Trust (2018) s01e04 Episode Script
That's All Folks
1 [WHISTLES.]
["I'M A MAN" BY CHICAGO PLAYING.]
Well, my pad is very messy Got whiskers on my chin Never had no problems 'Cause I've always paid the rent I got no time for lovin' 'Cause my time is all used up I stand outside creatin' All the groovy kinds of love I'm a man Yes, I am And I can't help but love you so Oh, baby I'm a man Yes, I am I'm a man - [YELLS.]
Yes, I am - I'm a man And I can't help but love you so Yes, I am I'm a man - I'm a man Yes, I am - And I can't help - But love you so - I love to hear you talk Yes I got to keep my image While I'm standing on the floor If I drop upon my knees It's just to keep them on my nose You think that I'm not human [SONG CONTINUES FAINTLY OVER CAR RADIO.]
Ah.
Oh! [SNIFFS.]
[SNIFFS.]
[MUTTERS RAPIDLY.]
[REPEATS PHRASE IN ITALIAN.]
PAUL: Come along, come along.
You think Dennis is a homosexual? He's very fond of roses.
PENELOPE: He's a gardener.
Of course he's fond of roses.
PAUL: Are you unwell, Pen? PENELOPE: No, no.
Not at all.
Just tired, possibly.
Of me? Of course not.
We haven't been intimate for some time.
Business? The children? Affairs in London? You seem to be making a lot of trips out.
No more than usual.
It's just sometimes very hard, Paul.
A woman of my standing to be in permanent competition.
PAUL: With whom, my dear? PENELOPE: You know perfectly well, Paul.
It's not seemly, it's it's humiliating.
There is no competition.
Spending the night with a woman is easy.
And I do like sexual variety.
But with whom does one spend the day? The long, long day.
Now that is the challenge.
And there is only one woman for me.
[DOGS BARKING.]
He certainly runs like a queer.
[CHUCKLES.]
MARGOT: Oh, God.
[LAUGHS.]
Girls, come here.
[LAUGHING.]
Belinda, come here.
- DENNIS: Help! Get off! - [DOGS BARKING.]
- MARGOT: Oh, no, look at that.
- DENNIS: Ow! - [LAUGHING.]
- Oh, my.
Oh.
Yes, yes, I am And I can't help but love you so.
- [SPEAKS ITALIAN.]
- Hmm? [CARS PASSING ON STREET.]
I know.
No.
Hmm? [CHUCKLES.]
["EVIL WAYS" BY SANTANA PLAYING.]
You've got to change your evil ways Baby Before I stop lovin' you You've got to change Baby And every word that [SONG CONTINUES FAINTLY OVER CAR RADIO.]
[WHISTLES.]
[CAR DOOR CLOSES.]
[SIGHS.]
[GROANS.]
[PRIMO SIGHS.]
Mamma mia [CHUCKLES.]
[LOCK CLANKING, CHAIN RATTLING.]
[SPEAKS SOFTLY.]
[SPEAKS ITALIAN.]
[CHUCKLES.]
How 'bout a cigarette? [PAUL III GRUNTS.]
[LAUGHS.]
Here.
[DANTE GIGGLING.]
[SIGHS.]
[INDISTINCT CHATTER.]
- ARIADNE: So what? - [PHONE RINGING.]
GAIL: They'll ask questions, they'll take photographs, they're journalists.
- ARIADNE: I'm hungry, it's hot.
- [RINGING CONTINUES.]
- Mom.
Great.
- You stay here.
MARK: It feels like we've been kidnapped.
Don't you [TV PLAYING LOUDLY.]
Yes.
We have Paul.
[SIGHS.]
Everybody says they have him.
You have to prove it.
No, but but we have him.
GAIL: You have to prove it.
Terrorists, crazy people, jokers, they've all been ringing saying they have him.
I need proof.
FIFTY: No, but I'm telling you.
What color are his eyes? How many fillings does he have in his teeth? He has a scar on his leg, where? If you have him, then you'll know something that nobody else does.
Do you? Well, do you? No.
Hello? Pronto? What if that was the kidnappers? Then they'll ring back.
[MUTTERING.]
[MUMBLING IN ITALIAN.]
[SNIFFS.]
Si.
Si.
[LINE CLICKS, DIAL TONE SOUNDS.]
["SUNNY AFTERNOON" BY THE KINKS PLAYING.]
The tax man's taken all my dough And left me in my stately home Lazin' on a sunny afternoon I can't sail my yacht He's taken everything I've got All I've got's a sunny afternoon Help me, help me, help me sail away Well, give me two good reasons Why I ought to stay And I love to live so pleasantly Live this life of luxury ROBINA: To whom it may concern, Thank you for your letter to John Paul Getty, and for explaining your situation.
