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    Before the Devil Knows You're Dead script

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    BEFORE THE DEVIL KNOWS YOU’RE
    DEAD
    A Screenplay By
    Kelly Masterson

    FADE IN:
    1

    EXT. - FAIRFIELD ROAD - DAY

    1

    A white HONDA ACCORD moves through a sleepy, suburban
    neighborhood - FAIRFIELD, CT - in the early winter morning.
    Snow covers the ground but the plows have been out and the
    road is clear. The sun is shining and the neighborhood
    glistens: white, bright, quiet.
    The ACCORD turns onto the main drag and merges into the early
    morning commuter traffic. The ACCORD swings around the
    traffic that lines the turn lane into the FAIRFIELD TRAIN
    STATION. We stay with the ACCORD as it moves along until it
    reaches a STRIP MALL and pulls in. The ACCORD moves through
    the nearly empty parking lot and pulls up to the curb in
    front of one shop in the MALL.
    2

    EXT. - STRIP MALL - DAY

    2

    In the car’s interior, a woman (NANETTE) of about 65 leans
    across and kisses her husband (CHARLES) who sits behind the
    wheel. She pats him on the knee.
    Good luck.

    NANETTE

    CHARLES chuckles as NANETTE fishes a fistful of keys out of
    her purse. She opens the door.
    CHARLES
    See ya in a bit.
    NANETTE
    (pausing:)
    I love you.
    CHARLES looks a little surprised by this. He smiles as
    NANETTE exits the ACCORD. CHARLES watches his wife approach
    the store and unlock the door.
    ON STORE SIGN: “HANSON JEWELERS”
    3

    INT. - HANSON JEWELERS - DAY

    3

    NANETTE opens the door and we hear a bell ring. NANETTE from
    just inside the door watches the ACCORD pull away and waves.
    NANETTE locks the door behind her and moves quickly to an
    electrical box on the wall to shut off the alarms and turn on
    the lights.
    TITLE CARD: “BEFORE”

    (CONTINUED)

    3

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 2.
    3

    CONTINUED:

    NANETTE busies herself behind the store counter - stowing
    away her purse, checking the cash register, unlocking this or
    that display case. She hums as she moves into a back room
    and addresses herself to the safe.
    SAME LATER
    NANETTE fills the display cases from the storage trays. A
    clock on the wall behind the counter shows that it is 7:58.
    NANETTE completes her tasks and moves back to the front door.
    Through the window, NANETTE sees a brand new, white CAR
    parked in the lot directly in front of the store. She peers
    through the door at the car - it appears there are two men in
    the front seat. NANETTE turns the sign on the door around
    announcing that HANSON JEWELLERS is now officially “OPEN.”
    She unlocks the door and moves back to the counter. Her back
    is still to the door when she hears the bell ring.
    NANETTE, behind the counter, turns towards the front of the
    store. Her face - which says: “Good Morning, Customer” freezes in alarm.
    MAN (O.S.)
    Against the wall. Don’t touch anything just back up.
    NANETTE’S POV
    A MAN in a ski mask stands in front of the door - he wears a
    large ski parka and gloves. One gloved hand holds a
    revolver. The MAN quickly locks the front door and flips the
    sign to read “CLOSED.”
    MAN (cont’d)
    Back up - now!
    ON NANETTE as she backs up against the wall. She begins to
    shake. Her eyes dart from the MAN to a buzzer under the
    counter.
    MAN (O.S.) (CONT’D)
    Don’t even think it. Stay right where
    you are.
    WIDER as the MAN moves towards frightened NANETTE.
    NANETTE
    Don’t...please...
    MAN
    Shutup. Just shutup. No talking.
    listening. Just listen.

    Only

    (CONTINUED)

    3

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 3.
    3

    CONTINUED: (2)

    The MAN approaches NANETTE who tries to move back but she is
    against the wall. The MAN puts the gun in her face.
    MAN (cont’d)
    I will shoot you. I don’t wanna but I’ll
    do it. I’ll do it.
    NANETTE

    Please...

    MAN
    NO TALKING! OK?

    OK?

    NANETTE blinks, swallows, nods her head very quickly.
    MAN (cont’d)
    OK, OK. Keys. Just point. Point to
    where the keys are for these things.
    The MAN sweeps his arm in an arc to indicate the display
    cases. NANETTE points to a drawer under the Cash Register.
    Keeping the gun trained on NANETTE, the MAN moves to and
    pulls open the drawer. He fishes out NANETTE’S keys and
    holds them out.
    Come here.
    NANETTE is frozen.

    MAN (cont’d)
    Come here!

    She can’t move.

    MAN (cont’d)
    Come on - now!
    NANETTE moves to him but slowly.
    MAN (cont’d)
    Come on, come on. OK - take these and
    find me the key that opens this one.
    She reaches for the keys, takes them but immediately drops
    them because she is shaking. When NANETTE begins to bend
    over to get the keys, the MAN grabs her arm with his free
    hand and roughly pulls her upright.
    No!

    MAN (cont’d)

    NANETTE whimpers. The MAN hurriedly, reaches down for the
    keys. When he is off balance, NANETTE strikes out in fear pushing him. The MAN topples to the floor. Frantically,
    NANETTE reaches to the open drawer. As the MAN rights
    himself, his first concern is the keys on the floor rather
    than the frail woman above him.
    (CONTINUED)

    3

    CONTINUED: (3)

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 4.
    3

    NANETTE has the gun out of the drawer before the MAN even
    realizes what she is doing. She brings it around to the MAN
    who now drops the keys and raises his own gun. There are two
    simultaneous shots.
    ON NANETTE as she is hit and flies backwards.
    ON THE MAN as he is spun around to his right. He loses his
    gun. He struggles to regain himself - his left hand comes up
    to his right shoulder. He pulls it away to look at his blood
    covered glove.
    Oh shit.

    MAN (cont’d)
    Oh shit. Oh shit, shit.

    The MAN, now as frightened as NANETTE, has to physically
    force himself to concentrate through the fear. He comes
    around - he looks for his gun. He sees it on the floor some
    10 yards away and scoots - crablike - along the floor to
    retrieve it. He is surprised that his right arm will not
    cooperate. He picks up the gun in his left hand and rises,
    unsteadily. He looks around for NANETTE and does not see her
    until he moves out from behind the counter and finds her
    lying on the floor some 10 yards away from the counter. She
    is crumpled on her left side - inexplicably she still
    clenches the gun in her right hand. She does not move.
    Oh shit.

    MAN (cont’d)
    I’m fucked! Oh shit.

    He physically forces himself back into the moment. He
    concentrates. He looks at the display cases. He looks at
    the keys. He looks at the still woman on the floor. He
    makes a decision. He moves to the display case nearest him
    and shoots it. The glass top of the case shatters - glass
    flying everywhere - the man shields his face with his good
    arm. Alarms - shrill, piercing, insistent - begin to sound.
    The MAN does not hear them. He sets the gun in top of the
    shattered case. He pulls a nylon bag out of his parka. With
    his one good arm - he awkwardly begins scooping various
    “pieces” into the bag - it is clumsy work.
    A shot rings out. The MAN’s eyes go wide with alarm and
    surprise. He has been shot in the back but isn’t at all sure
    what has happened. Confused, he tries once again to load the
    bag.
    ON NANETTE who struggles to rise but cannot. She struggles
    to bring the gun up again but cannot. She loses
    consciousness.
    ON THE MAN who stumbles. Losing his balance, he bounces off
    the counter and crumples to the floor.
    (CONTINUED)

    3

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 5.
    3

    CONTINUED: (4)

    We see a wide, spreading patch of blood on his back. He
    miraculously manages to pull himself to his feet by using the
    counter. Disoriented, weak, confused, he remembers the bag.
    He manages to get it into his good hand. He reaches for the
    gun but succeeds only in knocking it to the floor. He leaves
    it. He moves towards the door, staggering a little. He
    struggles to open the locked door - he can’t think. Why
    won’t the door open? Finally, he manages to unlock and push
    open the door but drops the bag. When he reaches for the
    bag, he collapses - he falls through the open door onto the
    sidewalk.
    4

    EXT. - STRIP MALL - DAY

    4

    The CAR waits at the curb. The DRIVER is alarmed, anxious,
    scared to death, uncertain as he watches the MAN on the
    sidewalk struggle to rise only to collapse again and remain
    still, unmoving, dead?
    The DRIVER guns the car and pulls away.
    5

    Fast.

    EXT. - FAIRFIELD ROAD - DAY

    5

    ON THE DRIVER - crazy with fear, hyperventilating.
    DRIVER
    Slow down, slow down. Jesus. God. Stop
    it - OK - slow down. Slow down. Oh
    Jesus. Oh my God.
    The DRIVER repeats “Oh my God” like a mantra to calm himself.
    Over and over and over, he says it until his breathing
    returns to normal and his powers of thought return.
    The DRIVER reaches up and pulls off his wig and places it on
    the seat next to him. He rips off his fake mustache and then
    his big glasses. The man is in his mid-thirties - hair just
    starting to thin. This is HANK.
    TITLE CARD: “HANK”
    6

    EXT. - MEADOWLANDS STADIUM - DAY

    6

    A football game is in progress. In the stands we find HANK
    wearing heavy winter clothes and a frown. He is unhappy with
    the game. Seated next to him is his 13 year old daughter,
    DANIELE: bored and distracted. On HANK’s other side is a man
    in his mid-thirties - this is ANDY.
    Shit!
    Daddy!

    HANK
    God damn motherfuckers.
    DANIELE
    (CONTINUED)

    6

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 6.
    6

    CONTINUED:

    Sorry.

    HANK

    DANIELE
    You shouldn’t talk like that.
    Sorry.

    HANK

    A VENDOR moves up the steps towards HANK and Co., shouting:
    “Hot Dogs!”
    HANK (cont’d)
    They can’t complete even one pass!
    A Cell Phone rings.

    HANK searches his parka for the phone.

    DANIELE
    Can I have a hot dog?
    HANK
    You’ve already had one.
    DANIELE
    Can I have another one?

    Yea.

    HANK
    (on phone:)

    DANIELE signals to the Vendor.
    DANIELE
    With everything, please.
    HANK
    Yea, I know, I know - I’m sittin’ right
    here.
    DANIELE
    Extra catsup.
    HANK is digging in his pants for his wallet.
    HANK
    I’m watching the god damn game!
    The VENDOR hands DANIELE her hot dog. HANK struggles with
    his wallet and the phone. ANDY produces a Five - he examines
    it closely.
    F.

    ANDY
    Atlanta.
    (CONTINUED)

    6

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 7.
    6

    CONTINUED: (2)

    ANDY hands the bill to the vendor who makes change.
    HANK
    Yea - hold on.
    (to ANDY, sheepish:)
    Thanks.
    DANIELE
    Thank you, Mr. Hanson.
    ANDY
    You’re welcome, sweetheart.
    DANIELE begins wolfing down her hot dog.
    HANK (cont’d)
    Yea, yea - I’m good. You know I’m good.
    DANIELE
    (mouth full:)
    My mom doesn’t like me eating junk.
    ANDY
    You can eat whatever you want when you’re
    with me.
    ANDY returns his attention to the game. DANIELE is happy
    now, content - concentrating on her dog and ignoring the game
    and her father.
    HANK (cont’d)
    I said I’m good. Jesus.
    HANK hangs up and stows the phone.
    embarrassed. ANDY looks amused.
    Christ.
    Daddy.

    He looks at ANDY -

    HANK (cont’d)
    Shit!
    DANIELE

    HANK
    Sorry.
    (to ANDY)
    I miss anything?
    ANDY shrugs.
    DANIELE
    Can I get a coke?

    (CONTINUED)

    6

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 8.
    6

    CONTINUED: (3)

    HANK
    (watching the field)
    Shit.
    7

    INT. - NEW YORK APARTMENT - DAY

    7

    Upper East Side two bedroom apartment - nice but not
    outrageous; rent is a bundle but the decoration is clearly
    middle-class. A woman in her mid-thirties with too much
    makeup sits on the couch, a Magazine in her lap. This is
    TINA. HANK stands in the center of the living room as
    DANIELE hangs her coat up in a closet.
    TINA
    She didn’t eat any junk food, did she?
    You didn’t feed her crap, did you?
    No.

    HANK
    Of course not.

    DANIELE winks at her Daddy and disappears down a hallway.
    HANK has to hold back his laugh.
    TINA
    She’s got an audition tomorrow.
    can’t be bloated.

    She

    HANK
    God forbid.
    TINA
    Or have gas.
    No.

    HANK
    Gas is bad.

    TINA
    She wore her sun block?
    HANK
    It was cloudy.
    TINA
    There’s rays. There’s still rays.
    Or wind. People get wind burns.
    And gas.

    HANK

    TINA
    She has to be blemish free tomorrow.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 9.

    8

    INT. - CORRIDOR - APARTMENT BUILDING - DAY
    HANK presses the elevator button.
    impatient.

    8

    TINA, arms crossed, is

    TINA
    You got my money?
    HANK
    Christ, Tina...
    TINA
    You owe me November, December and now
    January.
    HANK
    I don’t owe you.

    I owe Daniele.

    TINA
    Don’t get semantic.
    HANK
    Don’t get huffy.
    HANK jabs at the elevator button a few times.
    HANK
    I took her to the Giants game.
    child support.

    That’s

    TINA
    Cash, Hank. She needs two caps.
    The Elevator arrives.
    HANK
    I’ll get her a Giant’s cap.
    TINA
    Don’t be cute.
    HANK
    If you’d let her eat junk food, her teeth
    would be fine.
    HANK gets on the Elevator and pushes the “L” button.
    TINA
    November, December, January...
    The Elevator doors close and TINA is gone. HANK, frustrated
    and angry, mouths “November, December, January.” He kicks
    the wall.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 10.

    9

    INT. - OFF TRACK BETTING (OTB) CLUB - DUSK

    9

    HANK, tickets in hand, watches the TV screen above as a horse
    race finishes. His face falls and he lets out a stream of
    disgusted air. He rips up his tickets and drops them to the
    floor. He looks beseechingly at the screen but finds no
    comfort. He shakes his head and rises.
    10

    INT. - MOONEY’S PUB - NIGHT

    10

    Dark, noisy, Sunday evening crowded, NY Irish Pub. Near the
    door, HANK is shouting into a telephone to be heard over the
    racket.
    HANK
    Thursday! Wednesday is pay day so...
    Yea, of course. You know me.
    ...Thursday, I swear. OK, OK...
    HANK hangs up the phone and rolls his eyes. He rubs his face
    and rearranges his features - no fear, no anger, no
    frustration. Blank. Now he heads towards the back of the
    pub. He approaches a booth where ANDY is seated, a pitcher
    of beer in front of him. Two mugs. ANDY doodles on a
    napkin. HANK takes a seat.
    ANDY
    How much you lose today?
    Fuck you.

    HANK

    ANDY
    When we were in college, you never
    gambled.
    HANK
    Yea, well...fuck it.
    ANDY
    And you never swore.
    HANK
    I’m an adult now.
    HANK grins. ANDY smiles and shakes his head. ANDY turns the
    napkin around and pushes it over to HANK. HANK picks it up
    and looks at it.
    HANK (cont’d)
    What the fuck is it?

    (CONTINUED)

    10

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 11.
    10

    CONTINUED:

    Diagram.

    ANDY

    HANK
    Don’t look like any diaphragm I ever
    seen.
    HANK smiles at ANDY who does not return the smile.
    What?

    HANK (cont’d)
    What’s it a diagram of?

    ANDY
    Jewelry store.
    11

    INT. - PUB BATHROOM - NIGHT

    11

    HANK stands at sink and stares at himself in the mirror - a
    middle-aged loser.
    ANDY (V.O.)
    It’s worth 100 Grand. It’s insured so
    they lose nothing. I lay it off at maybe
    50 cents on the dollar. 25,000 each,
    give or take.
    HANK fills his cupped hands with water and splashes his face.
    He looks in the mirror - dripping. A wet loser.
    12

    INT. - MOONEY’S - NIGHT

    12

    HANK sits in the booth opposite ANDY who pours out from a
    fresh pitcher - an empty pitcher sits on the table.
    ANDY
    So tell me - can you use 25,000?
    HANK sighs and nods once.

    ANDY drinks.

    HANK
    I’ve...I’ve never committed a crime.
    ANDY
    This isn’t...
    Nobody gets hurt.
    Everybody wins.
    HANK looks unconvinced.
    ANDY (cont’d)
    Every time you make a bet with your
    bookie, you’re committing a crime. Who’s
    getting hurt?
    (CONTINUED)

    12

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 12.
    12

    CONTINUED:

    HANK leans back and blows out air.
    Hank?

    ANDY (cont’d)
    You’re an adult now.

    ANDY drinks and watches him with cold eyes.
    HANK
    I don’t know. Lemme think about it.
    13

    INT. - WORKPLACE - DAY

    13

    HANK, dressed in suit and tie, comes out of his office
    pulling on an overcoat. He looks anxious. He passes a
    receptionist desk heading for the elevator.
    HANK
    Got an appointment.

    Back in a couple.

    The RECEPTIONIST smiles and nods.
    RECEPTIONIST
    (to self)
    Of course you do - it’s Monday.
    14

    INT. - APARTMENT BUILDING - DAY

    14

    HANK enters a somewhat run-down building, passing through a
    security door and heading up the stairs.
    On the third floor landing, he encounters a woman sitting on
    the steps hugging herself inside her big coat. She is about
    thirty - very thin. She is GINA. She looks at HANK from
    under her big floppy hat.
    GINA
    I’m freezing.
    HANK
    You’re early.
    So?

    GINA
    I’m cold.

    Let’s go.

    HANK fishes out his keys as GINA crumbles up some candy
    wrappers that sit on the landing next to her. These she
    stuffs in her pocket as HANK opens the door.
    15

    INT. - HANK’S BEDROOM - DAY

    15

    HANK is naked on his back on the bed as GINA straddles him
    from above. GINA is loud. HANK is gone away someplace else.
    (CONTINUED)

    15

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 13.
    15

    CONTINUED:
    SAME LATER

    HANK slightly dozes on the bed - spent. From the bathroom we
    hear gagging, retching, then a toilet flush.
    SAME LATER
    HANK lies propped up on pillows on the bed - alert but
    relaxed - as GINA gets dressed. HANK stares off as he
    speaks. GINA barely listens.
    HANK
    Ya ever feel like the faster you run, the
    more you stay in place? I mean ya try
    and try and keep runnin’, keep runnin’
    and then you look up and you haven’t gone
    anywhere. Fuckin’ nowhere.
    Running.
    16

    GINA
    Yea, running away sounds good.

    INT. - OTB CLUB - DUSK

    16

    Snow is falling outside. HANK sits on a stool watching the
    TV screen. ANDY enters, looks around and moves to HANK.
    Hey.

    HANK

    HANK watches the end of a race.
    ANDY, smiling broadly.

    He turns his attention to

    HANK (cont’d)
    (lying:)
    Got the exacta!
    ANDY
    Good for you. Retire.
    Bahamas.

    Move to the

    HANK
    Yea, right. Motherfuckin’ storm, huh?
    (beat) How’s Jerry?
    ANDY
    (impatient, annoyed)
    Same.
    ANDY turns away - he hates this subject.
    Always.

    ANDY (cont’d)

    (CONTINUED)

    16

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 14.
    16

    CONTINUED:

    Yea.

    HANK

    HANK looks around the room at all the other losers.
    clears his throat.

    He

    HANK (cont’d)
    I can’t get Friday off.
    ANDY
    Has to be Friday.
    time.

    Only Friday.

    No other

    HANK
    Can’t do it.
    ANDY
    That’s that.
    ANDY begins to move away.
    Andy.

    HANK

    ANDY stops, waits, watches.
    HANK (cont’d)
    Maybe I could call in sick.
    17

    INT. - HANK’S APARTMENT - NIGHT

    17

    HANK, in his underwear, sits in semi-darkness, illuminated
    only by the glare of the TV. The TV is on but the sound is
    off. He is on the phone - a TV tray, with the remains of a
    frozen dinner, sits in front of him.
    HANK
    How was the audition?
    Sucked.

    DANIELE (O.S.)
    I didn’t get it.

    HANK
    You’ll get the next one.
    We hear TINA’s voice in the background OS:
    TINA (O.S.)
    Let me talk to him.
    HANK
    I gotta go, hon, I got dinner on...
    (CONTINUED)

    17

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 15.
    17

    CONTINUED:

    TINA (O.S.)
    You get paid today, Hank?
    Tina?

    HANK

    TINA (O.S.)
    Are you gonna bring me some money?
    (pause) Hank, I’m serious. Don’t make
    me get a lawyer.
    HANK leans back and closes his eyes.
    18

    Jesus!

    INT. - HANK’S OFFICE - DAY

    18

    HANK sits in his office behind his desk staring out the
    window at the falling snow - numb.
    RECEPTIONIST (O.S.)
    Mr. Tillinger? Hank?
    HANK snaps to and turns his attention to the door where the
    RECEPTIONIST is standing.
    RECEPTIONIST (cont’d)
    I said Mr. Mooney is on 47. Do you want
    it?
    Um - yea.

    HANK

    The RECEPTIONIST shakes her head and leaves.
    face and picks up the phone.
    Yea?
    OK.
    19

    HANK rubs his

    HANK (cont’d)
    (he listens)
    I’ll be there.

    INT. - DINER - DUSK

    19

    HANK enters brushing off snow; carrying a gym bag. He shakes
    away the cold and moves to a booth in the back of the Diner
    where ANDY is waiting for him. HANK takes off his coat and
    hangs it on a hook next to the booth. He tosses the gym bag
    onto the booth and sits next to it. ANDY pushes a Budweiser
    across the table to him.
    HANK
    Too cold for beer.
    HANK picks up the beer and takes a mighty slug.
    ANDY pushes an envelope across the table.

