All language subtitles for THE OFFER.S01E10.2160P..H265-GLHF-FR

RUDDY: This is what it's
all about--the excitement.

You got 300 people
all watching the same thing,

reacting in real time,
just feeding off each other.

I mean, that's magic, baby.

I need to be in the movies.

ANDREA: Why are we here,
in show business?

Because this is the life
that we've chosen.

We all ran away from home

so that we could join
the circus.

[knocking on door]

ALI:
Bob, what are you doing here?

Well, that's not the greeting
I was expecting.

I'm sorry. You just--
Is there somebody in there?

It's McQueen, isn't it?

RUDDY:
What happened with Ali?

She's gone.

BETTYE: I was thinking
about what I want to do next.

And I'm thinking of maybe
becoming an agent.

Why an agent?
I really like actors.

I mean, they're delusional.
They have to be

if they think they're gonna
make it in this business.

This movie cannot be longer
than two hours.

A normal two-hour movie
can run five showings in a day,

but your masterpiece
can only run three.

Guess what.
We're going with a longer cut.

That's great news.
Lapidus wasn't wrong.

There are huge risks to doing
it the way we're doing it.

With a longer cut, there's no
way we're ready for Christmas,

or even a month later.

Audience attendances drop
like a fucking brick.

[soft dramatic music]

♪ ♪

[upbeat dramatic music]

♪ ♪

[groaning]

[exhales deeply]

[footsteps approaching]

Francis, what are you
doing in here?

I can't watch them
watching it.

What happened to
"I'm not nervous,

I'm proud of my work"?

I lied.
Well, listen, buddy,

you got nothing to worry
about--they're gonna love it.

Well, this is a first.

Director and producer
of highly anticipated film

spend premiere in the john.

It's a bold choice, boys,
but I like it.

[chuckles]

[Francis groans]

[Bob sighs]

A dozen spots either side,

and you come
stand next to me, huh?

I didn't want you
to feel lonely.

[chuckles]
What about you, Francis?

You're feeling left out,
too, huh?

Come on, pal, saddle up.

I don't understand
how you're so calm, Evans.

Bubbe...

I'm always calm.

Fuck, fuck, fuck!
Motherfucking "Cabaret."

I thought
it was pretty good.

I like the dancing.
Oh, well, of course you do.

The man who created
a comedy about Nazis

loves the musical
about Nazis.

I mean, are you sure
you're even Jewish? Huh?

I'm sure.

Look, I don't know why

you're so worked up
about "Cabaret."

They open way before we do.
Yeah.

On Valentine's Day weekend,

officially the last fucking
gasp at getting an audience.

Opening "The Godfather"
in March

is gonna fuck us big-time.

We've got a great movie.

It doesn't matter
if nobody sees it.

If "The Godfather" doesn't open
big, and I mean big,

Bluhdorn is gonna literally eat
my heart for breakfast.

Well, it's a good thing
Bluhdorn loves "The Godfather."

Oh, Bluhdorn loves money.

If it works, he's a hero.

If it tanks, it's on me,
and you by association,

because your cute little tuchus
is hitched to my wagon.

No, no, no, no.

If "The Godfather" is gonna
stand any chance...

we got to do something
different here.

[lighter clicks]

Like what?

You know, if you hadn't been
so obsessed

with the editing on this--

We both need this to work.

I said that we should use
the shorter cut.

I did. I said,
"Let's use the shorter cut.

We can have this movie out
by Christmas."

Why? Because Christmas is
the best time

to open movies, isn't it?
Yeah, I know that.

Christ, you're really
enjoying this, aren't you?

No.

Oh, maybe a little.

Barry...

I may have underestimated you
in the past,

but right now, I need
your amazing business brain

to go off the edge
of the graph paper

and think outside the box
on this, okay?

Okay.

[sniffs, clears throat]

Well, we're too late
for this year's Oscars,

and we're too early
for next year's.

There's no big
holiday weekend left.

Whoa, whoa,
whoa, whoa, whoa, whoa.

What was that?

Nothing.
It's crazy.

Crazy's good.
I like crazy.

It's never been done before.

Well, now I'm tingling
with anticipation.

I'm practically erect.

It's too risky.

Nothing good ever came
from playing it safe.

Come on, Barry.

Pitch it.

How quickly can you come
to New York City?

I read
the Mark Zuckerman script.

What'd you think?
It needs work.

You read it?
Hard pass.

Sue Mengers had the one
that--

About the couple
in the beach house.

Yeah, no, thanks.
I still have nightmares

from her working
with Francoise.

BETTYE:
Oh, God.

We need to get something
going and fast.

Francis is already shooting
"The Conversation."

Bob's got half a dozen
movies going.

Even Puzo's fielding offers.

What am I doing?
Running in fucking place.

So what's the play?

If the agents aren't sending
us good enough material,

then we create our own.

A treatment?

"By Albert S. Ruddy"?

[mellow funky music]

♪ ♪

Hmm.

♪ ♪

[whispering]
God damn.

♪ ♪

[clears throat]

I loved it.

Yeah?
Yeah.

When did you get this idea?

Had it for a long time,
actually.

That was the first thing
I wrote after I sold "Hogan's."

Wow.

A team of misfits tries
to make the impossible happen.

That sounds familiar.

That's it.
[chuckles]

Bettye, I need you to apply
your talent brain on this

and think about
who could star in it.

I'm gonna meet with Bob as soon
as he gets back from New York.