With regards to your request for money, Mr.
Getty is a businessman, not a charity.
He therefore regrets he is unable to help you now or at any time in the future.
He wishes you luck in finding support elsewhere.
[TYPEWRITER KEYS CLACKING.]
[FOOTFALLS APPROACHING.]
Bullimore.
For Paul.
Mr.
Getty is not to be disturbed during breakfast.
Disturbed doesn't cut it, darling.
This little baby curdle his eggs.
11:00 p.
m.
in, 11:20 out.
Time out, 9:07, time in, 10:38.
A lot of coming and going, Penelope.
What of it? We do not entertain you as we did? I have a life outside the Gulag, Paul.
And we don't? I honestly have no idea.
[CLEARS THROAT.]
Miss Robina insisted, sir.
My grandson has made contact.
Via an Italian newspaper, it seems.
- Is he all right? - He neglects to say.
Golly, is that a ransom demand? I suppose it would be if he had really been kidnapped.
LUCIANA: So, wh-what are you going to do? What I do with all begging letters.
- Robina.
- [DOOR OPENS, CLOSES.]
BELINDA: He's off to write one of his "unable to help now or at any time in the future" letters.
Oh, come on.
For his own grandson? He wouldn't.
Well, yeah, he would.
Ugh.
Is it just me or are those eggs off? Wow.
I guess he missed the press conference.
- How much? - $17 million.
[GASPS.]
What? Which is not much if you've been kidnapped.
A considerable amount if you haven't.
Got to admire him for trying.
Things we have to do to get in his bloody will.
No one's forcing you.
There's a whole wide world out there.
Of which you appear to be taking full advantage.
[IMITATES PLANE ENGINE.]
[LAUGHING.]
[SIGHS.]
Hey, you have five minutes.
PAUL III: You just got to be patient, man.
If you're slow, they swim right into your hand.
Done it before in California.
So, California, huh? Always wanted to go there.
- Is it like in the films? - I'd rather be here.
Yeah, locked in a barn - with a gun to your head? - No.
I mean, uh, I mean here.
You know? Look around you.
A river, some trees.
A fish, maybe.
There's no Mick Jagger here.
There's no Coca-Cola here.
No-no drugs, no girls, no clubs.
There's nothing here.
I know Mick.
[CHUCKLES.]
I do.
The Stones go to Treetops, a nightclub in Rome.
Wait, are you serious? You mean, you know Mick Jagger? Yeah.
I can introduce you.
Oh you know, if Don't fucking try that with me, huh? Oh, oh, oh! Fuck! Hey, it was just for the fish.
Not bad.
The fish.
- It's good.
- Mm.
Hey, uh, how much are you asking? For ransom.
I don't know.
You don't know? I'm just a translator.
They don't involve me in that stuff.
Lira? Dollars.
Shit.
No.
No.
Your grandfather is a billionaire, come on.
Yeah, but he's the meanest fucker in the world.
He has a payphone in his house.
PAUL III: A payphone, it doesn't matter.
The point is: he's a billionaire and he won't even pay for a phone call.
[SCOFFS.]
He won't give you that much.
You have to know that.
I'm not lying.
Eh, eh Uh I don't know what I'm worth.
- Uh - [LINE BEEPING.]
Yes? Problem? I I just came to see how you are.
- I'm fine.
- It's just that I saw.
The other day.
The dogs.
- It was unpleasant.
- Ah.
Bloody animals.
Yeah, I'm sore, if I'm honest.
Got a nasty bite.
Entertained the women of the house, though.
Yes.
Well, they do like their blood sports, don't they? Follow me.
- What a place.
- My little hideout.
It's where I come for a bit of R and R.
It's not against regs or anything, but, um Well, you know how it is around here.
Probably best to keep schtum.
Beer? Oh well, I, um I-I don't, actually very rarely, and I-I need to make sure that I Why not? [SPEAKING ITALIAN.]
[SNIFFS.]
- That's good? - Yeah.
[SPEAKS ITALIAN.]
- Si, man, it's good.
- [CHUCKLES.]
- Thank you.
- [SPEAKS ITALIAN.]
[INHALES SHARPLY.]
ANGELO: Tell us a story about yourself.
- A story.
- PAUL III: A story? About me? Perfetto.
Perfetto.
PAUL III: All right.
DENNIS: I hear on the grapevine that you're a bit of a rose man.
But how well do you know this little lot? What do you see? Clematis, narcissus, cyclamen, oleander.
Well, I know them, obviously, but what do I see? Well, if a chap like you can't see it, it's probably not there.