    ANDY smiles.
    (CONTINUED)

    19

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 16.
    19

    CONTINUED:

    HANK sets down his mug and picks up the envelope. He looks
    around before opening it. Inside the envelope is a pretty
    thick wad of money. HANK opens his gym bag and stuffs the
    envelope into it. ANDY pushes a hand-towel across the table something is wrapped in it. HANK stares at it, then snatches
    it up quickly and places it on top of the bag. Shielding the
    item from the Diner with his body, he unwraps the towel to
    discover a gun. He is alarmed and looks at ANDY questioning.
    ANDY
    Starter pistol.
    Jesus.

    Don’t wet yourself.

    HANK

    HANK stuffs the gun quickly into his gym bag. With a little
    bit of a shake in his hand, he reaches for the beer bottle.
    He drinks.
    20

    INT. - APARTMENT BUILDING LOBBY - NIGHT

    20

    HANK stands at the doorman’s desk of TINA’s upper East Side
    apartment building. He speaks on the phone as the DOORMAN
    watches him.
    HANK
    No - you come down. I got a cab
    waiting...
    (he listens - he grins at the
    DOORMAN and shrugs)
    Just come down - do you want your money
    or not?
    21

    EXT. - NY STREET - NIGHT

    21

    The snow has stopped falling but there are drifts in the
    street. A CAB sits on the street waiting. Under the
    Apartment awning, HANK and TINA are shouting.
    TINA
    You still owe me December and...
    Monday.

    HANK
    Everything Monday.

    TINA
    You’re a loser.

    You’re such a fuckin’...

    HANK
    I bring you five hundred dollars and...?
    TINA
    If it was for me - OK - but this is...
    (CONTINUED)

    21

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 17.
    21

    CONTINUED:
    HANK
    I gotta go.
    HANK runs for the cab.
    is.

    TINA realizes suddenly how cold she

    TINA
    December and January, you bastard!
    HANK slams the CAB door - TINA heads back into the building.
    22

    INT. - MOONEY’S - NIGHT

    22

    Packed and loud, plenty of cigarette smoke and swearing.
    HANK enters and looks around. He finds what he is looking
    for at the end of the bar and pushes his way through until he
    reaches a kid at the end of the bar. This is BOBBY. BOBBY
    is in his early twenties with long stringy hair, a wispy
    mustache, big baggy clothes and a wild look to him. He is a
    punk who thinks he’s tough.
    Hey Bobby!
    Yo, dude.

    HANK
    BOBBY

    HANK
    Lemme buy ya a drink.
    BOBBY
    You can buy me a beer but I ain’t lendin’
    you no more money.
    HANK
    No, man, I’m flush.
    BOBBY
    (calling to bartender:)
    J.P.!
    BOBBY holds up two fingers. J.P., a 50’ish gregarious
    bartender, goes to get two beers.
    BOBBY (cont’d)
    You got cash money or bullshit?
    Both.

    HANK

    BOBBY laughs - loud, sustained, a little wild and annoying.

    (CONTINUED)

    22

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 18.
    22

    HANK (cont’d)
    Pool room open downstairs?
    BOBBY nods as J.P. brings two Budweiser bottles.
    a ten on the bar and picks up both beers.
    Come on.

    HANK tosses

    HANK (cont’d)

    BOBBY looks confused but follows as HANK has already headed
    to the back of the establishment. We move with BOBBY as he
    catches up with HANK on a narrow stairway heading down.
    HANK (cont’d)
    What odds you got on the Broncos?
    BOBBY
    I got odds but I ain’t placin’ no more
    bets for you, dude.
    HANK and BOBBY emerge into the “pool room” - two pool tables,
    both occupied, several small tables with chairs and a juke
    box which plays a little too loud. HANK spots an empty table
    and heads for it. He sets the beers down and pulls off his
    coat. BOBBY stands eyeing HANK warily.
    BOBBY
    If there’s anybody shouldn’t bet on
    nothin’, it’s you. You got the worst
    motherfuckin’ luck. And now you got heat
    from upstairs. People are talkin’ ‘bout
    you, dude.
    HANK has draped his coat over the back of the chair and
    pulled an envelope out of it. He pushes the envelope across
    the table so it sits next to the beer.
    HANK (cont’d)
    Sit-down, shutup and drink your goddamned
    beer.
    BOBBY sits and opens the envelope. He breaks into a grin
    when he sees money. He laughs that annoying laugh.
    BOBBY
    Hit an exacta, dude?
    HANK
    Somethin’ like that.
    tomorrow morning?

    So Bobby, you busy

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 19.

    23

    INT. - CAR RENTAL AGENCY - NIGHT

    23

    HANK and BOBBY sit on a vinyl couch in the overly bright
    waiting room of the Agency. A CLERK behind the counter talks
    on the phone.
    BOBBY
    What if there’s a security guard?
    HANK
    There isn’t. It’s a Mom and Pop place.
    BOBBY
    So how we know Mom’s gonna be alone?
    He knows.

    HANK
    He’s got it wired.

    BOBBY
    I don’t know. Whoever heard of a Mom and
    Pop jewelry store? Huh? What the fuck
    is that?
    HANK
    It’s not New York.
    city.

    You only know the

    BOBBY shakes his head. He isn’t sure. Outside the window, a
    nondescript white CAR pulls up. During the following, the
    ATTENDANT climbs out of the CAR and enters the AGENCY.
    HANK (cont’d)
    Look. If anything is outta place, we say
    fuck it.
    BOBBY
    Fuck it and we drive our happy asses
    home. And I keep the money anyway.
    HANK
    You keep the money.
    The ATTENDANT stands in front of HANK and BOBBY.
    Tillinger?
    Me.

    ATTENDANT
    HANK

    HANK rises and takes the offered keys from the ATTENDANT.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 20.

    24

    INT. - BOBBY’S HOUSE - NIGHT

    24

    Small, cramped, Queen’s house. Sloppy, messy living room stacks of stuff, kid’s toys, papers, clothes, etc. HANK has
    to clear a place on the couch to sit. We hear noises from
    the adjacent kitchen where BOBBY and his girlfriend are
    arguing in whispers.
    GIRLFRIEND (O.S.)
    It’s just so fuckin’ early. If Boo wakes
    up you can fuckin’ sit up with him.
    BOBBY (O.S.)
    I tol’ you, it’s work.
    GIRLFRIEND (O.S.)
    I don’t give a fuck what it is.
    BOBBY enters the living room.
    embarrassed.

    He grins sheepishly,

    BOBBY
    She ain’t used gettin’ up this early.
    HANK nods. BOBBY flops onto the couch - sits on a DARTH
    VADER action figure. He pulls the figure out from underneath
    him and tosses it on the floor.
    BOBBY (cont’d)
    Shit! Boo loves this shit. He thinks
    he’s Darth Vader. Just like his old man.
    The GIRLFRIEND enters with two cups of instant coffee.
    sets these down in front of the men without a word.

    She

    BOBBY (cont’d)
    Thanks, Baby.
    Thank you.

    HANK

    GIRLFRIEND scowls and pulls her robe around her tighter as if
    cold. She begins to exit back to the kitchen but stops and
    whispers to BOBBY.
    GIRLFRIEND
    You guys keep it down.
    I’ll kick your ass.
    (to HANK)
    Yours too.

    You wake Boo and

    Both men nod as the GIRLFRIEND exits. BOBBY lights a
    cigarette. Both men drink coffee. HANK makes a face.
    (CONTINUED)

    24

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 21.
    24

    CONTINUED:

    HANK
    We should...we gotta get goin’, Bobby.
    BOBBY
    OK, OK. Pull the car into the garage
    while I get stuff.
    BOBBY rises and begins to move towards a hallway.
    confused and does not move.

    HANK is

    BOBBY (cont’d)
    Dude? Ya gotta pull the car in the
    garage.
    BOBBY exits. HANK considers another sip of coffee but
    passes. He rises.
    25

    INT. - GARAGE - NIGHT

    25

    BOBBY kneels at the back end of the RENTAL CAR in the garage
    unscrewing the license plate. He gets it off and hands it to
    HANK who just stands watching in amazement - “why didn’t I
    think of this?” BOBBY places another plate in place “Colorado” and begins to screw it on.
    HANK
    Where’d you get these?
    BOBBY winks and then laughs that annoying laugh.
    26

    EXT. - NEW YORK HIGHWAY - DAWN

    26

    The white rental CAR on the highway leaving the early morning
    skyline of New York and head north.
    27

    EXT. - CONNECTICUT HIGHWAY - DAWN

    27

    Sun in rising. The CAR flies along the almost deserted
    highway. In the opposite direction, the highway is packed
    with morning commuters.
    In the CAR INTERIOR, HANK is at the wheel, tense and anxious.
    BOBBY is fast asleep on the passenger side and snores. HANK
    is irritated.
    The CAR pulls into a rest stop and pulls up to the RESTROOM
    BUILDING where it parks.
    HANK grabs his bag and opens the door.
    startled.
    We there?

    BOBBY wakes,

    BOBBY
    (CONTINUED)

    27

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 22.
    27

    CONTINUED:

    HANK slams the door and heads for the bathroom.
    settles back into sleep against the window.

    BOBBY

    SAME LATER
    HANK opens the CAR door and tosses the bag onto the seat. He
    climbs in. BOBBY stirs and looks at HANK in his “disguise:”
    wig, fake mustache, sun glasses. BOBBY smirks with disgust.
    BOBBY
    Who the fuck are you supposed to be?
    Disguise.

    HANK

    BOBBY begins to laugh his annoying laugh.
    BOBBY
    You ain’t never done nothin’ like this,
    huh?
    So?

    HANK

    (shoves the bag over towards
    BOBBY.)
    Look in there - there’s a towel in there.
    Look inside it.
    BOBBY reaches inside the bag and finds the towel.
    it and pulls out the gun.

    He unwraps

    BOBBY
    What the fuck this s’posed to be?
    HANK
    That’s the gun you’re gonna use.
    BOBBY reaches into his jacket and pulls out his own gun.
    BOBBY (cont’d)
    This here’s the gun I’m gonna use.
    HANK
    No, no, use that one.
    BOBBY
    What the hell is it?
    damned toy.

    Looks like a god

    HANK
    It’s a starter pistol.

    (CONTINUED)

    27

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 23.
    27

    CONTINUED: (2)

    Fuck that.

    BOBBY
    This here’s a real gun.

    HANK
    You don’t need a real gun.
    BOBBY
    What? I’m s’posed to go in, pull this
    piece of crap and say “on your mark, get
    set...”
    HANK
    There’s not gonna be any shooting.
    just for...effect.

    It’s

    BOBBY
    (holding up his own)
    This one’s more effective.
    HANK
    She’s sixty five years old, for Christ’s
    sake...
    BOBBY
    You do the drivin’ and I’ll do the thing.
    Right? Ain’t that the deal? You don’t
    got the balls to do the thing - I got the
    balls and I got the gun.
    HANK, pissed off, puts the CAR in gear and backs up abruptly.
    BOBBY laughs and sticks his gun back in his jacket. HANK
    breaks suddenly.
    HANK
    No shooting.
    HANK throws the CAR in gear and peels out of the REST AREA.
    BOBBY grins.
    28

    EXT. - FAIRFIELD STREET - DAY

    28

    The CAR is parked by the side of the road - a hundred yards
    away from the Strip Mall. HANK checks himself out in the
    rear-view mirror, checks his watch, checks his mustache.
    BOBBY is breathing rhythmically - psyching himself up. HANK
    notices a CAR pull out of the Parking Lot and approaching.
    HANK’S POV
    The ACCORD approaches. CHARLES, at the wheel, glances over
    at HANK casually but then returns his attention to the road
    and passes.
    (CONTINUED)

    28

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 24.
    28

    CONTINUED:
    ON HANK

    One deep breath and a nod of the head:
    HANK
    OK, this is it.

    You ready?

    BOBBY
    Fuckin’ eh.
    HANK puts the CAR in gear and pulls out onto the main drag
    approaching the Strip Mall.
    29

    EXT. - STRIP MALL - DAY

    29

    The CAR is parked in the Lot in front of HANSON’S JEWELERS.
    HANK is scared, nervous and can barely breathe as he watches
    the store. BOBBY continues his rhythmic breathing - he is
    there; in a zone.
    BOBBY
    Car in front - door open. I jump in, you
    take off. Simple as a pimple. Don’t go
    pussy on me now or we can forget this
    bullshit.
    OK.
    HANK swallows.
    store.

    OK.

    HANK

    Shit, he’s scared.

    BOBBY concentrates on the

    BOBBY’S POV
    NANETTE turns the sign in the door - “OPEN”
    BOBBY (O.S.)
    Let’s rock and roll.
    ON BOBBY as emerges from the drivers side - hands in his
    pockets. He moves towards HANSON’S JEWELERS.
    ON HANK as he has grave, serious second thoughts.
    out the window to call to BOBBY but has no voice.

    He leans

    ON BOBBY pulling down the ski mask to conceal his face as he
    approaches the door. He disappears inside.
    ON HANK in the CAR, hyperventilating.
    HANK
    Oh my God, oh my God, oh my God...
    (CONTINUED)

    29

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 25.
    29

    A shot rings out! TIGHT ON HANK. Frozen. Nightmare.
    Horror. He can’t move, he can’t think, he can’t breath.
    second shot rattles him back to reality.

    The

    HANK (cont’d)
    Oh my God, oh my God, oh my God...
    He realizes he is shouting. He stops. He watches. He can’t
    see anything. He looks around the Parking Lot. Nothing. A
    third shot! HANK freaks - he starts the car and pulls
    forward so he is by the curb. He is crying but not aware of
    it. He reaches across to open the passenger door but
    struggles with it - finally he gets it open and watches the
    door of the store. He is moaning out load but is not aware
    of it. He hears the “ring” of bells. He looks up at the
    store.
    BOBBY emerges and collapses on the sidewalk.
    ON HANK frozen in horror - scared to death, uncertain:
    “Should I go to him, should I get out, should I leave, is he
    alive, what do I do?” Finally, the panic overtakes him and
    he guns the car. He pulls out of the parking lot. Fast.
    30

    EXT. - FAIRFIELD ROAD - DAY

    30

    The CAR swings out of parking lot on to the main road swerving a bit - unsteady. The passenger door of the CAR
    swings about - still open. Suddenly the CAR pulls to the
    side of Road.
    HANK reaches across and pulls the passenger door closed.
    guns the CAR and pulls back into traffic almost getting
    sideswiped. He begins to chant “Oh my God..”
    31

    He

    INT. - REST STOP BATHROOM - DAY

    31

    HANK at the sink washes his face to get all the spirit gum
    off. He washes his hands. He looks at himself in the
    mirror. He is doomed. Fuckin’ doomed.
    32

    EXT. - REST STOP - DAY

    32

    HANK, shaking, approaches a pay phone. He fumbles with
    change in his pocket. At last, he steadies himself enough to
    place the quarter in the phone and dial. When he speaks, it
    is the voice of someone else - someone choked and old and
    beaten and doomed:
    HANK
    Payroll... Hanson. Gimme Andrew
    Hanson... uh, Mooney. Tell him it’s
    Mooney.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 26.

    33

    INT. - PAYROLL OFFICE - DAY

    33

    ANDY sits at his desk in a nice, spacious office, working on
    a spread sheet on his computer console. The intercom buzzes.
    ANDY, irritated by interruption, reaches over and picks up
    the receiver.
    RECEPTIONIST (O.S.)
    There’s a Mr. Mooney on 3-2. He sounds
    like some nutcase but...
    ANDY
    I’ll take it.
    (jabs a button)
    Yea?
    ANDY listens.

    His face goes from anxiety to outright horror.
    FADE TO:

    TITLE CARD:

    “ANDY”

    ANDY (V.O.)
    No, honey, no - it’s just some mistake...
    FADE IN:
    34

    INT. - PAYROLL OFFICE - DAY

    34

    ANDY stands with his back to us looking out the window at the
    gray day - mid-town Manhattan beyond. He speaks on the
    phone, calmly.
    ANDY
    Either the bank’s or mine... Well, maybe
    the ATM is not up to date or I didn’t
    move enough money into the joint
    account... No - don’t worry... Of
    course we have money. I’ll call...
    ANDY turns from the window and moves to his desk. The voice
    remains calm but the face reveals a hint of anxiety and a
    sense of irritation.
    ANDY (cont’d)
    No, not from the house account...
    take care of it. OK?

    I’ll

    ANDY sits at his desk and looks intently at his computer
    console.
    Yes.

    ANDY (cont’d)
    OK... You too, hon.
    (CONTINUED)

    34

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 27.
    34

    CONTINUED:

    He hangs up the phone and lets out a long stream of air.
    He
    resigns himself: “OK, let’s fix it.” He rises and moves to a
    file cabinet. He flips through files until he reaches what
    he’s looking for. He pulls the file and brings it to his
    desk.
    ON FOLDER - a tab: “TILLINGER, HENRY”
    ANDY removes a three pieces of pink paper from the file.
    ANDY pulls open the bottom drawer of his desk and removes
    papers - underneath is a false bottom to the drawer.
    CLOSE ON ANDY’S HAND reaching way into the back of the drawer
    to remove the false bottom. In the drawer is a single file
    folder and a medium-sized Jewelry Gift Box.
    ON ANDY as he removes the folder and makes one notation in it
    and places the papers from the TILLINGER file inside. He
    lifts the lid of the box: inside is a stack of $100 bills.
    He picks up the stack and, bent over behind the desk, begins
    to count.
    There is a sharp knock followed by the opening of the office
    door.
    JAKE (O.S.)

    Andy?

    Startled, ANDY drops the money into the drawer. He
    straightens up - too quickly and alarmed. ANDY quickly
    recovers - resolve, determination and confidence replace his
    look of guilt.
    ANDY’S POV
    JAKE - ANDY’S boss - is slightly older than ANDY, balding,
    very corporate.
    JAKE(cont’d)
    We’re waiting for you in the conference
    room.
    Sure.

    OK.

    ANDY

    JAKE disappears. ANDY, returns the box and file to the
    drawer and replaces the false bottom. He locks the desk,
    pockets the key, puts on his jacket and heads out.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 28.

    35

    INT. - CONFERENCE ROOM - DAY

    35

    A gathering of MEN IN SUITS around a large wooden conference
    table. As JAKE speaks, we PAN the faces of the MEN IN SUITS attentive, businesslike, engaged...
    JAKE (O.S.)
    OK - next. The auditors. The auditors
    will be here beginning a week from
    Monday.
    ...until we reach ANDY who is distracted, lost in thought,
    tapping his teeth with a pencil.
    JAKE(cont’d)
    Each department should have them for a
    day or two. On Monday, they’ll start
    with Payroll.
    ANDY’S reverie is broken. His eyes grow large with concern
    and then he quickly covers himself.
    JAKE (cont’d)
    So, you’re up first Andy.
    ANDY swallows and nods.
    going off.
    Great.

    Cool but underneath: alarm bells are

    ANDY
    No problem.

    ANDY continues to nod more than necessary.
    36

    INT. - CHILD CARE FACILITY - DAY

    36

    Cluttered “playroom” of a residential child care faciity for
    autistic and severely retarded children. There are a half
    dozen children “playing.” One child - 5ish - throws a
    tantrum, screaming, pounding the floor, kicking. A NURSE
    tries to restrain the child to keep him from hurting himself.
    Another child plays with colored blocks. A little girl tries
    to eat a book. We focus on one child sitting quietly away
    from the others, still, oblivious to the pandemonium. He
    chews on the knuckle of his index finger and stares blankly
    at nothing. This is JERRY. He is 4.
    We PAN to a heavy door with a window. ANDY stands on the
    other side observing. He quietly, slowly, opens the door and
    enters. The NURSE smiles and nods to ANDY but remains
    concentrated on her task of controlling the wild child. ANDY
    moves to JERRY. He stoops down in front of the boy who does
    not acknowledge his presence.
    (CONTINUED)

    36

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 29.
    36

    CONTINUED:

    Hey Jerry.

    ANDY
    Hey little man.

    ANDY reaches out and removes the finger from JERRY’s mouth.
    He meets no resistance.
    ANDY (cont’d)
    Daddy’s here.
    JERRY absently replaces his finger in his mouth. ANDY smiles
    and tousles the boy’s hair. ANDY sits next to JERRY suddenly
    exhausted. He gazes at his son. He reaches out to hug the
    boy - more to comfort himself than the child. JERRY pulls
    away quickly, forcefully with a small moan. ANDY leans back away from JERRY - and nods sadly. Yes, he knows.
    ANDY (cont’d)
    My little man.
    37

    INT. - UPPER EAST SIDE APARTMENT - DUSK

    37

    ANDY lets himself into the smallish, upper East Side
    Apartment. It is a nice enough but cramped. ANDY is tired
    as he struggles to pull off his coat.
    Andy?

    WOMAN (O.S.)
    Hey you!

    ANDY grunts an acknowledgement as he hangs up his coat. He
    turns to find his wife standing in the doorway to the
    kitchen: it is GINA. She wears a look of apprehension but
    covers it with a broad smile.
    Hungry?
    38

    GINA

    INT. - ANDY’S KITCHEN - NIGHT

    38

    ANDY and GINA sit at a smallish kitchenette table in their
    kitchen. GINA picks at a salad with a stack of Magazines on
    the table next to her plate. ANDY eats steak, potato and
    salad.
    GINA
    ...the cutest wallpaper. See, now this
    is what I’d want in our kitchen. Or
    something like this.
    GINA shows ANDY a picture in the Magazine. ANDY glances at
    it casually and returns his attention to his food. No
    interest. GINA ignores it and pushes on.

