrumental music]
♪
CAESAR: [sighs]
Hey, Joe.
How you doing, buddy?
It's Al.
[monitor beeping]
Can he hear me?
How long's he gonna be like this?
The doctors have no fucking clue.
Come here. There's, um--
there's a lot going on right now.
Stuff we shouldn't really be talking about.
But I want you to be careful, all right?
There's this guy, and he's no good.
Joe Gallo. Uh-huh.
Yeah, unfortunately I met him already.
He showed up at my hotel room
asking for money from the film.
Okay, listen to me.
Right now, just do whatever Gallo asks.
You can't fuck with this guy, Al.
He's crazy.
We don't have any money left.
The only little bit of change I got left
is ear-marked for Sicily, and I can't--
You got no choice.
[sighs]
Hey.
Do me a favor.
Will you give this to Bettye for me
when you see her around?
What is this?
Just let her know that she can wear it
anywhere in the world. Except Miami.
Miami's no good. You got it?
I got it.
Is it all right if I sit with him for a little bit?
[monitor beeping]
RUDDY: Why is he giving you a watch?
'Cause my other one broke.
Thank God I didn't have any immediate plans
for Florida, huh? [chuckles]
Wow.
How the hell did we get here?
What do you mean?
We started out getting shot at by Mickey Cohen.
And now I'm getting gifts from gangsters.
It's better than the alternative,
trust me.
Fuck Sicily.
Give Gallo the money.
It's just a movie.
I have a feeling this money isn't gonna be the end of it.
Ever got shot before? No.
I've imagined the bullet, but never been shot.
Have you?
Not yet, but the day is young.
You know what the trick is, Al?
The best way to survive it all?
Tell me. Don't get shot.
Good advice.
JAMES: Hey, Brando! [laughs]
Moon champion, my ass.
Actors.
Excuse me.
Hey, this is cool, man,
the way they made this look like an old-time street.
It's not bad, right?
We got a good production designer--
I don't give a shit.
Where's my fucking money?
Look, I'm trying to get you the money.
I just need more time.
And I'm not fucking with you, I swear to God.
I just-- we're strapped really thin.
I can't move it that quick.
You got till midnight.
Okay. After this we're done though, right?
Hell no, Al.
This is the start of a beautiful friendship.
Hey, you know what today is?
It's my birthday.
Yeah, we're gonna be celebrating at Umberto's,
right around the corner.
Why don't you come by after work?
Bring the dough.
Maybe I'll let you buy me some baked clams.
See you around, Al.
Don't be late.
[sighs]
[uneasy music]
♪
[fire crackling]
Scusi, grazie.
Thank you for your patience.
Good. Take from the side here, Papa.
Beautiful.
Oh, Francis, do you want me by the door?
Yes, yes.
And he gets the fruit, and then you--
Jump out of the car with the gun.
After...Drop it, right.
After.Okay, yeah, yeah, yeah.
Okay.Start rolling.
And action!
Look at this, the whole thing--everything.
[upbeat dramatic music]
♪
[gunshots]
[glass shattering]
♪
[gasps]
Joe Colombo says goodbye, fuckhead.
FRANCIS: And cut! Yes!
Whoo! [applause]
Whoo!
Bravo. Magnificent.
Bravo.
♪ [T. Rex's "Bang a Gong [Get It On]"]
♪
Five years, tops, and Napa Valley
will be competing with the finest wines in France.
It's got legs.
American Cabernet is so under-appreciated.
You got a scotch, please?
Ooh, leather, currants, little bit of cinnamon.
Smell that.Okay, yep.
Hey! Make it a double.Suit yourself.
So we going to Sicily?
Well, I'm waiting on Ruddy to see
how it's gonna work out.
Saluti. Salut.
Oh, no. Okay. Okay, Dean.
Yeah.
Excuse me.
Can I get a Bacardi 151, please?
Thank you.
Well, that's a serious drink.
Are you a serious woman?
I just like to cut to the chase.
Hmm. I see.
What are you chasing?
A big, fat buzz. You care to join me?
You, uh--you got Disaronno?
BARTENDER: Yes, sir, we do.
Equal parts Disaronno and scotch on ice.
BARTENDER: Coming right up.What do you call that?
A delivery system.
You know what one of my favorite things
about this movie has been?
Watching you.
There's nothing dishonest in anything you did.
You just live it moment to moment.
You couldn't see the acting, just the truth.
You have a real understanding of the craft.
You know...
Michelangelo was once asked
"How do you sculpt such beauty out of stone?"
Know what he said?
