01x02 - Warning sh*ts

Episode transcripts for the TV show "The Offer". Aired: April 28, 2022 - present.*
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Based on Al Ruddy's experience of making the 1972 film "The Godfather".
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01x02 - Warning sh*ts

Post by bunniefuu »

AL: Bob Evans? Al Ruddy.

I wanted to talk to you.
You got a minute?

What can I do for you, Mr. Ruddy?

It's what I can do for you.

I want to produce for Paramount.

JOE: "The Godfather."

It's weeks at number one.
Makes us looks stupid.

And that's bad for business.

Buddy, you've read
"The Godfather", right?

I need you to produce it.

The Corleones are my family.

I have to be the one to write this.

Puzo's never written a film.

It's an unwritten law in Hollywood

that you never hire the author.

I can't do this.

AL: Evans warned you
about hiring the novelist.

So how do we fix it?

BART: Francis Ford Coppola.

He's brilliant,
but he'll want to direct.

Jews got the JDL.
The Blacks got the NAACP.

Well, who defends us, the Italians?

- Nobody.
- Well, I'm starting.

The Italian-American
Civil Rights League.

You're the rat fink
who wrote that f*cking book

about the degenerate singer.

JOE: Sinatra wants us
to shut the picture down.

Get me Mickey Cohen in Los Angeles.

Time to send a message.

[g*nsh*t]

[SOFT DRAMATIC MUSIC]



[UPBEAT DRAMATIC MUSIC]



[CROWD CHANTING] One! One! One! One!

One! One! One! One!

There's a conspiracy in this country...

against Italian-Americans!

The President,

the Vice-President,

the Attorney General,

all conspiring against

the hard-working Italian people.

- CROWD: Yeah!
- JOE: We must unite!

[CHEERS AND APPLAUSE]

And the media,

they carry the water

for the corrupt politicians
in the government

that tries to hold us down!

- [CROWD BOOING]
- Give me the book.

And books like this trash

only fuel the fire of hatred
for our people.

And now the papers say
they're making a movie of it.

[CROWD BOOING]

This, my friends, is a book of lies,

and Mario Puzo is a traitor!

[CHEERS AND APPLAUSE]

Well, my friends, this stops today!

Our organization, your organization,

the Italian-American Civil
Rights League will fight back.

We will snuff out the hatred
and the prejudice!

[LOUD CHEERS AND APPLAUSE]

[CROWD CHANTING "COLUMBO"]

Columbo, Columbo!

[DRAMATIC MUSIC]



Hey, boys. Can I help you?

- Is this your car?
- You Al Ruddy?

Yeah, that's me.

FBI.

I'm Agent Hale,
this is Special Agent Moran.

FBI?

And, uh, and you are?

Bettye McCartt. Mr. Ruddy's secretary.

Oh, right.

So you were in the car
last night as well?

That's right, yeah.

Look, what's this all about?

I already gave a statement to the LAPD.

So what are you guys doing here?

Well, we have reasons to believe

that you may have been targeted
by Mickey Cohen.

The gangster?

Can you think of any reason

why Cohen might have wanted
to scare you?

Now, think real hard, hmm?

Maybe something to do
with your business?

Your personal life? Huh?

Scare us?

He tried to k*ll us.

No.

That was a warning.

When Mickey Cohen fires a sh*t...

He doesn't miss.

Is there a reason why you
guys are here right now with us

- and not arresting him?
- HALE: Again...

Just a suspicion.

How f*cking comforting.

[ENGINE STARTS]

It's not about m*rder,
it's about family.

Vito Corleone is like King Lear,

except he has sons instead of daughters.

He is searching

for who is going to be his legacy.

And yes, in the meantime,
he's gonna do whatever he can

to provide, to protect his family,

and, yes, as a last resort,
maybe a little bit of m*rder.

Did you eat my ham?

No.

There was a ham sandwich
in the refrigerator.

I did not eat the ham sandwich, Mario.

You ate the ham sandwich.
I watched you eat it.

It's not something I will soon forget.

What the hell was I saying?

- The Don wants peace.
- Yes.

He's ruthless when he chooses to be.

Yes. Yes. And that...
That is why he inspires fear,

because of his confidence.

He has immense power.

He doesn't have to flaunt it.

Unlike every single
studio exec I've ever met

who can't wait to tell you
how well-endowed he is

or better yet,
that he has the great idea

that's gonna save your picture.

You're gonna see.

Evans, he's gonna want to cast

Steve McQueen as the Don.

No, I don't see anybody
but Brando in that role.

Ugh, Brando.

Brando is...

Brando is the golden goose.

He's... he's Brando.

You wouldn't have to write any
character to stand up and say,

"Ooh, that's the Godfather."

You would see him
and you would just know it.

I wrote him a letter.

I sent him a signed copy of the book.