    (CONTINUED)

    38

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 30.
    38

    CONTINUED:

    GINA (cont’d)
    Well, something like that anyway.
    ANDY
    Is that all you're going to eat?
    GINA
    I...I had a big lunch.
    It's good for me.

    This is good.

    GINA opens another magazine.
    GINA (cont’d)
    I saw this one layout on wainscoting...
    ANDY
    You need to eat, Gina. A salad is not a
    meal. Forget the wainscoting and eat.
    GINA looks hurt.
    morsel of salad.

    Defensive. She bits her lip.
    Now, she gets mad.

    She eats a

    GINA
    You said we'd start looking for a house
    in the fall. This is January. This is
    winter.
    ANDY
    (rolls his eyes, sighs)
    Maybe in the Spring...
    GINA
    We agree on something and then you change
    our mind.
    ANDY
    You’re changing the subject.
    GINA
    The subject is a house. Our house. In
    the country. The subject is getting the
    fuck out of the City. That is the
    subject.
    ANDY
    I want that as much as you.
    you.

    More than

    GINA
    You always say that but nothing ever
    happens.

    (CONTINUED)

    38

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 31.
    38

    CONTINUED: (2)

    ANDY
    It’s just a matter of timing.
    GINA
    What’s wrong with now? Right now. What
    the hell are you waiting for? A miracle?
    There will be no miracles, Andy.
    ANDY’s eyes narrow. He is angry but trying to control it.
    He eats. GINA stares at her salad. She pushes it away.
    GINA (cont’d)
    I really need to get out of here.
    39

    INT. - ANDY’S LIVING ROOM - NIGHT

    39

    ANDY sits in front of the fireplace with a glass of scotch.
    There is a nice fire going. ANDY sits in only the glow of
    the firelight. Staring. Thinking. Planning.
    40

    INT. - HANK’S OFFICE - DAY

    40

    ANDY appears in the doorway of HANK’S office.
    phone turned away from ANDY.

    HANK is on the

    HANK
    ...200 units on Denver...
    ANDY knocks. HANK turns hurriedly towards the door and
    relaxes when he sees ANDY there.
    HANK (cont’d)
    No - that’s enough for now.
    I’ll talk to ya later.

    I gotta go.

    HANK hangs up as ANDY moves in front of HANK’s desk and
    tosses two tickets onto HANK’s desk. HANK eyes them, then
    picks them up.
    Giants?
    Sunday.
    Really?

    HANK (cont’d)
    ANDY
    HANK

    ANDY
    You’re holding them in your hand.
    HANK
    Fuckin’ eh. Playoffs!
    (CONTINUED)

    40

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 32.
    40

    CONTINUED:

    ANDY
    Sunday's your day with Daniele, right?
    HANK

    Yea.

    ANDY
    So now you know what you’re doin’.
    HANK
    What, you can’t use ‘em?
    Oh yea.
    us.

    ANDY
    I’m going too.

    ANDY starts to head for the door.
    the tickets.
    What?

    Be the three of
    HANK rises, still holding

    HANK
    You just bought me tickets?

    ANDY
    I just bought you tickets.
    HANK’s is speechless - confused but happy.
    shakes his head. ANDY is gone.
    41

    He smiles and

    EXT. - THE DORSET - DUSK

    41

    ANDY climbs out of a cab at the curb. A large red awning
    with “The Dorset” in white, announces we are at the “Dorset”
    Apartment Building. The DOORMAN nods to ANDY and opens the
    front door.
    DOORMAN
    How are you tonight, sir?
    ANDY nods and moves quickly through the open door.
    42

    INT. - DORSET ELEVATOR - DUSK

    42

    Wood paneled, shiny brass - very classy elevator. ANDY
    stares at the lighted numbers above the door and chants to
    himself under his breath:
    Last time.
    43

    ANDY
    Last time. Last time.

    INT. - DORSET CORRIDOR - DUSK

    43

    Plush carpet, nice lighting fixtures. This is a great
    apartment building. ANDY knocks on a door.
    (CONTINUED)

    43

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 33.
    43

    CONTINUED:

    The door is opened by a BOY - 19-20 years old, cute, well
    groomed, dangerous looking. There is a worldliness to this
    BOY - perhaps an edge of hardness but not unattractive. He
    wears only a robe. He smiles - devastating - at ANDY and
    holds open the door. ANDY enters.
    44

    INT. - DORSET APARTMENT - DUSK

    44

    ANDY follows the BOY down a Corridor into the Living Room.
    The Apartment is nice but sparsely furnished: an easy chair,
    a TV, a coffee table - a big window with a great view of the
    Park. ANDY pulls three $100 from his pocket. He hands these
    to the BOY who takes them greedily. The BOY moves into the
    Kitchen wordlessly. ANDY takes off his coat and drapes it
    over the easy chair. He goes to the window and looks out at
    the view of Central Park before heading for the Kitchen.
    The BOY sits on a stool at a counter closely examining the
    Bills with an Jewelers Loupe. ANDY watches.
    BOY
    Have a drink.
    ANDY
    No, thank you.
    BOY
    You're tonic water, right?
    water.

    Have a tonic

    ANDY goes to the refrigerator and opens it. Inside there are
    only beverages - no food. ANDY extracts tonic water. He
    pours tonic water.
    BOY
    Oh this is a good one.
    CLOSE ON BILL: Letter and Serial Number. I-85068054909.
    Minnesota.

    BOY (cont’d)
    909.

    ON BOY as he removes the Loupe and holds the Bill up to the
    light.
    BOY (cont’d)
    Great. Good. I need 909.
    Minnesota.

    Yea,

    The BOY smiles broadly and takes the three bills out of the
    Kitchen. ANDY replaces the tonic water in the refrigerator.
    He takes a drink. He follows.

    (CONTINUED)

    44

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 34.
    44

    CONTINUED:

    We move with ANDY through the Living Room down a corridor to
    a Bedroom at the end of the corridor.
    In the BEDROOM the BOY has opened a large walk-in closet and
    entered. There are clothes hanging to one side of the closet
    but our attention is drawn to the opposite side where a
    wooden cabinet with glass doors is mounted on the wall. It
    is a shrine! A case of $100 Bills on display. Ben
    Franklin's all lighted lovingly. The BOY takes a key from
    his robe and opens the cabinet. He methodically “files” his
    new bills by Letter and serial number. The BOY locks the
    case and returns to the Bedroom swinging the closet door
    shut.
    ANDY sits on the King Sized bed loosening his tie. The BOY
    smiles seductively and opens his robe. He lets the robe drop
    and moves to ANDY.
    Minnesota.

    BOY (cont’d)

    SAME - LATER
    ANDY lies on his back on the bed, a sheet draped across him.
    The BOY sits in a high backed leather chair by the window.
    He wears his robe again and watches the snow gently falling
    outside. He wears the Jewelers Loupe around his neck and
    plays with it - watching the snow through it, watching ANDY
    through it, watching the light through it...
    ANDY
    Here’s the great thing about accounting:
    you can add down the page or across the
    page and everything works out. Every
    day, everything adds up. The total is
    always the sum of the parts. Clean.
    Neat. Clear. Absolute. (beat) I have a
    job I like. A salary I like. An
    apartment I like. A boy I adore.
    (he blinks, he swallows hard)
    But it doesn’t add up. Not down or
    across. Nothing connects to anything
    else. I am not the sum of my parts. All
    my parts don’t add up to one...one me.
    BOY
    (watching the snow)
    You should get a shrink.

    Or a wife.

    ANDY stares at the BOY who stares baack through the Jewelers
    Loupe.

    (CONTINUED)

    44

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 35.
    44

    CONTINUED: (2)

    BOY (cont’d)
    Same next week? Tuesday and Friday?
    ANDY nods against his better judgement.
    pants on the floor.
    45

    He reaches for his

    INT. - MEADOWLANDS - DAY

    45

    Pre-game at the Food Stands. Hundreds of people mill around.
    We find ANDY, HANK and DANIELLE. ANDY examines a Twenty
    Dollar Bill in his hand.
    ANDY
    Minnesota.
    (handing the bill to DANIELE)
    Get one for me and your Dad and whatever
    else you want. We’ll be over here
    getting beer.
    DANIELE bounces away towards a Hot Dog stand - ANDY watches
    her hair swing back and forth, the bounce in her step - the
    very healthiness and happiness of a child. He smiles sadly he gets in line for Beer next to HANK.
    HANK
    Great day for football, huh?
    ANDY ignores HANK as he pulls pink papers out of his pocket
    and hands them to HANK. HANK looks at them - “What?”
    ANDY
    You don't want those in your personnel
    file.
    HANK
    What are they?
    ANDY
    Your three requests for salary advances.
    HANK looks at ANDY confused.
    ANDY (cont’d)
    Like alarms going off - money problems!!
    Money problems!!
    Oh.

    Yea…

    HANK
    Thanks.

    ANDY
    One is fine. But three?

    (CONTINUED)

    45

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 36.
    45

    CONTINUED:

    HANK
    (folding the papers up)
    Yea, well, the divorce and child support…
    ANDY
    What's the spread on this game?
    Um…

    HANK
    Three.

    ANDY
    Sounds good. Giants can do that, right?
    Yea.

    HANK
    Oh, fuckin' eh, yea!

    They have reached the counter.
    wallet.

    HANK begins to reach for his

    ANDY
    No, no - I'll get this.

    My treat.

    HANK smiles sheepishly and stuffs the papers into his coat.
    ANDY (cont’d)
    You can get me one at Mooney's after you
    drop Danielle off. We should chat.
    Cool.
    46

    HANK
    Mooney’s.

    INT. - PUB BATHROOM - NIGHT

    46

    ANDY splashes cold water on his face at the sink. He rubs
    his face and stares at himself in the Mirror. He practices a
    smile. He dries his face and checks his smile once again.
    ANDY (V.O.)
    Just that one display case. The others
    aren’t worth enough to bother with. And
    then the safe. In the safe - just the
    diamond bags - nothing else. In and out.
    Five minutes and gone. It’s foolproof.
    He nods - determined - and exits the bathroom.
    47

    INT. - MOONEY’S PUB - NIGHT

    47

    ON ANDY and HANK at their booth.
    HANK
    (laughs)
    And I’m the fool!
    (CONTINUED)

    47

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 37.
    47

    CONTINUED:

    ANDY
    It’s safe and it’s smart and it’s easy.
    HANK laughs disbelieving and shakes his head. He drinks.
    He eyes ANDY as if he’s completely loony. ANDY locks eyes
    with HANK; no smile - serious.
    HANK
    You’re twisted.
    off on this.

    You’re actually getting

    ANDY
    It’s business.
    HANK
    You’re kidding, right? I mean you’re not
    really serious about this.
    HANK tosses the “diagram” back at ANDY who pays it no mind
    but bores in on HANK.
    ANDY
    Serious as a heart attack.
    HANK shakes his head and assesses ANDY.
    HANK
    When’d you become a douche bag?
    ANDY
    (smiling:)
    I’m an accountant. I have a feel for
    numbers. I have a calculator for a
    heart.
    Jesus.

    HANK
    You’re crazy.

    ANDY
    No. I’m practical. But I’m bettin’
    you’re desperate enough to be crazy for
    me. Are you?
    48

    EXT. - 47TH ST. - JEWELRY DISTRICT - DAY
    EST. SHOT of 47th Street.
    after another.

    49

    48

    Jewelry stores line the street one

    INT. - JEWELRY STORE BACKROOM - DAY

    49

    An OLD MAN sits at a metal desk in a cramped office/
    storeroom: Cases, filing cabinets, shelves all loaded with
    items, packages, plastic bags, plastic tubs, etc.
    (CONTINUED)

    49

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 38.
    49

    CONTINUED:

    A very bright white light hangs over the desk. The OLD MAN
    wears a Jewelers Loupe around his neck. On the desk is a
    piece of black felt on which are laid several diamonds. ANDY
    sits in a folding chair opposite the desk. He is nervous.
    The OLD MAN eyes him skeptically.
    OLD MAN
    How do you know me?

    Why you come to me?

    ANDY
    I know you. I know what you do.
    OLD MAN
    (beat)
    You could be a cop, yes?
    No.

    You a cop?

    ANDY

    OLD MAN
    You could be a cop.
    ANDY
    I’m not a cop. I just wanted to see if
    you were still around. I’ll bring you
    what I got on Monday. You take it or you
    don’t. I know you’ll like it.
    OLD MAN
    You could work for the cops.
    ANDY
    Check me out.
    ANDY hands the OLD MAN a business card which the OLD MAN
    squints to read.
    OLD MAN
    Doesn’t mean anything.
    cop.

    You could be a

    The OLD MAN sets the card aside and studies ANDY.
    OLD MAN (cont’d)
    You’re an amateur. I hate amateurs.
    ANDY
    Only thing that matters is the goods.
    (rising)
    I’ll be back Monday.
    OLD MAN
    You’re an amateur or a cop.
    (CONTINUED)

    49

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 39.
    49

    CONTINUED: (2)

    ANDY walks out of the dark storeroom.
    ON OLD MAN - not addled or feeble any more - steely-eyed,
    calculating, intense and a little frightening.
    50

    INT. - ANDY’S APARTMENT - NIGHT

    50

    ANDY hangs up his coat in the closet by the front door. We
    hear retching coming from the bathroom. ANDY looks at the
    noise concerned. He moves to the bathroom door.
    ANDY

    Hon?
    More retching.
    Gina?

    ANDY (cont’d)
    You OK.

    Fine.

    GINA
    No - I’ll be right out.

    ANDY looks doubtful. More retching. ANDY goes to the
    Kitchen and pulls tonic water out. He pours the last of it
    into a glass. He stops and listens to GINA retch. He opens
    the cabinet underneath the sink to throw away the empty
    bottle when he notices a bag in the trash can. He lifts it
    out: an empty “Oreo” bag. He looks from the bag to the
    closed bathroom door and back again. He pulls the trash can
    out and rummages through the empty wrappers: Lay’s Potato
    Chips, Snickers, Sara Lee pound cake... Confused, he
    replaces the trash in the can.
    51

    INT. - BANK - DAY

    51

    ANDY approaches the counter of the bank. He slides a
    Withdrawal Slip across to the Teller. The Teller keys in the
    entry as ANDY looks around the bank. He fiddles with a bank
    book.
    TELLER
    How would you like that, sir?
    Hundreds.

    ANDY

    The TELLER begins to count out 20 $100 Bills as ANDY studies
    his bank book.
    CLOSE ON BOOK - a couple dozen entries, all Withdrawals.
    note a balance at the top of the page of $20,000 and a
    balance at the bottom line: $250.

    We

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 40.

    52

    INT. - CHILD CARE FACILITY OFFICE - DAY

    52

    ANDY sits on a straight backed chair before the desk of hte
    ADMNISTRATOR. He stares at his hands.
    ADMINISTRATOR (O.S.)
    ...you’ve always been so reliable with
    the payments for the past year, I knew
    there had to be some explanation. And I
    do realize it’s an enormous burden.
    ANDY nods in agreement and looks up at the ADMINISTRATOR
    sitting behind her desk - a pinched woman in her 50’s who
    nods - understanding, sympathetic...
    ADMINISTRATOR (cont’d)
    Certainly, we can be flexible. A little
    flexible.
    ANDY
    Thank you for understanding.
    Of course.
    Not yet.

    ADMINISTRATOR
    Have you seen Jerome today?

    ANDY
    I will.

    ADMINISTRATOR
    And your wife? I haven’t seen her in
    some time. A month or more.
    ANDY
    She’s been...busy.
    ADMINISTRATOR
    Yes, yes, of course. Jerome is making
    such progress don’t you think?
    ANDY has a flash of hope - bright, sudden, enormous. His
    eyes fill with joy. Just as suddenly, they darkne. He is
    being bullshitted. There is no hope.
    53

    EXT. - CHILD CARE FACILITY GROUNDS - DAY
    CLOSE on JERRY who sits on a bench under a large shade tree.
    He is bundled aganist the cold and wears a ski hat that he
    pulls askew. He rocks steadily back and forth, his eyes
    focusing somewhere off in a distance only he can see. ANDY
    sits on the snow covered grass before his son. He watches.
    He loves his son. He begins to rock in rhythm to his son’s
    rocking - just slightly, not even aware he is doing it.

    53

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 41.

    54

    EXT. - NY STREET - DAY

    54

    A CAB is stuck in heavy traffic at a light. In the CAB’s
    interior, ANDY sits in the back: anxious, uptight, impatient.
    He breathes shallowly and rapidly. After a moment, he tosses
    money through the grill into the front seat and emerges from
    the CAB. ANDY hurries away from the CAB and turns a corner.
    We see ANDY’S spirits lift and his face brighten.
    ANDY’S POV:
    The awning of the Dorset Apartment Building.
    ON ANDY as he nods to the DOORMAN who opens the door of the
    building for him.
    55

    INT. - SPORTING GOODS STORE - DAY

    55

    In a Department Sporting Goods Store ANDY hands a credit card
    to a clerk who runs it through the machine. ANDY waits
    nervously.
    CLOSE on counter to reveal the STARTER PISTOL.
    ON THE CLERK who frowns as he hands the card to ANDY.
    Rejected.

    CLERK

    ANDY digs through his wallet and smiles, embarrassed, as he
    hands another card to the CLERK.
    ANDY
    Try that one.
    The CLERK gives ANDY an irritated, impatient look as he runs
    the card through the machine.
    56

    INT. - DINER - DUSK

    56

    HANK and ANDY sit at a booth. HANK zips up the gym bag next
    to him and lifts it onto his lap. He looks for a moment at
    ANDY who stares back with resolve.
    HANK
    You’re really, really sure?
    ANDY nods once - eyes right on HANK’s, unwavering.
    shakes his head with disbelief.

    HANK

    HANK (cont’d)
    You’re a cold motherfucker.
    (CONTINUED)

    56

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 42.
    56

    CONTINUED:

    ANDY
    It’s winter. What can I say?
    HANK shakes his head as he rises and puts on his coat. He
    looks one last time at ANDY who maintains his demeanor. HANK
    shrugs: “OK” and walks away. ANDY lifts the beer bottle to
    his mouth and drinks.
    57

    INT. - ANDY’S OFFICE - DAY

    57

    ANDY sits at his desk holding the phone receiver to his ear.
    He breaks out in a sweat. He is pale and his eyes reveal his
    fright and horror.
    HANK (O.S.)
    (hysterical:)
    It just...just came apart...it...Oh My
    God... Andy? Andy? What the fuck’m I
    gonna do?
    CUT TO:
    58

    INT. - HOSPITAL WAITING ROOM - DAY

    58

    GINA and ANDY, winter coats and scarves over their arms,
    hurry along a hospital corridor to reach the Waiting Room.
    They turn into it and both stop. A lone man - sits hunched
    over in a chair with his face buried in his hands. ANDY runs
    to him as GINA hangs back.
    Dad!

    ANDY

    The man looks up - it is CHARLES. CHARLES’ eyes are red, his
    face is unbearably sad. CHARLES is unable to rise. ANDY
    stoops and hugs his Father. GINA moves to stand next to the
    two hugging, seated men. She places one hand on the top of
    each of their heads. ANDY weeps. CHARLES just rocks, making
    no sound.
    CHARLES
    She’s in...
    (one sob, quickly recalled)
    She’s not conscious and they say...
    She’s...they’re trying...
    He just trails off and rocks his son.
    cries.
    TITLE CARD: “CHARLES”

    GINA soundlessly

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 43.

    59

    INT. - CHARLES’ HOUSE - NIGHT

    59

    Very nice, comfortable, warm, cozy country house in
    Fairfield. CHARLES and NANETTE sit in the “Den” watching
    television. CHARLES has a Driver’s Manual open on his lap
    and speaks on the phone.
    CHARLES
    Yes, I feel old!
    NANETTE, overhearing, laughs.
    CHARLES (cont’d)
    I have to renew my license so I’ve been
    studying all week for the test but I
    don’t retain a thing.
    ANDY (O.S.)
    You’ll pass with flying colors, Dad.
    CHARLES
    I’m going down to take the damn thing
    first thing Friday morning. That’s how
    I’m going to celebrate my birthday.
    ANDY (O.S.)
    Gina and I will be up on Saturday to take
    you out and celebrate in grand style.
    CHARLES eyes light up - excited.
    CHARLES
    That’ll be great. Great.
    bringing Jerome?

    Are you

    ANDY (O.S.)
    No. No - it’s a party, Dad, not...
    I...I can’t wait to see you.
    ON CHARLES - disappointed.
    60

    INT. - CHARLES’ HOUSE - DAY

    60

    CHARLES sits at the “counter” of the Kitchen drinking coffee
    and reading a Driver’s Test Manual. He studies hard and does
    not notice NANETTE approach. NANETTE wears her winter Coat
    and stands a moment watching her absorbed husband. She
    reaches out and pulls the manual off the counter. She holds
    it to her chest.
    NANETTE
    No more cramming, Birthday Boy.
    up or shut up.

