OPEN
T H E D E V I L ' S A D V O C A T E
screenplay by
Jonathan Lemkin and Tony Gilroy
based on the novel by
Andrew Neiderman
REVISED SHOOTING DRAFT
January 18, 1997
FOR EDUCATIONAL PURPOSES ONLY
DEVIL'S ADVOCATE - Rev. 11/2/96
FADE IN:
"THE DEVIL'S ADVOCATE" (1997)
STATS146pages234scenes23,677words54%dialogue44characters
Words
- dialogue12,74054%
- action8,76337%
- other2,1749.2%
Scenes
location
- INT 173
- EXT 58
- UNKNOWN 3
time
- DAY 99
- NIGHT 53
- DUSK 18
- UNKNOWN 64
INT. FLORIDA COURTROOM - DAY
Northern Florida in the midst of a heat wave. Air conditioners fighting a losing battle. The gallery is full. The JUDGE a stern, old hand. The PROSECUTOR, an efficient man with a good case.
The witness is BARBARA. She is maybe 13. She is a witness in a criminal trial. Her testimony has been carefully rehearsed.
BARBARA
... we go back to our homeroom for dismissal, unless you have a pass for sports or something.
PROSECUTOR (O.S.)
And is that what you did on the day in question?
BARBARA
No. Mr. Gettys asked me to stay after class.
PROSECUTOR
What happened next, Barbara?
BARBARA
Mr. Gettys closed the door.
PROSECUTOR
Everyone else had gone?
BARBARA
Yes. He told me to sit in the chair beside his desk.
MR. GETTYS, the defendant, is 50. The very picture of respectability. His perfect wife and son staunchly enduring this testimony.
PROSECUTOR
In your own words, Barbara, can you tell us exactly what happened during the next few minutes?
KEVIN LOMAX. Defense counsel. Taking it all in.
BARBARA (O.S.)
I told him I was afraid I would miss my bus. He promised I would get to the bus on time if I would help him to do something...
Kevin -- his eyes -- drifting around the courtroom -- taking inventory -- assessing damage --
BARBARA (O.S.)
... Then he put -- before I could say anything -- he placed his hand inside my blouse...
Kevin -- checking the jury and --
BARBARA (O.S.)
... I was so frightened I didn't move. I thought if I was just quiet it would be okay...
Kevin -- checking Gettys -- seeing something that stops him cold --
BARBARA (O.S.)
... Then his other hand went up under -- inside my skirt...
Gettys' hand -- down below the table -- down where no one but Kevin could possibly see it -- Getty's fingers subtly feeling their way along the leg of his chair --
BARBARA (O.S.)
... his hand then, it started, he started, moving back and forth -- farther and farther inside my skirt...
Kevin -- glancing around -- nobody else can see it --
BARBARA (O.S.)
... he said he was testing to see if I had any special feelings, that he wanted to find out what kind of feelings I had...
Gettys' hand -- excited now -- stroking the chair leg -- absently -- involuntarily -- unmistakably sexual --
BARBARA (O.S.)
... I didn't know what to say, I was trying to think of something to say but I was confused and he just kept on -- with his hand -- moving it -- under my dress -- higher and higher...
Kevin is rocked. Trying not to show it.
BARBARA (O.S.)
... then I, I was asking him to stop but it was like he couldn't hear me -- he just kept on --
Suddenly, Gettys' hand stops moving --
BARBARA (O.S.)
-- and then I screamed...
Kevin looks up to find Gettys' eyes waiting for him. Gettys quickly returns his hand into his lap. He's been caught -- watching, as Kevin turns away and --
BARBARA
... then he, he got mad and said we would have to try again sometime.
PROSECUTOR
And did he try again?
BARBARA
Not with me.
PROSECUTOR
With friends of yours?
BARBARA
Yes.
PROSECUTOR
And when you told them what he had done to you, they told you what he had done to them, isn't that true?
BARBARA
Yes.
PROSECUTOR
I have nothing further.
JUDGE
(finding Kevin)
Your witness, Mr. Lomax.
KEVIN
Any chance, Your Honor, for a short recess?
CUT TO:
INT. FLORIDA COURTHOUSE HALL - DAY
Kevin heading quickly away from the courtroom. Gettys right on his heels.
KEVIN
Lloyd, as your attorney, I'm advising you to get the fuck away from me.
GETTYS
Why? What are you talking about?
KEVIN
The wife. The kid. The outrage. You definitely had me fooled.
GETTYS
You're my lawyer! You're here to defend me!
KEVIN
You know what I'm thinking? Why don't we put you on the stand and you can jerk off for the judge.
GETTYS
You know she's lying.
KEVIN
Get the hell out of my way.
Gettys standing aside, as we --
CUT TO:
INT. FLORIDA COURTHOUSE MEN'S ROOM - DAY
An ancient upstairs facility. Kevin standing at the mirror. Frozen there. Identity crisis. Morality crisis. He takes off his wedding ring. Letting cold water run in the sink. His eyes never leaving the mirror.
Behind him, the door opens. A local REPORTER enters, moves to the urinal.
REPORTER
Well, hell, there you are. Rumor was you were out wandering in traffic.
KEVIN
Not now, Larry.
REPORTER
What's the game plan, Kevin? I got a four-thirty deadline. I need a quote. Gimme a quote.
KEVIN
Fuck off.
REPORTER
'Mr. Lomax had no comment on today's events. Speculation, however, was widespread that the young lawyer's unblemished string of victories would come to an end in this courtroom.'
Kevin pulls some cold water to his face. Startled, as THUNDER EXPLODES overhead -- then just as suddenly, becomes nothing more than the urinal flushing...
REPORTER
It was a nice run, Kev. Had to close out someday. Nobody wins 'em all.
The Reporter exits. Kevin alone with the mirror.
And then it's over.
He's made his decision. Replacing his wedding ring. Reaching for his jacket, as we --
CUT TO:
INT. FLORIDA COURTHOUSE HALLWAY - DAY
Kevin walking through. His game face. A court officer opening the doors and --
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/2/96 6.
INT. FLORIDA COURTROOM - DAY
Barbara on the stand. Everyone in place.
KEVIN
Math hasn't exactly been your subject this year, has it?
BARBARA
No.
KEVIN
Any theories on why you've done so poorly in math this year?
BARBARA
It's not my fault.
KEVIN
Would you say Mr. Gettys is the problem?
(as she shrugs)
You're not sure. Have you had any discipline problems in math class this year?
BARBARA
No.
KEVIN
No? Isn't it true Mr. Gettys has had to talk to you repeatedly about your behavior? Isn't that why he asked you to stay after class?
BARBARA
No.
KEVIN
Have other teachers ever asked you to stay after class?
BARBARA
Once or twice.
KEVIN
Did they want to talk about your behavior?
PROSECUTOR
Objection. Immaterial.
KEVIN
Goes to motive.
DEVIL'S ADVOCATE - Rev. 11/15/96 7.
JUDGE
Overruled. You may answer the question.
BARBARA
I don't know what the other teachers wanted. You'd have to talk to them.
KEVIN
You ever pass notes in class, Barbara? Maybe a note that made fun of Mr. Gettys?
BARBARA
No.
KEVIN
No? Never called him a 'disgusting pig monster'?
BARBARA
No.
Kevin handing out paperwork.
KEVIN
Your Honor, I've pre-marked this Defense Exhibit A...
PROSECUTOR
Objection, Your Honor, we've had plenty of time for discovery here.
The Judge quickly studying his copy of the note.
JUDGE
I'm gonna let this in, Mr. Lomax, I'm also gonna suggest that if you have any other exhibits you present in a timely fashion or not at all.
KEVIN
(right to the note)
I'm sorry, Barbara, I was wrong, it's 'huge hog beast'. This is your handwriting, isn't it?
BARBARA
Yes, but --
DEVIL'S ADVOCATE - Rev. 11/15/96 8.
KEVIN
You wrote this in his class.
BARBARA
It's a joke.
KEVIN
'He's a huge hog beast. He probably eats a thousand pancakes for breakfast.' You're writing here about Mr. Gettys, aren't you?
BARBARA
It was meant to be a joke.
KEVIN
Have you ever had a party at your house when your parents were away?
(waiting)
Yes or no?
PROSECUTOR
Objection. This is way out of...
KEVIN
Credibility and bias.
JUDGE
Overruled. Answer the question.
BARBARA
(rattled)
Yes.
KEVIN
The word special came up in your testimony earlier. You claimed that Mr. Gettys asked you whether you had special feelings, if you felt special.
(beat)
Have you ever heard of a game called 'Special Places?'
(waiting)
You're under oath, Barbara. A man's career -- his reputation -- his life is on the line. This is not a joke. Have you ever played the game Special Places?
BARBARA
Yes.
DEVIL'S ADVOCATE - Rev. 11/15/96 9.
KEVIN
Is this game sexual in nature?
(waiting)
Is this game sexual in nature?
BARBARA
We only played it once.
KEVIN
This special party, Barbara, this was the first time you told the story about Mr. Gettys.
BARBARA
Yes.
KEVIN
I've spoken to the other children who were there that day. Can you think of anything else, Barbara, they might have told me about that party?
PROSECUTOR
Objection. Your Honor, if he has other witnesses let him call them.
KEVIN
(right at Barbara)
If I need to call those other children, I will.
JUDGE
I'm gonna sustain that, Mr. Lomax. Rephrase your question.
KEVIN
You threatened those children, didn't you?
BARBARA
That's not the way it happened --
KEVIN
You told them to falsely claim that Mr. Gettys had hurt them, didn't you?
BARBARA
These things did happen!
DEVIL'S ADVOCATE - Rev. 11/15/96 9A.
5 CONTINUED: (3A) 5
KEVIN
Because if they didn't go along you were going to tell everyone about this special party.
BARBARA
They happened to me.
KEVIN
So you made up a story. A special story, about a math teacher -- a disgusting pig monster -- you didn't like. That's what really happened, isn't it?
BARBARA
I didn't want to be the only one!
BARBARA'S FATHER can take it no longer-- suddenly on his feet -- charging--
BARBARA'S FATHER
You son of a bitch!
The bailiff making a diving grab--
KEVIN
I have no further questions, Your Honor.
Chaos -- court officers struggling with Barbara's Father and people yelling and Gettys hugging his wife and son and the gavel banging like mad and Kevin just sitting there, staring at the floor, completely drained, emotionally, morally, physically and --
In the back of the room, a man. He's black. Elegant. Amused by the scene. His name is LEAMON HEATH.
MARY ANN LOMAX leans in behind her husband. She is a doll. We love her.
MARY ANN
Pack it up, baby. You need a drink.
CUT TO:
INT. FLORIDA NIGHTCLUB - NIGHT
It's a rock and roll joint. Florida style. But it's early and empty. Kevin at the bar with Mary Ann, two LAWYER friends, the Reporter and someone's girl friend. 12 shot glasses, two rows of six. A perfect tequila pour and --
LAWYER #1 (O.S.) In the event we all get drunk and forget, I suggest we frontload the ceremonial bullshit... (a toast) To the best damn trial lawyer in Alachua County.
Kevin, subdued, watches the rest of them drink.
REPORTER
So, Kev, off the record, how's it feel to squeeze a man like Gettys through the door of reasonable doubt?
MARY ANN
No.
(waving him off)
I told you already, we're not gonna discuss that damn case anymore. Done.
(to Kevin)
Am I right?
KEVIN
I'll drink to that.
(as he does)
No shop talk.
CUT TO:
7 MONTAGE 7
Tequila pours. As the night goes on.
CUT TO:
INT. FLORIDA NIGHTCLUB - MEN'S ROOM - NIGHT
Drunk frat boys laughing as they exit. A BAR BAND in the distance. Kevin done pissing. Moving for the sink, when he suddenly stops. Freezes. A mirror above the sink. There he is. The guy that set Gettys free.
HEATH (O.S.)
Mr. Lomax?
Kevin turns -- Leamon Heath standing beside him.
HEATH
Helluva job today.
(quickly presenting his card)
I didn't want to disturb your party.
KEVIN
Milton, Chadwick, Waters. Never heard of it.
(looking up)
What're you gonna do? Sue me?
HEATH
Actually, we were hoping to retain your services. We've been following your progress.
KEVIN
From New York.
HEATH
You've never lost a case.
KEVIN
I've had some sympathetic juries.
HEATH
That's exactly what we're looking for. We want you to come to New York. Help us pick a jury.
KEVIN
Really.
(amused now)
I'll tell you, man. You're pretty damn good. And the card is great. And the black thing -- you being black -- whose idea was that? Paul's? 'Cause that's just brilliant.
(as he's walking)
I'm just not drunk enough yet to fall for it.
HEATH
You'd have to start next week.