Huh. You never know.

Fingers crossed, right?

Fingers crossed.

Fingers crossed.

What's wrong, Francis?
W... what's going on?

I mean, this is all good stuff.

This is great stuff.

This is all great stuff.

But I can't kid myself.

We are trying to write a movie
about an American family

that happens to be
in the crime business.

And, yes, it's a commentary about

how greed will often lead to m*rder

under the guise of business.

I don't think that's gonna sit very well

with Evans and his bunch

because at the end of the day,
no matter what he pretends,

he is that capitalist.

And we're gonna walk into
this little creative meeting,

I have no idea why.

They want their typical
little gangster flick.

[SIGHS]

I'm loving you, Mario,

but I have to keep reminding myself

that this is just a payday,
and I hate that.

Just, uh, keep... keep working.

BETTYE: I think this is the part

where you're supposed
to ask me if I'm all right.

Listen, I won't judge you

if you need to walk away from this.

I'll help you find another gig,

make sure you land on your feet.

You're still gonna try
and make this thing?

When I was a kid, I was small.

I mean, like really small.

Like a full head shorter
than all my classmates.

And there was this one guy
who just had it out for me.

His name was Marcus Anderson.

I don't even know
why he didn't like me but...

But he didn't.

This one day,
he comes up to me and he says,

"I'm gonna kick your f*cking
ass today after school."

And I was... I was scared.

And I could've told a teacher,

I could've went a different
way home, but I didn't.

I waited for him right out front.

I didn't hide.

Let me guess... you b*at
the crap out of him?

No.

He kicked my f*cking ass.

[LAUGHS]

- [BOTH CHUCKLE]
- He was a big guy.

You should've seen him.

[LAUGHS]

Oh, f*ck that guy.

That's a... that's a real
uplifting story, Rud.

Yeah. No, he did.
He kicked my f*cking ass.

But I put up a good fight.

And you know what?

After that,
he never f*cked with me again.

I can't go back to that cubicle at Rand.

But I understand
if you need to cut and run.

I'm not running either.

So what's the move now then?

You gonna go punch Mickey Cohen?

No.

But I am gonna talk to him.

[THE ROLLING STONES'
"CAN'T YOU HEAR ME KNOCKING"]



[INDISTINCT CHATTER]

Happy, eh? That suit's not Czech,

that is Yugoslavian.

JAGGER: ♪ Yeah, you got satin shoes ♪



♪ Yeah, you got plastic boots ♪

- I'm so glad you came.
- I've missed you.

Would you watch him? Just watch him.

Jesus Christ, guy's an animal.

JAGGER: ♪ Y'all got cocaine eyes ♪

You're talking about franchise?

I was, like, "What the f*ck
is he talking about?"

But he goes, "Like
I wouldn't throw your ball?"

BAND: ♪ Can't you hear me ♪
♪ Knockin' on your window? ♪

I broke my own rule.
I started talking shop.

g*dd*mn it!

BAND: ♪ Can't you hear me ♪
♪ Knockin' on your door? ♪

I kind of like it. It's like gladiators.

When are you gonna
put me in the movies, Bob?

Christy, you're already in the movies.

Shh. I'm just saying.

BAND: ♪ Help me, baby ♪

I love your work, girls.

BAND: ♪ Ain't no stranger ♪

♪ Help me, baby, ain't no stranger ♪

♪ I've been begging on my knees ♪

♪ I've been kickin'

♪ Help me please

♪ Hear me prowlin'

♪ I'm gonna take you down

♪ Hear me growlin'

♪ Yeah, I've got flatted ♪
♪ Feet now, now, now, now ♪

♪ Hear me howlin'

♪ And all, I'm all around ♪
♪ Your street now ♪

♪ Hear me knockin' ♪

♪ I'm all around your town ♪

Where are you right now?

In the best dream I've ever had.

You're so full of sh*t.

You're hiding something.

If you don't want to tell me,
you don't have to.

It's work stuff.

Maybe I can help.

I'm putting together budgets,
and nobody will give me

a straight answer on union requirements.

Everyone's all nervous
about some guy, Mickey Cohen.

Mickey Cohen?

You know him?

Cohen's a criminal.

He's a... he's a... He's a low life.

A thug.

He, um... [CLEARS THROAT]

he came to the Chateau a few years ago.

It was... [EXHALES]

It was right after my divorce.

He said he would
do me a favor and... and...

And bring his business to the Chateau.

All it would take was for me to
use him as my kitchen supplier.

I said "No, no, thank you." Very nicely.

And then he said,
"You need friends now."

He threatened you?

I ordered two glasses
of a very nice champagne,

I handed him one.

I looked at him

and then I told him, "I faced
the Nazis and survived.

Do you think I'm afraid of you?"

We clinked glasses, we drank,

and he never came back to the Chateau.