    It’s put
    (CONTINUED)

    60

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 44.
    60

    CONTINUED:

    CHARLES breaks into a big grin.
    stool and heads for his coat.
    61

    He pushes himself up off the

    EXT. - STRIP MALL - DAY

    61

    The HONDA ACCORD is parked at the curb in front of HANSON
    JEWELLERS. NANETTE unlocks the store’s door. She enters and
    the ACCORD pulls away.
    LONG SHOT of ACCORD leaving the Strip Mall Parking Lot. We
    can also see parked on the far side of the main Fairfield
    drag, a white RENTAL CAR.
    ON CHARLES in ACCORD interior.
    CHARLES
    She loves me.
    CHARLES eye catches something on the side of the road.
    CHARLES’ POV:
    The white RENTAL CAR parked - two “unclear” men sitting in
    the front seat.
    ON ACCORD passing the RENTAL CAR and heading away from the
    Strip Mall.
    CHARLES (cont’d)
    I love you, too.
    62

    INT. - DEPARTMENT OF MOTOR VEHICLES - DAY

    62

    CHARLES stands anxiously, shifting weight from one foot to
    another, at a counter as the GRADER finishes scoring the
    test. The GRADER looks up at CHARLES and smiles.
    GRADER
    Perfect score, Mr. Hanson.
    Bingo!

    CHARLES

    GRADER
    Congratulations. If you’ll just take
    this over to Window C, they’ll give you
    the eye test and then...
    CHARLES
    Might not be so perfect on that one!
    The GRADER laughs and CHARLES beams.
    (CONTINUED)

    62

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 45.
    62

    CHARLES (cont’d)
    ‘Course I been studyin’ real hard!
    63

    EXT. - STRIP MALL - DAY

    63

    Police Cars abound. There is a flurry of activity in the
    parking lot, centered on HANSON JEWELERS. Yellow Tape
    separates the Store from other stores and the Lot. A crowd
    of civilians lines the yellow tape. Police Officers man the
    line, wander in and out of the store and about in the Parking
    Lot speaking with the civilians and combing the Lot. An
    Ambulance leaves the scene while a second is being loaded
    with a covered stretcher.
    The ACCORD pulls into the Lot and finds a parking space well
    away from the store. CHARLES emerges from the ACCORD, alarm
    approaching panic on his face. He begins to walk towards the
    Store leaving the Driver’s side door open. After several
    paces, he breaks into a jog.
    ON CHARLES as he reaches the yellow tape and ducks to go
    under. An OFFICER appears from nowhere and stops him with a
    hand to the arm.
    OFFICER
    Sorry, sir, no one is...
    CHARLES
    That’s my store. I’m Charles Hanson.
    OFFICER
    I...Let me find the Sergeant.
    CHARLES
    What’s happened? Tell me what’s
    happened.
    OFFICER
    Come with me, sir, we’ll find the...
    CHARLES pulls away and heads towards the store in a panic.
    The OFFICER needs both arms to halt CHARLES and re-direct him
    towards an unmarked car parked on the periphery of the
    activity. The OFFICER lead CHARLES to a tall man in the
    center of activity near the unmarked car.
    We MOVE IN slowly as the tall man, DETECTIVE BARRETT, speaks
    lowly to CHARLES, stooping and looking directly into his
    eyes. CHARLES shakes his head back and forth violently.
    BARRETT puts a steadying hand on CHARLES shoulder who stops
    shaking his head and remains frozen.

    (CONTINUED)

    63

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 46.
    63

    CONTINUED:

    BARRETT places his other hand on CHARLES other shoulder and
    speaks lowly, calmly, soothingly. CHARLES begins to wail this we hear loud and clear and continue to hear as we:
    FADE TO:
    64

    INT. - HOSPITAL INTENSIVE CARE UNIT - NIGHT

    64

    CHARLES stands beside a Hospital Bed where NANETTE lies
    attached to tubes, IV’s and Life Support systems. Surrounded
    by lights and beeps, CHARLES stands numbly holding his wife’s
    hand. He leans down and kisses NANETTE’S forehead.
    CHARLES
    I love you, too.
    65

    INT. - HOSPITAL WAITING ROOM - DAY

    65

    CHARLES sits on a couch next to ANDY. CHARLES remains numb
    as he listens to a DOCTOR who has pulled a chair over and
    sits directly in front of CHARLES leaning forward. GINA
    stands next to ANDY beside the couch, her eyes red and
    swollen. ANDY fidgets with his hands. CHARLES nods slowly,
    continuously.
    DOCTOR
    ...no brain wave activity whatsoever and
    really no hope of recovering any motor...
    66

    INT. - HOSPITAL GIFT SHOP DAY - DAWN

    66

    CHARLES and ANDY stand at a counter as CHARLES, in a trance,
    buys a pack of cigarettes.
    DOCTOR (V.O.)
    ...Coma. For all our years of
    experience, we just don’t know.
    days, two months, two years...
    67

    Two

    EXT. - HOSPITAL ENTRANCE - DAWN

    67

    CHARLES smokes by a standing ashtray. ANDY stomps his feet
    and hugs his coat to him to stay warm. CHARLES seems
    oblivious to the cold.
    CHARLES
    Tastes like shit.
    ANDY blows on his hands.
    15 years.

    CHARLES (cont’d)
    Haven’t had one in 15 years.

    (CONTINUED)

    67

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 47.
    67

    CONTINUED:

    ANDY
    What are ya gonna do, Dad?
    CHARLES looks at ANDY blankly as if he doesn’t know what he’s
    talking about. Then he considers the question but only for a
    moment as it is too painful.
    Why?

    CHARLES

    ANDY
    Why what, Dad?
    CHARLES
    Why would anyone do this to...her?
    CHARLES takes a drag on the cigarette and makes a face - it
    is awful but he won’t stop.
    68

    INT. - HOSPITAL CONFERENCE ROOM - DAY

    68

    CHARLES (wearing a change of clothes to indicate a day has
    passed), sits on a wooden chair at long wooden table.
    DETECTIVE BARRETT sits in a chair next to him with a notebook
    open. Both have coffee but CHARLES leaves his alone. Pacing
    is a severe looking woman in her early forties, KATHERINE CHARLES’ daughter. She is tall and erect. Her features are
    sharp. CHARLES stares at his hands and speaks in a slow
    monotone.
    CHARLES
    I dropped her off. I watched her open
    the store like she has a million times.
    I left...
    CHARLES stops and tries to hold back the rushing tide.
    BARRETT waits a moment sympathetically and then gently prods.
    BARRETT
    Did you see anyone in the parking lot?
    Any cars?
    CHARLES shakes his head. KATHERINE moves to CHARLES and puts
    a hand on his shoulder which CHARLES barely notices.
    BARRETT (cont’d)
    Could there have been anyone in the store
    before she went in? Someone waiting?
    No.

    CHARLES

    (CONTINUED)

    68

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 48.
    68

    CONTINUED:

    BARRETT
    How do you know that?
    KATHERINE
    You don’t have to berate him.
    answered your question.

    He

    BARRETT

    Mam...

    CHARLES
    No - the alarms...
    KATHERINE
    His wife is in a Coma and you’re grilling
    him like...
    CHARLES
    Katherine...
    BARRETT
    Mam, perhaps you should wait outside
    while I talk to your father.
    KATHERINE
    And give you free reign to treat my
    father like a criminal?
    CHARLES
    Katherine, I’m fine.
    KATHERINE stops as if slapped.
    her father then reconsiders.

    Wait outside.
    She considers arguing with

    KATHERINE
    Fine. I’ll be...
    (to BARRETT:)
    Treat him with respect.
    KATHERINE leaves quickly, in a huff, with one searing glance
    back at BARRETT.
    I’m sorry.

    CHARLES
    My daughter...

    BARRETT
    It’s alright. I understand. Could
    someone have disabled the alarm and been
    waiting for her?
    I...

    No.

    CHARLES
    No. The alarms are fine.
    (CONTINUED)

    68

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 49.
    68

    CONTINUED: (2)

    BARRETT
    Someone who knew the code?
    Who?

    CHARLES

    BARRETT
    An assistant, an employee...
    CHARLES
    No, no - we run it...ran it ourselves.
    We’ve had students, you know college
    kids, summers, Christmas... My children
    helped out when they were younger but...
    No. No - this was a maniac. This was a
    monster. I don’t know this monster.
    ON CHARLES - frustration, rage, confusion, anger, torment.
    69

    INT. - CHARLES HOUSE - DAWN

    69

    CHARLES brings the newspaper in from the front yard and
    lumbers to an easy chair. He is disheveled - clearly, he’s
    had little sleep and that in his clothes. Tired, weary, he
    opens the paper.
    CLOSE ON HEADLINE: “DEAD ROBBER IDENTIFIED IN LOCAL HOLD-UP”
    A picture is underneath the Headline - High School photo of
    smiling, cocky boy: BOBBY.
    ON CHARLES as he intently reads the article.
    70

    INT. - HOSPITAL INTENSIVE CARE UNIT - DAY

    70

    CHARLES and KATHERINE sit vigil on either side of NANETTE’s
    bed. CHARLES merely watches - almost unblinking - his wife.
    KATHERINE holds her mother’s hand tightly and, with eyes
    closed, rocks slightly back and forth.
    KATHERINE
    (softly, rhythmically:)
    Thank you, Merciful Jesus, for your
    wondrous healing powers. You are Lord.
    You are Light and Truth.
    CHARLES stands - never taking his eyes off NANETTE.
    KATHERINE (cont’d)
    Show your mercy and your loving, healing
    hand. Look upon your humble servant
    Nanette who has served you...

    (CONTINUED)

    70

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 50.
    70

    CONTINUED:

    CHARLES, irritated, leaves the room. KATHERINE stops
    abruptly and looks at the empty space in the doorway.
    appears wounded, bitter, hurt.

    She

    KATHERINE (cont’d)
    ...your humble servant Nanette...
    71

    INT. - HOSPITAL CAFETERIA - DAY

    71

    CHARLES, the newspaper open in front of him, sits at a table
    with a cup of coffee in a cardboard cup. ANDY and GINA are
    also at the table trying to eat.
    CHARLES
    ...only twenty two years old. This god
    damned punk kid from Queens. From
    Queens. What the hell was he doing up
    here?
    Dad...

    ANDY

    CHARLES
    I mean - what in the fucking world...?
    He stops. This is not a word he ever uses. ANDY and GINA,
    both shocked, quickly cover their reactions. CHARLES chokes
    back some of his anger and disbelief.
    CHARLES (cont’d)
    (building:)
    What? He put a map of the Tri-State area
    on his wall and threw a god damned dart
    and hit my town? Flipped through the
    Yellow pages and stopped on my store? I
    mean - it’s so god damned absurd - so god
    damned arbitrary - so... I mean, why?
    Why me? Why her? What was this god
    damned kid doing? What...?
    CHARLES is shaking in frustration. He can no longer speak.
    ANDY reaches over and takes his hand. CHARLES stiffens, then
    relaxes, soothed a bit. He stares at the picture of BOBBY
    and shakes his head.
    CHARLES (cont’d)
    (defeated)
    You belong in hell.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 51.

    72

    EXT. - STRIP MALL - DAY

    72

    CHARLES and BARRETT stand in front of the Store. BARRETT’S
    unmarked car sits at the curb - a uniformed officer behind
    the wheel. CHARLES is animated - pointing across the parking
    lot.
    ON SIGN on Store Door: “CLOSED UNTIL FURTHER NOTICE”
    CHARLES (O.S.)
    Right over there. As I pull out I pass
    it on my left. White car just sitting
    there.
    ON CHARLES as he points to the highway.
    in his notebook.

    BARRETT makes a note

    BARRETT
    Did you notice the make of the car?
    CHARLES
    No - no, it was just, uh, average,
    typical. It was like any car - like if
    you rented a car, this is what you’d get.
    I don’t know. I’m sorry.
    BARRETT
    That’s OK. Fine. Good.
    you remember?

    What else do

    CHARLES (cont’d)
    Two guys. There were two guys just
    sitting there by the side of the road on
    a Friday morning. Two guys. Not one.
    Not just the punk kid but someone else,
    see? Someone else who put him up to it
    or planned it or...
    BARRETT puts a hand on CHARLES’ arm to settle him down as
    much to get his attention.
    BARRETT
    Did you get a look at them?
    CHARLES
    Yes, I looked right at them.
    BARRETT
    Could you describe them?
    CHARLES stops.

    His face falls.

    (CONTINUED)

    72

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 52.
    72

    CONTINUED:

    BARRETT (cont’d)
    Mr. Hanson?
    CHARLES
    No. No. I just... I saw them and
    thought “that’s odd.” But I was, I was
    thinking of something else and I
    didn’t...
    BARRETT
    It’s OK, it’s OK.
    you didn’t...

    It’s not your fault,

    CHARLES
    And I didn’t see the plates...
    It’s OK.

    BARRETT
    This is helpful.

    CHARLES looks at BARRETT - beseeching.
    Really.
    73

    BARRETT (cont’d)

    INT. - HOSPITAL CHAPEL - NIGHT

    73

    Quiet, dimly lit “ecumenical” room with soothing music
    playing. Three rows of wooden pews. CHARLES sits quietly
    staring straight ahead, seeing nothing. KATHERINE sits next
    to him, eyes closed, rocking slowly. Two rows behind them
    sits GINA. She is eating a Milky Way bar as fast as she can.
    KATHERINE
    Give us strength, dear Lord.
    wisdom to know thy will...
    74

    Give us

    INT. - HOSPITAL WAITING ROOM - DAY

    74

    CHARLES, alone in the room, dozes lightly sitting up in a
    chair. A SECURITY GUARD touches him lightly on the arm and
    CHARLES comes wide awake instantly and is alarmed.
    What?

    CHARLES
    What is it?

    SECURITY GUARD
    I’m sorry sir. Are you Charles Hanson?
    CHARLES
    (panic:)
    Yes, yes I am.

    (CONTINUED)

    74

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 53.
    74

    CONTINUED:

    SECURITY GUARD
    Would you be so good as to come with me,
    sir?
    With you?
    Yes, sir.

    CHARLES
    SECURITY GUARD
    Please.

    CHARLES
    I...Yes, yes, alright.
    CHARLES swallows and blinks.
    75

    He rises a bit unsteadily.

    INT. - HOSPITAL GIFT SHOP - DAY

    75

    The SECURITY GUARD leads a a very confused CHARLES through
    the shop towards the back and an office door.
    76

    INT. - GIFT SHOP OFFICE - DAY

    76

    Simple, functional office space. The MANAGER sits behind the
    desk looking grim. On a straight-backed chair across from
    him is GINA looking small, frail and terribly frightened.
    Her eyes are red from crying and she hold a Kleenex to her
    nose. On the desk are several candy bars and small packages
    of cookies and chips. The SECURITY GUARD enters and CHARLES
    follows, confused - even more so when he sees GINA.
    SECURITY GUARD
    This is Mr. Hanson.
    Gina?

    CHARLES

    GINA, embarrassed looks away.
    MANAGER
    Thank you for coming down, Mr. Hanson.
    know this is a difficult...

    I

    CHARLES
    Gina, are you alright?
    GINA can not look at CHARLES.
    for an explanation.

    CHARLES looks to the MANAGER

    MANAGER
    Shoplifting.
    (he indicates the stuff on the
    desk:)
    (MORE)
    (CONTINUED)

    76

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 54.
    76

    CONTINUED:

    MANAGER (cont’d)
    We don’t like to prosecute these
    situations but I do like to call
    someone’s attention to the problem...
    CHARLES
    She stole... Gina?
    GINA chances one “help me” look at CHARLES, then quickly
    looks away.
    CHARLES
    (to MANAGER:)
    I’m certain this is a mistake.
    MANAGER
    Very possibly, sir.

    The stress...

    CHARLES
    Yes, the stress. The stress.
    77

    EXT. - HOSPITAL ENTRANCE - DAY

    77

    CHARLES holds a crying GINA in the cold. GINA manages to
    calm down and pulls away from CHARLES embarrassed. CHARLES
    fumbles for a cigarette.
    GINA
    Please don’t...

    Please don’t tell Andy.

    CHARLES nods as he gets his cigarette lit.
    GINA (cont’d)
    I... I’m so ashamed. And with
    everything you’re going through, you
    certainly didn’t need...
    CHARLES
    You just forgot to pay.
    I...

    GINA
    I forgot.

    CHARLES
    I forgot to shave.
    GINA smiles.
    like that?
    78

    That’s all.

    Look at me.

    CHARLES is so kind and gentle - why isn’t ANDY

    INT. - PRECINCT HOUSE - DAY

    78

    CHARLES speaks to a uniformed DESK SERGEANT behind a raised
    counter.

    (CONTINUED)

    78

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 55.
    78

    CONTINUED:

    DESK SERGEANT
    It might be better if you call and make
    an appointment...
    CHARLES
    No, No - thank you.

    I’ll wait.

    CHARLES moves away from the counter and sits on a wooden
    chair, flanked by two empty wooden chairs. He waits and
    stares at the pictureof BOBBY inthe paper.
    79

    INT. - HOSPITAL INTENSIVE CARE UNIT - NIGHT

    79

    NANETTE lying in bed hooked to machinery. The lights blink the machines beep. CHARLES stands over her - frustrated,
    impotent, frail. He holds his hands out over her like a
    faith healer.
    Dad?
    80

    ANDY (V.O.)

    INT. - CHARLES HOUSE - NIGHT

    80

    CHARLES sitting - tired, weary.
    ANDY
    Dad. You have to make a decision.
    can’t...

    This

    CHARLES
    The gun was bought in Texas. Stolen
    Texas Driver’s License as ID. Fake. It
    shows up in Fairfield Connecticut one
    year later...
    ANDY
    Dad, Mom needs you to make...
    KATHERINE
    Leave him alone, Andy.

    Just leave him...

    ANDY
    (to KATHERINE:)
    Something has to be done.
    make a decision.

    Someone has to

    KATHERINE
    Mom is in the hands of Jesus.
    divine the reason...

    We can’t

    ANDY
    Oh, stop that crap.
    (CONTINUED)

    80

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 56.
    80

    CONTINUED:

    KATHERINE
    ...or the purpose of his Will.
    shouldn’t...

    And you

    ANDY
    Mom could be suffering...
    on CHARLES watching his children - as if at a tennis match.
    KATHERINE
    ...be pressuring anyone to do anything.
    I don’t know what your...
    Katherine!

    CHARLES
    For Christ’s sake.

    Stop it.

    KATHERINE
    (suddenly, a hurt little girl)
    He started it.
    CHARLES stands abruptly. He places a gentle hand on ANDY’s
    shoulder who looks up at him apologetically. CHARLES pats
    ANDY on the shoulder and leaves.
    KATHERINE (cont’d)
    He always takes...
    She stops and swallows back her ancient bile. She gets over
    the hurt and turns it to anger which she now aims at ANDY.
    KATHERINE (cont’d)
    Don’t bully him.
    I’m not.

    ANDY

    KATHERINE
    He listens to you. He’s always doted on
    you...
    CLOSE ON CHARLES standing in the hallway listening to his
    children bicker. He is hurt and disappointed with them.
    ANDY (O.S.)
    Oh, Jesus, you’re gonna...?
    KATHERINE (O.S.)
    There’s no need to take the Lord’s name.
    Christ!

    ANDY (O.S.)

    (CONTINUED)

    80

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 57.
    80

    CONTINUED: (2)

    CHARLES turns away and moves off down the hall.
    FADE TO:
    81

    INT. - PRECINCT HOUSE - DAY

    81

    CHARLES sits in the wooden chair waiting to see DETECTIVE
    BARRETT. Waits, worries, fumes, impatient, angry. He
    clutches the newspaper to his chest.
    KATHERINE (V.O.)
    Just don’t go putting your will over that
    of Jesus.
    ANDY (V.O.)
    You’re the first one to give the Lord
    Jesus credit for everything good on
    earth. Will you also give him the blame
    for everything bad? Thank you Jesus for
    your blessings and fuck you Jesus for the
    many tribulations.
    FADE TO:
    82

    INT. - HOSPITAL INTENSIVE CARE UNIT - NIGHT

    82

    CHARLES sits next to the bed holding NANETTE’S hand: waiting,
    thinking, sad.
    KATHERINE (V.O.)
    That’s the Devil, not Jesus.
    ANDY (V.O.)
    Well, the Devil is kickin’ Jesus’ ass.
    CHARLES begins to weep.
    83

    INT. - HOSPITAL CONFERENCE ROOM - DAY

    83

    The “Family” sits in a room seated around a wooden table. At
    one end is the DOCTOR and CHARLES who stares at his hands in
    his lap. GINA and ANDY sit side by side across the table
    from CHARLES. KATHERINE, grim-faced, tight-lipped and
    clearly pissed off, sits next to CHARLES.
    Do it.

    CHARLES
    Let her go.

    CHARLES head comes up and we see the conscious, alive pain in
    his eyes. Through the numbness, CHARLES has surfaced,
    struggling.

    (CONTINUED)

    83

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 58.
    83

    CHARLES (cont’d)
    Let her go.
    GINA sobs. CHARLES reaches across the table to take ANDY’S
    hand for support. KATHERINE, angry, looks away. The DOCTOR
    nods once and rises. CHARLES looks into ANDY’s eyes for
    approval and reassurance. ANDY nods.
    84

    EXT. - CEMETERY - DAY

    84

    Black on white. A crowd of people dressed in black, gather
    around a casket on a catafalque on a snow covered rise. Bare
    trees line the perimeter of the somber gathering. We find
    CHARLES standing nearest the casket, his face stoic and
    brave. He is flanked on one side by ANDY who holds GINA’s
    hand - ANDY is pale and looks like a ghost of his former
    self. On the other side is KATHERINE, grim, and her husband,
    ARTHUR, a shorter, pudgy and balding man in his mid-forties.
    A PRIEST intones a prayer and the assemblage bows their head.
    ON CHARLES whose hand reaches to his overcoat pocket to touch
    the folded newspaper article there.
    85

    INT. - CHARLES’ HOUSE - DAY

    85

    CHARLES stands in the Living Room full of mourners amidst a
    low murmur. An ELDERLY WOMAN kisses CHARLES on the cheek and
    squeezes his arm. She whispers condolences and CHARLES nods.
    Another WOMAN passes him with a casserole dish and moves on
    to the kitchen. CHARLES looks about the room. KATHERINE is
    seated on the couch, as if holding court, surrounded by older
    relatives and friends. She holds ARTHUR’S hand who sits next
    to her.
    KATHERINE
    Arthur's been elected President of the
    Chamber of Commerce. Praise God.
    She beams at ARTHUR who smiles sheepishly.
    silent. CHARLES leaves room.