Okay.

[loud crash]

[loud bang]

CHARLIE: Send Tweedledee
and Tweedle-dumber in.

Yes, sir.

Mr. Bluhdorn
will see you now.

Yes, thank you, sweetheart.
We got it.

After you, Barry.
Thank you, Bob.

[loud thump]

BOB:
See you got some new clubs.

Oh, what do you want?

I'm busy.

Well, come on.
What is it? Speak.

We feel "The Godfather"

may need some help
for the opening.

Oh, you think so?

Well, you're opening
in fuckin' March.

Whose idiotic idea was that?

Doesn't matter because
Barry's got a brilliant idea.

We block book.

Usually we'd book
just a few specific theaters--

Yeah, I know how
the business works.

Don't tell me what I already--
Listen!

[exhales deeply]

We block book
a huge number of theaters.

300, at least.

We spend an unprecedented
amount of money on the prints,

but we make that first day
a juggernaut.

If we release it
in that many theaters at once,

everybody will see it
at the same time.

It's all anyone's
gonna be talking about.

BARRY: We get more bang
for our initial ad campaign

and we front-load sales
like never before.

It's a brilliant idea,
Charlie.

There's already a huge amount
of buzz about the movie.

It'll create headlines
beyond "Variety."

Think about it.

"Forbes,"
"Wall Street Journal,"

"Financial fucking Times."

What if no one shows?

Well, then we're out
a shit ton of your money

on the spend, Charlie.

But if it works,

we make film history.

We reinvent
the distribution business.

[club tapping softly]

The idea of losing money
gives me a rash...

But do it.

Now, get out.

Thank you.

And, Evans...

You know who I want
at that premiere.

Yeah, yeah, yeah.

Thank you, Barry.

Son of a gun, Barry.

I love it, baby.
[chuckles softly]

Who is he talking about
for the premiere?

Huh? Oh.

Kissinger.

He's a friend, but what Charlie
doesn't seem to grasp

is that the Secretary of State

might have slightly more
important things on his agenda

than slumming it in Hollywood.
[chuckles]

Yeah, well,
good luck with that.

Hey, win or lose, Barry,

it's a hell of an idea
you had in there.

Yeah, well, thank you.

Well, just--
let's see what happens.

[both chuckle]
Yeah.

Do you know what they say

the leading cause
of divorce is, Bob?

Marriage.

[chuckles softly]

I've been married
three times.

Did you know that?

I did not.

Yeah.

My first wife,
she just gutted me.

Got the second wife to try
and replace the first wife,

but that didn't stick.

[sighs deeply]

The trick of it

is you got to find something
you love more than her.

And for you,
the third wife was the charm?

No, money was the charm
for me,

but the third wife's
a close second.

Hmm.

[soft tender music]

[door opens]

Hey, Sheila.
Hi, Bob.

Ali is on line two.

Huh?
Ali, line two.

Thanks.

[door closes]

Sheila.
Hi, Al.

Oh, give him a sec.

Okay.

How's his mood today?

Uh, I'll tell you
in a minute.

♪ ♪

Yeah, yeah.

It's a nice surprise.

ALI:
Sorry about the article.

They told me it was only
gonna be about the movie.

So it's not true?

ALI:
It's complicated.

Well, I appreciate the call.

ALI:
Wait.

Can I come over sometime?

I'd really like
to talk to you.

Yeah, no, I-I'd like that.

When were you thinking?
ALI: Tonight?

I know it's last minute,
but I can come by the house.

Tonight's perfect.

I'm looking forward it.

ALI: See you tonight.
All right, bye.

[intercom beeps]
Sheila, call La Scala.

Tell Jean Leon
I need a favor tonight.

Mood is good.
Mood is good.

RUDDY: Thanks.
[sighs]

Hey.

How was New York?
Well, Lapidus' idea is crazy,

but it might just work.

Why play it safe when
we can crash and burn, right?

Hey, you want to play it safe?

Go back to
programming computers.

Fair enough.

Listen, Bob, there's something
I want to talk to you about.

It's a new idea
that I'm very passionate about.

What's America's
favorite pastime?

Baseball.

No, football.
[intercom beeps]

SHEILA: I've got Bluhdorn
on line one.

I'll be right there.
So--

SHEILA: He wants to know
if you've spoken to Kissinger.

Oh, fuck me.
It never ends.

Look, Ruddy, I want to know
all about your life--

who you're dating,
what you had for lunch,

what kind of underwear
you have on,

but right now I can't.

Bluhdorn's still using my ass

like it's his own
personal jungle gym.

We'll talk about your idea
another time, okay?

Charlie, what's going on?

Huh?

I-I have left messages
all over town.

RUDDY: If he's not
gonna listen to my pitch,

then we need to get a star
that Bob can't say no to.

Who are you thinking?

We know he's got a hard-on
for Nicholson.

Meh.

What?
Jack's a great actor.

Yeah.

But you need somebody
big and strong and sexy.

Okay.

Like who?

Burt Reynolds.

[soft funky music]

♪ ♪

That's a great idea.

Call his agent tomorrow,
set a meeting.

With pleasure.

[match strikes]
BOB: Jean.

Jean?

How we doing?

Everything is ready,
Mr. Evans.

Yeah?

The Beef Wellington
will rest here.

You can serve in 25 minutes.

Oh.
Oh, I got it.

Nicoise is in
the refrigerator.

Dressing is on table.
All right, you're--

[doorbell rings]
Whoa, whoa, whoa!