(waiting as Kevin stops there)
All expenses. First class travel and lodging. You and your wife. A lump sum payment, regardless of verdict in the amount of, well...
(in his hand)
Here. Take a look.
Kevin takes the check. Still looking at it, as we --
CUT TO:
EXT. FLORIDA CINDERBLOCK CHURCH - DAY
Two dozen cars parked. MUSIC and SINGING from inside. A sign reads:
"SEMINOLE CALVARY CHURCH OF THE REDEEMER"
INT. FLORIDA CINDERBLOCK CHURCH - DAY
Inside the church. Plain and functional. Poor but faithful. A trio -- electric guitar, accordion, tambourine -- playing a hymn. Forty-five voices raised in song. The tempo is ragged and the pitch shaky, but the feeling is strong. They mean it.
The CAMERA FINDS -- MRS. LOMAX. Kevin's mother. Forty- six. Singing her heart out. A woman with faith, in the presence of her Lord.
The CAMERA FINDS -- Kevin. In the very back. Standing in the doorway. Halfway in. Halfway out. Shadow. Light. Waiting.
CUT TO:
EXT. FLORIDA CHURCH PARKING LOT - DAY
Post-service. Mrs. Lomax and Kevin walking to her car.
KEVIN
It's two weeks at most.
MRS. LOMAX
You've never been to New York.
KEVIN
Every dog gets a day.
MRS. LOMAX
Pick a jury...
(ridiculous)
I feel the hand of Mary Ann on this adventure.
KEVIN
Mom.
MRS. LOMAX
New York is not a good idea.
KEVIN
Look, how you fixed for cash?
MRS. LOMAX
I have my bad feeling.
KEVIN
(an envelope)
I put a couple hundred in here...
MRS. LOMAX
Sounds like more than two weeks.
KEVIN
Mary Ann typed out the numbers for you -- phone, the flights -- it's all in there.
MRS. LOMAX
Let me tell you about New York.
KEVIN
(with a smile)
Babylon.
MRS. LOMAX
Forewarned is forearmed.
(half-serious)
'Fallen, fallen is Babylon the great. It has become a dwelling place of demons.' Revelation Eighteen. Wouldn't hurt you to look it over.
KEVIN
(rolls with it)
Couldn't forget it if I tried.
MRS. LOMAX
And what happened to Babylon?
KEVIN
'Thou mighty city. In one hour hast thou mighty judgement come.'
MRS. LOMAX
'And the light of a single lamp shall shine in thee no more.'
Kevin gathers her in. Kissing her good-bye, as we --
CUT TO:
INT. HOTEL SUITE - NIGHT
Darkness. Where are we? A door opens in another room -- VOICES -- KEVIN and MARY ANN. They're LAUGHING. Coming in from a big night out. For an instant -- light -- we glimpse a great hotel suite -- and then --
KEVIN (O.S.)
-- wait -- leave 'em off --
MARY ANN (O.S.)
-- what are you... I can't --
KEVIN (O.S.)
-- close your eyes -- do it --
More LAUGHTER. Stumbling shadows moving PAST us and --
KEVIN (O.S.)
Okay. Stop.
EXT. HOTEL SUITE - BALCONY - NIGHT
Kevin behind Mary Ann with his hands over her eyes.He takes his hands away, but her eyes stay closed...
KEVIN
Okay. Open your eyes.
MARY ANN
(as she does)
Wow.
EXT. HOTEL SUITE - BALCONY - NIGHT
The view. Wham. The definitive New York skyline.
EXT. HOTEL SUITE - BALCONY - NIGHT
KEVIN
'Go ahead...'
(in her ear)
'... bite the Big Apple.'
MARY ANN
(she's dancing)
'... Rats on the West Side, bed bugs uptown, I can't give it away on Seventh Avenue. This town don't look good in tatters...'
KEVIN
I don't know... looks to me like that dress is in your way.
MARY ANN
(shocked, stops)
Why, counselor...
(her best drawl)
Surely you don't think a small- town girl changes overnight just because a man buys her dinner in the big city.
KEVIN
No, ma'am. In fact, I hardly ever think at all.
MARY ANN
Well, that's different, then. You're my kind of guy.
Kevin smiles. She's taking off the dress. Babylon.
CUT TO:
EXT. FOLEY SQUARE - ESTABLISHING - DAY
Six huge courthouses. All those courtrooms.
CUT TO:
INT. JURY COURTROOM - DAY
Criminal court. Voire dire. Potential jurors fill the benches. A bored judge. MEISEL, defense counsel, is a sour, New York veteran. The juror being questioned, a PIE-FACED MAN with bad vision.
DEVIL'S ADVOCATE - Rev. 11/15/96 16.
MEISEL
Do you think as a juror you'd be able to set aside any prior opinions you might hold about the savings and loan industry?
(long pause)
That was a question, sir.
PIE-FACE
What? Do I like bankers?
Heath catches Meisel's eye. Waves him over.
MEISEL
Your Honor, may I have a minute to speak with my colleagues.
ANGLE ON DEFENSE TABLE
Kevin and Heath. And the defendant -- a well-tailored reptilian banker. Meisel joins them. Sotto voce.
KEVIN
Dump him. While you're at it let's get rid of number six, eight, and I'd say lose number twelve, except the prosecutor's gonna fuck up and do it for us.
MEISEL
Number six? You're kidding, right? She's my first choice.
KEVIN
She's my first pass.
MEISEL
And eight? With the dreadlocks? That's crazy. He's a defendant juror if I ever saw one.
KEVIN
You see his shoes?
MEISEL
Look, kid, maybe down in Florida you're the next big thing, but this is New York. Manhattan. We're not squeezing oranges here.
KEVIN
He polishes those shoes every night. He makes his own clothes. He may look like a brother-with- an-attitude to you, but I see a man who's got a shotgun under his bed and woe betide the creature who steps into his garden.
(beat)
And number six? Your favorite? She's damaged goods.
MEISEL
She's a Catholic schoolteacher.
(to Heath)
She believes in human frailty.
KEVIN
No. There's something missing from her. She's wrong.
(eyes to the pool)
She wants on this jury. Somebody hurt her and she wants revenge.
MEISEL
How the hell do you know that?
KEVIN
(honestly)
I don't know.
MEISEL
(to Heath)
Look, either you put a stop to this happy horseshit or I walk.
HEATH
Walk.
MEISEL
(a pause)
All right. Here's the deal.
(to Kevin)
I lose with your jury? You do the explaining.
The defendant staring a hole into Kevin, as we --
CUT TO:
EXT. FOLEY SQUARE JURY COURT - DAY
Kevin leaving court. In no hurry to get home. He likes it here.
Across the street, a man, one of many passing on the sidewalk. Except this man turns as Kevin passes. Watching him. Seeing something that pleases him.
This is JOHN MILTON. And now, as Kevin disappears, Milton joins the flow of people heading down into a subway station -- down -- and gone, as we PULL BACK TO --
EXT. FOLEY SQUARE - DAY/NIGHT (TIME LAPSE)
As day becomes night.
NIGHT BECOMES DAY
19B AND AGAIN 19B
19C AND THIS TIME LIGHTNING SIZZLES THROUGH THE SKY 19C
CUT TO:
INT. HOTEL SUITE - NIGHT
Mary Ann watching TV alone. Remnants of a room service dinner. They've been living here for weeks now. The maids have started to give up.
Kevin enters looking beat. Grabs a cold french fry.
MARY ANN
(into her show)
Your mother called. She has her bad feeling.
KEVIN
Every now and then she gets one right.
MARY ANN
What's up?
(looks over)
You okay? Something's up.
KEVIN
They deliberated for thirty-eight minutes.
MARY ANN
Oh shit...
(MORE)
DEVIL'S ADVOCATE - Rev. 11/2/96 19.
MARY ANN (CONT'D)
(turns off the TV, comforting him)
Oh, Kevin... I'm sorry, honey. What the hell did they expect? The man is guilty as can be. Wasn't a jury anywhere gonna let him off.
KEVIN
Yeah. Except one.
MARY ANN
Kev....
KEVIN
(a big ole smile)
Not fucking guilty.
MARY ANN
Omigod...
KEVIN
Thirty-eight minutes. My jury.
MARY ANN
You did it! Omigod, Kevin...
KEVIN
Put on something that's gonna be easy to take off later. We are going out, girl!
CUT TO:
INT. LAW FIRM LOBBY - DAY
Milton, Chadwick, Waters. Those words written in stone on the wall. The decor is stark, dramatic, awesome.The receptionist is simply stunning. Kevin, wearing his best suit, walking with Heath.
HEATH
Sorry to keep you waiting, but Mr. Milton got pinned down in Indonesia a little longer than expected.
(quietly as they hit the view)
Not bad, huh? You can play it cool if you want, but the first time I walked in here, my jaw was on the floor.
INT. LAW FIRM HALL - DAY
The firm offices. A large central atrium. Offices rim this space.
Lawyers come in all shapes and sizes. Assistants -- male and female -- are uniformly attractive. The HUM of serious BUSINESS in the background.
HEATH
(as they walk)
We've got forty partners vested at the moment. Close to six hundred associates. This is the home office, but we've got quite a few international arrangements, so Mr. Milton spends a good deal of his time in the air. In addition to our corporate clients, we're currently representing about twenty-five foreign countries. Mid-East, Balkans, Central America, West Africa. Interesting work, but travel intensive.
Kevin slowing as they pass an open doorway --
HEATH (O.S.)
He's got you scheduled for fifteen minutes, which is a good sign, so make the most of it...
INT. LAW FIRM - CHRISTABELLA'S OFFICE - DAY
THROUGH a large window we see a woman pacing her office. She's wearing a headset and arguing in machine-gun Italian. She is a goddess. Her name is CHRISTABELLA. She is beautiful beyond propriety. She will also turn out to be a brilliant EUC lawyer. She turns. Sees us staring -- like that -- Venetian blinds close tightly.
INT. LAW FIRM HALL - DAY
Heath is now far ahead. Kevin rushing to catch up --
INT. LAW FIRM - ARCHED CORRIDOR - DAY
Kevin about six steps into it when suddenly, he looks down. Stops. Completely spooked.
HEATH
Gotcha.
(smiles)
Man, I just love that...
The floor is nothing but glass. Sixty stories above the world. A bridge between two skyscrapers.
HEATH
I watched a Senator piss his pants right where you're standing.
KEVIN
(nonplussed)
Great.
HEATH
He's waiting for you. Good luck.
Kevin sucks it up. Starts walking. Up ahead, nothing but an open door.
CUT TO:
INT. MILTON'S OFFICE - DAY
First of all it's round. And large. The walls are made of stone. No windows. There are dramatic shafts of natural light from above. Stark and clean to the extreme. No paper anywhere.
Kevin standing there. Taking in the space.
MILTON (O.S.)
Behind you.
Kevin turns. There he is.
MILTON
Sorry. Didn't mean to...
KEVIN
No. Please.
(his hand)
Kevin Lomax.
MILTON
(they shake)
John Milton.
KEVIN
Nice to meet you.
MILTON
Have we been treating you well?
KEVIN
Very well. Thank you.
MILTON
Your wife, she's had a good time?
KEVIN
She sure has. It's been great. The whole thing's been great.
MILTON
Good. That's our secret. We kill you with kindness.
(walking the room, circling)
What's your secret?
KEVIN
I couldn't say.
MILTON
You were a prosecutor.
KEVIN
Out of law school. Five years in the Jacksonville D.A.'s office.
MILTON
Sixty-four straight convictions. What a number.
KEVIN
I like to be in court. I didn't plea out a lot.
MILTON
What's that like? One day you're putting them away and the next you're setting them free?
KEVIN
Takes a little getting used to.
MILTON
Pays better though, doesn't it?
KEVIN
Yes it does.
MILTON
The math teacher. The Gettys case. I hear you were brilliant.
KEVIN
Prosecutor dropped the ball.
DEVIL'S ADVOCATE - Rev. 11/2/96 23.
MILTON
Really. So you think your guy was guilty.
KEVIN
I didn't say that.
MILTON
What did you say?
KEVIN
How's this? I began the case with a clear conscience.
MILTON
(quiet a moment)
I was sure you had a secret.
KEVIN
The men's room.
(beat)
Upstairs men's room in the Duval County courthouse. There's a hole in the wall. Straight through to the next room.
(smiles)
I spent five years listening to juries deliberate.
MILTON
I love it.
KEVIN
Love it all you want, just don't repeat it. I'm not sure the Florida Bar Association would appreciate it.
MILTON
You don't really want to go back to Florida, do you? Walk with me.
INT. MILTON'S OFFICE - PANEL - DAY
With that, Milton pushes a button. Huge panel screens open out to:
EXT. MILTON'S TERRACE - DAY
A reflecting pool. Water right to the edge. A narrow walkway straight through the middle. And we're fifty stories above the city. The effect is staggering.