    The room is

    We MOVE with CHARLES through the Kitchen past ANDY and GINA
    who are “organizing” food being brought and setting up trays
    of cold cuts, etc. CHARLES is oblivious as he moves to the
    Back Door and through it. ANDY watches his father with
    concern.
    86

    EXT. - CHARLES’ BACK YARD - DAY

    86

    CHARLES sits at a snow covered picnic table. The yard and
    BBQ grill are blanketed in snow. CHARLES has brushed off a
    space on the Picnic Bench to sit but the Table top is white.
    He stares at the Grill.
    (CONTINUED)

    86

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 59.
    86

    CONTINUED:

    ANDY approaches the table. He opens his mouth to speak but
    changes his mind. Instead he brushes off a space opposite
    CHARLES to sit. CHARLES looks at his son as he sits. They
    remain a moment in silence.
    CHARLES
    She hated when I barbecued.
    ANDY smiles and reaches for his father’s hand. ANDY takes
    one of CHARLES’ hands in both of his and collapses - sobbing.
    ANDY puts his head down on the joined hands on the Table Top in the snow.
    I’m sorry.

    ANDY
    Dad, I’m so sorry.

    CHARLES reaches with his free hand to stroke his son’s hair.
    Shhh.
    Shhh.
    87

    That’s my big boy.

    EXT. - CHARLES’ HOUSE - DAY
    CHARLES stands
    GINA pull away
    passenger side
    the car is out

    88

    CHARLES
    That’s my boy.

    on
    in
    of
    of

    87

    the porch of his home watching as ANDY and
    the car at the curb. GINA waves from the
    the car but CHARLES remains still. When
    sight, CHARLES turns slowly and goes into:

    INT. - CHARLES’ HOUSE - DAY

    88

    CHARLES moves to the phone and dials quickly - this is a
    number he has memorized.
    CHARLES
    Detective Barrett, please.
    (through gritted teeth:)
    ...Is there anyone there who knows
    anything about the Nanette Hanson case?
    ...Charles Hanson. ...Yes.
    CHARLES paces while on hold.

    He is angry.

    CHARLES (cont’d)
    Yes? Good morning, Sergeant. I’ve been
    trying to reach Detective Barrett but he
    doesn’t return... OK, OK.
    CHARLES listens in frustration and growing impatience.

    (CONTINUED)

    88

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 60.
    88

    CHARLES (cont’d)
    Doesn’t anybody down there even give a
    god damn? Doesn’t anyone down there work
    for a living? What the hell...?
    CHARLES listens to a dial tone. He stares at the phone in
    disbelief. He slams it down with great force - all of his
    rage. He fumes. He stands there shaking - impotent. He
    moves to the couch and sits. On the coffee table is the
    newspaper. He picks it up and places it in his lap. He
    closes his eyes.
    CUT TO:
    89

    EXT. - FAIRFIELD ROAD - DAY

    89

    CHARLES in the ACCORD drives by and glances at the white
    RENTAL CAR parked by the side of the road: two men.
    ON HANK in disguise sitting at the wheel.
    CUT TO:
    90

    EXT. - SERVICE STATION - DAY
    ON HANK - no disguise - on the phone.
    panic.

    90
    His eyes are wide with

    TITLE CARD: “HANK - DESPERATION”
    WIDER to reveal HANK in phone booth. His hands are shaking.
    He hangs up phone and exits the booth. He crosses the
    Station Parking Lot to the RENTAL CAR parked by a stone wall.
    HANK has to struggle with his coat to retrieve his keys between the cold and his mental state, he can barely
    function. Shaking, HANK can not get the key inserted in the
    driver’s side door. He drops the keys into the snow. Rather
    than retrieve the keys, he places both hands on top of the
    car and takes several deep breaths. Calmed a bit, he
    retrieves keys and opens car door.
    91

    EXT. - CAR RENTAL AGENCY - DAY
    HANK pulls into the Agency from a NY street. He parks in
    front of the office and exits the car. He approaches the
    Office when he remembers “the BAG!” In a panic, he hurries
    back to the car and retrieves the bag. Now he checks around
    to make sure he is forgetting nothing. Satisfied, he exits
    the car and enters the Office.

    91

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 61.

    92

    INT. - MOONEY’S PUB - NIGHT

    92

    HANK sits in a booth in the back corner - dimly lighted. A
    pitcher of beer sits in front of him. HANK gulps from a mug.
    HANK (V.O.)
    Baby, I can’t this week.
    busy...
    93

    Daddy’s too

    INT. - HANK’S APARTMENT - DAY

    93

    HANK sits at an odd angle - half sit/half lay - on his couch
    speaking on the phone. He slurs his words. He has one shoe
    on and one shoe off. HANK has been drinking for a solid day.
    HANK
    ...we’ll do something next Sunday.
    Really.
    DANIELE
    You’re drunk.
    HANK
    I...I had a couple of beers but...
    next Sunday we can...

    So

    DANIELE
    You’re drunk!
    She hangs up - HANK listens to the dial tone. He replaces
    the receiver and notices the blinking red light on the
    Message Machine. He pushes the button.
    MIKE
    (taped:)
    This is a message for Henry Tillinger.
    This is Mike Stueben at Hertz. Mr.
    Tillinger, you returned a car yesterday
    afternoon and we...we’re wondering why
    the license plates have been changed on
    this car. Please give me a call at 5032649. Mike Stueben.
    ON HANK suddenly sober - someone has just kicked him in the
    stomach.
    94

    INT. - MOONEY’S PUB - DAY

    94

    HANK - a hunted look in his eyes - enters the pub on Sunday
    afternoon. The bar is not crowded - a few patrons sit at the
    bar watching football on screens above. There is a whoop
    from the assemblage as someone catches a pass.
    (CONTINUED)

    94

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 62.
    94

    CONTINUED:

    The sudden outburst startles HANK. HANK surveys the bar looking for someone. J.P. notices HANK.
    J.P.
    Back for more, Hank?
    HANK
    J.P. - you seen Benny?
    Old Benny?
    drinkin’?

    J.P.
    He’s in the can.

    You

    HANK
    Yea - draft. And gimme whatever Benny’s
    drinking.
    J.P. pulls a draft.
    J.P.
    Makers Mark. Always. You sure tied one
    on last night, Hank. Friday night too what, you going for some kinda record?
    J.P. laughs but HANK is looking for BENNY.
    J.P.
    Yup - that’s what I call fallin’ off the
    wagon and havin’ it roll over ya.
    A MAN AT BAR

    touches HANK’S elbow - HANK jumps.

    MAN AT BAR
    Hey, Hank, you hear ‘bout Bobby Lasorda?
    HANK’s eyes go wide and he shakes his head quickly - he keeps
    shaking it as the MAN AT BAR folds, refolds the NY POST to
    find the right page - he holds it out to HANK.
    MAN AT BAR (cont’d)
    Stupid motherfucker got offed up in
    Connecticut.
    HANK grabs the paper away and stares at it - frozen.
    ON PAPER: “QUEEN’S MAN KILLED IN BOTCHED BURGLARY” and a
    picture of BOBBY.
    ON HANK petrified as J.P. places the drinks on the bar in
    front of HANK.
    MAN AT BAR (cont’d)
    You believe that? Stupid motherfucker.
    (CONTINUED)

    94

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 63.
    94

    CONTINUED: (2)

    J.P.
    Bobby was always a hot head.
    fuck you suppose he was...?

    What the

    HANK slaps a $10 on the bar and moves away with the paper to
    a booth. J.P. and MAN AT BAR talk about what a loser BOBBY
    was but HANK pays no attention. HANK reads the paper in a
    panic at the booth. BENNY, a little old Irish man with wispy
    white and bad dentures, comes out of the bathroom and heads
    for the bar. HANK is oblivious. BENNY climbs onto a stool
    at the bar. J.P. approaches.
    J.P.
    Hank bought ya a drink, Benny.
    BENNY looks over at HANK absorbed in the paper.
    Hank!

    J.P.(cont’d)
    Here’s Benny.

    HANK’s head comes up - he remembers why he’s there - there is
    a sudden urgency to him as he heads to the bar to collect the
    drinks he left there and usher Benny to the booth.
    Benny!

    HANK
    Benny! My man.

    BENNY
    Thanks for the...
    Come here.
    to you.
    Game’s on.

    HANK
    Come over here.

    I gotta talk

    BENNY

    HANK
    You can see it from over here.

    Come on.

    Hesitantly, BENNY follows HANK back to the booth. As BENNY
    seats himself, he notices the paper and the picture of BOBBY.
    BENNY
    Horrible thing, that.

    Horrible.

    HANK shoves the paper onto the booth next to him and raises a
    glass to BENNY. BENNY doesn’t know what the hell this is
    about but he’ll play along.
    HANK
    Friendship.
    (CONTINUED)

    94

    CONTINUED: (3)

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 64.
    94

    BENNY
    Good as anything else.
    They both drink.
    BENNY (cont’d)
    What is it, Hank?
    HANK considers things a moment before starting - BENNY waits his eyes darting back and forth between the Game and HANK.
    HANK
    Just straight talk.
    Benny.

    OK?

    I trust you,

    BENNY nods but watches the game.
    HANK (cont’d)
    I don't have any money. I mean I can buy
    ya a drink or two but I don't got any
    money and I'm up to my eyes in debt. But
    I'm in trouble.
    Now HANK has BENNY’s full atention.
    HANK (cont’d)
    I'm asking you as a friend to listen to
    what I got to say and give me some
    advice.
    BENNY downs the rest of his drink and slides the empty glass
    across to HANK.
    BENNY
    You got my interest.
    thirsty work.

    But listening is

    HANK nods as he picks up the glass and stands.
    SAME - LATER
    Four empty and one full glass stand in front of BENNY who
    looks no worse for wear. HANK pours beer from a pitcher into
    his mug - he looks worn out.
    HANK
    What would you do?
    BENNY
    I’d drink somethin’ stronger than a beer.
    HANK does not laugh but BENNY ignores him and chuckles as he
    lights a cigarette. HANK waits anxiously.
    (CONTINUED)

    94

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 65.
    94

    CONTINUED: (4)

    BENNY (cont’d)
    You won’t like it but here’s what I
    think. Give up your "friend" and try...
    HANK
    I can’t do that.
    BENNY holds up his hand to shush HANK.
    desperate but quiet.

    HANK stops.

    He is

    BENNY
    You asked me. (pause) Cut a deal for
    Accessory to Manslaughter in exchange for
    your “friend.” You get probation - maybe
    a year, two tops.
    HANK
    I...I don’t know.
    BENNY
    Oh, and boyo, hurry. Give up your
    “friend” before he gives you up. I seen
    these things, boyo.
    HANK
    I...I’ll think...
    me?

    Would you represent

    BENNY
    Nothin’ I’d like better but...
    BENNY trails off and plays with his empty glasses.
    But?

    HANK

    BENNY
    Well, I’ve been disbarred these past 10
    years, don’t ya know.
    95

    INT. - HANK’S APARTMENT - DAY

    95

    Windows drawn. Lights off. HANK peeks out window. The
    phone rings. HANK jumps, startled, letting the curtain fall
    shut. He stares at the phone as it rings. After three
    rings, the machine picks up.
    HANK (V.O.)
    Hi. This is Hank. Must be out so leave
    a message at the beep.
    The machine beeps.
    (CONTINUED)

    95

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 66.
    95

    CONTINUED:

    ANDY (O.S.)
    (whispering but vehement:)
    Where the fuck are you? You’re not at
    work, you’re not at home. I gotta talk
    to you...
    HANK picks up the phone.
    Andy?

    HANK
    I’m here.

    ANDY (O.S.)
    Where the fuck you been?
    Here.

    HANK
    I called in sick.

    ANDY (O.S.)
    We gotta talk. I gotta talk to you.
    I know.

    HANK
    I know.

    This is so...

    ANDY (O.S.)
    What the fuck was that punk kid doing
    with you? I didn’t say anything about a
    punk kid with a gun. God damn you.
    HANK
    I was scared so I...
    ANDY (O.S.)
    We gotta talk. We gotta figure out what
    we’re gonna do.
    HANK
    Andy, I’m so sorry.

    If I...

    ANDY (O.S.)
    I have to come in to the city tomorrow to
    go to the office. Meet me at the
    Greenland Brewery on Bleeker at 6. You
    know where it is?
    HANK
    No - let’s meet at Mooney’s and...
    ANDY (O.S.)
    Fuck Mooney’s - everybody knows us. And
    Bobby Lasorda, you stupid asshole.
    Greenland. Look it up in the phone book.

    (CONTINUED)

    95

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 67.
    95

    CONTINUED: (2)

    Greenland.

    ANDY (O.S.)

    6.
    6.

    HANK

    HANK
    OK, OK. Andy?

    How’s your mother?

    ANDY (O.S.)
    How the fuck you think she is?
    ANDY hangs up.
    96

    HANK, shaking again, puts down the phone.

    INT. - MOONEY’S PUB - NIGHT

    96

    HANK, looking even more desperate, approaches the bar in his
    heavy coat.
    J.P.!

    HANK
    Hey, J.P.

    You seen Benny?

    J.P.
    Left an hour ago. Left when the cops
    came in. You still on your binge - wanna
    beer?
    No.

    Cops?

    HANK

    J.P.
    Yea, some chink cop comes in with a
    picture of Bobby and starts...
    HANK
    Yea, yea, gimme a beer.
    J.P.
    (begins to pull a draft)
    Askin’ everybody in the bar they know
    this guy, when they see him last, that
    shit. I told ‘im suck my dick.
    HANK takes his beer and drinks.
    pay for the beer...

    He pulls out his wallet to

    J.P. (cont’d)
    And the Chink did! Put it away - on me.
    Did a right good job too, he did.
    J.P. laughs and moves off to another customer as HANK shakily
    raises the glass to his mouth.
    (CONTINUED)

    96

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 68.
    96

    CONTINUED:

    GIRLFRIEND (O.S.)
    That’s him. That’s the guy.
    HANK drinks. He is tapped on the shoulder and he turns to
    face a big, built, potato-faced guy - this is the
    GIRLFRIEND’S BROTHER. BOBBY’s GIRLFRIEND stands next to him.
    BROTHER
    Yo, buddy.
    (to GIRLFRIEND:)
    This the guy?
    GIRLFRIEND

    Yea.

    HANK

    What?

    BROTHER
    You with Bobby Lasorda Friday?
    HANK gulps.

    Thinks.

    Reaches for his beer on the bar...

    BROTHER
    I asked you a question.
    HANK looks at the GIRLFRIEND, realizing now who she is.
    Yea.

    HANK
    Um...

    BROTHER
    So, tell me, what the fuck happened?
    What’s your name?
    HANK
    Uh... Hank - look, let’s...
    HANK tries to move away but BROTHER keeps with him.
    Hank what?

    BROTHER

    HANK
    Till...Tiller. Hank Tiller.
    over here.

    Let’s talk

    HANK moves away from the bar towards the back where it is
    quieter and less crowded. BROTHER sticks close.

    (CONTINUED)

    96

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 69.
    96

    CONTINUED: (2)

    BROTHER
    So what’s the deal, huh? My sister here,
    who is quite alla sudden a widow, says
    you and Bobby had some “work” together on
    Friday.
    GIRLFRIEND
    Bobby said it was work.
    BROTHER
    Work that involved him gettin’ shot and
    killed but not you gettin’ shot and
    killed.
    HANK
    No, man, I just got him the car.
    BROTHER
    Fuck that mean?
    HANK
    (scared; trying not to show it
    )
    Um - Bobby told me he needed a rental car
    but he didn’t...this was Thursday night.
    But Bobby says he didn’t have a credit
    card so I told him I’d get him a car I...I owed him money. I swear that’s all
    it was.
    BROTHER
    You shittin’ me?
    HANK
    No, no, swear to God. Bobby gave me a
    lift back home and that’s that.
    (to GIRLFRIEND:)
    Ya, know - I could use those plates
    back...
    BROTHER
    So he went up there all by himself?
    HANK
    I guess. I don’t know. I don’t know.
    Maybe he picked up somebody. I just
    don’t know.
    BROTHER
    Where’d ya rent the car?
    Um...Avis.

    HANK
    (CONTINUED)

    96

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 70.
    96

    CONTINUED: (3)

    GIRLFRIEND
    He’s lyin’. If Bobby needed a car, he’da
    stole one.
    BROTHER
    You got the receipt?
    Yea.

    HANK
    Yea, somewhere.

    Go get it.
    I can’t.
    Right.

    BROTHER

    HANK
    I got an appointment.

    BROTHER
    You got a driver’s license?

    HANK looks confused.
    BROTHER (cont’d)
    You know, a driver’s license you show
    when you rent a car.
    HANK
    Yea, yea, I got a driver’s license.
    Lemme see.

    BROTHER

    HANK pulls out his wallet. He flips it open to show the
    license. BROTHER snatches the wallet and takes the driver’s
    license out.
    BROTHER (cont’d)
    Tillinger.
    (to GIRLFRIEND:)
    He say Tillinger?
    Tiller.

    GIRLFRIEND

    BROTHER
    I don’t know that Mr. Tillinger is so
    trustworthy.
    (to HANK:)
    This address right?
    HANK
    Uh...yes. I can bring the receipt
    tomorrow - you’ll see...
    (CONTINUED)

    96

    CONTINUED: (4)

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 71.
    96

    BROTHER
    I got a funeral tomorrow.
    GIRLFRIEND looks as if she’s been struck - tears spring to
    her eyes.
    BROTHER (cont’d)
    Make it day after tomorrow, Mr.
    Tillinger. Here. 8 o’clock.
    BROTHER pockets the Driver’s License. HANK begins to object
    but thinks better of it. BROTHER guides GIRLFRIEND out of
    the bar by the elbow. Suddenly, he stops and comes back to
    HANK gulping his beer.
    BROTHER
    What happened to the car?
    HANK shrugs - mute. BROTHER looks around the crowded bar
    thinking “can I kill this guy right here?” He shakes his
    head and returns to GIRLFRIEND - the two leave the bar. HANK
    is a fuckin’ wreck.
    97

    INT. - HANK’S BEDROOM - NIGHT

    97

    HANK lies in bed staring at the ceiling unable to sleep. He
    looks at the clock: 2:15. HANK gets out of bed and we MOVE
    with him into the Kitchen where he opens a beer. He takes it
    and sits on his couch. He re-winds the answering machine and
    presses: Play.
    MIKE(V.O.)
    Mr. Tillinger? This is Mike Steuben at
    Hertz again. It’s Tuesday 4:30 PM.
    Please return this call - it’s urgent. I
    don’t want to have to involve authorities
    but... Return this call.
    98

    EXT. - TINA’S APARTMENT - DAY

    98

    HANK, looking like shit - big bags under his bloodshot eyes,
    rumpled clothes, desperate panic on his face.
    HANK
    Tina, you know...
    TINA
    You bet your ass, I know. You owe me
    almost two thousand dollars so I know. I
    am not lending you one penny and I gotta
    tell ya, I am shocked as shit you would
    even ask. Get outta here.
    (CONTINUED)

    98

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 72.
    98

    CONTINUED:

    I need it.

    HANK
    I’m in trouble, hon.

    TINA
    I’m not your hon and I don’t give a shit
    if you’re in trouble with some bookie...
    HANK
    It’s not that. Well - that too but this
    is worse. Really...
    No.

    No.

    TINA
    Look at me and listen.

    No.

    Dejected, defeated, HANK moves towards the door.
    remains - defiant, angry, hands on hips.

    TINA

    HANK
    (without looking back:)
    Tell Daniele I love her.
    TINA
    She wouldn’t believe you.
    HANK looks back - hurt.
    99

    He quickly leaves.

    INT. - GREENLAND BREWERY - NIGHT

    99

    Trendy Brewpub in the Village. There are high tables and bar
    stools along a window overlooking the sidewalk. HANK sits at
    one of these watching the street. He wears sunglasses, a
    baseball hat pulled low on his forehead and keeps his coat
    on.
    SAME LATER
    HANK, sans “disguise,” moves to the table from the bar
    carrying two pints. ANDY sits at the table staring out the
    window. ANDY does not look up as HANK sets the two beers
    down and sits. HANK takes a gulp.
    ANDY
    So who else knows?
    Nobody.

    HANK

    ANDY
    You didn’t tell anyone about it?
    No.

    HANK

    (CONTINUED)

    99

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 73.
    99

    CONTINUED:

    ANDY
    Nobody saw you talking with Bobby?
    No.

    No.

    HANK

    ANDY
    (finally looks at HANK)
    Nobody saw you at Mooney’s?
    HANK
    It was busy - it was crowded.
    Nobody.

    No.

    ANDY
    He rent the car with you?
    He...no.

    HANK

    What?

    ANDY
    You picked him up?

    Yea.

    HANK
    Yea - at his house.

    ANDY
    And nobody saw you?
    HANK

    No.

    ANDY
    You wipe down the car?
    I...what?

    HANK

    ANDY
    Were Bobby’s prints in the car?
    you stupid...
    HANK
    No - no I didn’t.
    connect...?

    But..

    Think -

    How can they

    ANDY
    You leave anything in the car?
    No.

    HANK
    No, of course not.

    (CONTINUED)

    99

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 74.
    99

    CONTINUED: (2)
    ANDY thinks a moment.
    desperately.