He prefers the Oyster House.

Baby, you are a f*cking badass.

A badass who still thinks
you're hiding something.

[SUAVE MUSIC]

Okay, pack 'em up
and get 'em out of here.

Make sure they're on time.

You got it, Mickey.

Is that him?

You got some balls coming in here.

I just want to understand
what I did to offend you.

Me? No, no, it's not me.

I can give a f*ck about what you do.

But they...

they don't want you making this movie.

They say it's disrespectful.

Who's they?

The Italians back east.

You're making a movie about 'em
and you don't know who they are?

The movie's fictional.

It's not about anybody in real life.

Except Sinatra, right?

Listen, Al,

I ain't here to tell you what to do,

but here's the story.

My friends asked me
to deliver a message,

and I delivered that message.

Anything beyond that, I got no part of.

How do I deal with your friends?

You want my best advice?

Make a different movie.

And if I don't want to make
a different movie?

[LAUGHING]

Oh, well, then eventually,

you're gonna have to
deal with them directly, Al.

And when that time comes, and it will,

above all, be a straight sh**t.

They don't fire warning sh*ts.



He just had to handle
something, but he will be here.

Christ!

- Are these, uh, for everyone?
- What?

Hello, everybody.

Uh, where's Ruddy?

Oh, he's just running a little behind.

But he said we can go ahead and start.

All right. All right, yes.

Well, we're all very excited to be here.

Francis, you know Peter.

And this is Andrea Eastwood,
head of casting.

Now, I know that you and Mario
are deep into the process,

but we just all wanted to make sure

that we're on the same page creatively.

Why don't you tell us
what you're thinking?

Sure.

Sure.

Okay, um... [CLEARS THROAT]

It's actually coming along really well.

That's one hell
of a paperweight you got there.

[COPPOLA] Okay, um... [CLEARS THROAT]

So tonally, thematically,

this whole picture,

it's about light and darkness.

You have the bright celebration
of Connie's wedding

against the dark underbelly
of Don Corleone's business.

I love that. Mm.

Then we introduce Michael.

And Michael,
he's straddling the two worlds.

When we first meet him,
he's very much in the light.

And then, when he comes to the wedding,

I think that he should be
in full uniform, okay?

He's got the colorful medals,
it's, like, uh, he's glowing.

It's just after World w*r II,

and Michael represents hope again

after a time of great depression.

Excellent, Peter. Thank you.

Yeah, I can think of a dozen actors

that would love to sink
their teeth into that.

Oh, hell, yeah.

I think that
when we eventually sh**t this

that, uh, the whole look of the film

should reflect this opposition
of the light and the dark.

Make it feel real.

None of these caricatures
of what a gangster is.

Yeah, they're family men,

they're... they're...
They're businessmen, you know,

they could be your neighbor.

I'm pretty sure one of them is.

[LAUGHTER] [DOOR OPENS]

BOB: Hey, Barry.

I'm sorry, I thought you were
on the way to the airport.

Do you need something?

Oh, no, thanks, Bob.

Appreciate you asking though.

Everyone, this is Barry Lapidus,

Gulf and Western's shining star,

and Jack Ballard,
who runs physical production.

Hey, Jack.

Look, uh,
I'm a little tied up right now.

Can I come and see you after?

BARRY: Oh, no. That won't be necessary.

This meeting is the reason why I'm here.

Look, I know that
the last thing we all want

is this production to go off the rails

and become another disaster
like "Waterloo,"

so I've come to present you
with a reality check.

My team has done some financials.

First off, sh**ting in New York
is way too expensive.

Excuse me. You can't sh**t LA

- for New York.
- JACK: No. No.

Of course not.

Uh, Kansas City or St. Louis
could help bring costs down,

especially if we don't sh**t
this period.

Hold on.

This entire story, it takes place

in a very specific time
during post-w*r America.

It doesn't make sense any other way.

So Michael comes home from Vietnam

instead of World w*r II.

That makes it even more relevant.

Keep it contemporary.

It's not like crime
no longer exists, right?

Look, this is how it's going to be

if you want to make this movie.

Wow.

It's very, very interesting, Barry.

Thank you very much for bringing

that imagination to the party.

You know what,
a lot of food for thought, huh?

A lot of food for thought.

Yeah. Well... think hard.

BOB: Oh, yeah.

What'd I tell you?

[WHISPERS] f*ck.

BETTYE: Francis, listen to me.

- Hey, where you going?
- Hey, nice to see you.

- What the f*ck just happened?
- Lapidus.



Hey, Francis.

Where were you?

I was handling something
important for us.

- Trust me.
- Oh, okay.

Well, was it more important

than setting this in modern times?

Was it more important than sh**ting

"The Godfather" in St. Louis?

What? Evans said that?

No, he didn't say anything.
He just sat there!