What am I looking for? Ah, well, they might have something in common.
And then again, they might not.
Bullimore is foxed.
Bullimore don't like it.
PAUL III: There was Jojo the Dog.
[TRANSLATING ITALIAN.]
Uh, Jojo.
- Jojo.
- Jojo.
Jojo was really scared of heights.
Really scared.
Yeah? And, uh, Harry the Horse told him to jump.
[IMITATES HORSE SPUTTERING.]
Said to him, "Jump, Jojo.
Jump.
" But Jojo was was so scared, he He didn't want to do it, you know? H-He he was scared that if he jumped, he'd be all alone.
Harry the Horse said to him, "Listen, Jojo" - "if you believe" - [TRANSLATING IN ITALIAN.]
anything is possible.
" That's right, yeah.
But Jojo the Dog, he walked to the edge of the cliff, and he said "Can I?" "Can I?" Can he? Can he jump? Yeah? Yeah? Yeah? [YELLS.]
[IMITATES WATER SPLASHING.]
[SCREECHES.]
[SQUAWKING.]
: Arrivederci.
Bye-bye.
[NORMAL VOICE.]
: Then he's gone.
Arrivederci.
[IMITATING BUGS BUNNY.]
: That's all, folks.
That's all, folks.
That's all, folks.
Finito.
[PRIMO SNORTS.]
- Jojo's your dog? - Si.
[PHONE RINGING.]
Hello? FIFTY: Kamarad, Jojo, Boxer.
Paul's dogs.
His dogs.
Oh, my God.
So we have him, yes? Is he all right? We have him, yes? Y-Yes.
Yes, yes, you have him.
Is he all right? Please tell me.
Via Amerigo Vespucci, 21.
One hour.
Come alone or we will kill him.
Okay? It's a cinema.
- Understand? It's a cinema.
- What? Yes no.
Good-bye.
Wait.
Wait, can I please speak to him? - Please, can I - [LINE BEEPING.]
[PHONE RINGING.]
Sutton Place.
GAIL: Robina.
Robina, this is Gail.
Listen, um, the kidnappers have just been in contact.
No matter what Chace told you, this is real.
They're real.
Can I please speak with Paul? Just a moment, Gail.
I'm afraid you've just missed him, Gail; can I take a message? Robina, please.
This is important.
I'll let him know you called.
You let him know, as you're standing right next to him, that I've been in contact with the kidnappers.
The ones that don't exist.
I'll do that, Gail.
Good-bye.
Did you hear that? This is becoming bothersome.
Chace will handle her in the future.
Righto.
- Ms.
Getty! - Ms.
Getty! [REPORTERS CLAMORING.]
[CAMERA SHUTTERS CLICKING.]
Ms.
Getty? [MOANING IN FILM.]
[PROJECTOR CLICKING.]
[CLATTERING IN FILM.]
FIFTY: D-Don't turn.
Don't turn around.
You see me, your son dies.
Understand? Yes.
Where's Paul? Please.
You need to pay, Mrs.
Getty.
I don't have $17 million.
I don't have $1,700.
I'm divorced.
I don't get anything.
It's his-his father, his grandfather.
They have the money.
Uh, why-why don't they pay, allora? - They don't believe you.
- Okay.
That's I told you the names of the dogs.
I understand.
I, uh But they, they-they think that Paul has made this all up for money.
They think it's a, um, a hoax, you understand? This is no hoax, uh, believe me.
- I do.
- Ah.
- I do.
- Then, they will believe, too.
[GASPS.]
Oh, my God.
[GASPS.]
[CLEARS THROAT.]
He's with, uh, very, very dangerous people.
And they want the money.
And I will be in-in contact.
My name is Fifty, okay? Remember.
Can I talk to him, please? Please.
[EXHALES.]
GAIL: Do you know him? The dead man? Martine? No.
No, we don't.
Why won't you help? Look at it.
This is Paul.
The person you love.
Don't you? Well, don't you? Look.
Look at his face.
I know that face, he's scared.
Of course he's scared.
Jesus.
Don't you care? [WHIRRING.]
Christ.
This machine's going to need therapy.
PENELOPE: Oh, my God.
Do you want to tell him, or shall I? [PROJECTOR CLICKING.]
[CHUCKLES.]
Are you telling me that this is what is holding our whole operation up? This is sacred land.
But have we offered them a lot of sacred money? We did.
- The governor? - Him, too.
But apparently, it's a lot more complicated than that.
Bullimore, turn that thing off.
PENELOPE: Paul, darling.
Excuse me.
You need to look at this.
I'll be damned.
I know this guy.
PENELOPE: Knew, unfortunately.
