Under Suspicion Page #2

Synopsis: In 1959 Brighton, disgraced cop turned private detective Tony Aaron works largely on falsifying adulteries for use as evidence in divorce cases. He involves his wife as the fictional co-respondent for painter Carlo Stasio but the pair are shot dead in the hotel room. In charge of the case is Frank, Tony's ex-partner still on the Brighton force. His most likely suspects are Angeline, Stasio's mistress who is set to inherit his house and pictures, and Tony himself, parts of whose story don't seem to add up.
Genre: Crime, Drama, Thriller
Director(s): Simon Moore
Production: Sony Pictures Home Entertainment
  1 win.
 
IMDB:
6.5
Rotten Tomatoes:
25%
R
Year:
1991
99 min
330 Views


You know who was killed

along with your wife, Tony?

His name was, uh,

Paduin, Padouin.

He was

an Italian salesman.

I don't know much

else about him.

You obviously

haven't read the newspapers.

His real name

was Carlo Stasio,

famous painter, rich.

I mean, really rich.

How did you meet him?

I-- I didn't,

until that day.

His, uh, his solicitor

came into the office

about a month ago.

He said that

they wanted to...

remain discreet.

In fact, he said

that Padouin--

that Stasio

wanted to use a false name

on the hotel registry.

I said that was all right

as long as there were witnesses,

you know,

to identify him in court.

Now, why would a millionaire

go to a dogshit little agency

like yours?

Maybe he wanted

anonymity,

seeing who he was.

I mean, no big agency's going

to arrange adulteries anyway,

are they?

They're against the law.

They certainly are, Tony.

We're not going to be able

to cover that up.

I know.

You said you were

in the hotel bar all night.

From about

Never left your seat.

So?

The barmaid said you went out

for about ten minutes

just before

you went upstairs.

Jesus, I went

to the toilet, right?

No, no, no, no.

You went upstairs

and did her,

didn't you?

They found your prints

all over the bed.

Oh, f*** off.

Is that the best you can do?

You owe people

a lot of money.

So what?

I owe money.

That's not

a crime, is it?

It's an incentive

to commit crime.

I'll pretend

you didn't say that.

Pretend what

you like.

You're not getting away

with murder again.

All right, eh.

All right!

Come on.

Dave, shut up!

Leave him alone.

Well, ask him, Frank.

Ask me what?

Do you possess a gun?

What?

No...

What, do you think

I killed my wife,

and then I killed

a complete stranger as well?

Does that make sense?

Even to a f***ing

monkey brain

like you, Waterston?

Nobody thinks

anything like that.

If there's nothing else,

Frank, can I go?

There is

one more thing.

Have you talked

to anyone in the station

about the autopsy?

Whoever killed them

also cut off Stasio's thumb

as a souvenir.

Oh, Tony...

Happy Christmas.

What are you doing here?

Same as you.

So what's the news?

Oh, nothing.

Someone saw

a smart red car

outside the back

of the hotel.

That's about it.

Stasio's wife.

Who's that?

I have no idea.

Interesting.

Just remember who's

doing the investigation,

all right?

Absolutely.

I'm serious.

I can't have

you around me.

[CHURCH BELLS TOLLING]

Mrs. Stasio,

I'm Frank Vance,

the Detective in charge

of the investigation.

I'd like to offer

my condolences,

and say that if there's anything

you'd like me to do--

I'll tell you

what you can do.

You can go

to my house--

my house--

and throw that

b*tch, Angeline,

out of it.

Right.

When might it be convenient

to talk to you, Mrs. Stasio...

[SEAGULLS CAWING]

Speak.

I have a floral tribute

to deliver.

Drive down to

the front entrance

and I'll collect it.

Drive down, she says.

Thank you.

I'll take that.

I need to give it to the lady

of the house herself.

I'm sorry. She's not at home

to visitors at the moment.

She is at home.

I saw her come in.

Sorry.

Wait, please.

Could you give her this, please?

Thank you.

I can't help you, I'm afraid.

I haven't asked you

anything yet.

Uh...

Tony. Tony Aaron.

Angeline White.

I kind of expected

to see his wife.

This is a family home,

isn't it?

She doesn't live here anymore.

I'm sorry

you've wasted a journey.

Don't you want to find out

who killed him?

Do you know?