He said, "I don't sculpt anything.
"I just see the truth within the stone,
and chip everything else away."
Wow.
CHARLIE: Hey, Marlon! Marlon!
I think you have a fan waiting for you.
Well, I think you have a fan of your own.
SINGER: ♪ Get it on, bang a gong ♪
♪ Get it on
Charlie... Charlie, you were my brother.
You were supposed to look out for me.
What? What?
What the fuck's happened now?
How much have you drank?
Oh, have one of these.
♪
PERSON: Whoo![laughter]
I see you.[laughs] Ohh.
BOB: There she is. My baby girl.
BETTYE: Am I gonna get to have a dance...
That's my baby.With Mr. Evans?
All right, let's do it.[laughs]
You look amazing.Thank you.
You look like a million bucks.
BETTYE: [laughs]
Goddamn.
[chuckles]
SINGER: ♪ Get it on, bang a gong ♪
♪ Get it on
PERSON: Hey, Mr. Ruddy, good to see you.
Whiskey, four fingers.
[hums]
What happened?
Sorry, Francis, I can't make it happen.
I tried.
[people cheering]
Jesus fuck.
Who killed his puppy, huh? [laughs]
He's disappointed about Sicily.
Yeah.
Maybe if you showed up to the meeting with Charlie,
or maybe if you'd showed up to fucking anything lately,
things would be different.
Hey, don't put this on me, pal.
I told you to find the money in the budget.
You're the one who fucked up here.
Let's not do this now.
Well, there's no time like the present, bud.
You gonna--you gonna hand in an unfinished movie?
Yeah? Great, great.
Let's talk outside.
Why?
'Cause I need some fresh air.
I'm not going anywhere.
Listen, I don't know what's going on with you,
or you and Ali or whatever happened in Texas--
My marriage is none of your fucking business!
Ever since then, you haven't been
the Bob Evans I know.
Because the Bob Evans I know wouldn't let his personal life
compromise this fucking movie.You don't know me.
You don't know me!
I know you're drinking too much
and doing blow.What the fuck?
And I'm not the only person to notice.
What are you, my--my mother now?
Jesus.
Easy, Bob. People are looking at you.
Let 'em!
Let 'em fucking look!
People watch me, bubbe, always have, always will.
You know why? [sniffs]
'Cause I'm Bob Evans. I'm the best there is!
Yeah!
So you can keep your fucking stick of gum,
and your-- your shoulder to cry on,
and your sympathy. I don't need it.
I've forgotten more about making movies
than you'll ever know.
They're looking-- they're looking
because they know I know the secret.
They look because I shine like gold.
They're looking at you now because you're a joke.
♪
Fuck you. [glass shattering]
[crowd exclaiming]
[breathing slowly]
[heartbeat thumping]
PERSON: Oh, no.[crowd exclaiming]
[gasps] Holy shit.
BOB: Get the fuck out of my way.
Jesus fuck!
Have a drink.
♪ [Rare Earth's "I Just Want to Celebrate"]
SINGER: ♪ One, two, three, four
Mr. Ivy League. Hello.
What are you drinking?
Club soda. Oh.
You realize this is a bar, right?
It's not a business meeting.
You can order a harder drink
and try using words with less than two syllables.
Mm? Bettye.
SINGER: ♪ Life
♪ I put my faith in the people ♪
♪ But the people let me down
Oh, shit.
Hey, you got a light?
I don't smoke.
Of course you don't.
[chuckles]
What kind of name is that anyway, huh?
Lapenis?RUDDY: Oh, boy.
Lapenis! [laughs]
It's pronounced Lapidus.Lapenis.
And its roots are in Latin.Lapenis.
It means stone.[laughs]
You're stoned?
No, Lapidus means stone, like a rock?
[laughs]
Oh, I like Lapenis better for you.
Okay, let's go. It's better.
[giggles]
I don't think she likes me very much.
Nobody does. Cheers!
[glasses clink]
Al, Al, Al.
Hey. You look sad.
I'm gonna give Gallo the money for Sicily.
No other option.
You're doing the right thing.
Am I?
You're doing the right thing.
Hey, do me a favor.
Leave Lapidus alone.
I was just going to look for the bathroom!
I was gonna pee, if that's allowed.
Bathroom's that way.Okay.
Lapenis, come on. That was really good.
Very funny. [giggling] Yeah.
You start drinking without me?
Caesar!
You ain't gonna cry on me, are you?
I am so sorry about your boss.
It's--it's okay. Thank you.
Thank you for the beautiful watch.
I really appreciate the gesture.