CHACE: I stand corrected.
You believe this to be genuine? He looks dead to me.
So what are you saying? This business is not a hoax? My grandson really has been kidnapped? What I'm saying is that when people start getting killed, whatever it is, it's not a hoax anymore.
Oh.
[SIGHS.]
Well, in which case, you'd better open negotiations.
Damn it.
With the right people, this time.
Take my plane, get yourself back to Rome.
Yes, sir.
-Robina will wire you instructions.
Ma'am.
[SIGHS.]
[SIGHS.]
[TYPEWRITER KEYS CLACKING.]
This is everything you know? Everything I can remember.
Mm.
Before you sign this, I should warn you that aiding and abetting is a criminal offense.
This is serious.
We were stupid.
Made a stupid mistake.
Charge me if you want to.
I don't care.
Please.
I just want Paul back.
Mm.
Okay.
[PAGES RUSTLING.]
[PEN CLICKS.]
You have family back in Berlin? Yes.
What happens now? You go to Berlin.
Why? I'm not in danger, am I? Who knows what's around the corner? Right? It might be swimming A strong current.
Or, uh, at home A break-in gone wrong.
Or maybe the train station Rush hour.
A little shove and you're cut in two by the Inter-City.
Happens all the time.
We had one last week.
Like I said, who knows what's around the corner? I'll take care of this for you.
It's been a pleasure.
Enjoy Berlin.
["MIDNIGHT, THE STARS AND YOU" BY AL BOWLLY PLAYING.]
[DOOR SLAMS.]
[FOOTFALLS APPROACHING.]
How much? In Italian law, any amount over $600 is extortion.
So the offer is $600 plus expenses.
$600? If you had been present earlier, you might understand.
I said, "plus expenses.
" Italian accountancy.
[CHUCKLES.]
One of life's great oxymorons.
In il bel paese you can load up the expense side of the ledger like a pack horse.
That should compensate everyone for their trouble.
And the $600 figure ensures both that they are in the clear, legally, and the Getty family has very publicly not paid a ransom.
It's a far cry from $17 million.
Naturally.
That's how negotiations work.
You don't think it will be open to misinterpretation? You know how the Italians are.
[ANGELO HUMMING.]
ANGELO: You have a girlfriend, hippy? PAUL III: Yeah.
Martine.
ANGELO: Beautiful? The most beautiful woman you've ever seen.
I swear, if I ever get away from here, we're gonna get married.
You want to be best man? Yeah, funny.
PAUL III: If things were different, why not? - Hmm? - [PRIMO REPEATS IN ITALIAN.]
Mm-hmm.
That's all? Okay.
[BELL TOLLING.]
[CHUCKLES.]
- [SPEAKS ITALIAN.]
- Ah.
[ALL SHOUTING.]
- Fletcher, please.
- Ma'am.
Please, I beg you.
Ma'am.
I have my instructions.
Please.
Gail, Gail.
Mr.
Getty is the single most effective businessman in the world.
I will be back.
This isn't business! This is my son! [DOOR CLOSES.]
Let the weary days [SHOUTS.]
Be over I'm so tired of the hurt I've been taken My heart has been aching so Don't mind struggling Ooh, ooh, ooh I don't mind living a little Ooh, ooh, ooh If someday my kids Are laughing together And having things That I never own I can feel the change a-coming Freedom drums in the distance Lord, they are drumming Telling the world Of a brand-new future - [PHONE RINGING.]
- Has begun So you gotta hurry sundown [PHONE RINGING.]
I can't wait to see the morning Afraid tomorrow [PHONE RINGS.]
[CRICKETS CHIRPING.]
[DANTE SINGING IN ITALIAN NEARBY.]
[SINGING CONTINUES.]
$600.
[LAUGHS.]
PAUL III: No, no, it's it's a mistake.
It's a mistake.
[REPEATS QUESTION IN ITALIAN.]
[REPEATS QUESTION IN ITALIAN.]
Huh?! [ANGELO WHIMPERS.]
[CRICKETS CHIRPING.]
- [SPEAKS ITALIAN.]
- Hmm? Shh, shh, shh.
Hide, little rabbit.
Hide in your burrow.
Don't worry.
[SHOVEL DIGGING NEARBY.]
Be very quiet.
[ANGELO SNIFFLES.]
[LOCK CLANKING.]
Hippy.
We need to get out of here.
Give me a ticket for an aeroplane Ain't got time to take a fast train Lonely days are gone I don't care how much money I got to spend Got to get back to my baby again Lonely days are gone I'm-a goin' home My baby just-a wrote me a letter Well, she wrote me a letter Said she couldn't live without me no more Listen, mister, can't you see I got to get back To my baby once more Anyway.