Use the back door.

It was a pleasure to help--
No, I know.

I appreciate it.
Go, go, go, go.

Hyah!
[smack]

Oh, hang on.

[exhales deeply]

Hey.

Did you lose your key?

You don't have to knock.

I don't live here anymore.

Come in, come in.

Wow, you...

you look fantastic.
You too.

Thanks for making time
on such short notice.

Well, I'm glad you called.

You've been
on my mind a lot.

I was hoping
that we'd have the chance to--

[soft tender music]

♪ ♪

I want this to be easy.

I swear that
when you called today...

even though we haven't spoken
for a while...

It's like you were in the room
with me.

I could paint your face
with a blindfold on.

[sighs softly]
Ali...

The biggest mistake of my life
was letting you slip away.

And I know, I-I let my job
take over my life,

and I don't have to do
that anymore.

I mean, I'm a different man
than I was even six months ago.

I don't have to prove anything
or--or be anyone.

I know
that I can have both things,

a career and a life.

And that's what I want,
to do both...

With you.

You can't, Bob.

It's not who you are.

It's one of the things
I love the most about you.

I've never met anyone who loves
what they do more than you.

I'm worried that I can't do it
without you.

You already have.

Which is why I had to leave.

Yeah.

Well, I guess this, uh--

I guess this means
that you won't be joining me

for "The Godfather" premiere.

[chuckles softly]

You really want me there?

Or just the version of me

that lets you say
"fuck off" to the press.

[both laugh]

Sadly--

sadly, it's the former,

but I would really enjoy
the latter.

I'm sorry this went down
the way it did.

[softly]
I'm sorry, too.

Be good to yourself.

You know me.

[sniffles]

[door opens]

Bye, Ali.

Goodbye, Bob.

[sniffles, sighs]

Okay, your itinerary
is inside,

and it's just you and Evans
on the plane.

Good,
I like a captive audience.

How are we doing setting
that Burt Reynolds meeting?

His schedule's tight,
but we'll get him.

As soon as possible.
Mm-hmm.

Hey.

Good luck.

To the both of us.

Car's here.

Ruddy's meeting you
on the tarmac.

Bob?

You all right?

I'm fine.

Yeah, well, the premiere
tickets are in here.

The limo in New York will pick
you up at 7:00 sharp,

so that should
give you enough time

to shower at the hotel.

[phone rings]

Bob Evans' office.

Uh, yes.
Yes, of course, sir.

It's him.
It's him.

Him who?

Kissinger.

[tense upbeat music]

Henry, bubbe,
did you save the world yet?

KISSINGER:
What's the emergency?

I was in a meeting
with the Joint Chiefs.

Just a front-row ticket
to the hottest movie

the world has ever seen,
"The Godfather."

I need you there with me
at the premiere, Charlie too.

KISSINGER: I wish,
but I'm supposed to fly

to Moscow tomorrow.
Ugh. Can't you delay?

Seriously, Mother Russia's
not going anywhere.

KISSINGER:
Oh, I don't think I can.

Please, Henry.

I could really use
an ally tonight,

and I'll owe you, pal.

KISSINGER: I'll try, Evans,
but no promises.

All right.

Thanks, Henry.

♪ ♪

Don't pity me, Sheila.

I'm not.

Car's waiting.

Thanks.

You know,

I have this recurring dream
about "The Godfather" premiere.

I got Ali on one arm,
I got Kissinger or the other,

and it's a perfect night.

Sounds silly, I know,

but I've had it in my head
a really long time.

Doesn't sound silly at all.

This is gonna be huge, Ruddy.
I know it.

Tonight's premiere
is just the beginning.

And with Ali gone,

I'm doubling down on it all.

I want to talk to you
about the next one.

So I'm meeting
with Burt Reynolds

as soon as we get back
to talk about that project

I mentioned to you.
He's really into it.

Ruddy--
And I'm thinking--

hear me out--

we get Francis to write
and direct it.

I know you
don't immediately think

of Francis Coppola and sports,
but he's--he's the guy.

Ruddy, your little movie's
gonna have to wait

'cause we're doing
"The Godfather" sequel first.

Francis is right.

We can't wait on this.

Bob, we don't even know

if this one's
gonna be a hit yet.

We can't be banking
on a sequel.

And I know it's just
a treatment right now,

but this little movie's

starting to get a lot
of momentum to it.

And I think if we can get it
off the ground

while "The Godfather"
is rolling out--

Ruddy, there is
no other pick right now.

This is it.
There's more of a meal here.

First rule of Hollywood--

never leave anything
on your plate.

Look, if this thing hits,

it's the pot of gold
at the end of the rainbow

and you and I are sitting
at the end

like a couple
of good-looking leprechauns.

I need your full attention
on this.

It's important.

Do you understand?

Do you ever wonder why

they fly out
all the way over the ocean

only to turn around
and head the other way?

Look,

I know that you and I haven't
always agreed on everything,

and, fuck me,

you did some
pretty dubious shit.

But for the most part,
I think...

you did a really good job
producing your movie.

[soft piano music]

Our movie.

It's our movie, Bob.

It's your name
on the poster, pal.

♪ ♪

To "The Godfather."

♪ ♪

[knocking on door]

♪ [Elton John's "Rocket Man"]

♪ She packed my bags
last night ♪

Hey.

♪ Pre-flight ♪

Hey.

Uh, what are you doing here?