You know what? You said...

You said that he was
gonna be a standup guy.

You said that he was gonna
support my vision,

and that empty suit folded like origami.

Listen to me, I'm gonna
take care of it, okay?

But the best thing you can do to help

is just to write an undeniable script.

You're lucky that I need this paycheck

to keep my business afloat,

otherwise you'd be seeing my taillights

for the last time.

AL: So now, Barry Lapidus is dictating

what "The Godfather" is gonna be?

Ruddy, Ruddy. Stop being so emotional.

Of course I support Francis' vision.

But, you know,
you gotta read the room, kid.

And nothing good would've come from
me confronting Barry right then.

f*cking Barry.

Barry is mad at the world

because it sees him
for what he truly is:

a no-talent prick.

But he feels like he got a win,

like he's the big man on campus.

Let him think that for now.
It keeps him out of our way.

I don't know how you're being
so relaxed about this.

Francis, he's about to quit.

Said every director
who eventually finished their picture.

Trust me, Francis isn't going anywhere.

So we don't have to set this
in present day?

Ruddy... [SIGHS]

How did you get into my office? Hmm?

What do you mean?

You got in

because you did something
that's not done.

You saw something that you wanted
and you went it for it. Woof!

You and I are not like
these corporate fucks.

We don't play by the book.
We write the f*cking book.

Now, you want to be a great producer?

You do whatever it takes
to get your movie made

the way you want to do it.
Now, you want New York?

Go there, make some deals,

prove that you can do it for the money.

Beg, borrow... I don't give a f*ck.

Steal. You do whatever it takes.

Now...

you don't have a long track record,

but you got brains, and you got balls.

Try using both.

Preferably at the same time.

On behalf of the Mangia
America Food Company,

please allow us

to lend the financial support
you requested.

The League, it's very important to us.

$ , . What is that? An insult?

No, sir, it's... It's just the
beginning of what we're prepared...

Here's the beginning.

Put another zero on the end there

and then we're straight.

You want a $ , ?

You don't think I know
how much f*cking money

you make a year, you greedy f*ck?

You're... you're lucky, I ain't
making you kick in personally.

Now, be a good boy and add the zero.

I'll take this f*cking pen

and I'll s*ab you in the f*cking throat.

Add the f*cking zero.

Go over to the bar.

David. [CHUCKLES]

I hope you're bringing me
something better.

Not like this f*cking meatball.

Danny Thomas?

He's not anybody's first choice

but he likes the book.

He's a comedy actor and he's Lebanese.

Quinn is a great actor.

He's half Mexican.

He's played Arabian, Greek...

Olivier is being treated
for prostate cancer.

How do you know that?

Okay, they're all wonderful actors

but the Don is so specific.

He's expl*sive,

and he's charismatic, and he's warm.

And I really think
that we should be talking

about Brando for this.

World's greatest actor.

- That's not happening.
- AL: Why not?

Because we have no budget,

and so why the hell
are we even doing this?

In my experience,
if you get them excited

about who you want,

they'll find breakage.

- What's breakage?
- It's more money.

But not for Brando.

Jesus Christ, Andrea.

The director, the writer,
and the producer

are all on board with this thing.

So why not give it a f*cking try?

Brando's an amazing actor,

but he's notoriously difficult,
very expensive,

and his last four movies bombed.

So there's no way in hell

you're gonna get Bob Evans
to approve him.

Let me worry about Bob.

Why don't we start with
some low hanging fruit?

Johnny Fontane, Vic Damone.

That's a great idea.
Can we even get him?

He's interested.
He just wants to meet you guys.

BOTH: Where is he?

BOTH: Vegas.

[LAUGHTER]

He says, "Today, I'm an alligator."

[GIGGLING]

Mr. Damone.

Al Ruddy.

It's great to meet you, man.
Really, pleasure.

- This is Francis Ford Coppola.
- Good to meet you.

You must be Mario Puzo.

In the flesh.

I loved your book, man. Good stuff.

- Tom Collins times four.
- WAITRESS: Yes, sir.

Take a seat, guys.

- FRANCIS: Mr. Damone?
- Oh, Vic, please.

Vic, my mother was such a huge fan.

"The Lively Ones," she'd listen
to it over and over again.

She wore out the vinyl.
I had to go to film school

just to get a little peace
and quiet, you know?

With me, flattery
will get you everywhere.

So Fontane...

he's Sinatra, right?

MARIO: No.

Fontane is you.

FRANCIS: Vic, what do you say?

You want to talk about the character...

I'm gonna stop you right there, Francis.

I'm in.

I loved "Patton," I love the book.

And I'm sure I'll find
something to love about you.

Hey, I'm the guy with the credit card.

See? I knew he was lovable.

All right, listen,

let's talk more tonight after the show.

I have a great table
for you right in front.