["I'M A MAN" BY CHICAGO PLAYING.]
Well, my pad is very messy Got whiskers on my chin Never had no problems 'Cause I've always paid the rent I got no time for lovin' 'Cause my time is all used up I stand outside creatin' All the groovy kinds of love I'm a man Yes, I am And I can't help but love you so Oh, baby I'm a man Yes, I am I'm a man - [YELLS.]
Yes, I am - I'm a man And I can't help but love you so Yes, I am I'm a man - I'm a man Yes, I am - And I can't help - But love you so - I love to hear you talk Yes I got to keep my image While I'm standing on the floor If I drop upon my knees It's just to keep them on my nose You think that I'm not human [SONG CONTINUES FAINTLY OVER CAR RADIO.]
Ah.
Oh! [SNIFFS.]
[SNIFFS.]
[MUTTERS RAPIDLY.]
[REPEATS PHRASE IN ITALIAN.]
PAUL: Come along, come along.
You think Dennis is a homosexual? He's very fond of roses.
PENELOPE: He's a gardener.
Of course he's fond of roses.
PAUL: Are you unwell, Pen? PENELOPE: No, no.
Not at all.
Just tired, possibly.
Of me? Of course not.
We haven't been intimate for some time.
Business? The children? Affairs in London? You seem to be making a lot of trips out.
No more than usual.
It's just sometimes very hard, Paul.
A woman of my standing to be in permanent competition.
PAUL: With whom, my dear? PENELOPE: You know perfectly well, Paul.
It's not seemly, it's it's humiliating.
There is no competition.
Spending the night with a woman is easy.
And I do like sexual variety.
But with whom does one spend the day? The long, long day.
Now that is the challenge.
And there is only one woman for me.
[DOGS BARKING.]
He certainly runs like a queer.
[CHUCKLES.]
MARGOT: Oh, God.
[LAUGHS.]
Girls, come here.
[LAUGHING.]
Belinda, come here.
- DENNIS: Help! Get off! - [DOGS BARKING.]
- MARGOT: Oh, no, look at that.
- DENNIS: Ow! - [LAUGHING.]
- Oh, my.
Oh.
Yes, yes, I am And I can't help but love you so.
- [SPEAKS ITALIAN.]
- Hmm? [CARS PASSING ON STREET.]
I know.
No.
Hmm? [CHUCKLES.]
["EVIL WAYS" BY SANTANA PLAYING.]
You've got to change your evil ways Baby Before I stop lovin' you You've got to change Baby And every word that [SONG CONTINUES FAINTLY OVER CAR RADIO.]
[WHISTLES.]
[CAR DOOR CLOSES.]
[SIGHS.]
[GROANS.]
[PRIMO SIGHS.]
Mamma mia [CHUCKLES.]
[LOCK CLANKING, CHAIN RATTLING.]
[SPEAKS SOFTLY.]
[SPEAKS ITALIAN.]
[CHUCKLES.]
How 'bout a cigarette? [PAUL III GRUNTS.]
[LAUGHS.]
Here.
[DANTE GIGGLING.]
[SIGHS.]
[INDISTINCT CHATTER.]
- ARIADNE: So what? - [PHONE RINGING.]
GAIL: They'll ask questions, they'll take photographs, they're journalists.
- ARIADNE: I'm hungry, it's hot.
- [RINGING CONTINUES.]
- Mom.
Great.
- You stay here.
MARK: It feels like we've been kidnapped.
Don't you [TV PLAYING LOUDLY.]
Yes.
We have Paul.
[SIGHS.]
Everybody says they have him.
You have to prove it.
No, but but we have him.
GAIL: You have to prove it.
Terrorists, crazy people, jokers, they've all been ringing saying they have him.
I need proof.
FIFTY: No, but I'm telling you.
What color are his eyes? How many fillings does he have in his teeth? He has a scar on his leg, where? If you have him, then you'll know something that nobody else does.
Do you? Well, do you? No.
Hello? Pronto? What if that was the kidnappers? Then they'll ring back.
[MUTTERING.]
[MUMBLING IN ITALIAN.]
[SNIFFS.]
Si.
Si.
[LINE CLICKS, DIAL TONE SOUNDS.]
["SUNNY AFTERNOON" BY THE KINKS PLAYING.]
The tax man's taken all my dough And left me in my stately home Lazin' on a sunny afternoon I can't sail my yacht He's taken everything I've got All I've got's a sunny afternoon Help me, help me, help me sail away Well, give me two good reasons Why I ought to stay And I love to live so pleasantly Live this life of luxury ROBINA: To whom it may concern, Thank you for your letter to John Paul Getty, and for explaining your situation.