DEVIL'S ADVOCATE - Rev. 11/15/96 24.
MILTON
What do you think? Some people can't handle it.
KEVIN
It's peaceful.
MILTON
Exactly.
(pleased)
Fill in the resume. Tell me about your family. What does your father do?
KEVIN
I never got to know my father. He passed away before I was born. My mom raised me. Just the two of us.
MILTON
She never remarried?
KEVIN
She wasn't married the first time.
MILTON
That can't be easy in Gainesville.
KEVIN
I don't think it's easy anywhere.
(re the view)
Holy shit...
MILTON
Little different when you're looking down, isn't it?
(beat)
Tell me about her. Your mother. What's she like?
KEVIN
She's a preacher's daughter. She's tough. She's worked in the same poultry plant for as long as I can remember. I think she's up to eight-fifty an hour. She's got a church she really likes, so she's usually either there or they go out, they do a lot of volunteer work.
DEVIL'S ADVOCATE - Rev. 11/15/96 25.
MILTON
'Many are in high places, and of great renown: but mysteries are revealed unto the meek.'
KEVIN
So they say.
MILTON
Didn't rub off on you? The book? The church?
KEVIN
I'm on parole. Early release for time served.
Suddenly they're quiet. Silenced by the view.
MILTON
Lotta potential clients down there. (Sooner or later it all flows through the streets.)
KEVIN
You don't have to sell me on New York.
MILTON
You like it here, don't you?
KEVIN
Are we negotiating?
MILTON
Always.
KEVIN
Why do you need a criminal department?
MILTON
Because our clients break the law just like everyone else and I'm tired of sending their business across the street.
KEVIN
Are you offering me a job?
MILTON
I'm thinking about it. You have the talent. I knew that before you got here. It's the other thing I wonder about.
DEVIL'S ADVOCATE - Rev. 11/15/96 26.
KEVIN
What thing is that?
MILTON
Pressure. Changes everything. Some people, you squeeze them, they focus. Some people fold. Can you summon your talent at will? Can you deliver on deadline? Can you sleep at night?
KEVIN
When do we talk about money?
MILTON
Money's the easy part.
CUT TO:
EXT. LOMAX BUILDING AND STREET - DAY
Carnegie Hall. High off Central Park. A Mercedes stretch pulls to the curb.
HEATH (V.O.)
Mt. Sinai Hospital right up the street. Some excellent schools.
The driver rushing to open the door. Heath, Kevin and Mary Ann getting out of the car just as a group of uniformed school children come charging out of the building to meet their bus.
HEATH
I doubt it was at the top of his list when Mr. Milton bought the building, but it's a great neighborhood for children.
LOOKING UP - BUILDING
A stately, pre-war apartment house. One unique touch; the penthouse rises in a sort of wedding cake design.
CUT TO:
INT. LOMAX APARTMENT LANDING - DAY
Turn of the Century. Elegant. Two apartments per floor. JACKIE HEATH waiting here. She is black, early thirties, and very, very attractive.
The elevator doors open. Mary Ann steps out, followed by Kevin and Heath.
JACKIE
You must be Mary Ann -- Welcome. I'm Jackie Heath...
MARY ANN
It's so sweet of you to come by.
JACKIE
Please. We live across the hall.
MARY ANN
You're kidding?
HEATH
Right here.
KEVIN
So it's just two apartments per floor?
JACKIE
(to her husband)
You didn't tell them about the apartment?
HEATH
I thought I'd let it speak for itself.
Opening the door, and we enter --
INT. LOMAX APARTMENT - DAY
A dream. Twelve-foot ceilings. Huge, oversized rooms. Crown moldings. A huge central hallway. And light. Kevin and Mary Ann walking through. Blown away.
HEATH
It's what they call a classic eight.
JACKIE
We had them paint everything white. Let you see it naked before you pick your palette.
MARY ANN
What am I picking?
JACKIE
Palette. Your colors.
HEATH
I need to warn you about one thing.
(as they turn back)
There are going to be some very envious people at the firm. These apartments, there aren't many of them, it's really a partner's perk. You must've made quite an impression.
JACKIE
Took us six years to get in here.
CUT TO:
EXT. LOMAX APARTMENT BALCONY - DAY
French doors opening. Kevin walks out. Mary Ann just behind him. They stand there, staring at the park.
MARY ANN
Are you really this good?
DEVIL'S ADVOCATE - Rev. 11/2/96 29.
KEVIN
I sure as hell hope so.
MARY ANN
They must want you pretty bad.
KEVIN
Look, Mare, I'm only getting behind this if you're on board. You want to go home, I'm with you.
MARY ANN
Sure. Let's go back to Gainesville. You can keep scrounging for clients and pumping out the basement and I'll keep repossessing cars for Akamian. Maybe, if we kill ourselves, in about five years we can afford a baby and a weekend shack at Gulf Shores.
(beat)
Are you shitting me?
She smiles first. Kevin pulling her toward him, as we --
CUT TO:
INT. FIRM CONFERENCE ROOM - DAY
Incredible and extreme. Forty people -- SENIOR PARTNERS and department heads -- seated at the table. They've been going around the table introducing themselves to Kevin. Nearing the end now --
LAWYER #1 Krasna. Maritime Law.
LAWYER #2 Parvathi Resh. Energy law. I run the Islamic sub-group.
LAWYER #3 Joyce Rensaleer. Mergers and acquisitions.
LAWYER #4 Chan Sanyou. Intellectual property.
BARZOON
Eddie Barzoon. Managing Director.
Christabella and another woman running in. Taking seats quickly. Christabella beside Kevin.
DEVIL'S ADVOCATE - Rev. 11/2/96 30.
CHRISTABELLA
Christabella Adrioli. Economics. Primarily G-7 and E.C.
MILTON
There you go, Kevin. The whole team. I'm trying to think how long it's been since we were all together. All of us. Too long. I'm looking around, I know some of you came from very far away to be with us here today. It's appreciated.
(pacing the window)
This room we're in was built -- architecturally designed -- to promote healthy group dynamics. A psychic centrifuge. Makes you want to reach out, doesn't it? Inclusion. Commonality. Synergy. All that good shit. That's what I'm looking for today. Because when I hear stories-- the kind of stories I've been hearing-- about backbiting, about partners not working together, departments cutting each other's throats over clients, or worse... I feel drained. It drains me. I feel empty. I feel as though I've let you all down.
(off dead silence)
We need something. A gesture.
(across the table)
What do I need, Eddie?
BARZOON
How about a public flogging?
MILTON
Wait a minute. I got it. It's perfect. It's intimate. It's quick. Doesn't cost a thing. There's a power to it. What is it?
(beat)
Let's hold hands. All of us. Together.
Milton is first. Reluctance begins to fold.
DEVIL'S ADVOCATE - Rev. 11/2/96 31.
MILTON
Right now. Every person at this table -- take the hand of the person on either side...
Kevin finds Christabella's hand at his side.
MILTON
You want out of this, Eddie?
BARZOON
You've made your point, John.
MILTON
You won't hold hands?
(stare-down)
It's important to me, Eddie.
Kevin watching Barzoon fold. Watching the circle form.
MILTON
See. See, I feel better already.
CUT TO:
INT. KEVIN'S OFFICE HALL - DAY
Very nice. Major windows. Stripped down at the moment, but there's a desk and phone.
HEATH
What do you think?
KEVIN
(kidding)
I guess it'll do.
PAM (O.S.)
Until something better comes along...
In the doorway, PAM GARRETY. Never married. Two-pack-a- day habit. Tough as dirt.
HEATH
Kevin Lomax. Pam Garrety.
(MORE)
HEATH (CONT'D)
(as they shake)
Pam was with the Brooklyn D.A.'s office for fourteen years, so she knows her way around the local scene. She'll be your guide.
(to Pam)
You're gonna be expediting his New York Bar application, right?
PAM
In the pipeline. For now, we'll just have you work pro hac vice. We've petitioned Florida for a letter of good conduct. And...
(a folder)
... I prepared, at Mr. Milton's request, an overview of the Moyez case.
KEVIN
The Moyez case?
CUT TO:
EXT. EAST HARLEM STREET - DAY
Deep ghetto side street. One of those blocks that have been completely lost. One whole side of the street has nothing but boarded-up row houses.
A black Town Car pulling through. Slowing now --
INT. CAR (EAST HARLEM) - DAY
Kevin and his DRIVER peering across the street.
DRIVER
I gotta stick with the vehicle.
CUT TO:
EXT. DAHOUMEY BAKA - DAY
A storefront botanica. Insane colors. Rusted iron grates covering two tiny cataract windows. A steel door is open. There's a sick-looking DOG tied to the doorknob; he begins BARKING wildly, as he sees --
Kevin walking from the car. Suit and tie. Briefcase. Turning, as he hears --
DEVIL'S ADVOCATE - Rev. 11/2/96 33.
JUNKIE (O.S.)
You get 'em! Go get 'em, man!
Three JUNKIES camped on the stoop of a burned-out brownstone across the street. Dull, wasted faces aroused by the DOG'S BARKING --
JUNKIE
Tell her turn that shit down! I know what she's doin'! That's right! Tell 'em take that noise back t'Africa 'fore I --
Stopping instantly because -- a WOMAN is standing in the botanica doorway. Her skin is jet black. Her eyes are pale blue. Her hair is white. She holds a live chicken by its feet. The DOG is still BARKING so she slaps it. Hard. Now there is silence.
KEVIN
I'm looking for Phillipe Moyez.
She moves aside. Kevin enters --
INT. DAHOUMEY BAKA - DAY
It's dark. Oil lamps and candles for light. The air thick with incense. Jars and bags and boxes are stacked on shelves everywhere. Powders. Oils. Bones. Skins. Potions. Dried herbs.
KEVIN
I called this morning, I'm not sure who I spoke with.
(awkward silence)
I'm his lawyer. I have a card...
(finding it)
They said he would meet me here. Phillipe Moyez.
WOMAN
(into the back)
Bhalla! Bhalla!
Kevin taking a very deep breath, as we --
CUT TO:
INT. DAHOUMEY BAKA - STAIRS - DAY
Darkness. A door opening above us. A BOY -- maybe ten -- standing there. Kevin behind him.
KEVIN
Look, I'm not sure I'm making myself clear here.
BOY
Moyez.
(a French accent)
You need him. Speak wid him.
INT. DAHOUMEY BAKA - STAIRS - DAY
The Boy hits the lights. A naked bulb on the landing below. Beyond that, darkness.
KEVIN
You're saying he's down here?
(incredulous)
In the basement? In the dark?
BOY
(laughing)
Where? Where you think -- ? Where you think me taking you?
INT. DAHOUMEY BAKA - BASEMENT HALL - DAY
The Boy, still laughing, starts down the stairs -- into the darkness. Kevin hesitates. Sucks it up. Crouching not to hit his head as he goes down into --
INT. DAHOUMEY BAKA - BASEMENT - DAY
Around the landing -- the Boy still in front of him and -- down -- as another light comes up and the boy moves quickly through the space, turning on lamps here and there. No furniture. Mounds of bones. The walls painted a deep, black red.
INT. DAHOUMEY BAKA - MOYEZ'S BASEMENT - DAY
Kevin waiting as the last light goes on --
MOYEZ (O.S.)
I thought I would recognize you, but I do not.
Kevin, spooked, wheels around --
PHILLIPE MOYEZ squatting in the corner. Skinny and intense. His eyes opaque and piercing at the same time. At once unassuming and terrifying. A plastic bag of fresh green roots in his lap. Ghat. Miraa. African cocaine. His teeth black from chewing it.
KEVIN
Mr. Moyez?
(as he nods)
We've never met. I'm a lawyer. I'm here about the animals.
MOYEZ
As you wish.
KEVIN
I'll be arguing your case with the city. I need to ask you some questions.
(gets folder)
I've done a little preliminary research -- precedent -- cases in the past that dealt with Santeria and Vou--
MOYEZ
No. This is not Santeria. We are not Voodoo. Candomble. Obeayisne. None of that. We are much older. Before. Before all of it.
KEVIN
Okay. Is there a name? Or...
MOYEZ
We have papers. At your firm. We have the tax exemption.
KEVIN
Okay. I'll get right into that.
(scribbling away)
The animals. Let's start with that, then.
MOYEZ
We have an investment in blood. Think of it as spiritual currency.
Moyez stands. Starts slowly across the room.
KEVIN
Look, Mr. Moyez, I'm going to need your help with this.
MOYEZ
Yes. That's very clear.
KEVIN
Perhaps we could start at the beginning?