I'm giving the press
something to write about...

one last time.

♪ And I'm gonna be high ♪

♪ As a kite by then ♪

[whispers]
Thank you.

♪ ♪

[loud thud]

♪ I miss the Earth so much,
I miss my wife ♪

[crowd clamoring]

♪ It's lonely out in space ♪

[crowd shouting and cheering]
CROWD: We love you!

♪ On such
a timeless flight ♪

♪ ♪

PERSON:
It's the producer, Al Ruddy.

PERSON 2: Ruddy!
PERSON: Al! Al Ruddy!

[reporters clamoring]

♪ And I think it's gonna be
a long, long time ♪

♪ Till touchdown brings me
'round again to find ♪

♪ I'm not the man
they think I am at home ♪

♪ Oh, no, no, no ♪

♪ I'm a rocket man ♪

Thanks for coming.
It means a lot.

Thank you.
PERSON: What's up, Al?

♪ Rocket man, burning out
his fuse up here alone ♪

♪ ♪

There he is.

Mario Puzo.
Hey!

Hey, buddy!
How the hell have you been?

Oh, you're not gonna
believe this.

I wrote a treatment
for Warner Brothers.

A treatment.
For what?

"Superman," all right?
It was one page long.

Guess how much they paid me.

[quietly]
A million bucks.

Get the fuck out of here.
For one page?

They wanted a say from
the author of "The Godfather."

Well, they got off
cheap, then.

Hey, let me finish this,
and I'll see you in a sec.

Yeah, you got it.
All right.

♪ ♪

[crowd cheering loudly]

♪ Mars ain't
the kind of place ♪

♪ To raise your kids ♪

♪ ♪

♪ In fact, it's cold as hell ♪

Excuse me.

Evans!
Henry!

Bubbe, you made it!
The Russians can wait.

♪ There's no one there
to raise them ♪

Hey, Charlie.
We're finally here.

[chuckling]
Yeah!

That son of a bitch, he did it.
He really did it.

Evans actually got Kissinger.

Yeah.

See, I told you.

I got a good feeling
about this movie.

Congratulations, Al.
Thanks, Barry.

BOB: Charlie!
[chuckles]

Henry, thank you so much
for coming.

Evans, you did it.
You remember Ali.

CHARLIE: Ali.
ALI: Charlie.

♪ A rocket man ♪

Francis.

[chuckles]

How are we feeling?
Are you nervous?

Not at all.
No, I'm very proud of my work.

So am I.

♪ ♪

♪ And I think it's gonna be
a long, long time ♪

♪ Till touchdown
brings me 'round ♪

Go ahead.

♪ I'm not the man
they think I am at home ♪

Look after my princess now.

Oh, yeah, yeah.
I'll be fine.

Thanks so much for coming.

Barry! Barry.
Good to see you.

You look spiffy.
Congratulations.

I love this.

♪ Rocket man, burning out ♪

Look at us, three musketeers.
Hey.

Hey, what the fuck?
Wh--where's Puzo?

What's going on?
Mario.

Hey, can I get
a shot of you guys?

Yeah, why not?
Why not?

Hey, the brothers.
Come here.

[chuckles]
There he is.

Francis, what was it like
adapting the book?

Oh, I had a wonderful time

working with this gentleman
right here.

What are you
working on right now?

I'm working on a treatment
for Warner Brothers.

Bob, what's up next
for Paramount?

Well, uh, we have a wonderful
picture, "Chinatown,"

which is in pre-production
starring Nicholson.

And then
we start shooting "Serpico"

with Al Pacino
early next year.

And after that, God willing,
"The Great Gatsby,"

written by our very own Francis
and starring...

Robert Redford.

And, Al,
what's next up for you?

Well...

you know, the Corleone story
might not be finished.

There's a lot in Mario's book

that we haven't
even touched yet.

The team's all in place.

I mean, what can I say?
We got lightning in a bottle.

Mr. Evans, can you confirm

that Paramount
is already planning

a sequel to "The Godfather"?

We're jumping the gun.

Let's enjoy this moment

because the world
will never forget it.

Couple of photographs,
then we'll get in there.

Come on.

♪ ♪

♪ And I think it's gonna be
a long, long time ♪

[soft theatrical music plays]

♪ ♪

It's so quiet.

It's not a good sign.

Francis, relax.
You're making me nervous.

But that's it.
That's it. That's the ending.

They hate it.

[sighs]

♪ ♪

[muffled cheers and applause]

I told you we got it.

We got it.
[chuckles]

♪ ♪

[exhales deeply]

The audience, fine,
but what about the reviews?

[muffled cheering continues]

[snorts]

FRANCIS: Okay, we got it.
Thank you, thank you.

Oh, no, no, no, no, no.
You read it.

I-I-I can't.
You read it.

What does it say?
What does it say?

"'The Godfather' fans
Brando's old flame.

"The old irresistible magic
is revived

"in Paramount's
'The Godfather.'

"The immensity of the project
must have been staggering.

[cheers and applause]

Stop it.
Thank you, thank you.

Well, thanks.
It's very kind of you.

BETTYE: "But producer
Albert S. Ruddy,

"director
Francis Ford Coppola,

"and screenwriter
Mario Puzo with Coppola

make it seem easy."

[funky upbeat music]

♪ ♪

"Elements of excitement
and suspense are sustained

"in the high peaks
of the story.

Gangland strategy, vendettas,
violence, revenge."

Beautiful, thank you.

Hey, Al.