With regards to your request for money, Mr.
Getty is a businessman, not a charity.
He therefore regrets he is unable to help you now or at any time in the future.
He wishes you luck in finding support elsewhere.
[TYPEWRITER KEYS CLACKING.]
[FOOTFALLS APPROACHING.]
Bullimore.
For Paul.
Mr.
Getty is not to be disturbed during breakfast.
Disturbed doesn't cut it, darling.
This little baby curdle his eggs.
11:00 p.
m.
in, 11:20 out.
Time out, 9:07, time in, 10:38.
A lot of coming and going, Penelope.
What of it? We do not entertain you as we did? I have a life outside the Gulag, Paul.
And we don't? I honestly have no idea.
[CLEARS THROAT.]
Miss Robina insisted, sir.
My grandson has made contact.
Via an Italian newspaper, it seems.
- Is he all right? - He neglects to say.
Golly, is that a ransom demand? I suppose it would be if he had really been kidnapped.
LUCIANA: So, wh-what are you going to do? What I do with all begging letters.
- Robina.
- [DOOR OPENS, CLOSES.]
BELINDA: He's off to write one of his "unable to help now or at any time in the future" letters.
Oh, come on.
For his own grandson? He wouldn't.
Well, yeah, he would.
Ugh.
Is it just me or are those eggs off? Wow.
I guess he missed the press conference.
- How much? - $17 million.
[GASPS.]
What? Which is not much if you've been kidnapped.
A considerable amount if you haven't.
Got to admire him for trying.
Things we have to do to get in his bloody will.
No one's forcing you.
There's a whole wide world out there.
Of which you appear to be taking full advantage.
[IMITATES PLANE ENGINE.]
[LAUGHING.]
[SIGHS.]
Hey, you have five minutes.
PAUL III: You just got to be patient, man.
If you're slow, they swim right into your hand.
Done it before in California.
So, California, huh? Always wanted to go there.
- Is it like in the films? - I'd rather be here.
Yeah, locked in a barn - with a gun to your head? - No.
I mean, uh, I mean here.
You know? Look around you.
A river, some trees.
A fish, maybe.
There's no Mick Jagger here.
There's no Coca-Cola here.
No-no drugs, no girls, no clubs.
There's nothing here.
I know Mick.
[CHUCKLES.]
I do.
The Stones go to Treetops, a nightclub in Rome.
Wait, are you serious? You mean, you know Mick Jagger? Yeah.
I can introduce you.
Oh you know, if Don't fucking try that with me, huh? Oh, oh, oh! Fuck! Hey, it was just for the fish.
Not bad.
The fish.
- It's good.
- Mm.
Hey, uh, how much are you asking? For ransom.
I don't know.
You don't know? I'm just a translator.
They don't involve me in that stuff.
Lira? Dollars.
Shit.
No.
No.
Your grandfather is a billionaire, come on.
Yeah, but he's the meanest fucker in the world.
He has a payphone in his house.
PAUL III: A payphone, it doesn't matter.
The point is: he's a billionaire and he won't even pay for a phone call.
[SCOFFS.]
He won't give you that much.
You have to know that.
I'm not lying.
Eh, eh Uh I don't know what I'm worth.
- Uh - [LINE BEEPING.]
Yes? Problem? I I just came to see how you are.
- I'm fine.
- It's just that I saw.
The other day.
The dogs.
- It was unpleasant.
- Ah.
Bloody animals.
Yeah, I'm sore, if I'm honest.
Got a nasty bite.
Entertained the women of the house, though.
Yes.
Well, they do like their blood sports, don't they? Follow me.
- What a place.
- My little hideout.
It's where I come for a bit of R and R.
It's not against regs or anything, but, um Well, you know how it is around here.
Probably best to keep schtum.
Beer? Oh well, I, um I-I don't, actually very rarely, and I-I need to make sure that I Why not? [SPEAKING ITALIAN.]
[SNIFFS.]
- That's good? - Yeah.
[SPEAKS ITALIAN.]
- Si, man, it's good.
- [CHUCKLES.]
- Thank you.
- [SPEAKS ITALIAN.]
[INHALES SHARPLY.]
ANGELO: Tell us a story about yourself.
- A story.
- PAUL III: A story? About me? Perfetto.
Perfetto.
PAUL III: All right.
DENNIS: I hear on the grapevine that you're a bit of a rose man.
But how well do you know this little lot? What do you see? Clematis, narcissus, cyclamen, oleander.
Well, I know them, obviously, but what do I see? Well, if a chap like you can't see it, it's probably not there.
What am I looking for? Ah, well, they might have something in common.