    He drinks.

    HANK looks about

    ANDY
    OK. We’re probably OK. So long as
    nobody connects the car, we’re probably
    OK.
    Yea.

    Yea.

    HANK
    That’s what I figure.

    ANDY
    Go back to work. Act like nothin’s
    happened. Stay away from Mooney’s.
    OK.

    OK.

    HANK

    They both drink.
    HANK (cont’d)
    Andy - I’m so sorry. I never meant for
    any...
    ANDY
    Pull yourself together.
    shit.

    You look like

    Starts to leave.
    HANK
    Andy! I need...I need some money.
    don’t have any money.

    I

    With disgust, ANDY pulls out a few twenties and tosses them
    on the table. HANK stuffs the money into his pocket. He
    pulls ANDY’s beer over in front of him.
    100

    EXT. - STREET - NIGHT

    100

    HANK is having trouble walking straight as he negotiates the
    sidewalk. He stops to steady himself - using the railing of
    a stoop. He looks up at the building.
    SIGN: NYPD Precinct 13
    ON HANK as he considers going inside. He struggles - torn,
    scared, drunk. He inhales deeply and staggers on - away from
    the Precinct.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 75.

    101

    INT. - HANK’S APARTMENT - DAWN

    101

    HANK sits on his couch, beer in front of him, with a pile of
    papers and pictures.
    ON PICTURE: DANIELE in a tutu in dance class.
    ON HANK as he sets the picture down and picks up his
    PASSPORT. He opens it and studies it.
    ON PASSPORT PHOTO: a younger, happier, healthier HANK
    ON HANK as he sets down the PASSPORT next to two credit
    cards. He takes a swig of beer and leans back on the couch
    closing his eyes.
    FADE TO:
    102

    INT. - HANK’S APARTMENT - NIGHT

    102

    HANK is asleep on the couch when ANDY bursts into the room.
    HANK comes wide awake, startled, frightened, then relaxes
    when he sees it is ANDY. ANDY approaches HANK slowly,
    methodically.
    HANK
    Hey, buddy...
    ANDY does not speak - he stops in front of HANK - anger and a
    crazed look on his face. HANK is suddenly afraid. ANDY
    pulls a gun out of his coat pocket and points it at HANK’S
    head. HANK’s eyes go wide with fright.
    HANK (cont’d)
    I’m sorry, Andy. It wasn’t my fault.
    swear to God.

    I

    ANDY cocks the gun.
    HANK (cont’d)
    Jesus, Andy, please.
    ANDY takes a step and places the gun against HANK’s forehead.
    HANK is freaking but trying to keep it together.
    HANK (cont’d)
    It’s - it’s just a starter pistol, right?
    Right?
    ANDY
    You’re a bettin’ man.

    Ya wanna bet?
    CUT TO:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 76.

    103

    INT. - CHARLES’ HOUSE - NIGHT

    103

    ANDY wakens suddenly from his nightmare. He is sweating and
    breathing hard. GINA sleeps soundly next to him. ANDY tries
    to calm his breathing.
    TITLE CARD: “ANDY - ISOLATION”
    104

    INT. - HOSPITAL INTENSIVE CARE UNIT - NIGHT

    104

    ANDY stands looking at his mother lying in the bed, amidst
    the tubes and lights and beeps. On his face we read sadness,
    regret, shame - changing to resolve: “I will survive. I'm
    going to get through this.”
    MACHINE (V.O.)
    Received Monday at 4 PM.
    JAKE (V.O.)
    Hi Andy, um, this is Jake at the office.
    I'm so sorry to bother you but the
    Auditors are here and if, well, if you
    get a chance, it sure would help if you
    could call in and talk with them.
    105

    INT. - CHARLES’ KITCHEN - DAY

    105

    ANDY watches KATHERINE at the sink scrubbing the hell out of
    things in the kitchen. She is washing light fixtures,
    refrigerator shelves, metal oven grills - anything she can
    get her hands on. She wears huge rubber gloves. ANDY stands
    on to the side, listening to messages. His face registers
    his growing alarm.
    JAKE (V.O.)
    They've, uh, noticed some problems well, they have some questions to ask
    you. It’s pretty urgent. So - give them
    a call when you get this.
    106

    EXT. - STRIP MALL - DUSK

    106

    ANDY parks his CAR in front of HANSON JEWELERS. He sits in
    the CAR a moment looking at the store. He gets out of the
    car and crosses over to the store. He stares at the CLOSED
    sign hanging in the door.
    107

    INT. - CHARLES HOUSE - NIGHT

    107

    ANDY, wearing a robe, brings two cups of steeping tea to the
    table where CHARLES sits. CHARLES is taking off his shoes.

    (CONTINUED)

    107

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 77.
    107
    ANDY
    You’re going to have get some sleep
    tonight.

    CHARLES merely grunts to acknowledge his son’s presence,
    words and gift of tea which has been set before him. He
    takes comfort in the simple task of taking off his shoes.
    ANDY (cont’d)
    Dad, have you given any thought to the
    store?
    CHARLES removes his socks slowly.

    He ignores the question.

    ANDY (cont’d)
    I mean, you’ve got to give it some
    consideration. It’s just...
    ANDY trails off as CHARLES neatly folds his socks into his
    shoes and sets them to the side. He stares at his neat,
    orderly shoes wishing his life were the same.
    ANDY (cont’d)
    I know you’re not...I mean, you’re not
    going to go in and run the place right
    now. But... Well, I could open it up,
    you know, while you’re at the hospital.
    Just a few hours a day so people know
    you’re still there. See?
    CHARLES reaches for his tea. He pulls the tea bag out.
    CHARLES crushes the tea bag over the cup with a fierceness
    uncalled for - all his frustration and rage directed at the
    tea bag. The bag breaks and leaves a smear his hands. He
    drops the mess to the table.
    CHARLES
    We should burn the god damned thing down.
    CHARLES rises and goes to the sink for a wash cloth to clean
    up his mess.
    CLOSE on ANDY: sips his tea, eyes darting this way and that,
    calculating, foundering.
    MACHINE (V.O.)
    Received Tuesday 11:16 AM.
    108

    INT. - HOSPITAL WAITING ROOM - DAY

    108

    ANDY stands at the pay phone listening to his messages.

    (CONTINUED)

    108

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 78.
    108

    CONTINUED:

    JAKE (V.O.)
    This is Jake. Andy, I hope you're
    checking messages cuz we got a mess here.
    The auditors say there are two terminated
    employees still drawing checks...and
    there’s something about unpaid OASDI
    taxes. Um, Andy, we need you to call us.
    What we really need is for you to come in
    and straighten all this out. Call me.
    ANDY slams down the phone. KATHERINE, who has been reading a
    Magazine, looks up at her brother - first with concern and
    then with disgust as he paces. She returns her attention to
    the Magazine.
    CHARLES and GINA enter the waiting area. CHARLES has his arm
    around GINA who looks upset, shaken - she has been crying.
    CHARLES gives her a squeeze and heads off to Intensive Care.
    ANDY moves to GINA.
    You OK?

    ANDY

    GINA
    (too fast)
    Yes. Yes, why?
    ANDY
    You look...I don’t know, you look...
    guess we’re all...

    I

    ANDY sits next to GINA.
    ANDY (cont’d)
    I...uh...I have to go back to the city.
    Tomorrow.
    GINA is numb and can’t respond.
    ANDY (cont’d)
    The office...there’s a problem at the
    office. I’ll go in the morning. It’s
    just...I’ll only be a day.
    GINA
    Do you ever...?
    She stops.

    ANDY waits.
    Pray?

    GINA (cont’d)
    Do you ever pray?

    (CONTINUED)

    108

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 79.
    108

    CONTINUED: (2)

    ANDY looks at his her like she’s from another planet.
    he looks at KATHERINE.
    ANDY
    Don’t let Katherine bother you.
    only be gone a day.

    Then

    I’ll

    GINA nods and bites her lip. ANDY moves to the pay phone.
    GINA sits, unsteady, next to KATHERINE.
    KATHERINE
    His mother’s in Intensive Care and he has
    to run off back to work? What in the
    world ever happened to him?
    ANDY shoots KATHERINE a withering look and then speaks into
    the phone:
    ANDY
    (whispering but vehement:)
    Where the fuck are you? You’re not at
    work, you’re not at home. I gotta talk
    to you...
    109

    INT. - CHARLES’ DEN - NIGHT

    109

    ANDY, in the semi-darkness a desktop lamp, searches through
    the desk drawers. CHARLES appears in the doorway and watches
    his son for a moment.
    Andy?

    CHARLES

    ANDY jumps, startled. He whirls around and sees his father
    in the doorway in a robe.
    CHARLES (cont’d)
    What are you doing?
    ANDY
    I was...I was looking for Mom’s will.
    CHARLES stares at ANDY confused, incomprehending.
    ANDY (cont’d)
    We have to - I know this is hard but,
    Dad, we have to...
    CHARLES
    It’s in the safe deposit box at the bank.
    And with the lawyer.

    (CONTINUED)

    109

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 80.
    109

    CONTINUED:

    ANDY
    It’s time to start thinking...
    CHARLES
    I think there’s a copy...
    CHARLES trails off, suddenly realizing what it is his talking
    about.
    CHARLES (cont’d)
    We don’t need that right now. I’m going
    to make you eggs before you drive into
    the city.
    ANDY
    You don’t...
    CHARLES
    Get away from there.
    CHARLES moves away from the door. ANDY takes one more look
    at the desk before switching off the light.
    110

    INT. - DORSET CORRIDOR - DAY

    110

    ANDY stands at the Door as it opens to reveal the BOY who
    registers surprise at seeing him. The BOY wears jeans, a
    polo shirt, expensive shoes.
    BOY
    What are you doing here?
    ANDY stutters - he can’t hide his desperation.
    BOY (cont’d)
    You don't have an appointment.
    ANDY
    I didn’t...I was just...
    BOY
    You can’t just come here, ya know.
    ANDY
    I know. I thought maybe you might...do
    you have anybody else in there?
    BOY
    None of your business.
    ANDY cranes his neck trying to look into the apartment.
    BOY assesses ANDY’s desperation. His eyes narrow.

    The

    (CONTINUED)

    110

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 81.
    110

    CONTINUED:

    BOY (cont’d)
    Come back in half an hour and it’ll cost
    you double.
    Double?

    ANDY

    BOY
    Your call. Half hour or not at all.
    more popping in, Tonic Water.

    No

    The BOY slams the door.
    111

    EXT. - CENTRAL PARK - DAY

    111

    ANDY shivers as he sits on a park bench. The park is covered
    in snow. Only a few brave souls are walking in the park.
    ANDY looks at his watch. He closes his eyes and shivers.
    112

    INT. - DORSET APARTMENT - DAY

    112

    The BOY sits at the Kitchenette table in his robe studying
    the Bills with his Jewelers Loupe. ANDY stands by the
    counter watching - desperate, needy - greedily wanting the
    BOY.
    113

    INT. - DORSET BEDROOM - DAY

    113

    ANDY lies on the bed with a sheet pulled up to his chest. He
    is spent, tired, morose, thoughtful - he does not look at the
    BOY who, in his robe, stands in front of a large mirror in
    the back of the closet door in front of the money shrine,
    brushing his hair. The BOY is bored - he wants ANDY to
    leave. He barely listens.
    ANDY
    My mother is dying.
    Bummer.

    BOY

    ANDY
    I only... I only wanted her to retire.
    She’s 68. She wouldn’t quit and so my
    Dad wouldn’t quit. I thought if she got
    scared - if she starting thinking, I’m
    too old for this shit. They’d have me
    come take over. You know? I’d buy a
    house up there and my wife would be
    happy. I’d have a whole new life. I
    could be a whole new person. And I’d be
    happy. Away from New York, away from the
    office, away from...you.
    (CONTINUED)

    113

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 82.
    113

    The BOY has picked up ANDY’s pants from the floor and now
    sets them on the bed next to ANDY.
    BOY
    Next time, make an appointment.
    ANDY takes the pants and stares at them as if he doesn’t know
    what they are or where they came from.
    BOY (cont’d)
    New price is 4. Friday?
    We watch ANDY struggle with this - after everything that has
    happened... But, he can’t break free of his need. He nods,
    ashamed of himself, and stares at his pants. The BOY smiles.
    114

    INT. - GREENLAND BREWERY - DAY

    114

    ANDY carries two pints of beer to the table. HANK turns his
    attention away from the outside towards ANDY just as ANDY
    arrives and spills a beer on him. HANK jumps up - the front
    of his coat soaked with beer. Patrons at other tables watch.
    A WAITRESS hurries over but ANDY waves her away - she backs
    up a little confused. HANK looks at ANDY who remains
    impassive - his face stone.
    HANK
    (smiling)
    No - no, it’s OK buddy.

    No biggie...

    ANDY
    Take that fuckin’ coat off and that hat
    and those glasses. This is not some
    fuckin’ spy movie.
    HANK complies as ANDY sits at the table placing the beer and
    empty on the table. The patrons return to their own worlds.
    HANK puts his wet coat on the floor under the table and sits.
    His hands are shaking. ANDY slides the full beer across to
    him. HANK nods and takes a gulp. HANK tries a smile. ANDY,
    all the while, just stares daggers at HANK.
    ANDY (cont’d)
    (even, low:)
    You are a stupid son of bitch.
    HANK
    I’m sorry, Andy, I am so...
    ANDY
    Why was there even a gun?

    (CONTINUED)

    114

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 83.
    114

    HANK looks away - he pretends to find something interesting
    in the street. ANDY continues, keeping his voice low but the
    rage rising:
    ANDY (cont’d)
    Any problem, you were supposed to walk
    away. Why didn't you tell Bobby that?
    Why didn't you control it? What? You
    just sat in the car and watched that
    stupid punk asshole shoot...fuck
    everything up? Wasn’t I clear? But you changed everything and you ruined
    everything and you fucked me over and you
    probably killed...
    ANDY has to stop - he is getting hysterical, out of control,
    flushed, too angry. He stops. He breathes. HANK will not
    look at him.
    ANDY (cont’d)
    How are we gonna fix it so your shit
    doesn't land on my shoes?
    HANK looks at ANDY - pleading: “Please forgive me.”
    115

    INT. - CHILD CARE FACILITY - NIGHT

    115

    JERRY sleeps in a hospital bed - there are guard rails raised
    on the bed. JERRY lies on his side, peaceful. ANDY sits in
    a chair pulled up close to the bed. He gently strokes his
    son’s hand. He holds a book in the other hand.
    CLOSE ON BOOK: GOLDILOCKS AND THE THREE BEARS
    ON ANDY who looks at his son and not at the book.
    ANDY
    And so the little boy named Jerome came
    to the country to live with his Mommy and
    his Daddy in their big, beautiful, warm
    home. And Mommy and Daddy were happy and
    loved one another and everything was just
    right again and Jerome was happy and he
    spoke...he spoke and he said...”Daddy...”
    ANDY’s voice cracks. He drops the book. He begins to cry.
    He buries his face in his hands. Suddenly, he stands and,
    tears streaming down his face, he leans over the guard rails
    and kisses his son on the head over and over...

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 84.

    116

    INT. - HOSPITAL INTENSIVE CARE UNIT - NIGHT

    116

    ANDY enters the room. CHARLES sits in semi-darkness in a
    chair near the bed. He looks at his wife. ANDY moves to
    CHARLES and squats down.
    ANDY
    It’s late, Dad. I’m going to drive Gina
    back to the house.
    CHARLES nods.
    ANDY (cont’d)
    Do you want to come?
    CHARLES shakes his head. ANDY stands up but hesitates.
    Father looks so defeated. He places a hand on CHARLES’
    shoulder. CHARLES reaches and takes it.

    His

    CHARLES
    She’s not coming back.
    No.
    CHARLES sobs once.

    ANDY
    ANDY squeezes his hand.

    ANDY (cont’d)
    If I could take it back, I would.
    ANDY realizes what he has said and panics.
    it no mind. He just looks at his wife.

    But CHARLES pays

    CHARLES
    She’s just going to sleep.
    ANDY
    (recovering)
    I’ll... I’m gonna be here, Dad.
    always be here.

    I’ll

    CHARLES
    (looks at son a beat, then:)
    She always said I loved you too much.
    Dad?

    ANDY

    CHARLES
    “You spoil him and you ignore Katherine.
    It’s bad for them both.”
    (silence)
    (MORE)
    (CONTINUED)

    116

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 85.
    116

    CONTINUED:

    CHARLES (cont’d)
    I... I couldn’t help it. I love you too
    much.
    117

    EXT. - CEMETERY - DAY

    117

    On ANDY standing next to CHARLES and holding GINA’s hand.
    ANDY is distracted by something out of our view.
    ANDY’S POV:
    BARRETT stands by unmarked car a ways away by the road.
    CEMETERY LATER
    LONG SHOT of Mourners as they move away from the grave
    towards the cars. The “family” walks together. BARRETT
    steps forward and speaks lowly to CHARLES. CHARLES nods,
    accepting condolences, and gets into a waiting Limo
    accompanied by KATHERINE. BARRETT puts a hand on ANDY’S arm
    and draws him to the side.
    ON ANDY and BARRETT as they move away from the car.
    BARRETT
    I know this is a bad time and all but
    it’s kinda urgent.
    Panic on ANDY’s face but BARRETT moves right along.
    gets his poker face back in place.

    ANDY

    BARRETT (cont’d)
    Your father is bothering the Department.
    He’s calling six, seven times a day he’s dropping into the precinct
    unannounced I know he's upset but you've
    got to get him to concentrate on things
    he can control not those he can't.
    ANDY
    He’s very upset and he wants... justice.
    BARRETT
    Of course he does. So do we. Let him
    know we're doing everything we can. But
    from now on, I want you as the point man.
    OK? I want to speak only to you and you
    can speak to your father.
    ANDY
    (nodding:)
    OK, I’ll talk to him.
    BARRETT puts a hand on ANDY’s shoulder, pleased that he’s
    accomplished his goal.
    (CONTINUED)

    117

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 86.
    117

    CONTINUED:

    ANDY (cont’d)
    What have you learned? Do you know who
    was behind it?
    BARRETT considers the question - it’s a strange way of
    putting it...
    BARRETT
    No. We got some ideas though. Tell your
    father we're following up on his
    suggestion about Rental Cars. We're
    checking all the rental car agencies in
    New York City to see if there’s any
    connection to this Bobby Lasorda.
    ANDY’s wind goes out of him - his stomach hurts but he nods
    enthusiastically and manages only:
    Good.
    118

    ANDY

    INT. - CHARLES’ HOUSE - NIGHT

    118

    ANDY brings a plate through the Kitchen where GINA and
    KATHERINE sit at the Counter holding one another’s hands,
    eyes closed, praying.
    KATHERINE
    Merciful God, give us the strength to
    understand what we do not understand...
    We MOVE with ANDY into the living room where CHARLES sits
    stock still on the couch staring blankly. ARTHUR sits in a
    chair fidgeting, uncomfortable.
    ANDY
    Brought you something to...
    ANDY holds out the plate towards his father who just lifts
    his chin to indicate: “put it down on the table.” ANDY does.
    ARTHUR
    Mmmmm. Sure looks good. I’m gonna see
    if there’s any more where that came from.
    ARTHUR hightails it out of there - so happy to have an
    excuse. Neither ANDY, who sits now, nor CHARLES pay ARTHUR
    any attention.
    ANDY
    Are you...are you going to re-open the
    store?
    (CONTINUED)

    118

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 87.
    118

    CONTINUED:
    CHARLES shakes his head.

    ANDY (cont’d)
    I’m serious about my offer.
    some time off...

    I’ll take

    CHARLES
    It stays padlocked until they find the
    son of a bitch who did this.
    ANDY blinks.

    Shocked.

    CHARLES (cont’d)
    It’s gonna sit there empty and useless
    just like me until this is over.
    ANDY
    Dad, this is over.
    CHARLES
    It’s not over. I won’t let it be over.
    ANDY
    Dad...
    (long pause)
    I could go in and inventory what’s there
    so...
    Padlocked.
    119

    CHARLES

    EXT. - HIGHWAY - DAY

    119

    GINA and ANDY are in car, ANDY at the wheel and GINA deep in
    thought, suffering some sort of torment. Finally, she blurts
    out:
    GINA
    I was caught shoplifting.
    What?

    ANDY

    GINA
    (very fast - in a torrent:)
    I stole candy bars and cookies and chips
    at the hospital and they caught me.
    Forgive me.
    You what?

    ANDY
    Forgive you for...

    (CONTINUED)

    119

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 88.
    119

    CONTINUED:

    GINA
    It’s not the first time but I pray that
    it’s the last. I don’t want to be
    thief...
    ANDY
    Forgive you for shoplifting?
    GINA
    And all my sins.
    gluttony....

    I have been guilty of

    ANDY

    Gina?

    GINA
    ...and greed and dishonesty...
    ANDY
    You got arrested?
    GINA
    ...and adultery and deception...
    ANDY
    Katherine’s been polluting...

    Adultery?

    GINA
    For these and all my failings, I ask that
    you forgive me.
    Adultery?
    Yes.

    ANDY

    GINA
    Forgive me.

    Gina?

    ANDY

    GINA
    I had an affair.
    Who?

    Watch the road.

    ANDY

    GINA
    I need you to forgive me so I can get on
    with my life.
    Get on...?

    ANDY
    Who did you...?
    (CONTINUED)

    119

    CONTINUED: (2)

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 89.
    119

    GINA
    And be at peace.
    ANDY
    Gina - who did...?
    GINA
    Hank. I had an affair with Hank and I
    steal Candy Bars and eat them and throw
    up and I stuff myself with cookies and
    vomit and lie to you and everybody else.
    ANDY
    I don’t know what the fuck...
    Gluttony?

