All the Money in the World Page #21

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CUT TO:

INT. GETTY MANSION -- MASTER BEDROOM -- NIGHT

J Paul Getty wakes from his slumber with a start.

112.

GETTY:

Who's there?

Getty is in a bedroom decorated in the ancient Roman style.

A great log fire burns in the fireplace.

Getty sits up in bed; the room is unfamiliar to him. There's

a strangeness to his surroundings, as if the old man has

come unmoored, "2001"-like, in time.

One side of Getty's face has gone completely slack: he'sobviously suffered a stroke in the night. He steps into hisslippers and shuffles along the marble floors in his pajamas -

INT. GETTY MANSION -- NIGHT

-- into a granite corridor peopled by stone figures fromanother age. He has no idea where he is.

CUT TO:

PAUL GETTY:

as he runs into the eerie, cobblestoned village of Lagonegro.

We can hear the DOGS BARKING in the distance: the policecordon has encircled the village and is drawing closer.

INT. BARBER SHOP -- EVENING

Paul wanders into the shop, his head covered in bandages.

PAUL:

Please let me in. Rifugio, prego.

They're after me.

The Barber slowly pushes Paul backwards, out of his shop.

BARBER:

Non posso coinvolto. I can't getinvolved.

PAUL:

My name is Paul Getty. I was

kidnapped.

BARBER:

I know who you are.

The Barber locks the front door and pulls down the blind.

THE N'DRAGHETA

stalk through the street in their black suits, four abreast.

Cinquanta trails along. The villagers avoid eye contact.

GAIL GETTY:

113.

hurries through twilight streets, calling Paul's name.

GAIL:

Scusi. Have you seen a teenage boy,

curly hair, American -The

VILLAGERS turn away from her and hurry into their homes.

PAUL GETTY:

knocks on front doors, one after another. The people inside

draw their curtains shut.

PAUL:

Rifugio, Prego! Let me in, please!

FLETCHER CHACE:

walks on the opposite side of the square from Gail, casting

quick glances down hushed, narrow alleyways.

He makes eye contact with one of the N'Dragheta. A look

passes between them.

Chace hurries on. He dares not call out Paul's name. He

pats himself down, searching for a gun that isn't there. He

kicks a loose cobblestone and picks it up.

THE CARABINERI:

move through the streets, conducting a house-to-house search.

PAUL GETTY:

rounds a corner, glimpses the Carabineri, and backs away

fearfully. He ducks down a narrow street.

CHACE (O.S.)

Paul.

Paul turns:
Fletcher Chace stands at the end of the street.

CHACE (CONT'D)

I'm here to take you home.

At that moment, Paul is grabbed from behind by the N'dragheta.

The N'dragheta drags him backwards, round the corner --

-- and there's a THUD of skull on stone. The N'draghetagoes down, and we REVEAL Cinquanta standing behind him, havingstruck him with a cobblestone.

Chace steps forward and brings his own stone down on theN'dragheta. They kick him until he stops moving. They standtogether over the body. Chace looks at Cinquanta.

114.

CHACE (CONT'D)

It's you.

CINQUANTA:

What are you looking at? Go.

Chace drops his stone, turns, and sees Gail in the alley:

she's witnessed everything. She grabs Paul by the arm andhurries him to their car. Chace starts the Fiat -

-- and they drive away, out of the village. Already, theCarabineri are apprehending the N'dragheta. A Carabineri

sees Chace's car coming and calls out:

CARABINERI:

Arresto! Attenzione!

But he blows right by. The car descends the mountain and

vanishes into the mists of the valley and beyond, to Rome.

INT. GETTY MANSION -- NIGHT

Getty wanders the halls of his mansion, his gait unsteady.

Marble emperors gaze down at him with their lightless eyes.

Getty shuffles on, until he finds his prized painting --

Albrecht D.rer's "Madonna and Child in a Window." He reaches

and takes it from the wall -

-- and the silent alarm goes off. The doors at either end

of the hallway SLAM SHUT, and the power cuts out.

DARKNESS. The corridor is illuminated by the flames from thefireplace. The shadows of dead emperors dance along the walls.

EXT. FIAT 123 -- AUTOSTRADA -- NIGHT

The Fiat makes its way back to Rome along the serpentinehighway, its headlights blazing.

Chace drives; Gail and Paul sit in the back seat, silent andapart, still recovering from what they've just endured.

We see the LIGHTS of Rome in the distance. But then we

realize that the lights are from TV cameras.

The Italian press has paid off the people at the toll gates.

They've formed a gauntlet of TV and still cameras to forcethe car to stop so they can get a photograph of Paul.

Instead, Chace hits the gas and blows through the toll gate.

The paparazzi are forced to scramble and chase them.

115.

INT. GETTY MANSION -- NIGHT

Getty sits down before the fire. For the first time we geta good look at the painting: a mother and her child. A goldencrown floats suspended above the mother's head.

PAUL (V.O.)

A Getty is special.

A tear rolls down Getty's melted cheek. The painting fallsfrom his hand and CLATTERS to the floor.

INT. FIAT 123 -- AUTOSTRADA -- NIGHT

As the Coliseum of Rome comes into view, Paul breaks down.

Gail reaches for him and the boy crumbles into her arms.

PAUL (V.O.)

A Getty has a destiny.

The paparazzi on their scooters catch up with the car. Chace

looks into the rearview mirror: for the first and only timein the movie, Gail is in tears.

PAUL (V.O.) (CONT'D)

We aren't like you.

Chace flips the mirror down, giving Gail and Paul theirsolitude, then puts the pedal down and leaves the reportersin the dust.

PAUL (CONT'D)

But we were once.

EXT. QUESTURA POLICIA DI STATO (POLICE HEADQUARTERS) -- NIGHT

Paul, Gail and Chace ascend the steps of the Questura,

surrounded by clamoring reporters.

PAUL (V.O.)

But I had an idea that maybe we couldbe again, me and my dad and mygrandfather, if only we could getback to our own world where the force

of gravity wasn't so strong. We

could be together, like we used to.

INT. GAIL'S APARTMENT -- PAUL'S ROOM -- NIGHT

A Squadra Mobile officer reaches under Paul's bed and finds

a young boy's suitcase. He zips it open -

PAUL (V.O.)

It was just an idea I had, a joke Itold my friends: what if we gave itall away?

116.

-- and inside are hundreds of letters, all addressed to J

Paul Getty and pleading for money. Paul saved them all,

rather than sending them Getty's response.

INT. QUESTURA POLICIA -- INTERROGATION ROOM -- NIGHT

Paul makes his official testimony to Del Rovere.

PAUL (V.O.)

I guess somebody must have overheard

me. And once it was out there I

couldn't stop it. It wasn't a planor anything. It was just a wish. A

stupid kid's dream. Now I know

nothing like that could never happen.

I'm not a kid anymore.

And with that, the tape recorder STOPS.

BLACK OUT:

FADE IN:

INT. GETTY OIL COMPANY, LOS ANGELES -- DAY

Gail waits in the lobby of Getty Oil.

SECRETARY (O.S.)

Ma'am? They'll see you now.

INT. BOARD ROOM -- DAY

Gail enters the same board room. Oswald Hinge and the otherattorneys are there; they all rise, smiling as Gail enters.

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