And then again, they might not.
Bullimore is foxed.
Bullimore don't like it.
PAUL III: There was Jojo the Dog.
[TRANSLATING ITALIAN.]
Uh, Jojo.
- Jojo.
- Jojo.
Jojo was really scared of heights.
Really scared.
Yeah? And, uh, Harry the Horse told him to jump.
[IMITATES HORSE SPUTTERING.]
Said to him, "Jump, Jojo.
Jump.
" But Jojo was was so scared, he He didn't want to do it, you know? H-He he was scared that if he jumped, he'd be all alone.
Harry the Horse said to him, "Listen, Jojo" - "if you believe" - [TRANSLATING IN ITALIAN.]
anything is possible.
" That's right, yeah.
But Jojo the Dog, he walked to the edge of the cliff, and he said "Can I?" "Can I?" Can he? Can he jump? Yeah? Yeah? Yeah? [YELLS.]
[IMITATES WATER SPLASHING.]
[SCREECHES.]
[SQUAWKING.]
: Arrivederci.
Bye-bye.
[NORMAL VOICE.]
: Then he's gone.
Arrivederci.
[IMITATING BUGS BUNNY.]
: That's all, folks.
That's all, folks.
That's all, folks.
Finito.
[PRIMO SNORTS.]
- Jojo's your dog? - Si.
[PHONE RINGING.]
Hello? FIFTY: Kamarad, Jojo, Boxer.
Paul's dogs.
His dogs.
Oh, my God.
So we have him, yes? Is he all right? We have him, yes? Y-Yes.
Yes, yes, you have him.
Is he all right? Please tell me.
Via Amerigo Vespucci, 21.
One hour.
Come alone or we will kill him.
Okay? It's a cinema.
- Understand? It's a cinema.
- What? Yes no.
Good-bye.
Wait.
Wait, can I please speak to him? - Please, can I - [LINE BEEPING.]
[PHONE RINGING.]
Sutton Place.
GAIL: Robina.
Robina, this is Gail.
Listen, um, the kidnappers have just been in contact.
No matter what Chace told you, this is real.
They're real.
Can I please speak with Paul? Just a moment, Gail.
I'm afraid you've just missed him, Gail; can I take a message? Robina, please.
This is important.
I'll let him know you called.
You let him know, as you're standing right next to him, that I've been in contact with the kidnappers.
The ones that don't exist.
I'll do that, Gail.
Good-bye.
Did you hear that? This is becoming bothersome.
Chace will handle her in the future.
Righto.
- Ms.
Getty! - Ms.
Getty! [REPORTERS CLAMORING.]
[CAMERA SHUTTERS CLICKING.]
Ms.
Getty? [MOANING IN FILM.]
[PROJECTOR CLICKING.]
[CLATTERING IN FILM.]
FIFTY: D-Don't turn.
Don't turn around.
You see me, your son dies.
Understand? Yes.
Where's Paul? Please.
You need to pay, Mrs.
Getty.
I don't have $17 million.
I don't have $1,700.
I'm divorced.
I don't get anything.
It's his-his father, his grandfather.
They have the money.
Uh, why-why don't they pay, allora? - They don't believe you.
- Okay.
That's I told you the names of the dogs.
I understand.
I, uh But they, they-they think that Paul has made this all up for money.
They think it's a, um, a hoax, you understand? This is no hoax, uh, believe me.
- I do.
- Ah.
- I do.
- Then, they will believe, too.
[GASPS.]
Oh, my God.
[GASPS.]
[CLEARS THROAT.]
He's with, uh, very, very dangerous people.
And they want the money.
And I will be in-in contact.
My name is Fifty, okay? Remember.
Can I talk to him, please? Please.
[EXHALES.]
GAIL: Do you know him? The dead man? Martine? No.
No, we don't.
Why won't you help? Look at it.
This is Paul.
The person you love.
Don't you? Well, don't you? Look.
Look at his face.
I know that face, he's scared.
Of course he's scared.
Jesus.
Don't you care? [WHIRRING.]
Christ.
This machine's going to need therapy.
PENELOPE: Oh, my God.
Do you want to tell him, or shall I? [PROJECTOR CLICKING.]
[CHUCKLES.]
Are you telling me that this is what is holding our whole operation up? This is sacred land.
But have we offered them a lot of sacred money? We did.
- The governor? - Him, too.
But apparently, it's a lot more complicated than that.
Bullimore, turn that thing off.
PENELOPE: Paul, darling.
Excuse me.
You need to look at this.
I'll be damned.
I know this guy.
PENELOPE: Knew, unfortunately.
CHACE: I stand corrected.