    Hank?

    GINA
    For shoplifting and gluttony and adultery
    and... No, that covers it. God has
    forgiven me and now I need you to.
    ANDY
    There is no God.
    Look of peace on GINA’s face.
    120

    Look of torment on ANDY’s.

    EXT. - NY STREET - DAY

    120

    At the curb, GINA gets out of the car.
    GINA
    You gonna park and come up?
    ANDY
    I’m gonna drive around.
    GINA
    OK. I’m gonna buy and eat a roast beef
    sandwich.
    ANDY finally looks at her - “who the fuck is this woman I’m
    married too.” GINA smiles.
    GINA (cont’d)
    God forgives everyone if they’re sorry.
    GINA shuts the door. ANDY pulls away from the curb - faster
    than he meant to - laying a little rubber.
    121

    EXT. - APARTMENT BUILDING - DAY
    ANDY approaches the stoop of HANK’s building.
    BROTHER coming down the steps.

    121
    He passes
    (CONTINUED)

    121

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 90.
    121

    CONTINUED:

    BROTHER looks angry and frustrated. ANDY is distracted and
    upset. The two men don’t even see one another. ANDY stands
    on the stoop of HANK’s shabby Apartment Building ringing the
    buzzer. There is no response. ANDY tries again.
    122

    INT. - MOONEY’S PUB - DAY

    122

    ANDY enters the Pub - we see daylight beyond him but the bar
    is dimly lighted. There are only a handful of people in the
    place. ANDY moves to the bar where J.P. reads the Post.
    J.P. looks up as ANDY sits on a bar stool.
    J.P.
    Hey, Andy, whereya been?
    Around.
    Draft?

    ANDY
    J.P.

    ANDY nods and J.P. pulls a Draft.
    ANDY
    I’m lookin’ for Hank.
    J.P.
    You and everybody else.
    What?

    ANDY

    J.P.
    Some mook - big guy with big arms on him come in here three, four times asking for
    him.
    What...?

    ANDY

    J.P.
    (putting up the beer:)
    I’m tellin ya, I’m tellin’ ya. Says he’s
    Bobby Lasorda’s girlfriend’s brother,
    right? This mook thinks Hank knows
    something about Bobby buyin’ the farm.
    Big guy.

    Yea?

    ANDY
    (shaken)

    (CONTINUED)

    122

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 91.
    122

    CONTINUED:

    J.P.
    Scary. Big fuckin’ arms. His sister’s
    this tiny, squeaky little thing. Don’t
    know how she got a big Mook for a
    brother.
    ANDY
    So where’s Hank?
    Hidin’

    J.P.

    J.P. laughs - big and hearty.

    ANDY tries a smile.

    J.P. (cont’d)
    He’s stayin’ with Benny. Benny comes in
    but Hank’s stayin’ indoors.
    Old Benny?
    Old Benny.

    ANDY
    J.P.

    ANDY
    Where’s he live?
    J.P.
    Fuck do I know.
    ANDY
    Old Benny’s a lawyer, right?
    J.P.
    That and a drunk.
    OK, OK.

    ANDY

    ANDY leaves a five on the bar and starts to leave.
    J.P.
    I’ll tell Benny you’re lookin’ for him.
    ANDY
    No - no. Don’t. It’s nothing really.
    But it’s not...it can wait.
    ANDY heads for the door - he opens it and sunlight pours in.
    ANDY walks into the sunlight.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 92.

    123

    EXT. - NEW YORK STREET - NIGHT

    123

    ANDY waits across the street from Mooney’s in front of a
    Chinese Restaurant. He is cold. He puts his gloved hands in
    his armpits. He looks up and across the street.
    ANDY’S POV:
    as Mooney’s door opens and BENNY comes out. BENNY weaves
    down the sidewalk. ANDY hurries across the street and
    follows BENNY.
    124

    EXT. - NY STREET - NIGHT

    124

    BENNY enters an Apartment Building in Hell’s Kitchen - pretty
    run-down and shabby front exterior.
    ON ANDY across the street partially obscured by a tree.
    watches the building.

    He

    ANDY’S POV:
    We see a light on the second floor - right side - go on.
    125

    INT. - ANDY’S APARTMENT - NIGHT

    125

    ANDY enters the apartment. He takes off his coat and hangs
    it up in the closet - he rubs his arms. He is cold. He
    heads for the Kitchen when he notices GINA sitting in the
    Living Room - a suitcase and an overnight bag on the floor
    next to her. ANDY stops and stares at his wife. He checks
    his watch.
    ANDY
    How was your sandwich?
    GINA
    You have messages. A whole lot of
    messages from your boss.
    ANDY doesn’t move.

    His face is still.

    GINA (cont’d)
    Are you in trouble?
    ANDY
    No. They just miss me - there’s problems
    and they...want me back to take care of
    them.
    Silence.

    (CONTINUED)

    125

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 93.
    125

    ANDY (cont’d)
    Where are you going?
    GINA
    To Tina’s. For a while.
    however long it takes.

    For - for

    ANDY
    However long what takes?
    GINA
    I’m not sure. Something. Something has
    to happen. Either to you or to me.
    ANDY
    I don’t understand.
    GINA
    No. I don’t think you do.
    went to see Jerry.

    (beat)

    I

    ANDY looks stricken - as if his wind is knocked out.
    GINA (cont’d)
    He’s getting so big. If you blow in his
    face, he smiles. His hair is too long don’t they ever cut it? He smiled...
    GINA stops suddeny and rises.
    her shoulder.

    She puts the overnight bag on

    ANDY
    Do you want me to drive you?
    GINA
    I’ll get a cab.

    I could use some money.

    ANDY dutifully takes out his wallet.
    - a 10 and some 1’s.

    He removes all his cash

    ANDY
    I...I’ll go to the bank tomorrow.
    bring it by Tina’s.

    I’ll

    GINA nods. She lifts her suitcase and heads for the door.
    She sets the bag down and kisses ANDY lightly on the cheek.
    Neither of them really knows what to do with themselves.
    GINA comes around first.
    GINA
    I can forgive you if you can just become
    a person again. I know it’s possible.
    Anything is possible.
    (CONTINUED)

    125

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 94.
    125

    CONTINUED: (2)
    GINA leaves.
    room.

    ANDY continues to stand in the middle of the

    ANDY
    You forgive me?
    126

    INT. - ANDY’S APARTMENT - DAY

    126

    ANDY, in boxer shorts with messed up hair and a cup of coffee
    on the coffee table, takes a deep breath and then picks up
    the phone. He dials. He waits, biting his lip.
    JAKE (O.S.)
    Jake Zacharides.
    ANDY
    Morning, Jake.

    It’s Andy.

    JAKE (O.S.)
    Andy! For Christ’s sake, I’ve been
    trying...
    ANDY
    Jake - hold on, hold on. I’ve been
    giving this a lot of thought. I hate to
    do this because he’s a friend but...
    What?

    JAKE (O.S.)
    What are you...?

    ANDY
    You need to check out Hank.
    Hank?

    JAKE (O.S.)
    Tillinger?

    ANDY
    Yea. I stumbled on some...I found out
    he’d taken three advances on his salary.
    Now, I’m supposed to sign off on those
    but I’d never heard about it. He must
    have forged my signature. There are no
    copies of the requests in his file. So I
    figured, oh shit, we’ve got a problem. I
    asked him about it and he put me off, ya
    know. Said he didn’t know anything about
    it. I meant to investigate but then well, this thing with my Mom and I
    haven’t gotten back to it.
    JAKE (O.S.)
    Hank’s been out sick for over a week.
    (CONTINUED)

    126

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 95.
    126

    CONTINUED:
    ANDY

    See!

    JAKE (O.S.)
    You think maybe he...?
    ANDY
    I don’t know what to think but that’s
    where I’d start.
    JAKE (O.S.)
    But the terminated employee pay and the
    taxes...
    ANDY
    I don’t know what all Hank’s gotten into.
    Really.
    JAKE (O.S.)
    When are you coming in?
    have...

    You’re gonna

    ANDY
    I don’t know. I got my Dad to worry
    about. We have...like all these loose
    ends with his store and you know.
    JAKE (O.S.)
    Well...I’ll get the auditors to check out
    this thing with Hank but, Andy, we really
    need you back here.
    I know.

    ANDY
    Another couple of days tops.

    ANDY hangs up. He lets out a deep breath. Relieved.
    small smile of accomplishment blooms on his face.
    127

    A

    EXT. - BENNY’S APARTMENT BUILDING - DAY

    127

    ANDY waits a moment on the stoop until a MAN emerges - ANDY
    smiles, nods and scoots into the building.
    128

    INT. - APARTMENT CORRIDOR - DAY

    128

    ANDY pounds on the apartment door.
    Hank!

    ANDY
    It’s me Andy.

    No response.

    Hank!

    After a few more pounds, ANDY hears a dead bolt sliding back.
    The door opens just a smidge and ANDY pushes hard.
    (CONTINUED)

    128

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 96.
    128

    CONTINUED:

    We MOVE with ANDY as he bursts into the room.
    surprise, stumbles backwards into:
    129

    HANK, taken by

    INT. - BENNY’S APARTMENT - DAY

    129

    Tight, cramped, tiny, dirty, smelly apartment. Piles of
    things here and there and barely room to move. A beat up old
    couch in the center of the room with blankets on it; a black
    and white TV playing.
    ANDY
    You son of a bitch!
    HANK
    Fuck, fuck - oh, fuck.
    HANK rights himself but ANDY is after him and pushes him
    again - HANK falls back onto the couch.
    Shitface!
    Fuck!

    ANDY

    HANK
    How’d you find...?

    ANDY kicks at HANK who puts his legs up to ward off the
    kicks.
    Asshole!

    ANDY
    Motherfucker!!

    ANDY finally gives up - spent but seething.
    HANK
    How’d you find me?
    ANDY collapses to floor and sits.

    He glares at HANK.

    ANDY
    J.P. told me - you dick.
    HANK
    But - no - he said he wouldn’t tell...
    ANDY
    He thinks I’m your friend.
    HANK
    You’re not?
    ANDY
    Friends don’t fuck their friends wives.

    (CONTINUED)

    129

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 97.
    129

    CONTINUED:

    HANK is shocked. His mouth drops open. There is fear in his
    eyes - panic: “I’ve been caught.” Then - well, HANK just
    realizes the absurdity of it all. He laughs. ANDY stares at
    him. HANK laughs louder and begins to get hysterical. HANK
    can’t control himself. He laughs. ANDY is angry all over.
    HANK
    Is that all?
    HANK laughs. ANDY is off the floor and pounding on HANK who
    tries to ward off the blows but continues to laugh. ANDY
    gives up again when HANK starts to get control of himself.
    ANDY angrily kicks and throws some crap off a chair and
    collapses into it.
    HANK (cont’d)
    We are in the crapper big time. People
    wanna kill me. Your mother is dead.
    Cops could find us any minute and you you’re worried about some insignificant
    fling your wife had.
    ANDY
    It’s not insignificant.
    HANK
    It’s the least - the least of your
    worries, buddy.
    ANDY
    What is that supposed to mean?
    HANK
    Nothing. I mean - don’t we have bigger
    things to worry about?
    Do we?

    ANDY

    HANK
    Some motherfuckin’ goomba wants to rip my
    face off. Yes, I’m more worried about
    that.
    ANDY
    Cuz you got a big fuckin’ mouth and
    you’re stupid and you fucked this up.
    am not going down with you.

    I

    HANK and ANDY glare at one another. They do not trust one
    another but they’re stuck together - what to do?

    (CONTINUED)

    129

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 98.
    129

    CONTINUED: (2)

    ANDY (cont’d)
    You got a passport?
    HANK
    Yea, I got a passport.
    ANDY thinks.
    himself.

    The wheels are turning.

    HANK tries to collect

    ANDY
    Where’s the gun?
    HANK
    I threw it away.
    ANDY
    You threw away a starter pistol that was
    not used in the commission of a crime?
    HANK
    I thought it made sense.
    ANDY
    You involved a stupid punk. You let his
    girlfriend see you and identify you. You
    confide in a big-mouthed bartender who
    knows about your connection to Bobby
    Lasorda. You’re stayin’ with a drunk who
    shoots his mouth off at Mooney’s
    everyday. But - oh, good work, Hank, you
    took care of the weapon that was not EVEN
    MOTHERFUCKIN’ USED!!
    HANK
    It made sense at the time.
    ANDY thinks hard.

    HANK is uncomfortable.

    HANK
    I’m sorry about Gina...
    Shut up.

    ANDY
    Let me think.

    HANK lets Andy think.

    After a moment.

    ANDY (cont’d)
    OK, OK. Stay your stupid ass right here.
    I’ll be back for you when I figure this
    out.
    HANK
    Figure what out?
    (CONTINUED)

    129

    CONTINUED: (3)

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 99.
    129

    ANDY does not respond as he lets himself out.
    130

    INT. - ANDY’S APARTMENT - NIGHT

    130

    ANDY throws his coat over the couch and moves to his
    answering machine. He presses “Play.” During the following,
    he moves into the Kitchen and pours a drink.
    MACHINE
    Received today at 3:16 PM.
    BARRETT (V.O.)
    This is a message for Andy Hanson.
    is Detective Barrett in Fairfield.
    ANDY stops cold in mid pour.

    This

    He listens:

    BARRETT (V.O.)
    We got a lucky break. One of the Hertz
    Agencies in the City reported a car
    returned with changed license plates.
    When I found out the car was returned
    Friday week before last - well, I kinda
    put two and two together. Anyway - we
    checked the vehicle for prints and
    whattya guess? Bingo! Bobby Lasorda!
    ANDY moves into the Living Room and stares at the machine alarmed, close to panic.
    BARRETT (cont’d)
    We got a name and home address of the guy
    who rented the car. NYPD is running the
    guy down. I’m coming into the city
    tomorrow. I’ll try to keep you posted.
    Andy - we’re gonna get the son-of-abitch. Tell your father.
    MACHINE (V.O.)
    That was your last unplayed message.
    ANDY sits in chair stock still. Thinking, thinking. In
    frustration and rage, he kicks the coffee table. He kicks it
    again and it turns over; the drink goes flying. He picks up
    box of GINA’s Magazines and Decorating books and throws it debris everywhere. He begins to trash his living room - he
    pulls down a bookshelf. The phone rings. ANDY comes to his
    senses, breathing hard as the phone rings. The machine picks
    up. We hear GINA’s voice on the machine.

    (CONTINUED)

    130

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 100.
    130

    GINA (V.O.)
    Hi. Andy and I must be out. Leave a
    message at the beep and we’ll call ya
    back.
    ANDY stares at the phone as if it is a living, threatening
    thing.
    GINA (O.S.)
    Andy? It’s me. Some cops were just here
    asking about Hank. Tina’s freaking out.
    Do you...do you know where he is? Um,
    call me. Are you bringing me some money
    today? I...I can’t let Tina pay for
    everything. Call me. Bye.
    ANDY kicks over the telephone stand - phone and machine go
    flying.
    131

    EXT. - CENTRAL PARK - DAY

    131

    ANDY sits on the Park Bench. The sun shines and the snow is
    melting. There are more people walking about. ANDY ignores
    everyone and everything. He stares, he thinks. He rubs his
    face. “Yes,” he thinks, “this is what I’m going to do.”
    That resolved, he checks his watch. He gets up and moves
    away from the bench.
    132

    INT. - ANDY’S APARTMENT - DAY

    132

    ANDY moves quickly about the “trashed” apartment. He pulls
    his Passport out of a drawer in the trashed telephone stand.
    He carries it into the Bedroom where he has a “packed”
    overnight bag. He places the Passport in the side pocket of
    the bag. He lifts the bag, as well as an empty duffel bag,
    off the bed and heads out.
    133

    EXT. - SIDEWALK - DAY

    133

    CLOSE on Sign above a mid-twon office: AIRLINE TICKET AGENCY.
    ON ANDY as he emerges from the office carrying an overnight
    bag over one shoulder. He has a duffel bag in one hand and
    an envelope in the other. He steps off the curb into the
    street and holds up a hand to hail a cab. He does not notice
    the white Honda ACCORD double-parked by the curb about twenty
    yards behind him.
    ON CHARLES sitting behind the wheel watching ANDY climb into
    a cab. CHARLES puts the car in gear.
    FADE TO:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 101.

    134

    EXT. - HIGHWAY - DAWN

    134

    The ACCORD crosses the bridge heading into Manhattan - the NY
    skyline spread out in front of him. On the seat next to him
    is the Newspaper - the picture of BOBBY staring up. CHARLES
    is grim, determined as he keeps his eyes glued to the road.
    TITLE CARD: “CHARLES - OBSESSION”
    135

    EXT. - QUEENS ROAD - DAY

    135

    The ACCORD moves slowly along the Queen’s neighborhood Road.
    CHARLES cranes his neck trying to read the numbers on the
    houses.
    136

    EXT. - BOBBY’S HOUSE - DAY

    136

    CHARLES stands on the stoop of the house - waiting, cold.
    The door partially opens and a face peeks out.
    CHARLES
    Are you Mrs. Lasorda?
    No.

    GIRLFRIEND
    Who are you?

    CHARLES
    My name is Hanson.
    Lasorda live here?

    I...

    Did Bobby

    GIRLFRIEND
    What do you want?
    CHARLES
    My wife...my wife was shot by your
    husband.
    CHARLES holds up the Newspaper - it is tattered from constant
    use. GIRLFRIEND opens the door further.
    GIRLFRIEND
    He was my boyfriend.
    CHARLES
    We both lost somebody important to us.
    don’t...I just want to know why.

    I

    GIRLFRIEND
    Um...come back in an hour.
    Miss?

    CHARLES

    (CONTINUED)

    136

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 102.
    136

    CONTINUED:

    GIRLFRIEND
    I don’t want to say anything before...
    Just come back in an hour if you’re still
    interested.
    She shuts the door. CHARLES stands there a moment, confused.
    Then slowly makes his back down the steps.
    137

    INT. - BOBBY’S HOUSE - DAY

    137

    In the Living Room, cluttered with toys, CHARLES, GIRLFRIEND
    and BROTHER sit uncomfortably. The BROTHER eyes CHARLES
    suspiciously.
    You a cop?
    No.

    BROTHER

    CHARLES
    Do I look...?

    I’m not a cop.

    BROTHER
    So what do you want?
    CHARLES
    Just - like I told your sister. I want
    to why? I want to know what happened and
    who else was involved. I just...I just
    need to know.
    GIRLFRIEND
    Bobby never hurt anybody...
    BROTHER cuts her off with a wave of his hand.
    BROTHER
    We don’t know anything.
    CHARLES concentrates on GIRLFRIEND.
    CHARLES
    Please. I can’t... I can’t sleep. I
    can’t eat. I have to know. You do too,
    don’t you?
    GIRLFRIEND’s eyes well with tears. She nods and tries to
    hide her face. Silence. Finally, BROTHER gives.
    BROTHER
    You find out anything - you’ll let us
    know?
    CHARLES nods.
    (CONTINUED)

    137

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 103.
    137

    CONTINUED:

    BROTHER (cont’d)
    (hesitant - then going with
    it:)
    There’s this guy named Hank Tillinger in
    the City was involved somehow. He was
    here that morning and he left with Bobby.
    We found him at this place he hangs out.
    Mooney’s in the Kitchen.
    Kitchen?

    CHARLES

    BROTHER
    Hell’s Kitchen. Bobby used to hang out
    there and this Hank fuck too. Now we
    can’t find him.
    Tillinger.

    CHARLES
    Hank Tillinger.

    BROTHER
    That’s the scum.
    138

    INT. - MOONEY’S - DUSK

    138

    CHARLES sits at the bar of Mooney’s with the newspaper spread
    out on the bar, talking to J.P. The bar is nearly empty.
    CHARLES has a drink in front of him he never touches and a
    twenty dollar bill laying close to J.P.
    Tillinger?

    J.P.
    Nah, never heard of him.

    CHARLES
    You’re sure?
    J.P. looks at the twenty - then at the paper.
    J.P.
    This guy here - this Bobby - now he used
    to hang out here. I never talked to him
    but I’d see him time to time.
    CHARLES pushes the twenty even closer and reaches in his
    wallet.
    CHARLES
    If you hear anything about a Hank
    Tillinger, would you give me a call?
    CHARLES pushes a business card over with the twenty.
    picks it up and looks at it.

    J.P.

    (CONTINUED)

    138

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 104.
    138

    CONTINUED:
    J.P.

    Sure.

    CLOSE ON CARD: “Hanson Jewellers.”
    J.P. (cont’d)
    Hanson, huh? You know a Andy Hanson?
    Yes.

    CHARLES
    My...

    J.P.
    Guy named Andy Hanson hangs out here
    sometimes. He was in here yesterday.
    You know Andy - you related?
    CHARLES
    He was here yesterday?
    Yea.

    J.P.
    Tryin’ to find Hank.

    CHARLES
    Andy hangs out here?
    J.P.
    Yea - he’s a regular.
    CHARLES
    He’s my son.
    Yea?

    J.P.
    So you’re not a cop.

    No.

    CHARLES

    J.P.
    I thought you might be a cop. We’ve had
    buckets fulla freakin’ cops in here
    behind this LaSorda shit.
    (grabs $20 off bar)
    Ask your son - he knows where Hank is.
    Um...OK.
    No sweat.

    CHARLES
    Great. Thanks.
    J.P.

    J.P. scoops up the twenty as CHARLES climbs off the barstool
    and makes his way out - chewing on the information he has
    learned.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 105.