- Enjoy.
- FRANCIS: Oh, great.

Looking forward to it, Vic.

- Here you go.
- Okay.

Salute.

Come on. Come swim with me.

Not... not now, sweetie.

Go take a swim. We'll go eat later.

- JILLY: Frank.
- Hey.

[SIGHS]

I just got word.

That producer checked in at The Sands.

f*cking Damone.
Bad enough he steals my act.

Now he's gonna try to embarrass me?

You know, I bailed his old man
out of a big debt.

This is how he repays me.

No f*cking loyalty.

You, uh, want me
to take care of this, Frank?

Mm.

Not yet.

Get me the phone.

LENNY: Hey, boss.

What?

It's Sinatra.

Oh, f*ck.

Frank, how they hanging?

Don't give me that bullshit.

Look, that thing you were
supposed to take care of,

it ain't been taken care of. I know.

I know. I'm in the middle
of it right now.

- Don't worry.
- Don't worry?

Joe, go f*ck yourself.

Frank, I said I'm on it.

You got nothing to worry about.
Trust me.

Listen to me. Get it done.

I will not be humiliated.

This is my legacy
these fuckers are f*cking with.

f*ck this guy.

[SINGING IN ITALIAN]

Where is everybody?

I told them not to come.

I need to talk to you about something.

I told that f*cking crooner
I'd handle the g*dd*mn movie.

If he's trying to go around my back,

he's gonna get his vocal chords broken.

It's not about the movie, Joe.

It's the League.

Well, uh...

[SIGHS] What about it?

We all think
you're bringing too much heat.

It's not the right time
for this nonsense.

The League is my thing, Carlo.

I... I ain't asking for help.

Your thing is bringing us
too many problems.

You should've used Biaggi
as the face of this thing.

- He's pissed.
- Oh, f*ck that crook.

What?

We answer to corrupt politicians now?

We don't answer to nobody.

But sometimes we listen.

That Congressman picks up
the phone and calls the FBI,

the storm falls on all of us.

Be reasonable, Joe.

What I'm doing
is a long time coming, Carlo.

The Jews got the JDL.

The... the... the Blacks got the NAACP.

sh*t, even the Irish got the PBA.

We need our own thing.

We have our own thing.

JOE: You know what I'm saying.

CARLO: Joe.

Listen to me.

Do the smart thing here.

Back away.

Put a politician, or a judge,

or an entertainer in the front of this.

You don't need the headache.

Oh, that's a good idea.

Maybe we should get the guy
with the blue eyes to step up,

is that what you're saying?

No. f*ck that guy.

I'm just saying,

as the new guy at the table,

you should take it slow.

[SOFT DRAMATIC MUSIC]

Well, you delivered the message, Carlo.

I'll think about what you said.



Stay in the shadows.

It's how things are done.



Okay.



VIC: ♪ Just on the street ♪
♪ Where you live ♪

♪ And oh, the towering feeling ♪

Thank you very much.

- ♪ Just to know ♪
- No.

♪ Somehow, you are near ♪



♪ The overpowering feeling ♪

♪ That any second ♪
♪ You may suddenly appear ♪

♪ People stop and stare ♪

♪ They don't bother me ♪

♪ For there's nowhere else on Earth ♪

♪ That I would rather be ♪

♪ Let the time go by ♪

♪ I won't care if I ♪

♪ Can be here ♪

♪ On the street ♪

♪ Where you ♪

♪ Live ♪

[CHEERS AND APPLAUSE]

Thank you.

Thank you, ladies and gentlemen.

Thank you.

You know, I've played theatres
all over the world...

- JILLY: Hey, Vic!
- Hah, who is that?

You a big movie star now?

Rumor has it you're gonna play
Johnny Fontane

in "The Godfather."

[INDISTINCT MUTTERING]

I was approached for the role,

but I turned them down.

I would never lend my name

to something with such an extreme bias

against my Italian heritage.

[CLAPPING]

[APPLAUSE]

- What the hell?
- What just happened?

Sinatra happened.

- f*ck.
- VIC: Maestro?

Now, one of my favorite songs.

This is one I recorded in .

AL: Damone's gone already.

What a wimp.

We're never going to make this movie.

Yes, we are. f*ck Damone.

No.


It's just... it's a cancer,
it's going to...

It's going to eat our souls
a piece at a time.

No. No.

Francis, listen to me.

We are making this movie, okay?

And it's gonna be great.

It's gonna be better than
anybody ever had a right to expect.

Because you've got
a real vision for this,

and I'm gonna get you
what you need, okay?

But you gotta f*cking trust me.

If I say I'm gonna handle something,

I'm gonna handle it.

Might not be right away
or the way you wanted,

but I will f*cking get it done.

You're there for me, I'm there for you.

You respect the budget,
you don't go over,

and I will f*cking k*ll for you, man.