You need to look at this.

Fucking Waldo Salt.

[upbeat brassy music]

"'The Godfather' is
a stunning production.

"There never has been
and probably never will be

"an ending
as wondrously wrought

as the unforgettable climax
of 'The Godfather.'"

♪ ♪

[chuckles]

Son of a bitch.

♪ ♪

[laughs softly]

You wrote this?

I did.

But that's just
a treatment, Burt.

So he's a coach?

And he's a quarterback, Burt.

Can you throw a spiral?
[scoffs]

Yeah, sugar,
I can throw the ball.

I thought a sports movies
scared everybody.

Well, this one's unique

because it takes place
in prison.

What?
Yeah.

The guy breaks up
with his girlfriend,

steals her car,
does 18 months down south.

I wish you would've
told me that before,

I could've saved you some time.

I don't want to do
a prison picture.

Well, this movie
isn't about prison.

It's about a guy

who gets one more chance to get
the dignity back in his life,

and he takes it.

It's an underdog story.

And honestly, Burt,

I think you're the only actor
alive who can pull it off.

[chuckles]

Al Pacino told me about you.

What did he say?

He said you were relentless.
[laughs]

Told me how you went to bat
for him.

That there's no one else
he'd rather have

in a foxhole with him.

You sign on,
I'll be with you every day,

every step of fucking the way.

And I will kill to make sure
the integrity of this movie

is something that
we can both be proud of.

[soft funky music]

♪ ♪

[sucks teeth]

Come on, Burt.

♪ ♪

Can't believe I'm about
to say yes to a prison picture.

[gasps]

"Part II."

We're calling it...

"Part II."

BOB:
Well, I love it.

Sells the saga.

So, come on,
what--what are you thinking?

Vito Corleone is not dead.

I'm sorry?

They put him
in the fucking ground.

What are you talking about?
Is he a ghost?

'Cause Brando will not--
will not play a fucking ghost.

The old man is dead,

but the young man
who first comes to America...

is alive.

FRANCIS: It takes place
turn of the century,

young immigrant Vito,

who, with a sense of justice
and brutality,

becomes the feared
and powerful businessman.

It's still a commentary
on capitalism.

Ruddy doesn't like it.
You don't like it?

No, no.

I think everything you guys
are saying sounds great,

but, uh, I mean, no Michael.

No Michael?
of course, Michael.

He--he's the Don now.

Oh, thank fuck.

FRANCIS: Takes place in
the two time periods

so we can play
the juxtaposition

of Vito Corleone building up
his family, his empire,

while Michael watches
his family fracture.

It's just like this country
as it hurdles toward the '60s.

Well, I can see you haven't
given this much thought.

No, none.
[chuckles]

BOB: Come on, keep going.
You got me. I'm interested.

PERSON ON TV: Many of them
leaving a year to the day

from the time they arrived.

Ruddy, the TV's here.

That's the fireplace.
Elizabeth Taylor.

Oh, I love Liz.

That was a fun night.

You know,
I saw her one time.

It was right before
I pitched "Hogan's Heroes,"

and she took my breath away.

Feels like 100 years ago now.

Well, that's because
you're not on the outside

looking in anymore.
Oh, come on.

You never get used to
Liz Taylor, right?

That's right.
You never do.

Ooh.

But before we tell you

about the sunny
Southern California weather,

let's find out which pictures
were nominated

for this year's
45th Academy Awards.

Gigantic long shot.

Doesn't even matter.
Not at all.

Biggest box office
of all time.

We already won.

PERSON ON TV:
First up, the nominees chosen

by members of the Academy

for Actress
in a Supporting Role.

Here's to
11 fucking nominations.

[glasses clink]
Unbelievable.

Oh.
Oh, now, that is nice.

That's a 1954 Macallan
Single Malt,

aged in God's finest barrel.

Special drink
for a special occasion.

Ooh.

I'm only gonna say this, Ruddy.

I want this so bad,

I will fuck the entire Academy
if I have to.

What happened to
"we already won"?

[chuckles]
Sure, sure.

But there are other prizes
to be had now.

You're still talking
about the Oscars?

Hey, I got plans.

I've just been waiting
for the right time,

and that right time is coming
soon to a theater near you.

[ice clinks]
Thank you.

And for you, too,
Oscar changes everything.

You're in a different
category now.

This is your moment.

And when they call the
nominations for Best Picture,

it'll be your ugly mug on TV,
not mine, you.

Unless, of course,
I'm sitting next to you,

which, by the way,
I'll be sitting next to you.

[both chuckle]

BOB:
Oh, shit.

People are gonna start
promising you things.

They're gonna wine
and dine you.

But between all the glamour

and all the bullshit,

remember, you hold the keys.

It's what you want
that matters.

Trust your gut.
It's what got you here.

I told you once,
some people have brains,

some people have balls,
but you have both.

Don't forget that.

Salute.
Salute.

BETTYE: Stevie Phillips
wants to set up a call

to discuss talent
for "The Godfather II."

Um, Stevie Phillips
is gonna have to wait.

I'm a little slammed today.

You also have a call
set up on Monday

with Francis and Mario.

They want to pitch you
some new ideas.

Burt Reynolds also called.

He wants to know
if you found a writer yet.

He says his window
is closing.

Okay.

We're gonna find
a writer, Al.

It's not that.

I'm just afraid the sequel's
gonna kill my other movie.

I don't understand.

You know how it goes.