    139

    INT. - CHARLES’ DEN - NIGHT

    139

    CHARLES sits at desk thinking - opens a few drawers.
    Suddenly, sits straight up in the chair.
    ANDY (V.O.)
    If I could take it back, I would.
    CHARLES pulls at his hair as he thinks - nah, can’t be.
    Can’t be!
    140

    EXT. - NY JEWELRY DISTRICT - DAY

    140

    EST. SHOT of 47th Street.
    ON CHARLES enters a Jewelry store.
    141

    INT. - JEWELRY STORE BACKROOM - DAY

    141

    The OLD MAN sits at his desk with the Loupe hanging from a
    chain around his neck. CHARLES sits in the metal folding
    chair.
    OLD MAN
    Last person I ever thought I’d see again
    as long as I lived is Charlie Hanson.
    CHARLES
    You still a crook?
    OLD MAN
    I was never. You come here to insult me
    some more?
    CHARLES
    You know anything about a holdup in
    Fairfield?
    OLD MAN
    Connecticut?
    Yes.

    CHARLES

    OLD MAN
    What would I know about Connecticut?
    CHARLES
    You hear anything?
    OLD MAN
    No - why would I hear anything about
    anything? I sell diamonds.
    (CONTINUED)

    141

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 106.
    141

    CONTINUED:

    CHARLES
    And fence ‘em.
    Nah.

    OLD MAN
    Never.

    CHARLES
    Ever hear of a guy named Bobby Lasorda?
    OLD MAN

    Nah.

    CHARLES
    Hank Tillinger?
    Nah.

    OLD MAN
    Wrong tree, Charlie.

    CHARLES
    Bastards shot and killed my wife in a
    holdup at my store in Fairfield.
    CHARLES begins to shake.
    I’m sorry.

    He can’t stop.

    OLD MAN

    CHARLES
    (very emotional - at breaking
    point:)
    I don’t give a shit about your little
    side business. I don’t care about
    anything anymore except finding the guy
    that planned the job. Gimme a break - do
    you know anything?
    The OLD MAN studies CHARLES for a few beats.
    OLD MAN
    I remember when Charlie Hanson started
    out on this street. Young, cocky, good
    cutter. Long time ago, Charlie. You
    always hated my guts. Called me a crook.
    You were green. You didn’t know how evil
    this business is. You didn’t know shit
    about how evil the world is. I guess you
    know that now.
    OLD MAN has fished out the business card ANDY left him.

    (CONTINUED)

    141

    CONTINUED: (2)

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 107.
    141

    OLD MAN (cont’d)
    The world is evil, Charlie. Some of us
    make money off that evil. Some of us get
    eaten up by it.
    The OLD MAN hands CHARLES the card.
    ON CARD: Andrew Hanson.
    ON CHARLES shocked, surprised, confused.
    ON OLD MAN grinning ear to ear - taking perverse pleasure
    from this little drama.
    OLD MAN (cont’d)
    Looks just like ya, Charlie.
    right off the bat.
    ON CHARLES

    Knew him

    -numb, worst fears realized.
    OLD MAN (O.S.)
    Ironic such a good man would have such a
    bad son.

    ON OLD MAN - smiling wickedly: crooked teeth, gleam in eye,
    sinister, evil.
    TITLE CARD: “THE DEVIL KNOWS”
    142

    EXT. - NY STREET - DAY

    142

    The ACCORD is parked on the Street across the street from
    ANDY’s Apartment Building. CHARLES sits in the Driver’s
    Seat, waiting and watching.
    CHARLES POV
    ANDY comes out of the Building carrying an overnight bag and
    a duffel bag. ANDY hails cab. ANDY enters a Cab and the Cab
    pulls away followed by the ACCORD.
    143

    EXT. - BENNY’S APARTMENT BUILDING - DAY

    143

    The CAB stops in front of the building. The ACCORD - half a
    block back pulls to the side and stops. CHARLES watches as
    ANDY gets out of Cab and goes up to stoop of building. Car
    Horns blast as the ACCORD in blocking traffic. CHARLES pulls
    up and finds a place where he can pull over a bit to get out
    of the traffic’s way. He returns his attention to the stoop
    just as ANDY enters the building.

    (CONTINUED)

    143

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 108.
    143

    CONTINUED:

    ON CHARLES as he finds a parking place opposite BENNY’S
    building. CHARLES sits, cold at the wheel - hopelessly sad
    and defeated. This is a changed, broken man.
    144

    INT. - BENNY’S APARTMENT - DAY

    144

    BENNY, wearing a 20 year old ill-fitting suit, stands by the
    intercom next to the door. He looks at HANK in the center of
    the tiny room. HANK wears a suit and tie.
    BENNY
    This is stupid, lad.
    HANK
    I can handle him.
    BENNY
    Don’t let him change your mind. The
    Captain is expcting us in a half hour.
    There is a knock at the door. BENNY looks at the door but
    makes no move. HANK goes to the door and throws the dead
    bolt. He opens it and ANDY enters.
    Hey.

    HANK

    ANDY examines HANK as HANK closes the door.
    suit and tie. Then he notices BENNY.
    Benny.
    Andy.

    He takes in the

    ANDY
    BENNY

    ANDY
    What’s going on Hank?
    BENNY
    Hank and I...
    Hank!

    ANDY

    BENNY shuts up and shifts from foot to foot.
    HANK
    I’m gonna turn myself in.
    Bullshit.

    ANDY

    (CONTINUED)

    144

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 109.
    144

    CONTINUED:

    HANK
    I don’t know what else to do, Andy.
    ANDY
    I know what else to do.
    BENNY
    He’s doin’ the right thing..
    ANDY
    Benny, here’s a twenty - go to Mooney’s
    on me.
    I don’t...

    BENNY

    ANDY
    Give me a few minutes to talk to Hank.
    BENNY looks to HANK who nods. BENNY takes the twenty and
    leaves. HANK and ANDY eye one another suspiciously.
    ANDY (cont’d)
    You were just gonna sell me out?
    HANK
    Come with me. There’s nothing else we
    can do.
    ANDY
    Yes there is. Get your passport. We
    have to do this now. Right now. The
    cops have your name already.
    What?

    HANK

    ANDY
    The detective in Fairfield found the
    rental car. He’s looking for you. He’s
    already spoken to Tina.
    HANK
    You sold me out!

    You son of a bitch!

    ANDY
    We sink or swim together, Hank.
    HANK
    I can’t trust you.
    ANDY
    And I can’t trust you.

    Let’s go.

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 110.

    145

    EXT. - BENNY’S APARTMENT BUILDING - DAY

    145

    HANK and ANDY emerge from the building. ANDY carries his two
    bags. HANK carries one overnight bag. They turn and head up
    the street. Neither sees the ACCORD pull away from the curb
    opposite them and begin to follow.
    146

    EXT. - STREET CORNER - DAY

    146

    ANDY hails a taxi which pulls to the curb in front of him and
    HANK.
    ON HANK - scared, nervous, uncertain as he enters the cab.
    147

    EXT. - NY STREET - DAY

    147

    The Cab heads cross town through Central Park followed by the
    ACCORD.
    In the Cab interior, HANK and ANDY sit in the back. ANDY
    pulls a gun out of the bag. HANK’s eyes go wide. ANDY hands
    it to HANK.
    ANDY
    Put that in your belt and close your coat
    over it.
    HANK just holds it and stares at it.
    ANDY (cont’d)
    Do it. It’s a starter pistol.
    remember those, don’t ya?

    You

    HANK
    (doing as he’s told )
    What? What the fuck are we doing?
    ANDY
    Just follow my lead. You got us into
    this and you gotta help get us out.
    HANK
    I don’t think I can...
    ANDY
    This is so fuckin’ simple. Just stay
    right behind me and use your prop. Just
    hold it out so it can be seen. I’ll do
    everything else.
    HANK
    What are we doing?
    doing?
    (MORE)

    Andy, what are we
    (CONTINUED)

    147

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 111.
    147

    CONTINUED:

    HANK (cont’d)
    (desperate, pleading:)
    I don’t wanna do this, Andy!
    ANDY
    Shut the fuck up.
    148

    EXT. - DORSET APARTMENT - DAY

    148

    The CAB pulls up front. ANDY exits the Cab and reaches
    through the front window to pay the Cabbie. HANK exits the
    Cab hesitantly and uncertain. The ACCORD passes them and
    slows down beyond.
    ANDY leads the way into the building - the DOORMAN nods to
    ANDY and opens the door. HANK follows unhappily.
    149

    INT. - DORSET APARTMENT - DAY

    149

    The doorbell rings and rings until the BOY comes out of the
    bedroom in his robe and moves to the front door. He peers
    through the peephole.
    Who is it?

    BOY

    ANDY
    Tonic Water.
    The BOY is angry and disgusted.
    door.

    He sighs and pulls open the

    BOY
    I told you...
    ANDY bursts in - pushing the door and the BOY out of his way.
    His face is crazed - ANDY has gone into a “zone.”
    What?

    BOY (cont’d)

    The BOY falls back as ANDY pushes past him. HANK
    hesitatantly, gingerly, enters. The BOY doesn’t see HANK but
    goes right after ANDY.
    BOY (cont’d)
    What the fuck do you...?
    ANDY turns viciously on him. The BOY stops when he sees the
    out of control look at ANDY’s face.
    ANDY
    This is all your fuckin’ fault!
    The BOY is frightened and confused.
    (CONTINUED)

    149

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 112.
    149

    CONTINUED:

    BOY
    I want you out of...
    ANDY
    (to HANK:)
    Cover him. Shut the fuckin’ door and
    cover him.
    HANK swings the door shut and now, shaking, fumbles with coat
    and belt and the starter pistol. The BOY realizes there is
    someone else in the room and is alarmed.
    ANDY starts for the bedroom with the duffel bag. HANK has
    finally managed to get the gun out. The BOY starts to follow
    ANDY.
    Freeze.

    HANK

    The BOY turns and sees the gun.
    Oh fuck.

    BOY

    ANDY has frozen in the bedroom doorway.
    BOY (cont’d)
    Oh fuck me.
    HANK
    Just stand still.
    Fuck!

    Stand still.

    ANDY

    ANDY’S POV:
    Cowering on the bed is a FAT MAN. He is embarrassed and
    frightened, He tries trying to cover himself with a blanket.
    He cannot speak, he is so scared.
    ON ANDY as he pulls a gun from his belt. The FAT MAN
    screams. ANDY moves towards him waving the gun.
    Andy?

    HANK (O.S.)

    ANDY
    Get down - lay down.
    The FAT MAN continues to scream.

    (CONTINUED)

    149

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 113.
    149

    CONTINUED: (2)

    HANK (O.S.)
    Andy - you OK?
    ANDY
    Lay down and shut the fuck up.
    The FAT MAN stops screaming but is crying uncontrollably.
    Lay down.

    ANDY (cont’d)
    Lay down!

    The FAT MAN complies.
    HANK
    (edge of panic:)
    Andy!?
    ANDY
    It’s OK, it’s OK. Just keep him covered.
    (to FAT MAN:)
    Get...get under the covers.
    The FAT MAN looks at ANDY - frightened and confused.
    ANDY (cont’d)
    Get under the blankets.
    The FAT MAN complies.
    ANDY (cont’d)
    Stay there and shut up.
    The FAT MAN continues to cry as ANDY makes his way to the
    closet. He pulls it open and enters - the Shrine of Money is
    lit up. ANDY drops the duffel bag to the floor and breaks
    the glass with the gun.
    Noooo!

    BOY (O.S.)

    ANDY he begins to chip broken glass away with the gun when
    suddenly the BOY is on his back. ANDY whirls around and the
    BOY hangs on tight. ANDY backs into the wall but the BOY
    hangs on. The BOY is trying to gouge ANDY’S eyes out. ANDY
    repeatedly slams into the wall but the BOY hangs on.
    Oh Jesus.

    HANK (O.S.)
    Oh fuck. Oh Jesus.

    The FAT MAN is screaming.

    ANDY is pounding.

    (CONTINUED)

    149

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 114.
    149

    CONTINUED: (3)

    ON HANK in the center of the bedroom holding out the Starter
    pistol - he chants: “Oh Jesus. Oh God.” over and over
    throughout:
    ON ANDY as he goes forward and back to try to dislodge the
    BOY and comes flying out of the closet. ANDY goes down to
    the floor with the BOY on top of him. HANK holds the gun on
    them and chants. The FAT MAN has stopped screaming but sobs
    loudly under the blankets.
    ANDY and the BOY struggle. ANDY dislodges the BOY from his
    back and kicks at the BOY. The BOY swings back but misses.
    ANDY backhands the boy with the gun. The BOY is stunned for
    a moment and ANDY levels the gun at him.
    ANDY
    I’ll shoot you.

    I swear to God.

    The BOY makes a run for it but runs into HANK - HANK goes
    down with the BOY on top of him. The BOY is up again and
    through the door into the Living Room but ANDY is right with
    him. ANDY swings the gun in a downward arc and hits the BOY
    in the head. The BOY goes down. The BOY tries to crawl away
    but ANDY pursues. He hits the BOY again. The BOY tries to
    crawl but he is weakened and hurt. ANDY clubs him once again
    and the boy is still. ANDY, breathing hard, assesses the
    damage. He is afraid he may have killed him.
    Oh fuck.

    ANDY (cont’d)

    ANDY breathes shallowly - several rapid breathes and then
    hurries back into the room. HANK cowers against one wall the starter pistol at his feet. The FAT MAN continues to sob
    violently. ANDY retrieves the starter pistol and hands to
    HANK who stares at this foreign object in his hand.
    ANDY (cont’d)
    Go check him - he might be...
    him.

    Go check

    HANK nods numbly and leaves the Bedroom as ANDY goes to the
    closet. ANDY furiously begins scooping money out of the
    Shrine into the duffel bag. He sets down the gun to
    facilitate his job.
    HANK appears in the closet doorway.
    HANK
    I think he’s dead. I think you killed
    him. Jesus, Andy...

    (CONTINUED)

    149

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 115.
    149

    CONTINUED: (4)

    Stop it.

    ANDY
    Shut the fuck up.

    Oh Jesus.

    HANK
    Oh God.

    Oh...

    ANDY jumps up and grabs HANK - he shakes him.
    Shut up!

    ANDY
    Shut up!

    ANDY slaps him. HANK stops chanting but begins to cry.
    pulls him down to the floor.
    Here!

    ANDY

    ANDY
    Here! Get the money.

    ANDY pulls a handful of money out of the Shrine and into the
    bag as if showing HANK what to do. HANK, still crying, pulls
    money into the bag. ANDY picks up the gun, stands behind
    HANK and watches him clean out the Shrine. ANDY undoes the
    gun’s safety. ANDY holds the gun to the back of HANK’s head.
    ANDY closes his eyes. ANDY pulls the trigger.
    ANGLE
    From the Living Room, we see ANDY emerge from the Bedroom
    carrying the bag and the gun. Beyond him the FAT MAN is
    screaming uncontrollably. ANDY stops in the Living Room and
    shoves the gun into the bag. He looks around and suddenly
    realizes that something is terribly wrong. The BOY. The BOY
    is not lying on the Living Room floor. ANDY freaks - he
    panics and runs towards the front door. Just as he passes
    the Kitchen door - the BOY lunges out from the Kitchen with a
    large Butcher Knife which sinks into ANDY’S back. ANDY
    crashes into the wall. The BOY withdraws the knife and
    plunges again. ANDY crumples to the floor. ANDY turns over
    just as the Knife comes arcing towards him.
    CUT TO:
    BLACKNESS
    We hear sirens.
    FADE IN:
    150

    EXT. - DORSET APARTMENT - DAY

    150

    ON CHARLES who sits at the wheel of his ACCORD watching the
    swarm of Police Car descend from all around on the Dorset
    Apartment Building.
    (CONTINUED)

    150

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 116.
    150

    CONTINUED:

    There is tapping at the window. CHARLES jumps. He turns to
    see a uniformed OFFICER. CHARLES rolls down his window.
    OFFICER
    You’ll have to move along, sir.
    a crime scene.

    This is

    CHARLES nods and starts the car.
    151

    EXT. - CENTRAL PARK - DAY

    151

    CHARLES stands amongst many other BYSTANDERS, watching the
    chaos and commotion across the street at the Dorset.
    CHARLES’ POV:
    ANDY is wheeled out of the building on a stretcher and placed
    in the back of an Ambulance which roars away, siren blaring.
    ON CHARLES - torn. “Is this a good thing or a bad thing?”
    Pain: Now, I’ve lost my son too. Relief: God has removed my
    dilemma.
    152

    EXT. - HOSPITAL EMERGENCY ROOM ENTRANCE - DAY

    152

    GINA hurries along the sidewalk leading to the Emergency
    Room. Concern and fear on her face. She pushes through
    into:
    INT. - EMERGENCY ROOM - DAY
    GINA is followed closely by TINA who rushes to keep up. GINA
    approaches the Desk but stops when she spots CHARLES out of
    the corner of her eye. TINA bumps into her.
    GINA
    Go - go find out where they are.
    GINA gives TINA a little shove towards the desk.
    to the desk as GINA moves to CHARLES.
    Dad?

    TINA goes

    GINA (cont’d)
    Charles?

    CHARLES looks blankly up at GINA.
    GINA (cont’d)
    What are you...How did you get here so
    fast?
    CHARLES does not answer.

    GINA stoops down and hugs him.

    (CONTINUED)

    152

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 117.
    152

    CONTINUED:

    GINA (cont’d)
    It’s alright. He’s gonna be OK.
    CHARLES does not move.
    153

    INT. - HOSPITAL CORRIDOR - DAY

    153

    CLOSE ON GINA concerned.
    GINA’S POV:
    A DOCTOR is speaking to TINA in the middle of the Corridor.
    TINA breaks - she cries and leans against the DOCTOR.
    Suddenly, GINA is there and pulls TINA into her arms.
    He’s dead.

    TINA
    The bastard’s dead.

    TINA cries violently and GINA makes soothing noises.
    TINA (cont’d)
    He owes me money!
    154

    INT. - HOSPITAL ROOM - NIGHT

    154

    GINA sits beside a Hospital Bed that holds an unconscious
    ANDY. She holds his hand. She has been crying.
    GINA
    Pray, Baby. God can forgive you.
    155

    INT. - HOSPITAL WAITING ROOM - NIGHT

    155

    GINA enters the waiting area and moves towards CHARLES who
    sits staring blankly ahead.
    Dad?

    GINA
    He’s awake now, Dad.

    CHARLES looks at her - recognition and understanding in his
    eyes but he does not speak. He does not move. GINA sits
    next to him and takes his hand.
    GINA (cont’d)
    He’s going to be OK. The Doctor said he
    lost a lot of blood and they had to
    repair his stomach and lung but...
    She trails off.

    Silence.

    (CONTINUED)

    155

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 118.
    155

    GINA (cont’d)
    I think I never knew him. The...the
    Police said it was OK for you to see him.
    If you want.
    CHARLES rises wordlessly and walks out of the waiting area.
    TITLE CARD: “YOU’RE DEAD”
    We stay on CHARLES as he walks along the:
    156

    INT. - HOSPITAL CORRIDOR - NIGHT

    156

    CHARLES is just a husk of his former self. He is a zombie the walking dead. He feels nothing as he plods along
    approaching a door that is guarded by an OFFICER. The
    OFFICER steps to the side when CHARLES approaches and lets
    CHARLES pass through the door into:
    157

    INT. - HOSPITAL ROOM - NIGHT

    157

    CHARLES stands looking at his son as the door closes behind
    him. ANDY lies in the bed with his eyes closed. CHARLES
    approaches the bed. ANDY opens his eyes.
    ANDY
    (weak)
    Dad. Daddy.
    CHARLES stands next to the bed but does not move or speak.
    ANDY (cont’d)
    Daddy. I’m...I’m so sorry. I didn’t
    want... It got away from me. It just
    slipped away. I don’t how. I don’t know
    how to get back, Daddy. Please forgive
    me. I...I’ve been praying. I’ve been
    praying, Daddy.
    CHARLES
    Prayers won’t help.
    ANDY looks for comfort from his father - he begs for
    forgiveness and comfort and to be held. CHARLES does not he remains distant and cold.
    CHARLES (cont’d)
    There’s evil in this world.
    ANDY weeps silently. He closes his eyes. CHARLES reaches
    out and brushes hair back from his son’s forehead. ANDY
    responds greedily to the touch but is too weak to take his
    father’s hand. He stops crying.
    (CONTINUED)

    157

    CONTINUED:

    BEFORE THE DEVIL KNOWS YOU’RE DEAD - 119.
    157

    CHARLES reaches for a pillow behind ANDY’S head. Instead of
    fluffing it, however, he lifts it. He places it over ANDY’S
    face and applies pressure. ANDY begins to struggle but
    weakly and only for a moment. CHARLES continues to hold the
    pressure.
    158

    INT. - HOSPITAL CORIDOR - NIGHT

    158

    CHARLES walks away from the closing door of the room. The
    OFFICER reassumes his post. We STAY TIGHT on CHARLES as he
    moves towards us in the bright white light, in the bright
    white corridor with the blue OFFICER in the background.
    CHARLES is emotionless, dead, defeated, finished as he plods
    towards us closer and closer...
    FADE TO:
    159

    EXT. - STRIP MALL - DAY

    159

    A CAR pulls into a parking space near the front door of
    HANSON JEWELERS.
    TITLE CARD: “GINA”
    GINA emerges from the car and approaches the store.
    unlocks the front door and enters.
    160

    INT. - HANSON JEWELERS - DAY

    She
    160

    GINA turns off the alarms and moves behind the display cases
    to the register. She opens the drawer under the register and
    pulls out a handful of candy bars. She rips the wrapper off
    the first one and stuffs her face.
    FADE TO BLACK.
    THE END