We Still Kill the Old Way Page #3

Synopsis: When retired East End villain Charlie Archer is murdered by a feral street gang, his brother Ritchie returns to London from Spain to investigate.
 
IMDB:
6.0
Year:
2014
94 min
310 Views


go to the police? Great...

then they'll immediately accuse me of

political speculation.

Do you always vote for the party?

- Yes...

but it keeps getting harder.

Do you understand why?

To the police, you say...

We don't even know the name of the

notable Roscio wanted me to report.

Names can be discovered, if you want...

If you knew how many reports

end with a death threat...

Okay, you're right.

Look...

- You're behind the times.

Yes.

It's you who goes forward.

Is it true you're going to

defend the servant's relatives?

Yes, why?

Nice gesture!

Dear Paolo.

It's true.

However, I can guarantee you...

that very soon the real culprits

will be brought to justice.

And who would those responsible be?

Manno had many lovers.

For once, it won't be

the poor who have to pay.

Good morning.

Good morning, Professor.

Rosello.

- Hi, Paolo.

Want some?

- No, thanks.

Listen.

- Tell me.

Did your cousin's husband

have a lover?

I'd exclude that.

Yesterday morning, in Palermo...

I received some information and,

if it turns out to be true,

it will change everything.

Someone met your cousin, Roscio...

a few days before he died.

Everyone saw him.

You, me, everyone.

Yes, but not in Rome.

Not in Palazzo Montecitorio...

in parliament.

- A politician?

A politician.

Then where does the woman fit in?

This politician...

got the impression that Roscio was trying to

defend himself against a jealous husband.

He collected proof against this person,

he had documents...

detailing all the serious crimes

he'd committed against the State.

Here.

Forgive my curiosity, Paolino...

but are you sure my cousin didn't

name this politician?

I'm very sure...

but these documents he

promised him must exist.

Listen...

why don't we go to Luisa's home?

Your cousin.

No, no.

It's just not on.

If these documents exist...

they must be somewhere in the house.

In a drawer, in the furniture...

don't you think so?

Okay, very well.

However...

you have to promise me you won't...

In front of her...

don't mention he was having an affair.

Understood?

So there was someone else.

There was.

Who do you think it was?

I...

This woman you're talking about;

is her husband a powerful figure?

I really don't know, Paolo.

I'll find out, but...

I think so.

Come on.

No, it seemed right to leave

everything as he left it.

I don't want to poke around his life,

as if he were still alive.

To find what?

Proof of some wrongdoing?

No, the politician hinted

at a political matter.

Luisa, we're just trying

to remove a doubt...

we want to respect his memory.

- This isn't the way.

Luisa...

I'm mortified:
It's all my fault.

- That's not true. We're just doing our duty.

No, that's for me.

Leave it.

Do you really believe this politician

friend of yours' story...

has something to

do with my husband's death?

Yes.

- The anonymous letters...

The anonymous letters he received...

where do they fit in?

I put it down to the killer's astuteness.

The pharmacist was a false target...

but it was him,

your poor husband...

...that they wanted to kill.

To silence him forever.

I have to go.

They're waiting for me.

I'll come with you.

- No, you keep on looking...

it's a big house; it hides things.

Call me if you find something.

Yes.

Let's keep looking.

I'm sorry.

Perhaps I shouldn't stay...

No, we must look.

Come.

My daughter is asleep.

This is his study.

I haven't touched anything.

He may have hidden the documents here.

It's the only place.

Does your daughter know?

She doesn't know anything.

We told her he went away.

Seeing you dressed in black,

doesn't she say anything?

No, quite the opposite...

she told me I look better like this.

Luisa...

excuse me, I'm tired.

There's nothing here.

He might have left them

with your father-in-law.

You're right, it's a possibility.

I'm going to Palermo

tomorrow for my exams...

I could pay him a visit.

My father-in-law?

Sure.

Yes...

it's the only thing we can do.

The entrance is there.

Luisa...

you came as well?

Yes, it's better.

I might be useful to you.

He says he doesn't know anything.

He's become suspicious -

look at all the bells...

he always wants to know where we are.

The servant...

me, the guests.

He's in there.

Aren't you coming?

- No, go on.

Come in.

Come here, Paolo.

What a pleasure.

Thank you for coming to see me.

Look at what I'm reduced to.

For a famous optician, the Eternal Father

has decreed the highest penalty:

Absolute blindness.

Drink something.

Serve yourself.

Tell me...

my daughter-in-law tells me you...

have some new suspects?

Yes, we wanted to know...

if you noticed your

son behaving differently?

Professor, you...

did you notice anything different?

You see, Paolo...

my son was a very... complicated man.

He was always in love.

My daughter-in-law is

very beautiful, isn't she?

Yes.

Or perhaps simply

a lot of woman.

When we were kids we used

to call them...

'bed-worthy'.

Come here, Paolo...

let's go to the balcony.

I don't feel safe talking here.

Hear that?

My daughter-in-law in the bedroom.

What colour is Monte Pellegrino today?

Purple.

As always.

My son, on the other hand, changed a lot.

- Did he ever tell you his secrets?

Paolo, some things are best left

in the obscurity you find them in.

I'm sorry, but are you thinking

of something specific or not?

There is something in my son's murder

that makes me think of the living.

It causes me pain...

we must help them...

the living.

- Help the living?

You mean the killers?

If someone was responsible, you must

look among the people closest to him.

You could start with me, because...

a father is always guilty.

Always...

responsible.

No, for me a killer is a killer.

They must be caught and punished, and that's it.

It's a problem.

Look in the drawer in my desk.

Have a good look.

There's a parcel.

Yes, yes.

This is the one.

My son gave it to me...

a week before he died.

Take it.

Do what you want with it.

Take it.

What do you think is inside?

I don't know,

and I hope I never find out.

As you can see, I'm also one of

the living, who need to be helped.

Thank you, Professor.

- Goodbye.

Farewell.

I haven't opened it.

He still doesn't trust me,

after all these years.

Deep down, he's an unhappy old man.

You must understand: Perhaps...

he thinks these aren't women's things.

- That's not true.

That's not true, he hates me.

He never wanted his son to marry me...

the niece of a priest.

Open it.

It looks like a diary.

- You read it.

There are pages missing.

- Let me see...

Oh God, what has he written?!

Paolo, I beg you:

Don't read it.

These are personal things.

Shameful...

Shameful.

- Luisa.

Forget about what you read.

We shouldn't see each other anymore.

Good morning.

If you want a nice surprise, go to the

palace of justice in Palermo tomorrow.

After you, please.

Paolino, you're here too?

Yes, for a certificate.

Rate this script:0.0 / 0 votes

Sacha Bennett

Sacha Bennett (born 11 May 1971) is a British actor, writer, producer and director for film and television. As a film-maker he has worked with talent such as Bob Hoskins, Jenny Agutter and Steven Berkoff. He has created films for Hollywood Studios and Independent Distributors, from action-thrillers to Shakespeare adaptations. He was born in Harpenden, Hertfordshire where he attended St. George's School. He now resides in West Hampstead, London. more…

All Sacha Bennett scripts | Sacha Bennett 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

    "We Still Kill the Old Way" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/we_still_kill_the_old_way_23165>.

    We need you!

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

    The Studio:

    ScreenWriting Tool

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


    Quiz

    Are you a screenwriting master?

    »
    What does the term "plant and payoff" refer to in screenwriting?
    A The payment to writers for their scripts
    B Setting up the final scene
    C Introducing a plot element early that becomes important later
    D The introduction of main characters