If I do "The Godfather,"

it's gonna take up
every aspect of my life.

And then I got to wait, what?

A year, year and a half until
I can get my own movie going.

I'm gonna lose Burt.

You can do both.

Producers do that all the time.

Well, not this one.

I can't do something halfway.

I know.

Oh, hey, before I forget...

Meet me at this address today
in Beverly Hills, 2:00.

You got it.

PERSON:
Al Ruddy?

Yeah.

My name's Eddie Kurland.

I'm sorry to be approaching you
like this.

It was just the only chance
I could get to talk to you.

Your secretary's really tough.

You a caterer?

It's the only way
I could get on the lot.

Okay.

I want to do what you do--
make movies.

Here's some advice, kid.
Do something easier. Trust me.

Yeah, I would if I could.

I've seen "The Godfather"
six times.

It changed my life.

I read about the sequel,

and I want to be a part of it,
any way I can.

You got any experience?

I've seen a lot of movies.

Not the same.

You didn't have
any experience.

You were a programmer
at Rand Corporation

when you sold
"Hogan's Heroes," right?

Tell you what...

leave your name and number
at the desk.

If anything comes up,
we'll call you.

Thank you, Mr. Ruddy.

You won't regret this.

Regret what?
I haven't done anything yet.

You will.

[engine turning over]

Eddie, this is where
you get out of here.

CHARLIE:
So what does this mean?

You--you're quitting?

No.

Well, what does he mean?
I don't understand.

I think what Bob is pitching

is he remain
the head of Paramount

while also enjoying
a five-picture deal

as a producer.

Did I get that right?

Nail on the head, Barry.
What?

That's--that's--

You did it, Bob.
Charlie's speechless.

[chuckles]

CHARLIE:
That's two jobs.

How are you gonna do two jobs?
That's unheard of.

No.

No?
What do you mean no?

I can't get him to shut up.

Now he's giving me
one-word answers.

Again, what Bob is saying is
it's not unprecedented.

Darryl Zanuck did it at 20th.

Oh, now he's Darryl Zanuck.
You're Darryl Zanuck.

BARRY:
There's a difference.

Darryl Zanuck didn't develop

the highest-grossing movie
of all time.

What do you got to lose,
Charlie?

I'll make you money
in both roles.

I double down, you double down,

and what's the worst
that could happen?

It doesn't work out?

You get the pleasure
of killing me twice

instead of once.
[chuckles]

You picked Oscar night
on purpose.

Oh.

Why do you want
to do this, Bob?

I want my name
on the poster.

BETTYE:
Whoa.

What's with all the secrecy?

You about to tell me
you're part of the CIA?

[Ruddy chuckles]

No.

[chuckles]

This looks like a place where
they bring you to kill you.

[laughs]
Uh-huh.

[clears throat]

Okay, I give.

What are we doing here?

Is this your new office?

No, it's yours.

For your new agency.

You deserve to get your shot.

Ruddy, I can't afford
to rent a place like this.

I know.

That's why I paid your rent
for the next two years.

I can't take your money.

You're not.

It's an investment.

[soft tender music]

♪ ♪

BETTYE:
Thank you.

♪ ♪

Do you think I'm crazy
for doing this?

No.

It's what you want, right?

I mean, it's a lot,
walking away from a paying job

and going out there
on my own.

♪ ♪

I get it.

But at least this way,
live or die,

it's on your terms.

You know what
one of the hardest things

I ever had to do was?

What?

Telling you that I wanted
to become an agent.

I really love working
with you.

You're my family.

But still,
I had to do this for me.

You understand?

I get it.

No hard feelings.
[chuckles]

Okay, come on.

Let's go.
We got to get you ready.

Oh, yeah,
about tonight,

I need your help
with one other thing.

Is it legal?

Stop asking me that.

♪ ♪

[footsteps approaching]

Wow.

Excuse me, miss.
I'm looking for Bettye McCartt?

Al...

today is the one day
I'll allow you to open my door.

You clean up nice.

Not so bad yourself.

[car door closes]
I believe this is yours.

I didn't think secretaries
went to events like this.

Oh, Bettye, you were never
just a secretary.

[car door closes,
engine turning over]

[cork pops]

[yelps]
[both laugh]

PERSON:
Nominated here this year

for the best achievement
in directing,

they are...

Bob Fosse for "Cabaret."

PERSON 2: John Boorman
for "Deliverance."

PERSON: Jan Troell
for "The Emigrants."

PERSON 2: Francis Ford Coppola
for "The Godfather."

♪ ♪

PERSON:
And the winner is...

Bob Fosse for "Cabaret."

[cheers and applause]

BOB: You'll get it
next time, Francis.

Next time, my friend.

PERSON: For the best screenplay
based on material

from another medium.

And the winner is...

Mario Puzo
and Francis Ford Coppola.

Come on!
I told you.

I told you.
[laughs]

I told you, didn't I?

[chuckles]

PERSON: Those nominated

for Best Performance
by an Actor are...

PERSON 2:
The winner is...

Marlon Brando
from "The Godfather."

PERSON: Accepting the award
for Marlon Brando

is Ms. Sacheen Littlefeather.

This should be interesting.

PERSON: To present the award
for Best Picture,

Dirty Harry himself,
Mr. Clint Eastwood.

CLINT: These are diverse
and distinguished pictures.

Let's go.

Are you crazy?
This is the last award.

It's "Cabaret's" night.
Let's go.

No, I put on a real dress.