Not yet.

Then why don't we leave that

to the police?

Good day, Mr. Aaron.

It's not a good day.

Not for either of us.

Don't you get frightened

here on your own

in a big house like this?

Only when people like you

say things like that.

A Detective Inspector

Vance has arrived.

Um, it might be better

if he doesn't see me.

Do you have

a back entrance?

We don't usually have a need

for a back entrance.

If there's nothing else,

then I'll

dismiss the--

The wages

are in envelopes in the hall.

What does Stasio

need the oxygen for?

Was he ill?

He thought he was ill.

There was

nothing wrong with him.

Goodbye.

Where's all his

paintings, then?

What are you

doing here?

Would you please ask this man

to leave, Detective,

and not come back again?

Get out,

like the lady says.

I warned you, didn't I?

Keep out of this.

Was she his mistress?

He was doing all right

for an old man.

Maybe I should

take up painting.

I'm giving her

for the next

couple of days.

I'll tell my men

to arrest you

if you show up here

again, all right?

You never offered me

Oh, come on, Frank.

It's obvious.

It's got to be

Selina, the wife.

She gets dumped

for a younger woman,

thrown out of her home.

She feels bitter.

She doesn't want Stasio

to go through with

divorcing her,

so she kills him.

Absolutely.

There's only one drawback--

she didn't do it.

How do you know?

She was at a party

in London, all night,

at least 20 witnesses.

She didn't do it.

And what about Angeline,

where was she?

Come on, Frank,

I know you asked.

I didn't have time to.

She says she was

with the family solicitor.

At midnight?

[SEAGULLS CAWING]

I don't

want you with me.

Come on, Frank.

Ton, don't make me have

an argument about it.

Would it be all right

if I take the car?

No, it ain't all right.

Go on.

I understand

you represented Stasio,

Mr. Roscoe.

Yes, that's correct.

Why did you pick Tony's--

Mr. Aaron's agency

to fake the adultery?

Look, I'm not saying--

It's all right.

I'm not interested

in any of that.

Why Mr. Aaron?

Well, he'd, uh...

done some work for me

a couple of times before...

matrimonial, similar work.

I didn't really know him.

I see.

What was Stasio like

as a client?

Very difficult.

He was forever

changing his mind.

But he paid well.

Is that a question?

Why did you

meet Angeline

the night

that he was murdered?

That is a question.

Mr. Stasio had instructed me

to invite her here

to explain about the...

adultery

when it was already

too late to stop it.

She didn't know?

Why didn't he tell her?

You'd have to ask her.

What time

did she leave?

Very late. About 10:00.

What did you do then?

I went home.

Mr. Aaron?

Mr. Aaron!

It's your own fault. I told you

not to come back here.

I'm sorry.

I didn't mean

to frighten you.

You didn't frighten me.

I frightened you.

It's a bit late

to be making pastry, isn't it?

I think

you'll be fine.

You can leave now.

I don't want to leave.

If I blow this,

the two cops out front

will come running in here.

I think

you should give that to me.

I seem to be in more danger

of sudden violence than you do.

[THUNDER CLAPPING]

Is this you?

It has

the curious effect

of making strangers

think they know me.

Where did you meet Stasio?

At an exhibition

in Miami.

I admired

his paintings.

He asked me

to model for him.

And here you are.

I was an art student.

I decided to

Rate this script:0.0 / 0 votes

Simon Moore

Simon Moore is a British screenwriter and director known for his work in film and television. One of his most recognized works is the 1995 miniseries *The 10th Kingdom*, a fantasy series that blends fairy tale elements with modern storytelling. Moore also wrote the screenplay for *The Quick and the Dead* (1995), a western directed by Sam Raimi and starring Sharon Stone, Gene Hackman, and Leonardo DiCaprio. In addition to his work in genre fiction, Moore has contributed to other projects across television and film, showcasing his versatility in both fantasy and action genres. more…

All Simon Moore scripts | Simon Moore Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Under Suspicion" Scripts.com. STANDS4 LLC, 2024. Web. 22 Nov. 2024. <https://www.scripts.com/script/under_suspicion_22522>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Under Suspicion

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the purpose of a "beat sheet" in screenwriting?
    A To write character dialogues
    B To provide camera directions
    C To outline major plot points
    D To describe the setting in detail