I just can't accept it.
I know.
Uh, you seen Ruddy?
Yeah, he's by the bar.
I gotta take care of something.
Me too. [chuckles]
Why the long face?
I just got a lot on my mind.
How's Joe doing? Anything new?
No.
But you can cross one thing off your list.
You don't have to worry
about that fucking psychopath anymore.
♪
RUDDY: Francis.
Yeah?
We are going to Sicily?
We're going to Sicily.[giggles]
We're going.You son of a bitch!
Are you kidding?
I knew you could do it.
Everybody. Everybody!
Can I have your attention, please?
We're going to Sicily!
[cheers and applause]
SINGER: ♪ Don't let it all get you down, no, no ♪
♪ Don't let it turn you around ♪
♪ And around and around
♪ Around, round
♪ Round
[upbeat acoustic music]
♪
Bruno would like for you to come see him tomorrow.
Capisce?
Is Bruno mafia? All right.Si. They run everything here.
We're all really looking forward to the premiere.
God damn it!
You know you can't invite those guys, right?
AL: Do whatever it takes to get it done.
Lapidus wants to see you.
Where?In Evans' office.
I'm not sure about the cat.
Really? The cat's the problem?
You make the movie and let the adults figure out the poster.
Where the hell is Evans?
We need Bob to finish this movie the right way.
CHARLES: I cannot have a drug addict running my company.
I have responsibilities.
Bettye I need your help.
Could I get fired for it?
AL: We both could, but...
it's worth it.
You know who I am?
I got an idea.
RUSSEL: I think in episode eight,
Ruddy has really reached the middle of a bridge
like he has in no other episode.
His way of doing things is to go straight ahead,
go at obstacles, be as forthcoming as possible,
and use his grit and guts
to basically get through that problem to the next stage.
[GRUNTS]When he gets to episode eight,
he reaches an immovable obstacle
in Joe Gallo.
I'm in charge of your movie now.
MILES: It's tough.
You know, I think at the end of the day,
even though you're a producer on this film,
and you have to do everything you need to do
to get the job done,
you know, you also need to be able to go to sleep at night.
You also need to remain true to yourself,
which I think Al always did.
So what happens now?
RUSSELL: He's warned at one point by Caesar.
I don't think that's a line you wanna cross.
Am I right?
RUSSELL: The answer is, yeah, he doesn't wanna cross that line,
but he realizes by episode's end that he has crossed that line
and now he's gotta pay for it.
So it becomes a very conflicting moment
and he relies on the only person he can in Bettye
to talk it through and to see what to do.
He's not afraid to fight for it, but at the same time,
I think he also kept a pretty good moral compass.
You're doing the right thing.
Am I?
You're doing the right thing.
GIOVANNI: One could almost make the argument
that there's filmmaking before The Godfather,
and then there's filmmaking after.
Not just filmmaking, cinematography,
and acting, and editing.
I think that there were sort of winks and nods
and Easter eggs.
There were truly, in the actual real life
navigation of this, analogies to the story.
And if you think you know what that means,
trust me, you don't know the half of it.
The parallels between the character arcs in The Godfather
and the real-life people portrayed in The Offer
intentionally mirror each other.
You ever got shot before?
No. Have you?
Not yet, but the day is young.
So much of this filming process has been so crazy.
We were driving to the trailers and our PA Elliot was like,
"Oh yeah, that's where Brando got shot by the fruit."
And I was like... [IMITATES WIND] And we're just like...
We're just, like, in the same area, and not only that,
like, that would be crazy in and of itself,
but we're also telling the story about what happened
behind the scenes there. Absolutely mind-blowing.
Very authentic.
MAN: And we're rolling.
RUSSELL: In episode eight,
we have a cross-cutting feature that happens.
That's a direct link to the movie.
So in the writers' room,
when we were starting to talk about the end of this
and how it could go, we thought we have to juxtapose
these two things.
So while we're at Umberto's,
we are on our set watching our people
react to what we're not seeing.
But we know what we're seeing.
Yes, yes.
RUSSELL: We have a basket of oranges,
and anybody who's a fan ofThe Godfather
knows exactly what the oranges stand for.
[GUNSHOTS]
RUSSELL: From what I understand,
Coppola did not write the script that way.
I believe he found it in editing.
To me, it's one of t he most brilliant pieces of editing ever
because it changed filmmaking in a lot of ways.
So we try to give the audience every visual cue they need
to know exactly what we're looking at.
It's absolutely a complete homage to The Godfather.
It's a good scene.
It's a beautiful scene, it's my favorite scene.