I'm not leaving.

CLINT: "The Godfather,"
an Albert S. Ruddy production,

Paramount.

And the winner is...

Albert S. Ruddy,
"The Godfather."

[loud cheers and applause]

[bright triumphant music]

♪ ♪

Brando, Pacino,

Caan, Duvall, Keaton, Cazale.

Now, with an incredibly
talented cast like that,

it's no wonder
that we're here celebrating

Best Picture of the year,
"The Godfather."

[cheers and applause]

Now, it takes
an incredible team,

an incredible team to make
a classic motion picture.

And I'd like to start
by thanking the man,

who in addition to suggesting

the visionary
Francis Ford Coppola...

Thank you.
[cheers and applause]

Yes!

Also had the wherewithal
to option

an unpublished 60-page
treatment by Mario Puzo,

which turned into one
of the biggest-selling novels

of all time.

People are looking at me
right now, but I'm saying no!

Hell, no!

Please, and I mean this,

raise your glasses,
the unsung hero,

Peter Bart!
[cheers and applause]

Without whom none of this
would be possible.

I want another round
of applause.

Peter Bart!
[cheers and applause]

Yeah. And last
but by no means least,

the man I made an offer
he couldn't refuse.

[quiet laughter]

Mr. Al Ruddy, stand up.

Mr. Producer, my friend,

Al Ruddy!
[loud cheers and applause]

You did an incredible job.

Incredible job.

And everybody else,
save the date,

'cause I've got a funny feeling

we're gonna be right back here

celebrating the success
of "The Godfather Part II,"

coming to a theater
near you soon!

Yeah!

So, as my Italian friends
like to say...

Cin fuckin' cin.

All right, have a great night.
All right.

[indistinct chatter]

You are a mensch.

I love you, bubbe.
Love you more.

You deserve the earth.
I'm gonna make sure you get it.

You know, I think
surprise of the night,

Brando's acceptance speech,
or lack thereof.

I thought that took balls.

I was surprised
that they booed her.

I was surprised Pacino lost.

I thought he would've been
a shoo-in.

No.
You have Duvall, Caan, Pacino

all nominated
in Supporting Actor category.

What happens?
They split the vote.

You know, if not for that, we
would've ended up at the top.

We would've, but we didn't.

So you better pay up, baby.
All right.

Maybe we should double it.

Next year--I don't pay you now,

but I'll pay you--
oh, excuse me, sorry.

[chuckles]

Bettye.

Thank you.

What happened to you?

What do you mean?

Someone turned you
into a real girl.

[chuckles]

You're funny, Charlie.

♪ ♪

Cin fuckin' cin.
[chuckles softly]

BOB: Francis.
FRANCIS: There you are.

You were robbed
of Best Director.

Get off.

Fosse was wonderful.

And "Cabaret" was "Cabaret."

Never seen it.
Don't intend to. Not joking.

How's the script
going with Puzo?

[both laugh]

Some things never change.
Hey.

It might be better
than the first one.

[both chuckle]
That's my boy.

Oh.

Al, Al!

All right, come on.

Come on, hand it over.

Oh, you beautiful...

androgynous god.

I think he's sexy,
even as a eunuch.

I didn't look.
We're just friends.

Best Picture, bubbe.
I know.

We did it.
I know.

This is just the start.

We'll do it all over again
with "Godfather Part II."

Yeah.

I need to talk to you
about something.

Oh, come on, look at you.

You just won the Academy Award
for Best Picture,

and you look like someone
pissed in your corn flakes.

[laughs]
Ah.

I'm not doing the sequel.

You're joking, right?

No, I'm not.

What the fuck
are you talking about?

Huh?

You put your blood into this,
and it paid off.

This is gold.
Sure thing. Easy street.

Well, maybe easy street's
overrated.

Oh, hang on.
Is this about money?

You're gonna hold me hostage

for more money on Oscar night?
No.

Come on.
Come on, Bob.

This has nothing
to do with money.

I want to make my movie.

What?

Oh, my God.
The--the--the football movie?

It's a story
that I have to tell.

Why?
Tell it later, down the road.

No, I-I can't.

The opportunity
to make that movie

is right now,
and I'm taking it.

Look, the sequel's
gonna be great.

The cast is in place.

They're working
on a great story.

Al, you've got the rights
to what's gonna be

the most anticipated sequel
of all time.

And you're gonna--
you're gonna what?

You're gonna throw it all away?
No.

No, I don't want to
throw those rights away.

I want to trade them to you
for a green light on my movie.

[soft dramatic music]

Look, Bob, I will never forget
what you did for me.

And Francis and Mario.

I mean, you guys are my family.

My fucked-up,
dysfunctional family

that I love dearly.

And you took a chance on me
when no one else would,

and I will never forget that.

But this is something
I got to do.

Right now, on my own.

I don't understand that.
How can you just walk away?

Because I can, I guess.

I'm trusting my gut.

That's what got me here
in the first place, right?

[sighs]
Look, you do this,

but you fail...

it's all yours.

That's the only way
I want it.

♪ ♪

All right.
Thanks, bubbe.

You're a class act, Bob.
Thank you.

Thank you for everything.

[sighs]

♪ ♪

Hell of a run.

♪ ♪

♪ [Free's "All Right Now"]

♪ ♪

♪ Oh, oh, whoa ♪

♪ Ow! ♪

♪ ♪

RUDDY:
It was a hard choice to make,

but it's the only one
I could live with.