Moyez, ignoring him, moves to an old refrigerator beside the stairs. For an instant, the door is open -- just a glimpse. Meat. Bags of entrails. Jars of blood. Moyez goes to a workbench near the wall --
KEVIN
Mr. Moyez?
MOYEZ
What is the name of the man who will prosecute us?
KEVIN
(scanning file)
Merto. Assistant District Attorney Arnold Merto.
MOYEZ
Bhalla. La chemise noire. Vite!
The Boy already running up the stairs. The sound of NAILS FALLING onto the workbench --
KEVIN
What are you doing, Mr. Moyez?
Moyez stands aside, wiping his hands on his trousers.A huge beef tongue sits on the bench. The nails are scattered around it.
MOYEZ
You can go now. You will have all the help I can give you.
Moyez now with a hammer. And the nail. Driving it into the tongue. Kevin backing away, as we --
CUT TO:
INT. KEVIN'S OFFICE AND HALL - DAY
Video monitor -- FULL FRAME.
DEVIL'S ADVOCATE - Rev. 11/2/96 37.
INT. DAHOUMEY BAKA BASEMENT - DAY
Hand-held footage of a police raid. We're running -- through a building -- New York cops -- an animal control officer -- through a door -- voices yelling -- down some steps -- into a back yard -- people standing --
Here -- a scuffle starting -- voices rising -- the camera shaking -- we see Bhalla -- and the Woman -- and --
There -- in the middle, is a goat -- on its knees -- its throat has just been cut -- blood pouring into a pan and Moyez holding its head with one hand -- a knife in the other and this positively orgiastic expression on his face, and on that image, we freeze frame.
& &
REVERSE TO:
INT. KEVIN'S OFFICE AND HALL - KEVIN - DAY
with the remote control. Pam there with him. A long, sour silence.
PAM
What do you think?
KEVIN
It's a health code case. And it's a loser. So what's the point?
(watching her)
It's a test, right?
PAM
Isn't everything?
KEVIN
The smart thing to do is make a deal. Plea him out and suppress the tape.
PAM
I'm sure the D.A.'s waiting for your call.
KEVIN
Yeah, well, let him wait.
(beat)
And you can tell Milton too.
(beat)
I didn't come to New York to plea bargain.
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/15/96 38.
INT. LOMAX APARTMENT - DAY
Jackie rejecting Mary Ann's color choices.
CUT TO:
INT. KEVIN'S OFFICE AND HALL - NIGHT
Law books stacked around. An associate wheels in a trolley with more books.
CUT TO:
INT. LOMAX APARTMENT - NIGHT
Mary Ann eating fried chicken. She doesn't like the wallpaper. She's tearing it off, as we--
CUT TO:
INT. KEVIN'S OFFICE AND HALL - NIGHT
Kevin working late. Across the hall Pam is going home.
PAM
It's only a health code case.
CUT TO:
INT. MANHATTAN COURTROOM #2 (MOYEZ COURTROOM) - DAY
Bench trial. No jury. JUDGE THEO SKLAR and staff. A.D.A. MERTO at his seat. Pam sits with Moyez. Other than that, it's empty.
A rump roast slaps down onto a table.
KEVIN (O.S.)
That's a veal roast, Your Honor. U.S.D.A. approved and stamped. Eight days ago, in Kansas City, two men pushed a calf into a steel frame as a third man fired a high- voltage staple-gun into the animal's skull. Men kill animals and eat their flesh. Phillipe Moyez killed a goat. He killed a goat. And he did it at home, in a manner consistent with his religious beliefs. Now some people may find it bizarre.
(MORE)
DEVIL'S ADVOCATE - Rev. 11/15/96 38A/39.
KEVIN (O.S.CONT'D)
It's certainly not a religious practice performed by everyone. It's not as common as, say, circumcision. It's certainly not as common as the belief that wine is transformed into blood. It's not even as common as the handling of poisonous snakes to prove one's faith. But Phillipe Moyez isn't two thousand miles away in a stockyard. He doesn't use electricity to kill. And worst of all...
(holding up the roast)
Phillipe Moyez is not shrink- wrapped.
Merto begins to cough. Quietly at first, but...
KEVIN
Your Honor, the city timed this police action to catch my client exercising his constitutionally- protected right to religious freedom.
Merto's coughing getting worse as he tries to stop...
JUDGE SKLAR
This is a law protecting Kosher butchering.
KEVIN
Exactly, Your Honor. And I'd like to move at this time for an immediate directed verdict for dismissal.
Moyez staring a hole in Merto, and the man cannot stop coughing...
JUDGE SKLAR
I happen to know a little bit about Kashrut law, Mr. Lomax.
DEVIL'S ADVOCATE - Rev. 11/2/96 40.
KEVIN
I'm aware of that, Your Honor, which is why I feel confident in requesting a dismissal.
JUDGE SKLAR
Mr. Merto?
Merto can't speak -- wheezing and coughing, as we --
CUT TO:
INT. MOYEZ COURTHOUSE HALLWAY - DAY (TEN MINUTES LATER)
Empty and dark. Kevin, Moyez and Pam leaving the courtroom. All smiles. Moyez shaking his hand and thanking him, and then, from behind them, the sound of one person CLAPPING --
MILTON
(coming toward them)
Bravo, Kevin. Bravo.
(as he arrives)
Pamela, you're looking lovely.
(to Moyez)
Satisfied, Phillipe?
MOYEZ
Always.
MILTON
Kevin, what can I say?
(smiles)
Outstanding.
Kevin, trying to look modest and failing, as we --
CUT TO:
EXT. CANAL STREET (CHINATOWN) - DAY (LITTLE LATER)
A street-food stall. Milton paying for Kevin's eggroll. And they're walking...
MILTON
Best street food in the world. Try that. Tell me it isn't great.
(as Kevin eats)
New York. What a scene, right?
(MORE)
DEVIL'S ADVOCATE - Rev. 11/2/96 41.
MILTON (CONT'D)
Guy like Moyez living in that subterranean shithole all the time he's running around with fifteen million dollars in the bank.
KEVIN
You gotta be kidding.
MILTON
What do you think? We're giving you away? He's paying us in goat's blood? I'm billing you out at four-hundred an hour, my friend. I don't see a whole lot of pro bono work in your immediate future.
(buzzing here)
Seriously, what I like, you got in there with him. Inside the cage. That's instinct. Can't be taught. You gotta hear that on your own. It's gotta be in your blood. It's molecular. I bet I've got five thousand lawyers working around the planet. I couldn't name ten -- couldn't name three -- I'd trust with Moyez.
KEVIN
So what the hell are they doing?
MILTON
What are they doing? They're corporate lawyers, what do you think they're doing? They're busy reducing life and death to the proper position of a semi- colon. They're doing needlepoint. Push button battles. Push button wars. Armies that get so fucking far away from each other they need satellites to tell them who won. No pain. No sound. No smell. One big, multinational circle jerk. You, on the other hand, you're on the slaughterhouse floor. You can't help but smell your clients.
KEVIN
I figure you came to court to make sure I didn't fuck this up.
DEVIL'S ADVOCATE - Rev. 11/2/96 42.
MILTON
Maybe I did. But don't get too cocky. No matter how good you are. Don't let them see you coming. That's the gaff, my friend -- make yourself small. Be the hick. The cripple. The nerd. The leper. The shit- kicking surfer. Look at me -- I've been underestimated from day one. Do I look like a master of the universe? That's your only weakness as far as I can tell.
KEVIN
What's that?
MILTON
The look. The Florida stud thing. 'Scuse me, ma'am, did I leave my boots under your bed?'
KEVIN
Never worked a jury didn't have a woman.
MILTON
You know what you're missing? What I have? This beautiful girl she's just fucked me every way she knows how -- we're done-- she's walking to the bathroom-- she turns back -- and there I am. It's me. And she smiles-- it's like a veil coming down across her face -- and that smile, that's a question mark, because she's looking at me, she's wondering, how did that happen? And see, right there, from that moment on, she's got a secret. I'm the hand up Mona Lisa's skirt. I'm the whisper in Nefertitti's ear. I'm a surprise. They never see me coming. That's what you're missing.
Milton escaping across the street.
KEVIN
So why did you come down today?
DEVIL'S ADVOCATE - Rev. 11/2/96 43.
MILTON
Because I knew it was gonna be good. Because I knew I was gonna like it. That you would shine-- that we would take this walk-- that we'd really talk. Why I came down? You want the truth? I'm an aging, hipster plutocrat. I came up from nothing. From dirt. I'm warming my hands on your talent --
(distracted then -- )
Where's the chicken?
KEVIN
What?
A CHINESE MAN sits in a doorway--
MILTON
(perfect Cantonese)
Where's the chicken? The chicken that plays tic-tac-toe. He used to be right here.
CHINESE MAN
(Cantonese)
No, you passed it. Back that way.
MILTON
(back to Kevin, as they walk)
There's a chicken, he's famous, he plays tic-tac-toe. He never loses.
(suddenly)
Hey. Like you. Right?
(catching himself)
Look, I'm rambling because I'm excited. You're in the part of the game I like best. The realm of the True Believers. You are a believer, aren't you?
KEVIN
I believe in the presumption of innocence.
MILTON
Better a hundred guilty men go free than a single innocent be executed.
DEVIL'S ADVOCATE - Rev. 11/2/96 44.
KEVIN
Something like that.
MILTON
No. Exactly like that. It's faith. You're either in or out. You can't believe a little bit.
KEVIN
I was kidding.
MILTON
You're not here to amuse me. See, that's why people hate lawyers. So many of us have lost our faith. Don't let that happen to you. Token?
KEVIN
Excuse me?
Milton offering a token. Behind him, the entrance to the Canal Street station --
MILTON
Learn the subways, Kevin. Use them. Stay in the trenches.
Kevin taking the token, as we --
CUT TO:
& &
INT. LOMAX APARTMENT - NIGHT
Kevin just coming in from work. The apartment is starting to come together. Still not enough furniture, but the sparseness reads as elegance.
KEVIN
(walking through)
Mare... Mare...?
MARY ANN (O.S.)
(from the bedroom)
You're late...
DEVIL'S ADVOCATE - Rev. 11/2/96 45.
He stops. In the hallway -- a wall is missing -- sheetrock stacked on the floor -- tools piled around -- a renovation project halted for the night.
KEVIN
What's all this?
MARY ANN (O.S.)
All what?
Mary Ann up the hall in the bedroom door. Finishing her makeup for a night out.
MARY ANN
Oh, that...
(smiles)
It was gonna be a nursery, but then I remembered you'd have to be home long enough to knock me up, so now I'm thinking of building a law library.
Kevin smiles. Drops his briefcase. Drops his pants.
MARY ANN
Save the thought. We were due up there fifteen minutes ago.
She blows him a kiss. Ducking back into bedroom.
CUT TO:
INT. LOMAX APARTMENT BUILDING - ELEVATOR - NIGHT
Kevin and Mary Ann in their go-to-meeting clothes.Going up. Nervous.
MARY ANN
Tell me I can handle this.
KEVIN
You can handle this.
MARY ANN
Say something nice.
KEVIN
Something nice.
MARY ANN
Promise me you won't leave me alone in there.
DEVIL'S ADVOCATE - Rev. 11/2/96 46.
KEVIN
Promise.
MARY ANN
How the hell did we get here?
KEVIN
Instinct.
INT. BARZOON APARTMENT - NIGHT
The door opens. DIANA BARZOON, tonight's hostess, standing there.
DIANA
There you are!
(to Kevin)
Diana Barzoon, Eddie's wife.
(an air kiss for Mary Ann)
Come on, you two. Everyone can't wait to meet you.
INT. BARZOON APARTMENT - NIGHT
Twice the size of Kevin's place. Decorated and furnished to the max. Seventy-five guests and ten in staff.The crowd is very smart, sleek, and experienced at these sort of things. Mary Ann's hand squeezing Kevin's just a bit more tightly as Diana leads them into the throng, and we begin --
INT. BARZOON APARTMENT - NIGHT
SERIES OF SHOTS - PARTY
Faces -- some of them strangers. Some of them familiar from the conference room scene.
61 KEVIN 61
huddled with Jackie and Mary Ann as Heath brings them drinks from the bar.
62 PAM 62
and two lawyers near the terrace doors -- the smoking section -- talking with nicotine-driven intensity.
DEVIL'S ADVOCATE - Rev. 11/2/96 47.
64 CHRISTABELLA 64
simply walking through the room.
65 EDDIE AND DIANA BARZOON 65
They've found Kevin and Mary Ann.
DIANA
I love the eights. The entire 'A' line -- such a great shell.
(manic and perhaps a bit insane)
I do. I envy you. Starting from scratch. Do you have your fabrics yet? Tell me you don't.
MARY ANN
Not yet. I don't think so.