We're a team.

[TAPS TABLE]

[SUAVE MUSIC]

Hey, I want in on this.



This movie's gonna be f*cking great.

[LAUGHS] Okay? All right.

Okay, okay.



- Sorry.
- No.

Were you here long?

No, not at all.

Good, then I can stop
pretending I feel bad.

[CHUCKLES]

Is it true that John Bonham

drove his Harley Davidson
through the lobby here?

Well, it's the same carpeting.
See for yourself.

- Were you here that night?
- Yup, I was.

Same night I found my ex-husband

f*cking Tura Satana in the bungalow.

At the time, I thought it was
the worst night of my life.

But now I own this place,
and he's in Ohio,

so turns out it was
the worst night of his life.

Mm-hmm.

Best part of marriage
is divorce, I guess.

In my case, yes.

- Bourbon.
- Mm.

It's good, eh?

It's made in Kentucky.

You know that, per capita, Kentucky had

the most American men serve in the w*r?

- I didn't know that.
- Yes.

That's why I drink it.

Don't ask for Irish whiskey at my bar.

I don't carry it.

Do you want to know why?

Mm-hmm.

During the w*r, Ireland didn't let

Allied troops use their ports.

Not for munitions,
not for soldiers, not for...

Not for f*cking food.

They just stayed on the sidelines

while millions were exterminated.

And you... You know what I say to them?

f*ck them.

I like rum anyway.

The reason why I'm telling you this

is so you understand the...

the type of grudge-holding woman I am

before I ask you
what I'm about to ask you.

Okay.

What's Al hiding?

Françoise, I... [LAUGHS]

- I'm not sleeping...
- I don't mean other women.

I... I'm not worried about that.

I know where his d*ck goes every night.

[CHUCKLES]

I mean something else.

There's something heavy around him

that he's not telling me.

What is it?

I'm not gonna sit here and lie to you.

I'm also not gonna
say anything if he hasn't.

So you're Ireland.

I'm an ally. I'm just not yours.

Touché, mon ami.

I get why Al likes you.

Let's have another drink.

Adam, uh, can we get
two glasses of Mount Gay?

[MELLOW MUSIC]



Andrea, how many Redford
knock-offs must we see

before you realize that
none of them are right?

You know, it would be easier
to narrow it down

if we had a script.

FRANCIS: I don't need a script.

We're just gonna be another second.

Andrea, I know who Michael is.

Who? Al Pacino.

Has he done any film?

He's about to go do
"Panic in Needle Park,"

he just won an Obie for
"The Indian Wants the Bronx."

Off Broadway.

What's the difference?
He's... he... he's terrific.

I saw it. I agree.

But the studio will never approve him.

Why not?

He's not Bob Evans' type.

He doesn't have to date him,
he just has to approve him.

He has the quiet intensity that I want.

And he's Italian.

- It's not gonna happen.
- Listen to me,

I can't sit through another
WASP mispronouncing Corleone.

Core-lay-o-knee, Core-lay-own.

Hi, guys. Thanks for waiting...

Are you sure he's your guy?

Yes. Yes. Yes.

He's the only Michael.

I'll get you Pacino.

So where is the old bastard?

I'm sorry, Mr. Evans,

I tried to tell you on the phone.

Mr. Bluhdorn is in Europe,

and he won't be back until Monday.

Hmm. Fair enough.

Well, that'll teach me

to try to go around you
and schedule a meeting.

I'm sorry, sir.

Don't worry, beautiful.

I'll catch him next time.

TRACY: Excuse me, Mr. Evans. Sir...

Evans.

Certainly wasn't expecting you.

Weren't expecting what?

Me to barge into your office

the way you barged
into my creative meeting?

- I'll give you two a minute.
- No, don't move.

- Listen here, Bob...
- No, no.

You listen to me,
you f*cking accountant.

I run the studio.

Now, you want to visit,

next time you call me
and you ask my permission.

Stop thinking with your ego,

and think with your g*dd*mn head.

Paramount is both of our business.

Bob Evans is the movies, you prick.

Why don't you stick
to what you know best?

Numbers and stocks,
watered-down cocktails

with your Wharton groupies
at the Carlyle,

whatever the f*ck it is you do!

But you stay off my lot.

- Have a nice day, Jack.
- Bob.

Tracy!

- I am so...
- Close the f*cking door.

BETTYE: I don't know
how you stay comfortable

in that skirt all day.

It's a skirt.

What's not comfortable about it?

I mean, doesn't it
restrict your movement?

What if you want to cartwheel
or something?

I mean, I'm not doing
a lot of cartwheels.

Are you doing a lot
of cartwheels around here?

I just think that an everyday skirt

is a symbol of the past, that's all.

So, uh, how'd you start
working with Ruddy?

I've never seen an assistant
this involved in the process.

