EXT. GETTY VILLA, MALIBU -- DAY They walk together, a bit awkwardly, on the main terrace, where they pass a row of marble busts of Roman Emperors.
The last bust in line is that of Getty himself. They pass aDOCENT leading a tour group:
DOCENT:
J Paul Getty believed deeply in thepower of art to make us aware of ourshared humanity, and that this legacybelonged to every man and woman, rich or poor. It was his philanthropic vision that made thismuseum possible.
Gail and Chace exchange a look.
CHACE:
Who wrote that?
GAIL:
I did. But let's keep that to ourselves.
(a beat) We hope you'll be staying on, Mr.
Chace, but we're a public foundationnow, and the position doesn't paywhat it did. And I know you hadother ambitions. But still.
119.
CHACE:
Guys like me don't get rich. I've realized that. We get sidetrackedtoo easily.
GAIL:
Shame.
CHACE:
Not really.
A moment. She struggles to find the right words.
GAIL:
I think of you as our family.
CHACE:
It's kind of you to say so, ma'am.
They pass a tiny sculpture on a platform:
the Minotaur. Chace doesn't even notice it.
CHACE (CONT'D) There were a couple things aroundthe grounds I was meaning to see to.
GAIL:
Of course. Don't let me keep you.
Chace leaves Gail on the terrace. As she watches Chace go, her son Paul joins her, his hair grown long now.
INT. KITCHEN -- DAY Chace uses a butcher's knife to cut a strip of meat from asteak. He cuts the strip into cubes.
EXT. GETTY VILLA -- DAY Chace opens a cage and one of Getty's Alsatians limps out.
Chace feeds the dog the steak, kneading its fur, whispering in its ear. He clips a chain leash to the dog's choke collar.
EXT. GETTY VILLA -- ENTRANCE -- DAY Chace walks the dog to the open front gate. He grips the dog's chain in his clenched fist.