DIANA
Come with me. Instantly.
(to Kevin)
I'm borrowing your wife...
BARZOON
Be gentle, honey. These are normal people.
Mary Ann giving Kevin a "help me" look as she's dragged into the party --
BARZOON
Your first?
KEVIN
Excuse me?
BARZOON
Is this your first marriage?
DISSOLVE TO:
INT. BARZOON APARTMENT - SAME SCENE (PARTY) - NIGHT
(LATER)
Front door -- abuzz -- Milton has just arrived.
DEVIL'S ADVOCATE - Rev. 11/2/96 48.
INT. BARZOON APARTMENT - NIGHT
Across the room, Mary Ann with Jackie and Diana and another wife --
MARY ANN
Who is that?
JACKIE
(looking over)
My God, girl...
DIANA
You haven't met him yet?
MARY ANN
Who is he?
INT. BARZOON APARTMENT - NIGHT
Milton -- across the room -- looks over -- he's found them -- already coming toward them -- smiling --
DIANA
I swear he can hear us.
JACKIE
Hell, he can smell us.
MILTON
Mary Ann? John Milton...
(his hand and eyes)
I was hoping we'd meet tonight. And here you are, already swimming with the sharks.
Even as he says this, he's kissing their smiling cheeks. Mary Ann looking a little lost, as we --
CUT TO:
INT. BARZOON APARTMENT - NIGHT (SAME TIME)
Kevin talking with another lawyer. Looking over as Christabella glides through the room.
CUT TO:
INT. BARZOON APARTMENT - SOFA - DUSK (SAME TIME)
Milton and Mary Ann sitting together. Alone.
DEVIL'S ADVOCATE - Rev. 11/2/96 49.
MARY ANN
Deadbeats. I mean, that's what it comes down to. You can call yourself a finance trainee, or a financial resources adviser, or whatever, you're still spending most of your day trying to hammer car payments out of deadbeats.
(looking around)
No deadbeats here tonight.
MILTON
You'd be surprised. There's a lot more fear in this room than you'd think.
MARY ANN
What do these people have to be afraid of?
MILTON
Each other. Themselves. Why? What scares you?
MARY ANN
Not knowing who the deadbeats are.
MILTON
You'll figure that out. There's only one thing worth being frightened of anyway, and that's being alone. Truly and finally alone.
MARY ANN
Yes. I think you're right.
MILTON
You know what terrifies me? Responsibility.
MARY ANN
For what?
MILTON
For what. For you. Let's be honest, I've changed your life. Changed it forever. There's been a seismic shift in your existence and I'm responsible. And you've never even met me. We're talking for the very first time. How insane is that?
DEVIL'S ADVOCATE - Rev. 11/2/96 50.
MARY ANN
It's a wonderful opportunity for Kevin.
MILTON
Kevin. Please. I'm not worried about Kevin. He buys a few new suits. Learns a few new tricks. He's there. I don't worry about Kevin. What about you?
MARY ANN
I'm not leaving a lot behind.
MILTON
You must have family.
MARY ANN
Bad subject. I haven't spoken to my folks in a long time. My sister ran all the way to Germany.
MILTON
Whoaa... I gotta think about that. I had you down as daddy's little girl, you know? The princess. Sugar plum snapshots. Pastel bedspreads. Cinnamon cookies.
MARY ANN
I tell Kevin the only thing worse than not having a father was having mine.
MILTON
So you've got a lot at stake here. You've made a real commitment.
MARY ANN
I guess I have.
MILTON
It's not gonna be like Gainesville, but then you know that already.
MARY ANN
We're gonna be fine. It's gonna be great.
DEVIL'S ADVOCATE - Rev. 11/2/96 51.
MILTON
If it isn't, will you come to me? Let me help? I'd feel a lot less responsible. Will you do that for me?
MARY ANN
Sure.
MILTON
The worst vice is advice, right? But can I make a suggestion? It's about your hair, some people are sensitive, that's why I ask.
MARY ANN
No. I mean, go ahead. You don't like it?
MILTON
You have shoulders nobody can see. Pull it back.
MARY ANN
You mean, you want me to pull my hair back?
MILTON
If I do it, everyone in this room that's pretending not to watch us will assume we're fucking or something. Pull back your hair.
(there's the mirror)
Take a look. See. That's it. Isn't that incredible? You need to cut your hair.
MARY ANN
You're kidding.
MILTON
A woman's shoulders are the frontlines of her mystique. And her neck, if she's alive, has the very mystery of a border town. It's the no man's land in the battle between mind and body.
(beat)
You know, your natural color would really bring out your eyes...
Mary Ann frozen there, as we--
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/2/96 52.
EXT. BARZOON APARTMENT - TERRACE (PARK VIEW) - NIGHT
(MAGIC HOUR)
Kevin standing at the rail. He looks over. Christabella not ten feet away.
CHRISTABELLA
Do you have this view?
KEVIN
Sorry?
CHRISTABELLA
From your terrace, is this your view?
KEVIN
Sort of. Not exactly. I'm about twelve floors down. What about you?
CHRISTABELLA
No, I live downtown. This is the family building.
KEVIN
Sounds like fun. Downtown, I mean. I'm just getting to know the city.
CHRISTABELLA
Is it everything you expected?
KEVIN
More.
CHRISTABELLA
(raising her glass)
May we always have more than we expect. Salute.
KEVIN
Amen.
CHRISTABELLA
Are you alone?
KEVIN
You mean, tonight?
CHRISTABELLA
Is your wife a jealous woman?
(beat)
Silly question. We're all jealous, aren't we?
(MORE)
DEVIL'S ADVOCATE - Rev. 11/2/96 53.
CHRISTABELLA (CONT'D)
(laughing)
Oh, dear, I'm going to scare you away.
KEVIN
I doubt it.
CHRISTABELLA
You like to be on top, don't you?
KEVIN
Excuse me?
CHRISTABELLA
Of the situation. You prefer to be on top.
KEVIN
Depends on the view.
MILTON (O.S.)
You know what I see?
Milton in the doorway. He's been watching them.
MILTON
I see the future of this law firm.
(perfect Italian)
Christabella, cara, prestamelo per favore, pe lo riporto piu tardi.
CHRISTABELLA
It's a boring party, anyway.
(to Kevin)
Ciao.
Kevin can't help watching her walk away.
MILTON
Look, we gotta talk. You grab Heath and Eddie Barzoon and get up to my place right away. And let's be quiet about it.
CUT TO:
thru thru
DEVIL'S ADVOCATE - Rev. 11/2/96 54.
INT. BARZOON APARTMENT (PARTY) - NIGHT
Getting louder and wilder. Mary Ann looking lost. Searching for Kevin... He's not here... not there...
MARY ANN
Have you seen Kevin?
Jackie Heath shaking her head no, as Mary Ann continues on through the party.
CUT TO:
INT. LOMAX APARTMENT - ELEVATOR - NIGHT
Silence. Going up. Kevin, Heath, and Barzoon.
CUT TO:
INT. BARZOON APARTMENT - STUDY - HALLWAY - NIGHT
Mary Ann still looking for Kevin. Scanning faces. Stopping as she reaches a door. Opening it and --
INT. BARZOON APARTMENT - STUDY - NIGHT
Just enough light to make out two MEN standing across the room. Silhouettes against the window.
MARY ANN
Sorry...
(in doorway)
I'm looking for my husband.
The Men -- two vaguely familiar faces from the firm.
MAN #1 Don't think he's here.
Suddenly, a WOMAN's head rises INTO FRAME --
WOMAN
It's just us...
MAN #2 But feel free to join in...
And suddenly it's clear, she's walked in on an impromptu menage a trois. The Woman is kneeling on a table, dress hiked up, ass in the air. Man #1 fucking her from behind. Man #2 is getting blown and --
Mary Ann IN SHOT as the woman begins to laugh and the door WIPES the FRAME.
DEVIL'S ADVOCATE - Rev. 11/2/96 55.
INT. MILTON'S APARTMENT - NIGHT
The penthouse. One enormous room. Grand scale everything. Otherworldly. Staggering. Of special, special interest: a huge Bas Relief dominates an entire wall. Carved into the marble are human forms -- young, naked bodies swimming in a hypnotic chaos of clouds.
Milton is on the phone. Two lines going. The dialogue is unimportant, we'll not understand it anyway -- he's going back and forth between Korean and Russian -- brokering some emergency deal.
Heath is at the bar, mixing drinks. Barzoon has a cigar. Kevin just standing there gaping at the space.
KEVIN
Is there more to it?
BARZOON
Just this room.
KEVIN
And a bedroom?
BARZOON
No bedroom.
KEVIN
Where does he sleep?
HEATH
Who said he sleeps?
KEVIN
Where does he fuck?
MILTON (O.S.)
(behind them)
Everywhere.
BARZOON
What's up, John?
MILTON
How many hours did we bill Alex Cullen last year?
HEATH
Sixteen thousand, two hundred and forty-two.
DEVIL'S ADVOCATE - Rev. 11/2/96 56.
BARZOON
What the fuck did he do now?
MILTON
Alex Cullen has just been charged with murdering his ex- wife, her stepson, and a maid.
BARZOON
When did this happen?
MILTON
Just now. Tonight. I already sent Pam downtown to make bail arrangements.
DEVIL'S ADVOCATE - Rev. 10/22/96 57.
BARZOON
They'll fucking crucify him. They'll get in line. I gotta call Meisel...
MILTON
No. I want Kevin on this case.
BARZOON
I hope you're kidding.
(beat)
Alexander Cullen in a Manhattan triple murder? With Kevin? You're dreaming.
MILTON
I've shaken hands with every marquee defense attorney in town. I take Kevin and I don't look back.
BARZOON
You're a great judge of talent, John. You're the master. I just don't see it coming together.
MILTON
I want you on board, Eddie.
KEVIN
Look, I appreciate the vote of confidence, but maybe Eddie's got a point here.
MILTON
We can get this case. The man's our client.
BARZOON
He's a business client.
MILTON
We know him better than he knows himself. We have the inside track. We have the best damn trial lawyer in the city. It's ours to lose.
BARZOON
Tell it to Cullen.
MILTON
No. That's up to Kevin.
With that, the PHONE starts RINGING --
MILTON
That's Pam calling...
(to Kevin)
Are we fighting for this, or not?
CUT TO:
INT. LOMAX APARTMENT - NIGHT
It's late. Dark. Kevin tiptoeing through the apartment -- turning the corner and --
MARY ANN
You left me there. I had a fucking panic attack until Jackie told me where you were.
(raw)
Three hours? You don't even call?
KEVIN
Stop. Reset. I'm upstairs, I'm with Milton and Barzoon and there is a very good possibility that I'm about to catch a triple homicide defendant who also happens to be the largest real estate developer in the city. I had to bail on the party!
MARY ANN
You bailed on me!
KEVIN
Mare... did you hear me?
MARY ANN
I was all by myself!
KEVIN
For three whole hours...
(as she's walking)
You gotta be kidding, right?
No, she's leaving. Kevin left there, alone --
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/2/96 59.
EXT. STREET - CONSTRUCTION SITE - DAY (MORNING)
A news van whipping up the block. TIRES SCREECHING as it pulls up beside a construction site where two other news vans are already unloading. The smell of headlines and --
EXT. STREET - CONSTRUCTION SITE - DAY
Two photographers sprinting toward the shell of a high- rise building. A sign blankets the scaffolding. Huge, ego-size lettering reads...
CULLEN TOWERS
"The Next Great Address"
CUT TO:
EXT. CONSTRUCTION HIGH-RISE - DAY
Looking DOWN FROM fifty stories high, as the media vehicles converge like toys below.
CULLEN (V.O.)
... Look at this, I'm not out twenty minutes, we're running from the goddamn press. Look at those insects down there...
INT. CONSTRUCTION HIGH-RISE - DAY
ALEXANDER CULLEN turns back from the edge. Forty-five. Tan, grief-stricken, and sleep deprived. The space is huge and bare. Unfinished concrete. Wide, open views. Kevin, Milton, and Barzoon standing there.
CULLEN
... You may be right, but look at it from my point of view. I'm sure he's a whiz kid. I believe you. But this is my ass we're talking.
(to Barzoon)
Jesus, Eddie...
MILTON
Alex, you know how this town works. You've got enemies you never heard of. And now? Now you're down? I'd prepare for a class-A, New York pig-fuck. You're going to have to ask yourself who you really trust. Who do you trust, Alex?
DEVIL'S ADVOCATE - Rev. 11/2/96 60.
CULLEN
I don't know... I gotta look around.
KEVIN
You don't have time to shop, Mr. Cullen.