Still think you made
the right decision?

Time will tell, Burt.

EDDIE:
Excuse me, gentlemen.

Sir, uh,
we're about ready to roll.

♪ Maybe she's in need
of a kiss ♪

♪ I said, hey ♪

♪ What's your name, baby? ♪

♪ Maybe we can see things
the same ♪

♪ Now don't you wait
or hesitate ♪

♪ Let's move before
they raise the parking rate ♪

PERSON: "The Longest Yard,"
scene 52, take one.

Roll sound.

♪ Baby, it's all right now ♪
PERSON: Sound speed.

Camera!

♪ All right now,
baby, it's all right now ♪

Action!

♪ ♪

♪ Let me tell you now ♪

♪ ♪

♪ I took her home
to my place ♪

♪ Watching every move
on her face ♪

♪ She said, look,
what's your game, baby? ♪

♪ Are you tryin' to put me
in shame? ♪

♪ I said, slow,
don't go so fast ♪

♪ Don't you think
that love can last? ♪

♪ She said love, Lord above ♪

♪ Now you're tryin'
to trick me in love ♪

♪ All right now ♪

♪ Baby, it's all right now ♪

♪ All right now ♪

♪ Baby, it's all right now ♪

♪ Yeah, it's all right now ♪

♪ ♪

♪ All right now ♪

♪ Baby, baby, baby,
it's all right ♪

♪ Oh, all right now ♪

♪ Yeah, it's all right ♪

♪ It's all right,
it's all right, yeah ♪

♪ All right now ♪

♪ Baby, it's all right now ♪

♪ Yeah, we're so happy
together, ow! ♪

♪ It's all right, it's
all right, it's all right ♪

♪ Everything's all right ♪

♪ Yeah! ♪
♪ All right now ♪

♪ Whoo ♪

♪ Baby, it's all right now ♪

♪ ♪

♪ ♪

ANNOUNCER: And the winner is...

The finale was by far the
most difficult episode to write

because everyone
knows how it ends up.

We know that it
went on to become

one of the most iconic
films of all time.

This is gonna be huge, Ruddy.

I know it.

NIKKI: The onus
of crafting Episode 10

was in our character stories,

the journeys that we had taken

with Al Ruddy and Robert
Evans and Bettye McCartt.

We tried to use both
the Academy Awards

and the premiere to exploit

what the characters
were experiencing

in the final leg
of their journey in The Offer.

To The Godfather.

How do you recreate the Oscars?

Eleven fucking nominations.

ADAM:
We were not gonna be filling up

the Dorothy Chandler
Pavilion with 1,500 extras

and yet, the Oscars had to be

a very important
chapter in that story.

Oscar changes everything.

This is your moment.

ADAM: Finding, you know,
cinematic ways

of honoring
the importance of that

and what that represented
to all of the characters

felt very important.

There was some
really interesting

and sort of abstract
film choices

made to do that,
that I think the audience

will have fun with.

I told you once,

some people have brains,

some people have balls.

But you have both.

I think Al remains
true to himself

and it never was about
chasing any sort of accolade.

It's our movie, Bob.

It's your name on
the poster, pal.

MILES: You know, he had put
so much into The Godfather

and that went beyond his,
I think, wildest dreams

of how well it all turned out.

But he was also a writer.

BETTYE: A treatment?

MILES: You know,
with The Longest Yard.

By Albert S. Ruddy?

ADAM: It was important to me

that we leave feeling that Al

was making the right choice
for him.

AL: It was a hard choice to make

but it's the only one
I could live with.

ADAM: It was challenging in that

you have this kind of
celebratory final destination

for the company
and it becomes clear

that for whatever
his personal reasons,

that Al feels that his destiny
is somewhere else.

AL: You took a chance on
me when no one else would

and I will never forget that.

But this is
something I gotta do.

ANTHONY: Other than
the obvious of, you know,

being able to see
behind the scenes
and how cool that is.

I think really what
the story is about largely,

is a person who was
devoted to telling a story

that they really cared about

and the lengths
that they went to,
to make it happen.

I told you we got it.

We got it.

It took so much scrappiness.

It took so much
dedication, ingenuity,

to make The Godfather.

ROBERT: Let's enjoy this moment

because the world
will never forget it.

MEREDITH: It's one of
the most pivotal moments
in cinema history.

And I'm so honored to be a
very small, but passionate part

of the storytelling.

ANTHONY:
I think now is such a great time

to share that kind
of a story of a man

who was so inspired and
went to such great lengths

to make something that almost
seemed impossible happen.

Hopefully that inspires
other people
and other filmmakers

to do the same type of thing.

ANNOUNCER: And the winner is...

Albert S. Ruddy,
The Godfather.

(AUDIENCE APPLAUDING)

MILES: The guy,
he just doesn't stop.

He's really relentless,
and I think

the fact that he was
able to walk away

of the rainbow at the end...

ROBERT: We did it.
AL: I know.

This is just the start.

We'll do it all over again
with Godfather Part Two.

MILES: Just being
comfortable enough
with himself in his career

to be able to walk
away from what he knew

would be a huge smash.

That says a lot about the man.

ALBERT: I'm really proud
to be in this business.

I really am.

It means a lot to me.

When I got my Academy Award
on The Godfather,

I said,
"Everyone sitting out there,

who dreams this kinda
thing can happen,

it can."

That's what I said,
'cause I believe it.

If you care, it can.

(AUDIENCE CHEERING)