All the Money in the World Page #3

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Gail wriggles free and Big Paul dances her around theapartment to the BEACH BOYS' CHRISTMAS ALBUM as the childrenlook on. There's a tree with presents beneath it.

JOHN PAUL JR:

(singing along)

He's the man with all the toys ...

11.

Gail gazes up at him, starry-eyed: for this one moment, allis right with the world. The BUZZER rings.

GAIL:

That'll be Ms. Canzanelli telling usshe's calling the police.

(pressing the button)

We're so sorry about the noise -

INTERCOM (O.S.)

I have a car waiting for Mr. JohnPaul Getty the Second, if you please.

GAIL:

"The Second?"

Little Paul goes to the window.

PAUL:

Down in the street, look --

OUTSIDE, a ROLLS-ROYCE PHANTOM is idling in the street.

GAIL:

Oh my God, somebody died.

JOHN PAUL JR:

(realizing)

No, baby. We've been sent for.

INT. ROLLS-ROYCE PHANTOM -- EVENING

As "The Man With All The Toys" continues to play, the littlefamily rides in the back of the Rolls, along with theirhastily-packed bags. The kids exchange a look. Up aheadthey see it -

EXT. AIRSTRIP -- EVENING

A LEARJET 23 private plane idling on the runway. The Rolls

drives right up to the clamshell airstair.

INT. LIMOUSINE -- ROME -- NIGHT

Little Paul wakes up in the back of another limousine. The

other kids gaze amazedly out the window, their breath foggingthe glass. Reflected in the window is the Roman coliseum.

INT. HOTEL PALERMO -- NIGHT

A luxurious Roman hotel, with a mustached CONCIERGE waitingto receive them. A BELLMAN takes their bags.

CONCIERGE:

Signore Getty is awaiting you.

12.

INT. HOTEL CORRIDOR -- NIGHT

Parked outside the door is a room-service cart piled highwith dirty trays. A "NON DISTURBARE" sign hangs from thedoorknob. The Concierge KNOCKS gently. We PUSH into

INT. HOTEL SUITE -- NIGHT

A CLOTHESLINE is strung across the length of the room, fromwhich are suspended a line of MEN'S UNDERPANTS on clothespins.

Empty food containers and clothes are everywhere.

And everywhere there is art: paintings and artifacts proppedagainst the walls. Little Paul reaches into the mess and

pulls out a small statuette lying on the floor: it's aMINOTAUR carved out of marble.

GAIL:

(taking it from him)

Don't touch that, sweetheart. Let's

just keep our hands to ourselves.

It's dirty.

(examining it)

And old. Possibly priceless.

GETTY (O.S.)

I deplore that word.

They turn to see Getty emerge from the bedroom, freshlygroomed and powdered.

GAIL:

I'm sorry?

GETTY:

Dirty and old I have no problem withat all. In fact I have some affection

for them as they're the words mostfrequently used to describe me, alongwith rich.

Getty goes to the mirror, inserts a tie bar into his collar.

GETTY (CONT'D)

But priceless -- that's another thingentirely. People say priceless when

what they really mean to say thatsomething is invaluable, orirreplaceable. That Minotaur

statuette in your hands, for instance,

dates from 460BC; there are only ahandful like it remaining, and nonein such pristine condition. I'm

sure those f***ers at the Met or the

British Museum would kill to gettheir greasy paws on it.

13.

LITTLE PAUL:

He just said --

GAIL:

Paul.

GETTY:

Would you care to guess what I paidfor it?

GAIL:

I wouldn't know where to begin.

GETTY:

Oh, you're too modest. You've gottaste, I can tell. I think you knowa good deal about art.

GAIL:

I do. I just don't know what it costs.

GETTY:

Well then, you'll learn. Come on,

indulge an old fool. What do youthink I paid?

GAIL:

Five hundred thousand dollars.

GETTY:

Eleven dollars and twenty-three cents.

I picked it up in the black marketin Heraklion. This cripple was askingseventeen dollars for it and it took

me an hour to bring him down to hisbottom line. At Sotheby's today I'dhazard it'd bring $1.2 million.

(a beat)

You see, priceless is such an insipidword. Everything has a price. The

great struggle in life is coming togrips with what that price is.

He crouches down and offers the figurine to Little Paul.

GETTY (CONT'D)

I want you to have it.

JOHN PAUL JR:

We couldn't.

GETTY:

Do you like it, Paul?

PAUL:

That's OK. I don't need it.

14.

GETTY:

I insist.

GAIL:

I insist. We can't. It's far too

extravagant for a little boy.

GETTY:

For most little boys, it would be.

Getty hands the boy the statue.

GETTY (CONT'D)

But not for a Getty.

Little Paul takes the figurine; it's done. They're forcedto accept it. Gail and Big Paul smile awkwardly.

GAIL:

Thank you. We'll treasure it.

GETTY:

Thanks are for strangers. You're

family. You're my family. Come

here, let me look at you.

(brings Big Paul close)

Son. My son. My grandson.

(to Gail)

My daughter.

GAIL:

Daughter-in-law, I'm afraid.

GETTY:

Nonsense. You're not just somedistrict judge's daughter anymore.

You're one of our family now.

Getty turns to his son:

GETTY (CONT'D)

I had to focus on my mission, youunderstand. My business. I couldn't

be weighed down, mentally, with afamily. There was work to be done.

You understand that, don't you.

Big Paul is silent. Getty darkens, glowering, then walksaway, pushing the clothesline aside as he crosses the room.

GETTY (CONT'D)

Pardon the laundry. I wash myundershorts myself, in the bathroomsink.

(MORE)

15.

GETTY (CONT'D)

I see no reason to pay ten dollarsto have room service launder them

when I can do it myself for a fewlira. What kind of rube do theytake me for? Which reminds me -

He takes out a small notebook and golf pencil and writes anentry: LAUNDRY SOAP -- 22 LIRA.

GETTY (CONT'D)

It's tax-deductible. Almost

everything is, if you know how toplay it. What in hell are we doingstanding around in this dusty oldhotel room? We should be celebrating.

That's what families do, right?

LITTLE PAUL (V.O.)

After that, everything changed.

INT. GAIL'S APARTMENT -- PIAZZA NAVONA -- DAY

Gail throws open the windows. The family is moving into alight-filled apartment. Gail is unpacking when she finds it -

LITTLE PAUL (V.O.)

Dad became an executive in Grandpa's

company. Mom found us an apartmentnear the Piazza Navona.

-- the Minotaur figurine wrapped in her scarf. It makes her

anxious. She finds a shoebox and stashes it in the closet.

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

And Grandpa started my education.

EXT. ROMAN TUNNEL -- DAY

We return to the SILHOUETTES of Getty and Paul as they walkhand-in-hand through the darkened, ancient tunnel.

GETTY:

Come on, I want to show you something.

We FOLLOW them through the mouth of the tunnel. They lookout upon it: the boy is awed.

PAUL:

What is it?

GETTY:

It's home.

We step out into the sunlight of

16.

EXT. HADRIAN'S VILLA -- DAY

AN ANCIENT ROMAN VILLA in the mountains overlooking Rome,

ringed by statues of the Roman gods. Getty leads Paul on ahouse tour:

GETTY:

This is where I slept with my wife,

Sabina. This here is where I ate

roast wild boar with my generals.

This is where I made love to myconcubines. And this is where I

took my baths.

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