(the newspaper)
Jury selection started this morning at every breakfast table in the city. You lost round one. This is what people know. They know you and your wife were living separately. They see this maid -- Elucinda -- a sixty-eight-year-old grandmother supporting seven children. And then there's your stepson, a ten-year-old with a bullet in his brain. Those are already powerful images in the mind of the public.
CULLEN
I didn't kill anybody.
KEVIN
I'm telling you how it looks. You discover the crime. You call it in. You've got blood on your person and clothes, and --
(before Cullen can cut him off)
-- and -- your prints are on the murder weapon.
CULLEN
How do you know that?
KEVIN
There's a second print in blood -- it's a partial of a hand -- on the wall next to th--
CULLEN
I have keys! I called the cops from the house! I touched the goddamn wall!
(to Barzoon)
I was panicked! I panicked!
KEVIN
We need twelve people who can see past all that. I'd get out in front of this fast.
DEVIL'S ADVOCATE - Rev. 11/2/96 61.
CULLEN
I panicked! Is that a crime? I touched the wall!
BARZOON
He's right, Alex. People need to hear these things.
KEVIN
You're not happy tomorrow? The next day? We'll move over. But right now -- this moment -- you need immediate representation.
CULLEN
I've got a fourteen-year-old stepdaughter who I care more about than anything in the world. They won't let me call her from downtown. They won't let me talk to her after I'm out. I gotta go deal with that first.
KEVIN
We need to issue a statement.
Cullen looks to Milton. Waiting. Help me.
MILTON
He's a winner, Alex. And they'll never see him coming.
CULLEN
I'm gonna make some very tough phone calls. Then I'm gonna take a pill and try to get some sleep. My place. Eight A.M. tomorrow. Alone.
(beat)
And you better be every fucking inch as good as you think you are.
CUT TO:
EXT. SOHO BOUTIQUE STREET - DAY
A woman with short dark hair -- her back to us -- looking in a shop window. Her reflection in the glass, it's Mary Ann. She's cut and colored her hair.
Jackie and Diana already going in and --
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/2/96 62.
INT. SOHO BOUTIQUE AND DRESSING ROOM - DAY
White wine and couture. Mary Ann holding a blouse.
MARY ANN
(whispering)
This is three thousand dollars.
JACKIE
Know what you need to do? Buy it. Wear it once. And then throw it away. That'll loosen you up.
DIANA
I say spend it all. If you're never gonna see your husband, you might as well have a relationship with his money.
(as she strips)
I swear, if he wasn't afraid of me shooting my mouth off, Eddie would've put a cellulite clause in the pre-nup.
JACKIE
Dr. Robert, I'm telling you, he's the miracle man. You've seen my new tits, I mean who does it better than that?
DIANA
It's not my tits I'm worried about.
Mary Ann turns. Jackie beside her. Topless. Smiling.
JACKIE
Real or not?
(her breasts)
They look real...
(she shimmies)
They move real...
MARY ANN
(trapped there)
Must be real.
JACKIE
Feel them. Go ahead. That's the ultimate test.
Before Mary Ann can stop her, Jackie is taking her hand, guiding it to her breast, and holding it there.
DEVIL'S ADVOCATE - Rev. 11/2/96 63.
JACKIE
(smiling)
Feel real?
MARY ANN
Yes.
(pulling away)
Absolutely. Real.
JACKIE
(backing away)
Dr. Robert. When you're ready.
Mary Ann looking away as Jackie walks off. Everything is as it was, and yet different.
And then, she turns and sees --
INT. SOHO BOUTIQUE - DRESSING ROOM (FX) - DAY
(EFX) Jackie pulling a dress down over her head.
She's taking her time because it's a delicate, clingy...
INT. SOHO BOUTIQUE - DRESSING ROOM (FX) - DAY
... complicated outfit -- turning -- and for one brief moment we see a serpent's head -- disappearing now into the dress as she struggles inside the material -- her body -- the body inside the dress -- transforming -- ribs and spikes and huge moving muscles strain the limits of the material, and then, suddenly, it's over.
INT. SOHO BOUTIQUE - DRESSING ROOM - DAY
Jackie's face appears. She straightens the seams. Turning now --
JACKIE
What do you think?
But Mary Ann is gone.
CUT TO:
thru thru
DEVIL'S ADVOCATE - Rev. 11/2/96 64/65.
INT. LAW FIRM - STAIRCASE/OFFICE - DAY
Kevin, coming out a door with Heath and an associate.
KEVIN
... first thing -- I need this ASAP -- I want articles, clippings, TV interviews, I want everything you can get on Alex Cullen.
HEATH
(walking off)
You better get a semi truck.
INT. LAW FIRM - STAIRCASE/OFFICE - DAY
Christabella climbing the stairs. Short skirt. Great angle. Halfway up, she stops to fix her stockings.
CHRISTABELLA
Enjoying yourself?
KEVIN
(caught)
Sorry. I'm just...
CHRISTABELLA
Just what? Looking?
KEVIN
Guilty.
CHRISTABELLA
Congratulations on Cullen.
KEVIN
Thank you.
CHRISTABELLA
What an incredible situation, even if you lose you become a star.
KEVIN
What if I win?
CHRISTABELLA
If you win...
(smiles)
If you win it's everything.
KEVIN
Any advice?
CHRISTABELLA
Cullen is a pig. He's a pig beyond reasonable doubt. I suggest you keep him as far away from the jury as possible.
KEVIN
I'll keep it in mind.
CHRISTABELLA
(leans in, whispering)
You can look all you want, but I don't fuck married men.
KEVIN
What a relief. I was starting to think you were perfect.
DEVIL'S ADVOCATE - Rev. 10/22/96 67.
PAM (O.S.)
Kevin...
He turns instantly -- Pamela standing behind him.
PAM
Your wife is on the phone. She sounds upset...
Christabella smiling as Kevin rushes off.
CUT TO:
INT. LOMAX APARTMENT - DAY
Mary Ann very upset. Kevin has just come home.
MARY ANN
I don't care if they can hear me! I don't care! I don't like it here. And these women, my God... I mean, I'm seeing things for crissake!
KEVIN
You just left them in the store?
MARY ANN
Yes!
KEVIN
Look, calm down, all right? Listen to me... Mare? First, you do this radical thing with your hair...
MARY ANN
You hate it.
KEVIN
Stop. I think it's fine. But I also think it's traumatic. You've got the pressure of fitting in with new friends, a new place... add three bottles of wine and --
MARY ANN
No! It wasn't the wine. It wasn't the wine or my hair or talking to Kathy, because I know that's what you're gonna say--
DEVIL'S ADVOCATE - Rev. 10/22/96 68.
KEVIN
What about Kathy?
MARY ANN
What about her? She's pregnant again.
KEVIN
Oh, and that's got nothing to do with it...
MARY ANN
Kevin, I never see you anymore. Now that you've got this big case, it's just only gonna get worse. I don't know anybody here. These women scare the living shit out of me. If you can believe it, I'm actually looking forward to having your mother come and visit.
KEVIN
What about the apartment?
MARY ANN
Exactly! You just go out-- you buy a few new suits and you're fine. I've got this whole place to fill up and I know we have all this money and it's supposed to be fun, but it isn't! It's like a test! The whole thing is like one big test! I'm lonely.
KEVIN
Let's make a baby.
MARY ANN
Don't tease me.
KEVIN
I wouldn't do that. Unless you asked.
MARY ANN
You hate my hair, don't you?
INT. LOMAX APARTMENT - DAY
His hand moves against her cheek, and then down the back of her neck. She moves into his body and --
DEVIL'S ADVOCATE - Rev. 10/22/96 68A.
INT. LOMAX APARTMENT - DAY
(EFX) Suddenly -- She's Christabella -- right there -- in his arms -- before he can react -- before he can speak -- she finds his mouth and they are kissing and --
INT. LOMAX APARTMENT - DAY
Suddenly -- She's Mary Ann -- and he's pulling up her dress and she's helping him and his hand is moving over bare thigh and --
DEVIL'S ADVOCATE - Rev. 11/2/96 69.
INT. LOMAX APARTMENT - DAY
(EFX) Suddenly -- She's Christabella unbuttoning her blouse -- and she can't do it fast enough -- still with her mouth on his and his hand between her legs and --
INT. LOMAX APARTMENT - DAY
Suddenly -- She's Mary Ann -- flattening against the wall and her blouse is open and --
INT. LOMAX APARTMENT - DAY
(EFX) Suddenly -- She's Christabella -- pulling off her bra as his mouth moves over her breasts and his hands are everywhere and the bra is gone and she's tearing at his shirt and he's helping her and her dress is on the floor and there's no rug or anything, but this is where they will fuck because they can't stop themselves and she's on her back on the bare floor and he's kicking away his shoes and she's feeling herself and staring into his eyes and suddenly --
INT. LOMAX APARTMENT - DAY
MARY ANN
Stop.
Kevin looks like he's been shot. In the balls.
MARY ANN
Where are you?
KEVIN
Right here.
Mary Ann doesn't look so sure.
CUT TO:
INT. CULLEN'S APARTMENT - DAY
Huge. Opulent. Kevin and Pamela have been taking notes. Cullen is exhausted, frustrated.
KEVIN
... because it needs to be clear, Mr. Cullen, because I need to understand exactly what happened -- you're standing there -- you look down -- there's the gun --
DEVIL'S ADVOCATE - Rev. 11/2/96 70.
CULLEN
I don't know why I picked it up -- it was before I saw Elucinda's body and then, I mean we've been over this...
KEVIN
You kneeled down to pick it up?
CULLEN
You work late. You come home. You walk in. Everybody's dead. It's not something you plan for.
KEVIN
Back up. Two prints by the gun. Right knee. Right hand. It's a strange move you must've made to pick it up.
CULLEN
The blood, I don't know, maybe I was trying to avoid the blood.
KEVIN
I'm trying to picture it...
(contorting)
Your hand came from inside and underneath.
Cullen reaches into his jacket and pulls out a gun.
CULLEN
You want to see? Here...
(dropping to his knees)
I'll fucking show you.
Kevin watching Cullen quickly retrieve the gun from the floor with this weird little motion.
CULLEN
(standing)
Okay? Clear? Got it?
KEVIN
Whose gun is that, Alex?
CULLEN
It's mine.
DEVIL'S ADVOCATE - Rev. 11/2/96 71.
KEVIN
Are you out of your mind?
(incredulous)
You're charged in a triple homicide, you're walking around with a forty-five?
CULLEN
I've had nine death threats.
KEVIN
Give it over. Now. Gimme the gun.
CULLEN
I gotta protect myself.
KEVIN
That's my job. When the case is over you can have it back.
(strong)
This is a dealbreaker, Alex.
Cullen hands him the gun.
KEVIN
Okay. Let's wrap it up.
CULLEN
So what's next?
KEVIN
We need to talk to your assistant.
CULLEN
Call her.
KEVIN
You feel confident she'll back you on the time.
CULLEN
Melissa, yeah. She's okay. She's a real straight arrow.
KEVIN
So we're going to talk to her and you're not going to talk to anybody. Okay?
CULLEN
(with a smile)
No comment.
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/2/96 72.
INT. D.A. MERTO'S OFFICE - DAY
A large, ugly cube. Daylight through dirty windows. Kevin alone. On the table, a large, grey envelope. Printed on it:
PROPERTY OF THE MANHATTAN DISTRICT ATTORNEY FORENSIC LOG - #546D - STATE VS. ALEX CULLEN
Kevin going through a stack of crime scene photographs.
Tough stuff. One after another. Three victims. Many angles. We can see their horror in his face.
CUT TO:
EXT. LAW FIRM HELICOPTER - DUSK
PANNING ALONG Wall Street. The whole downtown skyline. SETTLING finally ON the 60th floor of the law firm building. Hovering at a distance. Lights on here and there and --
One window. Kevin's office. He and Pamela are talking to a young woman. This is MELISSA BLOCK, Cullen's assistant and alibi. We can't hear what they're saying, but it looks to be a collegial meeting.
CUT TO:
INT. KEVIN'S OFFICE AND HALL - NIGHT
Kevin and Pam walking Melissa out through the empty reception area.
MELISSA
Would my babysitter have to testify?
KEVIN
We need her to establish the time you returned home.
MELISSA
She doesn't have her green card is why I ask. I don't want her to get in trouble.
DEVIL'S ADVOCATE - Rev. 11/2/96 73.
KEVIN
Tell you what, Melissa, let's talk to her first. See where she stands and take it from there.
PAM
I'll make sure Melissa gets down to the car.
MELISSA
Mr. Cullen didn't kill those people.
KEVIN
That's why we're all working so hard.
As Melissa exits with Pam, Kevin notices two associates carrying boxes far up the hall and we --
CUT TO:
INT. LAW FIRM LIBRARY AND HALL - NIGHT (SAME TIME)
Paper shredders. Half a dozen of them cranking full tilt. Stacks of files left to go. Barzoon and six associates working late. Shirtsleeves and coffee.