You believe this to be genuine? He looks dead to me.
So what are you saying? This business is not a hoax? My grandson really has been kidnapped? What I'm saying is that when people start getting killed, whatever it is, it's not a hoax anymore.
Oh.
[SIGHS.]
Well, in which case, you'd better open negotiations.
Damn it.
With the right people, this time.
Take my plane, get yourself back to Rome.
Yes, sir.
-Robina will wire you instructions.
Ma'am.
[SIGHS.]
[SIGHS.]
[TYPEWRITER KEYS CLACKING.]
This is everything you know? Everything I can remember.
Mm.
Before you sign this, I should warn you that aiding and abetting is a criminal offense.
This is serious.
We were stupid.
Made a stupid mistake.
Charge me if you want to.
I don't care.
Please.
I just want Paul back.
Mm.
Okay.
[PAGES RUSTLING.]
[PEN CLICKS.]
You have family back in Berlin? Yes.
What happens now? You go to Berlin.
Why? I'm not in danger, am I? Who knows what's around the corner? Right? It might be swimming A strong current.
Or, uh, at home A break-in gone wrong.
Or maybe the train station Rush hour.
A little shove and you're cut in two by the Inter-City.
Happens all the time.
We had one last week.
Like I said, who knows what's around the corner? I'll take care of this for you.
It's been a pleasure.
Enjoy Berlin.
["MIDNIGHT, THE STARS AND YOU" BY AL BOWLLY PLAYING.]
[DOOR SLAMS.]
[FOOTFALLS APPROACHING.]
How much? In Italian law, any amount over $600 is extortion.
So the offer is $600 plus expenses.
$600? If you had been present earlier, you might understand.
I said, "plus expenses.
" Italian accountancy.
[CHUCKLES.]
One of life's great oxymorons.
In il bel paese you can load up the expense side of the ledger like a pack horse.
That should compensate everyone for their trouble.
And the $600 figure ensures both that they are in the clear, legally, and the Getty family has very publicly not paid a ransom.
It's a far cry from $17 million.
Naturally.
That's how negotiations work.
You don't think it will be open to misinterpretation? You know how the Italians are.
[ANGELO HUMMING.]
ANGELO: You have a girlfriend, hippy? PAUL III: Yeah.
Martine.
ANGELO: Beautiful? The most beautiful woman you've ever seen.
I swear, if I ever get away from here, we're gonna get married.
You want to be best man? Yeah, funny.
PAUL III: If things were different, why not? - Hmm? - [PRIMO REPEATS IN ITALIAN.]
Mm-hmm.
That's all? Okay.
[BELL TOLLING.]
[CHUCKLES.]
- [SPEAKS ITALIAN.]
- Ah.
[ALL SHOUTING.]
- Fletcher, please.
- Ma'am.
Please, I beg you.
Ma'am.
I have my instructions.
Please.
Gail, Gail.
Mr.
Getty is the single most effective businessman in the world.
I will be back.
This isn't business! This is my son! [DOOR CLOSES.]
Let the weary days [SHOUTS.]
Be over I'm so tired of the hurt I've been taken My heart has been aching so Don't mind struggling Ooh, ooh, ooh I don't mind living a little Ooh, ooh, ooh If someday my kids Are laughing together And having things That I never own I can feel the change a-coming Freedom drums in the distance Lord, they are drumming Telling the world Of a brand-new future - [PHONE RINGING.]
- Has begun So you gotta hurry sundown [PHONE RINGING.]
I can't wait to see the morning Afraid tomorrow [PHONE RINGS.]
[CRICKETS CHIRPING.]
[DANTE SINGING IN ITALIAN NEARBY.]
[SINGING CONTINUES.]
$600.
[LAUGHS.]
PAUL III: No, no, it's it's a mistake.
It's a mistake.
[REPEATS QUESTION IN ITALIAN.]
[REPEATS QUESTION IN ITALIAN.]
Huh?! [ANGELO WHIMPERS.]
[CRICKETS CHIRPING.]
- [SPEAKS ITALIAN.]
- Hmm? Shh, shh, shh.
Hide, little rabbit.
Hide in your burrow.
Don't worry.
[SHOVEL DIGGING NEARBY.]
Be very quiet.
[ANGELO SNIFFLES.]
[LOCK CLANKING.]
Hippy.
We need to get out of here.
Give me a ticket for an aeroplane Ain't got time to take a fast train Lonely days are gone I don't care how much money I got to spend Got to get back to my baby again Lonely days are gone I'm-a goin' home My baby just-a wrote me a letter Well, she wrote me a letter Said she couldn't live without me no more Listen, mister, can't you see I got to get back To my baby once more Anyway.