All the Money in the World Page #17

---

CHACE:

Hostages to fortune.

(off her look)

It's one of those things the old manused to say when he wanted to comeoff all sage and profound.

GAIL:

I've heard him say it too. I don't

think he had any idea what it meant.

Gail turns and heads back inside, leaving Chace alone.

CHACE:

Until now I don't think I had anyidea myself.

INT. ROME POST OFFICE --DAY

THE SMALL YELLOW PACKAGE lies on the conveyor belt in thedarkened Rome Post Office. The overhead fluorescents flicker

on, workers return to their stations -

-- and the conveyor belt comes to life. The little packageis borne up once again on the tide of letters and packages.

INT. "IL MESSAGGERO" NEWSPAPER -- NEWSROOM -- DAY

We ride with the package atop a MAIL CART as it travelsthrough the bustling newsroom. It lands on a desk outside a

corner office with a placard that reads UFFICIO EDITORE.

The Editor's SECRETARY slices open the package. She removes

its plastic-wrapped contents. What is this?

She looks inside the package again. No letter, no note.

She shakes the yellow envelope and something falls out --

90.

A POLAROID PHOTO. She examines the Polaroid in one hand,

then looks at the plastic-wrapped object in the other...

...and SCREAMS.

EXT. GAIL'S APARTMENT -- DAY

Gail Getty opens the front door to her apartment. Once again,

the street is teeming with reporters and paparazzi, allshouting for her attention.

INT. "IL MESSAGGERO" NEWSPAPER -- NEWSROOM -- DAY

We FOLLOW Gail and Chace through the newsroom, where thesecretary's desk has been taped off by the Squadra Mobile.

DEL ROVERE:

Signora, it would be entirelyunderstandable if you feel you cannotmake the identification -

GAIL:

I have to see it. Just show it to me.

Del Rovere nods to one of the uniformed police. Using apair of tweezers, he pulls back the plastic wrapping -

-- to REVEAL a small piece of flesh in the shape of a questionmark. Beside it a lock of auburn hair.

The Polaroid lies face-down next to it. The policeman flipsit over: it's Paul. Where his ear once was there is a fresh

wound. Gail inhales sharply and touches her ear.

GAIL (CONT'D)

That's him.

Gail gazes at the Polaroid as the Police bundle the evidence.

Il Messaggero's mustached EDITOR appears at Gail's side.

EDITOR:

This must be a terrible strain.

GAIL:

He's alive.

EDITOR:

Come, rest in my office, it's quiet.

INT. EDITOR'S OFFICE -- "IL MESSAGGERO" NEWSPAPER -- DAY

Gail sits down on the sofa. Chace hangs back in the doorway.

The Secretary places a cup of coffee and cake before her.

GAIL:

Thank you, but I'm not hungry.

91.

EDITOR:

You must eat, Ms Getty. It will

raise your spirits.

Gail looks around. There are several editors in the room.

GAIL:

I just need a moment to myself.

EDITOR:

I'm afraid time is of the essence.

GAIL:

Why? Do you know something?

PHOTO EDITOR:

We would like to publish it, Ms.

Getty. The photograph. Of the ear.

(off her look)

It's news. And we are a newspaper.

The ear came to us. It frightenedour secretary terribly.

SECRETARY:

It's true.

GAIL:

It's my son's ear. It's his. Ours.

EDITOR:

We want to offer some compensation.

GAIL:

I don't want to sell you pictures ofmy son's ear.

EDITOR:

Your son is being held for ransom.

You claim not to have any money. We

may be able to make a negotiation.

CHACE:

How much money are you offering?

EDITOR:

Fifty thousand American dollars.

GAIL:

It's not enough.

EDITOR:

In the eyes of the law, we own thephotograph already.

CHACE:

Go to hell.

92.

EDITOR:

Va bene. We will leave you alonenow if you like. Enjoy the coffee.

The editorial staff files out. Then:

GAIL:

Pay me in newspapers.

(off his look)

I want my son's ear on the cover of

your newspaper.

EDITOR:

We wouldn't have it any other way.

GAIL:

But I don't want money. I want a

thousand copies of your newspaper.

EDITOR:

And where would you like these

thousand newspapers sent?

CUT TO:

A PALLET OF TABLOID NEWSPAPERS

On every cover, the Polaroid image of the earless Paul Getty.

The pallet is RAISED on a forklift -

EXT. SUTTON PLACE -- FRONT GATES -- DAY

-- and DROPPED in front of the iron gates. The forklift

lumbers off, leaving the newspapers fluttering in the wind.

GETTY (O.S.)

There at the gate. What's that?

The gates GROAN OPEN. Bullimore the butler steps outside.

He pulls a copy of the newspaper from the pile and blanches.

Getty stands on the front steps of the house. Bullimore

dutifully folds the newspaper and brings it to him.

GETTY (CONT'D)

It's Paul. What's happened to his -

Then he realizes what he's looking at. Getty standsunsteadily on the steps. He HURLS the newspaper away fromhim. It comes apart in the wind.

It becomes a swarm of paper, a swirling flock. They blowback upon him. Getty swings his arm to bat them away, thencovers his face lest they peck out his eyes.

93.

Getty turns and walks back up the great steps of his castleas the tabloid pages swirl at his feet. Bullimore remains

on the steps to clean up what Getty has left in his wake.

INT. BARN -- DAY

Paul Getty lies on his cot, pale and motionless, as Cinquantacradles his bandaged head.

CINQUANTA (V.O.)

Paul is dying. He's lost so much

blood.

INT. GAIL'S APARTMENT -- NIGHT

The tape recorder rolls as Gail leans against the wall ofher kitchen with the phone in her hand.

CINQUANTA (O.S.)

They wanted to take the foot and Iconvinced them to take the ear. But

the foot is coming next. I hear

them talking. I beg you, get the

money.

GAIL:

Tell us where you are. We'll make a

deal in exchange for your cooperation.

CINQUANTA (O.S.)

(laughs)

The police?

GAIL:

We can get you out of Italy.

CINQUANTA (O.S.)

You don't understand. I can never

talk to the police. It's onore.

It's forbidden. Even if this was myown child.

GAIL (O.S.)

There must be something you can do.

CINQUANTAWhat about you, Signora? I've risked

my throat for your son. What have

you given for him? Don't tell me

you don't have the money. What have

you done?

GAIL:

I -

The line goes dead.

94.

INT. PHONE BOOTH -- TOWN SQUARE -- NIGHT

Cinquanta holds the dead receiver. As he searches the coin

slot for change, he sees a man in the square watching him.

He hangs up, walks out of the phone booth, and steals away.

INT. GAIL'S APARTMENT -- NIGHT

Gail places the receiver back in the cradle. Then it RINGS.

She picks it up again.

HINGE (O.S.)

Ms. Getty? This is Oswald Hinge inLos Angeles. I'm sure you don'tremember me.

GAIL:

I haven't forgotten a thing.

INT. GETTY OIL COMPANY -- OFFICE -- DAY

Getty's attorney sits overlooking the smog of Los Angeles.

HINGE:

I'm calling on behalf of Mr. Getty.

Not your former husband --

GAIL (O.S.)

The old one with the money.

HINGE (O.S.)

That's the one.

GAIL:

What can I do for you, Mr. Hinge?

Rate this script:4.5 / 2 votes