BARZOON
(directing traffic)
Okay, Excelsior Insurance, who's handling that?
(a hand goes up)
All this has to go. Guatemala, Sudan, Cyprus...
(cheerleading)
Let's stay organized here.
(across the room)
Martin, no. Devada Holdings. That's all you're doing. Believe me, it'll take all night.
Barzoon stops as he sees Kevin in the doorway.
KEVIN
I thought I was the only one working late.
BARZOON
So did we.
DEVIL'S ADVOCATE - Rev. 11/2/96 74.
KEVIN
Good news. We just wrapped up with Cullen's assistant. She looks like a great alibi.
BARZOON
What a pleasant surprise.
KEVIN
But it looks like you have your hands full.
BARZOON
Just a little housekeeping.
(beat)
If they ask, you never saw this.
KEVIN
Who would ask?
BARZOON
Weaver.
KEVIN
Who's that?
BARZOON
Justice Department. Weaver Commission.
(staring at him)
You don't know about Weaver?
KEVIN
Sorry.
BARZOON
How nice for you.
MILTON (O.S.)
Grab your coat, Mr. Lomax...
Milton in the hall behind Kevin. Tickets in hand.
MILTON
The night is young.
(re: tickets)
Title fight. Ringside.
KEVIN
I'd have to call Mary Ann...
MILTON
Do it on the way.
DEVIL'S ADVOCATE - Rev. 11/2/96 75.
BARZOON
(am I here?)
You get my message?
MILTON
You write beautifully, Eddie.
BARZOON
We need to talk.
MILTON
Soon.
BARZOON
I hope so.
CUT TO:
& &
INT. SUBWAY TO FIGHTS TRAIN - NIGHT
The car half full. Kevin and Milton standing near the door. Right behind them, three guys in the midst of an intense conversation in Spanish.
KEVIN
So what's this Weaver Commission?
MILTON
I don't micro-manage. You find the talent and then you delegate. Who knows what the hell Eddie's up to. He's got a lotta fingers in a lotta pies.
Suddenly, one of the guys behind them, the biggest of the three, we'll call him BIG GUY, turns back --
BIG GUY
What the fuck you looking at?
(it's Milton he's talking to)
You fucking deaf or something?
MILTON
No. I can hear you just fine.
BIG GUY
Good, 'cause I want you should get your skinny little ass somewhere down the fucking car away from me.
MILTON
(stare-down)
I'm not going anywhere.
Big Guy pulls open his jacket -- a knife in his belt.
KEVIN
Oh, shit.
(stepping back)
John...
But Milton doesn't move. He smiles.
MILTON
(perfect Spanish)
Maricela, the moment you left the apartment she was upstairs with Carlos. They're on the pipe right now, my friend. They're in the kitchen splitting a jumbo and then he's going to fuck her in the ass, right on your bed, and she's going to like it.
Big Guy backing away -- into his friends --
BIG GUY
Como...? How do you...?
The SUBWAY RATTLING into the Fourteenth Street station.
MILTON
(still Spanish)
Do yourself a favor and put that knife where it belongs.
The doors open. Big Guy stumbling back -- his friends catching him -- helping him off the train -- looking back, as the doors close and...
It's like it never happened. Milton straightening his cuffs as the train pulls away.
KEVIN
What did you say to him?
MILTON
I told him if he didn't leave us alone, you were going to kick all three of their asses.
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/2/96 77.
INT. MADISON SQUARE GARDEN - BOXING RING - NIGHT
Right INTO it. Red trunks with a huge right hand and blue trunks drops and the Garden goes wild -- five thousand people yelling for blood.
INT. MADISON SQUARE GARDEN - NIGHT
And Milton at ringside, breathing deeply of the vibe and --
KEVIN
(on his feet)
Get up! Get up, dammit! C'mon!
INT. MADISON SQUARE GARDEN - NIGHT
Blue trunks rises on shaky legs as the BELL RINGS, the round over and the crowd groans back into its seats.
INT. MADISON SQUARE GARDEN - NIGHT
Milton turning as DON KING collars him.
DON KING
Look at this sorry shit, you got better seats than me.
MILTON
You need a better lawyer.
DON KING
Nobody better than you, Johnny.
MILTON
Hang on a second...
(presenting Kevin)
Meet my new heavyweight. Kevin Lomax.
Kevin shaking hands with Don King, as we --
CUT TO:
INT. SPANISH RESTAURANT (DOWNTOWN) - NIGHT (LATE)
Serious flamenco. Music is loud. The dancer is fantastic. Deep reds. Deep blacks. Skin. Duende.
Milton, sitting beside some blonde he's discovered, he's got his jacket off, clapping perfectly to the beat. Behind him, a large table of ten/fifteen people. Food and wine to excess. Laughter and music and...
DEVIL'S ADVOCATE - Rev. 11/2/96 78.
INT. SPANISH RESTAURANT - PHONE AND ROOM - NIGHT
Kevin on a pay phone near the kitchen.
KEVIN
And say what? He's the senior partner at the --
(pause)
Mare, you're really starting to piss me off --
(pause)
Yes. I'm having one cigarette. You want me to lie? One cigarette after seven months is not --
(pause)
That's exactly what I'm saying. Go to bed. I have no idea.
(pause)
I told you, he never sleeps.
(pause)
Mare. Stop. The guy pays our bills. The food, the heat, the rent on that enormous fucking apartment we live in.
(beat)
I live there, too!
CLICK. The LINE is dead. He looks at the cigarette. Takes a hit. Fuck it. And then his eyes find --
The dressing room across the hall. An open door. Inside, a woman, one of the dancers, all but nude, stepping into her dress. A simply perfect body.
And then she turns TOWARD us and it's Christabella -- clearly -- for a single moment -- before she slams shut the door.
Kevin crosses to the door. Knocks. And again.
The door opens. A DANCER standing there. It's not Christabella.
DANCER
Can I help you?
Kevin already backing toward --
INT. SPANISH RESTAURANT - NIGHT 128
Kevin moving toward the Milton table. Sitting down and just realizing that --
Cullen has joined the party. He's wasted. He waves.
DEVIL'S ADVOCATE - Rev. 11/2/96 79.
Milton catching Kevin's eye, smiling as the Blonde slips below the table. As if nothing were going on.
CUT TO:
thru thru
INT. LOMAX APARTMENT - NIGHT (LATE)
Dark. Mary Ann asleep in a chair. A breeze through the open terrace windows. Suddenly she wakes.
MARY ANN
Kevin?
Silence. And then, the sound of a BABY CRYING...
CUT TO:
INT. LOMAX NURSERY HALLWAY - NIGHT
Mary Ann rushing through the dark, toward the nursery and the sound of the CRYING -- stopping suddenly at the nursery door --
MARY ANN
How...? What are you...?
INT. LOMAX NURSERY AND HALL - NIGHT
A one-year-old child sits naked on the floor amidst the tools and material.
MARY ANN
You poor thing...
Mary Ann easing slowly forward.
MARY ANN
How did you... how did you get here?
(billing and cooing)
Are you okay? Look at you... hello... hello...
(kneeling there)
Where's your mommy?
The baby turns to her voice. Smiling now.
DEVIL'S ADVOCATE - Rev. 11/2/96 80.
MARY ANN
What are you playing with? What do you have there?
The baby offers his open hands --
Viscera. Entrails and blood and slime. The child's hands full of someone's insides...
MARY ANN
... Oh, God, no...
The baby raising his hands toward her --
MARY ANN
... no... please, God, no --
Stopping suddenly as she looks down at her body. Her nightgown is covered with blood. Just starting to scream, as we --
HARD CUT TO:
thru thru
INT. HEATH GUEST ROOM AND HALL - DAY
Motion -- Kevin rushing down a hallway -- Heath behind him -- heading for an open door and into --
INT. HEATH GUEST ROOM AND HALL - DAY
Mary Ann in bed. Dead asleep. Jackie Heath, bedside nurse.
JACKIE
Took two seconals to get her out.
KEVIN
(hung-over and guilty)
Milton got his hooks into me.
HEATH
Relax. We've all been there.
JACKIE
Leave her with me. Let her sleep. She'll be out another five, six hours at least.
DEVIL'S ADVOCATE - Rev. 11/2/96 81.
KEVIN
This transition, it's been really tough on her...
HEATH
We're gonna find some names for you. Doctors. Good people.
Kevin nods. Jackie ushering them out, as we --
CUT TO:
EXT. NY - DAY/NIGHT
New York time transition -- MOS.
EXT. LAW FIRM STREET - DAY
Pamela and three other women smoking. Looking up, as Kevin comes flying out of the building.
PAM
Caught me.
KEVIN
I've gotta find Cullen.
(as he passes)
We just got the prosecution discovery package.
PAM
That bad?
Kevin just keeps going into --
EXT. LAW FIRM STREET - DAY
Kevin needs a taxi -- bingo -- a cab -- dropping off right here -- he's got it -- opening the door and --
CHRISTABELLA
Careful...
(stepping out)
You'll spoil me for other men.
KEVIN
That's what they all say.
DEVIL'S ADVOCATE - Rev. 11/15/96 82.
CHRISTABELLA
Heard he finally dragged you out the other night...
(as she walks)
Can't believe I missed it.
Kevin watching her go, looking up, seeing the glass bridge high above.
CUT TO:
INT. NEW YORK SIDE STREET - DAY
A limousine double-parked outside a brownstone. Kevin standing there as Cullen comes storming out of the building.
CULLEN
I get one supervised hour a week with my stepdaughter. This is it. You better have a great reason to call me out.
KEVIN
Your wife, the day she was killed, had lunch with a friend. She says and I quote: 'Alex is fucking around and I can prove it.'
CULLEN
Hearsay. Never gets in.
KEVIN
Wrong answer.
(listen to me)
Your prenuptial agreement is on file at the firm. The contract is null and void in the event of marital infidelity.
(beat)
You fuck around, she gets rich.
(you asshole)
That's a motive, Alex.
(long pause)
What do I need to know?
CULLEN
Melissa. My assistant.
(such a headache)
She's not even that good a fuck.
DEVIL'S ADVOCATE - Rev. 11/15/96 83.
KEVIN
And, on the night in question?
CULLEN
I was boning my assistant while my wife was getting shot.
KEVIN
I've got to re-interview Melissa.
CULLEN
Forget it. We're not telling that story.
KEVIN
Juries want honesty. Fuck with that at your peril.
Cullen turns -- something more important --
CULLEN
Allesandra. Wait...
Allesandra emerging from the building looking teary and distraught. Her THERAPIST helping her toward the limo.
KEVIN
Arthur...
CULLEN
Not now.
THERAPIST
Time's up, Mr. Cullen.
CULLEN
Allesandra. Please...
Kevin watching Cullen rush away, as we --
CUT TO:
thru thru
EXT. NY - DAY/NIGHT
New York time transition -- MOS.
thru thru
DEVIL'S ADVOCATE - Rev. 11/15/96 84.
EXT. LOMAX APARTMENT BUILDING - SIDEWALK - NIGHT
A Towncar pulls up. Mary Ann, Kevin and Mrs. Lomax emerge. Just back from dinner. Two steps and --
A PAPARAZZI photographer nearby --
PAPARAZZI
Kevin, hey, how's it going? Can we get a couple shots here? How about a thumbs-up here? What do you say?
Kevin reluctantly smiles. Get it over with.
MRS. LOMAX
What's he doing?
MARY ANN
Kevin's had his picture in the paper.
FEENEY, the doorman, at the ready. Mary Ann first inside. Mrs. Lomax lingers a moment watching Kevin have his picture taken.
KEVIN
Welcome to Babylon, Ma.
FEENEY
Sorry, Mr. Lomax, I thought we'd scared 'em all away...
MRS. LOMAX
Always did like to stick his nose in a camera.
INT. LOMAX LOBBY - ENTRANCE - NIGHT
FEENEY
(as they enter)
And how are you, Mrs. Lomax? Did you have a fine dinner?
MRS. LOMAX
I surely did.
(she's got a doggie bag)
Are you hungry?
FEENEY
No, I'm fine. Thank you.
MILTON (O.S.)
Speak of the devil...
DEVIL'S ADVOCATE - Rev. 11/15/96 85/86.
There he is, waiting for the elevator. With him are Christabella and an Asian woman who is so sexy it hurts. Kevin off balance from this moment on.
Mary Ann smells the danger. Everything is awkward.
MILTON
I was just telling the Moyez story.
KEVIN
Really.
MILTON
And is this your mother?
KEVIN
Yes. Mom, this is...
MILTON
John Milton. Nice to meet you.