Did you know him from before or...

I didn't f*ck him,
if that's what you're asking.

That's not what I meant. No, no, no.

It's just that, you know,
Ruddy gives you autonomy,

and not every producer's like that.

BETTYE: So tell me, how did you
become head of casting?

I'd like to think it's 'cause
I have a real eye for talent.

But it might have been the skirt.

- I don't know, you know?
- [LAUGHS]

God, I wish I could tell these actors
the truth, you know?

Like, "Hey, you're talented but, uh,

"getting this part has nothing
to do with talent,

"it has to do with,
um, the size of your nose,

"and your height, and who you know,

"who you f*cked, the rumors
about who you f*cked.

- If you're open to f*cking."
- [LAUGHS]

There is... literally, it has
nothing to do with talent.

It has to do with the opinions
of a bunch of old men in suits.

[TYPEWRITER CLACKING]

Look, maybe Sonny should
show Michael what to do.

You know, the older brother
showing the younger brother the ropes.

No. No.

I love what you did in the novel.

It has to be Clemenza.

Clemenza's like your uncle.

He... he's got the warmth.

He can stand in for Michael's father.

Instead of the uncle
teaching you how to tie a tie,

he's teaching him how to k*ll two guys.

Yes. Yes, yes.

And why is your detail so magnificent?

Because the repetition, okay?

When Clemenza says to Michael...

He says it over and over again to him.

"Michael, when you k*ll Solozzo
you have to remember

you let your hand go down by your side,

and you drop the g*n."

That's perfect.

Follow me. Okay.

So we cut to Michael,

he kills Solozzo. [IMITATES g*nsh*t]

He kills McCluskey [IMITATES g*nsh*t].

But then,

he holds on to the g*n.

He doesn't let it drop.

He hangs on for too long.
He does not listen to Clemenza.

Why?

Why aren't you listening
to Clemenza, Michael?

Why are you hesitating?

And the tension,
the tension is building.

Why? Why? We're wondering why.

Why are you not listening
to Clemenza, Michael?

And just when we can't take it anymore,

that's when he lets it fall,

and we're okay again.

We know that Michael's gonna be fine.

Why is this scene beautiful?

Because it's not just the death
of Solozzo and McCluskey.

It's the death of who Michael
could have been.

He goes all the way

from being the total outsider
of his family,

and the transformation
to becoming the leader

of the Corleone family has begun

right here in this scene.

- Say all of that again.
- [CHUCKLES]

[INDISTINCT CHATTER]

Congressman Biaggi.

Thank you for seeing me
on such short notice.

Françoise always takes care of me

when I'm on the West Coast,
so here we are.

Everyone says you're the guy I
need to see to sh**t here in New York.

I know you have some reservations
about "The Godfather."

I told Françoise I'd keep an open mind.

Now, I understand
that there are a lot of people

who think this book is anti-Italian.

That is not the story
that we are looking to tell.

We're making a movie about society,

not just Italians.

This is not just some gangster film,

it's about family,

and the price that children pay
for the sins of their fathers.

Look,

we want to make a movie

that all Italians will be proud of.

Mr. Ruddy,

I have the greatest respect
for Françoise,

but I must say no to you.

And I'll give you my reason.

It's true, I have a lot of friends

in the mayor's film office,

but this book, this potential movie,

no matter what you say,

is and would be
an insult to my heritage.

But Congressman, there's a lot...

I understand you're disappointed.

But you will not make
this movie in New York.

Hmm.

And if I have my way,
you won't make this movie at all.

Mario Puzo is a traitor

and in this town, my word
still means something, so...

Thank you for coming to see me

but again, I must say no.

- Mr. Pacino...
- All right. All right.

Thank you very much.

Thanks for setting me up with Biaggi.

Of course.

I'm sorry it didn't work out.

I mean, you came all the way
to New York.

- It's ridiculous.
- Oh, look, it's all right.

I got a lot of fish to fry here anyway.

Well, you know, I'll always
do anything I can to help you.

I know, baby.

Al!

Hey. Great stuff, man.

You hungry?

I could eat.

Thank you.

Where do you put it?

Not sure I'm a starving artist,

but I'm definitely a starving actor.

[BOTH CHUCKLE]

I hope you don't mind
I ordered the menu, Al.

Listen, you agree to read for Michael,

I'll take you to Chasen's
once a week until you die.

[LAUGHS] Um, um...

Uh, I read the book.

Uh, it's not bad.

But, uh, I don't know.

Michael's the lead, right?

One of them, yeah.

He's the Don in waiting.

You see, that's my problem, Al.

I, uh, I guess I just don't
see myself as a lead.

Really? But you're such a talent.

[SCOFFS] You're very kind.

Thank you.

Um, how about Sonny, hmm?

Now... now that's a role
I'd be interested

in taking a real big swing at.

