Al dejar la Corporación RAND, Al Ruddy decide producir "El Padrino" para Paramount. Joe Colombo, un jefe de la mafia neoyorkina en ascenso, tiene en mente un triste destino para la película.

Francis Ford Coppola y Mario Puzo trabajan en el guion, y la película de Al Ruddy y Bettye McCartt tiene más opositores. Robert Evans y Barry Lapidus discuten por la dirección de Paramount.

With Marlon Brando and Al Pacino in contention for leading roles in “The Godfather,” Ruddy is caught in the line of fire between Evans and Coppola and must pick a side. After gaining Joe Colombo’s support, Ruddy gets an uncomfortable glimpse of his new friend’s loyalty. The rising stakes surrounding “The Godfather” continues to strain Ruddy’s relationship with Francoise.

Ruddy and Bettye combat logistical nightmares with principal photography quickly approaching. As the Mob continues to ingrain itself in the making of the film, tensions rise between Colombo and notorious hot head Crazy Joe Gallo.

Ruddy deals with the fallout from the disastrous press conference while Evans creates a plan to save Paramount. Bettye takes action as the first day of filming is compromised due to collisions with Gulf & Western, Paramount, and the Mafia.

Dissatisfied with the footage, Barry Lapidus orchestrates a potential coup as Ruddy initiates a bold plan to save both Coppola's and Pacino’s jobs. Crime boss Carlo Gambino questions Colombo’s leadership as he holds another large Italian-American Civil Rights League rally.

In the bloody aftermath of the Italian-American Civil Rights League rally, Gallo threatens “The Godfather’s” production budget as Ruddy struggles to protect the funding for Sicily. Evans continues to spiral after the breakup of his marriage with Ali MacGraw, allowing Barry Lapidus to capitalize.

As the production contends with the challenges of filming in Sicily, Ruddy leaves early to help get Evans back on track. Post-production disputes with Lapidus threaten Coppola’s vision for the edit and Bettye starts to think about her next move.