All the Money in the World Page #3

---

INT. LIVING ROOM -- DAY

Gail works with pastels at an easel, copying from a posedphoto of a model in a cocktail dress (the music PLAYS OVERfrom the previous scene, and throughout this whole sequence).

It's catalog work, but Gail's got a gift for line and gesture:

she has style. Her kids draw on the floor alongside her,

copying everything she does. Little Paul especially.

INT. KITCHEN -- DAY

Gail is on the phone, a utility bill in her hand.

GAIL:

Look in your file and you'll findthat we've been very good customersof Southern California Edison. We're

good people.

7.

In the sunlight we can see the words PAST DUE written there.

GAIL (CONT'D)

And I have a little boy who'sconcerned that if the lights aren'ton for Christmas Santa might notfind his way here.

Everything about Gail -- her Seven Sisters accent, herfinishing school posture -- reeks of the former debutante.

GAIL (CONT'D)

If we could make the minimum paymentwe wouldn't need an extension. We

do want to pay something, though.

We notice who the bill is addressed to: JOHN PAUL GETTY, JR.

PHONE REP (O.S.)

Tell me, Mrs Getty. What does yourhusband do?

GAIL:

He's a poet. A good one.

PHONE REP (O.S.)

Any relation to the oil man Getty?

She considers her answer carefully.

GAIL:

Distant.

PHONE REP (O.S.)

(laughs)

Must be, right?

EXT. BEVERLY HILLS APARTMENT DUPLEX -- DAY

Gail piles all three children into a Ford Fairlane. She

holds the electric bill in her hand, along with her drawings.

INT. SPIEGEL CATALOG PUBLICATIONS -- ART DEPARTMENT -- DAY

Gail hands over her drawings. The girl at the desk pays $25apiece, in cash. Gail wouldn't dream of counting the money.

INT. SOUTHERN CALIFORNIA EDISON -- DAY

Gail counts the money. She stuffs it in the tray at thepayment window. She thumbs through what's left.

EXT. RODEO DRIVE, BEVERLY HILLS -- DAY

Gail walks through Beverly Hills with her three children intow. She passes a store window and stops. It's Givenchy.

8.

She gazes longingly at the window display of a woman in ansapphire evening gown... and then we RACK FOCUS to the motherwith three kids reflected in the glass.

ARIADNE (O.S.)

Are we going home now?

GAIL:

One last stop, darling.

INT. WILSHIRE CORRIDOR OFFICE BUILDING -- DAY

Gail approaches the building's registry, with her childrenin tow. She steps closer. She takes off her sunglasses.

There, encased beneath glass, are the white letters pressedinto black felt: GETTY OIL CORPORATION -- 28TH FLOOR.

CONCIERGE (O.S.)

Excuse me, miss. May I help you?

EXT. WILSHIRE CORRIDOR OFFICE BUILDING -- DAY

Gail and her children stand out on the sidewalk, squintingup at the 20-story glass tower that looms above them.

Rate this script:4.5 / 2 votes