Sonny's a great character.

He's certainly a big impact
player in this,

but we really want you for Michael.

Who's "we"?

Well, it's myself
and Francis Ford Coppola.

Coppola?

I thought you said Puzo was writing.

What's... what's Coppola doing?

Francis is co-writing and directing.

I'll be straight with you, Al,
you're all he talks about.

[LAUGHS] Coppola knows who I am?

He thinks you're the only person alive

that can pull this off.

Ah, he said that?

He did.

He also said I cannot
let you leave this dinner

until you agree to read for Michael.

Those were his orders.

[CHUCKLES SOFTLY]

Here's what I'll do.

I'm gonna order three desserts...

and then, I'll agree to read for you.

How's that sound?

It's music to my ears.

All right. Uh, excuse me.

Can we have the dessert menu, please?

[SOFT DRAMATIC MUSIC]



What the f*ck?

Jesus! f*ck!

God, man, what the f*ck?

[PHONE RINGS]

[RINGING]

Hello?

LENNY: You get my little gift?

Now you know what you gotta do.

Who is this?

[DIAL TONE]

I mean, I thought he was pretty good.

Yeah.

- He's a little short, but...
- [LAUGHS] Yeah.

He's got that thing, you know?

Charisma.

I mean, when he... When he looks at you,

it's like... it's like you
lose yourself in him.

Don't hold back, honey.

I never hold back with you, Al.

You, on the other hand...

Me on the other hand, what?

Well, I'm just wondering
when you're gonna tell me

about what happened with Mickey Cohen.

I just didn't want to upset you.

Just always be honest with me

and you'll never have
to worry, all right?

You're right.

- Message received.
- Good.

I'm sorry.

The truth is, there are a lot
of people here in New York

who don't want us
to make "The Godfather."

Apart from the Congressman?

Mickey Cohen was delivering
their message.

But don't worry, I handled it.

It's not gonna happen again, I promise.

[SOFT MUSIC]



[PHONE RINGS]

[RINGING]

f*ck.

[RINGING]

- I might need to get that.
- Oh, no.

[RINGING]

- All right.
- No! No! No.

Baby. Baby, come on.

[GIGGLES]

[RINGING]

- Hello.
- Hello? Oui, bonjour?

Wait, Bob?

Okay, okay, all right.

Calm down, calm down. What?

Uh-huh.

Yeah, yeah.

Yeah, I'll be right there. Bye.

- Five minutes.
- He all right?

Yup, everything's good.

BOB: Hey, there he is. There he is.

Hey! Ruddy! Ruddy!

Get in the car.

- You okay?
- Get in the car!

I've got a flight to catch.

And, no, I'm not f*cking okay.

Hey.

Bob, tell me, what's going, man?

The g*dd*mn mafia put a f*cking rat

in my f*ckin' bed.

- A what?
- A f*ckin' rat.

Wrapped in your book, "The Godfather."

All right. Look, just relax.

f*ck you! "Relax." f*ck you.

I don't know what the f*ck
you got me into,

but I am not getting k*lled

for some gangster movie, all right?

Now, this is your f*cking job.

You deal with it or I swear to God,

I will shut this picture down,
understand?

- I mean, what was I thinking?
- I'm gonna handle it, okay?

- I'm gonna handle it.
- Good.

You do that. [SNIFFS]

Comfortable? Get the f*ck out of my car.

I just wanted to make sure you're okay.

Get the f*ck out.

f*cking amateur. Hit it, Michael.

[SOFT DRAMATIC MUSIC]



You look like sh*t.

Still prettier than you, bubbie.

I'm assuming you haven't read
the trades today.

- Hmm?
- We're in trouble.

Paramount being on the losing team

in Hollywood is hardly a secret.

You know, "Variety" needs to find
a new f*cking story, man.

Paramount's not the story.

You are.



f*cking Lapidus.

[GRUNTS]

How long have you been up?

A little while.

I need coffee.

Why don't we get breakfast sent up?

Can't, baby. I gotta figure
this New York sh*t out

if we're gonna sh**t here.

Would you at least get me
one of those croissant I like

from the cart on the corner
before you desert me?

You are at one of the nicest
hotels in the world

and you want me to get you a croissant

from a cart on the street?

Yes.

That's my girl.

I'm very fancy, you know.

Yes, you are. You are very fancy.

- And a coffee as well.
- And a coffee.

[DOOR SHUTS]

Hey, you're Al Ruddy, right?

Yeah, look, there's somebody important
who wants to talk to you.

Get in the car.

Yeah, look, I'm a...
I'm a little busy right now.

Get in the car.

I'm not gonna ask you again.

[SINISTER MUSIC]



[JIMI HENDRIX'S
"ALL ALONG THE WATCHTOWER"]



CARMINE: Take the bridge.

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