MRS. LOMAX
Alice Lomax. How do you do?
MILTON
Mary Ann...
(a kiss for her)
I think you've met Christabella, and this is Giselle who's just in from Paris.
A moment of bullshit superficial greetings and then -- the elevator doors opening and the whole uncomfortable clot of them moving into --
INT. LOMAX APARTMENT ELEVATOR - NIGHT
Just enough room. They ascend.
KEVIN
Thanks for the champagne.
MILTON
You've very welcome.
(to Mrs. Lomax)
This isn't really your first visit to New York, is it?
KEVIN
(after a moment)
Yes.
DEVIL'S ADVOCATE - Rev. 11/2/96 87.
GISELLE
Cette femme, elle est la mere de l'homme dont vous m'avez parle?
MILTON
She can't believe you're his mother. You've done one helluva job bringing him up, Mrs. Lomax. I'm sure it wasn't easy.
MRS. LOMAX
No.
Mrs. Lomax has been staring, and now Milton meets her eyes as the elevator stops and the doors open.
MARY ANN
Nice to see you...
CHRISTABELLA
Have a lovely evening.
Kevin next out, holding the door, waiting --
KEVIN
Mom, we're here...
MRS. LOMAX
Yes. Good night to you.
Mrs. Lomax takes one last look at Milton as she exits.
MILTON
Kevin, hang on...
(holding the door)
How's Cullen. Everything on beam?
KEVIN
That's a long conversation.
In the b.g., Mary Ann opening the apartment door and going inside. Mrs. Lomax right behind her.
MILTON
(hush hush)
Why don't you come on up?
KEVIN
Now?
Milton smiles. Christabella smiles. Giselle smiles.
KEVIN
Let's talk tomorrow.
DEVIL'S ADVOCATE - Rev. 11/2/96 88.
Milton shrugs. Your loss. Christabella has her hand on Giselle's ass, working up her skirt --
MILTON
You sure?
Kevin left standing there as the doors close.
CUT TO:
thru thru
INT. LOMAX KITCHEN - NIGHT (ONE MINUTE LATER)
Mrs. Lomax, subdued, listening to Kevin and Mary Ann bickering.
MARY ANN
That what you're doing when you're working late?
KEVIN
What are we talking about?
MARY ANN
You know exactly what I'm talking about.
KEVIN
That's ridiculous.
MARY ANN
I'm going to bed.
(walking off)
'Night, Alice...
MRS. LOMAX
'Night.
Mary Ann exits.
DEVIL'S ADVOCATE - Rev. 11/15/96 89.
MRS. LOMAX
I'm worried about her. You shouldn't fight like that.
KEVIN
That's not a fight, Ma, it's marriage. Not exactly your area of expertise.
MRS. LOMAX
Are you happy here?
KEVIN
What?
MRS. LOMAX
Are you happy here?
KEVIN
You're kidding, right? Am I happy? Every now and then I look around and I think my mama must be praying awful hard for me, 'cause I died and went to heaven. Am I happy?
MRS. LOMAX
You were always running somewhere.
KEVIN
I guess I finally got there.
(sensing something wrong)
Look, I'm sorry about being so busy this week. Maybe Saturday I can get some time off and...
MRS. LOMAX
Don't worry on it.
(touching his face)
I love you more than anything in the whole world. You know that, don't you?
KEVIN
I love you too, Ma.
Kevin turning out the lights, as we --
CUT TO:
INT. LOMAX APARTMENT - FOYER/HALL - DAY
Newspapers. Laying on the doorstep. Headline reads:
DEVIL'S ADVOCATE - Rev. 11/15/96 90.
CULLEN PRE-NUP SHOCKER!
Kevin, dressed for work, briefcase in hand, rushing down a cup of coffee, reading the headline and --
KEVIN
Shit!
The door to the guest room is open. He looks in --
INT. LOMAX GUEST ROOM - DAY
Mrs. Lomax fully dressed. The bed is made. Her bag is packed.
KEVIN
Mom? Ma, what are you doing?
MRS. LOMAX
I'm going home, Kevin.
KEVIN
What? What are you talking about?
MRS. LOMAX
I don't feel right.
KEVIN
You just got here.
(his watch)
Look, I'm late and I just got my teeth kicked in on the front page, so I gotta run. We'll talk later.
MRS. LOMAX
I have to go, Kevin. I miss my church.
KEVIN
Ma, this is New York, there must be twenty-thousand goddamn churches. Take your pick.
MRS. LOMAX
You need to do a better job with Mary Ann. She's not well. This place isn't good for her.
DEVIL'S ADVOCATE - Rev. 11/15/96 91.
KEVIN
So stay. Take care of her if you're so concerned! Help me out.
MRS. LOMAX
I'll take her home if you let me.
KEVIN
This is home. You understand? This is where we live! I'm not going back to Gainesville. Unbelievable.
MRS. LOMAX
'Wide is the gate, and broad is the way that leadeth to temptation.'
KEVIN
It's a little early for scripture. I'm going to work.
(as he walks)
You can do whatever you want.
Mrs. Lomax watching him go, as we --
CUT TO:
EXT. CENTRAL PARK PLAYGROUND - DAY
Melissa and Kevin on a bench. Kids playing. One of them is hers, but she's not paying much attention at the moment --
MELISSA
I can't do it. It's one thing to have an affair with your boss, it's another to have to tell the world in a murder case.
KEVIN
We have to bring it out, Melissa.
MELISSA
My ex-husband would have a field day with this.
KEVIN
A man's life is at stake. You're our whole case.
Melissa looking away, as we --
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/15/96 92.
INT. WEAVER FEDERAL COURTROOM - DAY
Modern. Empty. The JUDGE is a WOMAN. No bullshit. Barzoon sitting alone at the defense table. Federal prosecutor MITCHELL WEAVER on his feet.
WEAVER
... there is nothing vague or exploratory about this subpoena request, Your Honor. We're specifically asking for any and all documents relating to Devada Holdings. It's taken six months and seventeen separate motions and we still don't know who's responsible here. We've got a paper trail here that seems to stretch into eternity!
WOMAN JUDGE
Mr. Barzoon?
BARZOON
Can't turn over what you don't have, Your Honor. We've been conducting a comprehensive search of our records and I'm sorry to say it's a great deal less than Mr. Weaver would suggest.
WEAVER
Your Honor, this is outrageous. We need to get in there and seize these documents before there's nothing left!
BARZOON
Your Honor, it's exactly these types of insulting accusations --
WOMAN JUDGE
Enough. Both of you. Put it on paper. I'll read it.
WEAVER
Your Honor...
DEVIL'S ADVOCATE - Rev. 10/22/96 93.
But the gavel comes down. Done. Barzoon packing up, looks to the back of the room.
Kevin sitting there. Waiting.
CUT TO:
INT. WEAVER FEDERAL COURT - HALL - DAY (MINUTES LATER)
Busy. Lots of traffic. Barzoon and Kevin walking.
BARZOON
Forget about lunch. This guy Weaver is running me ragged.
A REPORTER pulls up alongside -- excited --
REPORTER
Kevin. Nancy Osborne, Metro News. How are you?
KEVIN
Busy.
REPORTER
We had a report of a private plane at Teterboro airport ready to take Alexander Cullen out of the coun --
KEVIN
(cutting her off)
Mr. Cullen is innocent. He's not going anywhere. He's been released on a two million dollar bond. He looks forward to having his day in court. Thank you.
REPORTER
Kevin, is there any truth to --
KEVIN
I'm in the middle of a meeting. Call my office. Schedule an interview. Or else forget it.
Barzoon is getting away. Kevin hustling to catch up.
KEVIN
I'm picking a jury tomorrow.
BARZOON
You're good at that.
DEVIL'S ADVOCATE - Rev. 10/22/96 94.
KEVIN
You're not gonna have time to help me on Cullen, are you?
BARZOON
No.
Just then, Weaver comes rumbling past --
WEAVER
Devada Holdings, Eddie. Look in your rearview window, I'm right behind you.
Before he can answer -- ANOTHER REPORTER swoops in --
REPORTER #2 Kevin, Chuck Higgery, Action News. Have you spoken with Alex Cullen concerning the D.A.'s report...
Kevin turns to see two more REPORTERS jogging over.
REPORTER #3 Kevin, just a statement --
And a photographer -- Kevin under siege and --
BARZOON
(backing away)
Gotta go.
Barzoon escaping as reporters begin to materialize from all sides, and we --
CUT TO:
INT. LOMAX LIVING ROOM - NIGHT
Dark. Quiet. Mary Ann in her chair. She looks like hell. Eyes red from crying. Kevin has just come home and found her like this.
MARY ANN
I dreamt about this.
(beat)
Right here.
(beat)
It's not a dream if it's true.
KEVIN
Tell me this is the medication.
MARY ANN
You won't stay with me now.
KEVIN
Look, let's get you undressed and in the tub. Okay?
MARY ANN
You won't stay. I know you. You'll leave me now for sure.
(as he moves to comfort her -- )
Get-away-from-me!
KEVIN
Okay. I'm confused.
(furious)
Why? What is it now? What the fuck is it today, Mare? I swear to God, I'm calling this doctor, I'm gonna find out what the hell they're giving you.
MARY ANN
They took my ovaries. I told you!
(tears now)
My sisters have seven children between them. My mother had Derek when she was forty-five. You could set a clock by my periods.
KEVIN
What are you talking about?
MARY ANN
I can't have children!
KEVIN
Says who?
MARY ANN
The doctor! The other doctor. I was there today.
(beat)
Non-specific ovarian failure.
KEVIN
That's ridiculous.
The PHONE begins to RING across the room.
MARY ANN
(grabbing his arm)
I know you. You'll leave me.
DEVIL'S ADVOCATE - Rev. 11/2/96 96.
KEVIN
Mary Ann...
MARY ANN
It's these monsters, Kevin.
(losing it)
I dreamt this...
The PHONE keeps RINGING. Kevin will finally pull away. Answering the phone O.S., quietly conducting business as Mary Ann falls apart.
CUT TO:
EXT. FOLEY SQUARE - DAY
Kevin on a cell phone walking with Milton.
KEVIN
Uh huh. For sleep. And she can take that during the day?
(beat)
No, she won't be driving.
(beat)
I'm gonna have the pharmacy call you right back. Thanks.
(hangs up, sags against the car)
He thinks, he's not sure, he thinks it could be some kind of hormonal imbalance.
MILTON
I'm taking you off the case.
KEVIN
What?
MILTON
I want you to drop this case.
KEVIN
This case? Cullen?
(incredulous)
John, I've got a jury showing up this morning.
MILTON
Do you love this woman?
KEVIN
Yes. Of course I do.
DEVIL'S ADVOCATE - Rev. 10/22/96 97.
MILTON
Kevin, she's sick. Everyone will understand. I'll understand.
KEVIN
(stunned)
What about Cullen?
MILTON
We'll find someone new. You consult. You live to fight another day.
KEVIN
I put together a great jury.
MILTON
It's a disappointment. We all have them. Embrace it. Use it. You move on.
KEVIN
Hang on, we gotta talk about this.
MILTON
What's to talk? It's your wife, man. And she's very sick. And that's gotta come first.
(beat)
Are you telling me the possibility of leaving the case has never crossed your mind?
KEVIN
You know what scares me? I quit the case. She gets better. And I hate her for it.
(silence)
I don't want to resent her, John. I've got a winner here. I gotta nail this fucker down, do it fast, and put it behind me. Just get it done. Then put all my energy into her.
MILTON
I guess you have thought about it. I stand corrected.
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/15/96 98.
INT. CULLEN COURTROOM - DAY
Packed. JUDGE ARMAND POE presiding. Cullen seated with Kevin and Pam. The jury in their box. And prosecutor FRANK BROYGO on his feet, just wrapping up his opening statement --
BROYGO
... And when all that evidence is laid before you, when all these pieces weave together, you will conclude -- you will know -- that Alexander Cullen is guilty of murdering three people in cold blood with malice aforethought.
Done. The courtroom is silent. The jury liked him.
JUDGE POE
Mr. Lomax...
(checking his watch)
We can break for lunch now, or you can do a stop and start...
KEVIN
If it's a choice, I'll go now. I won't be as long as Mr. Broygo.
JUDGE POE
Proceed.
KEVIN
We just spent our morning listening to Mr. Broygo talk about his 'evidence'. What he neglected to tell you is what this case is really about. He left out the most important fact of all: Alex Cullen was somewhere else when these murders took place. Now, Alex Cullen has done a lot of things I don't like. He's been a terrible husband to all three of his wives. He's been a destructive force in the lives of his step-children. He's cheated the city. His partners. His employees. He's paid hundreds of thousands of dollars in penalties and fines over the years. I don't like those things. I don't expect you to like them. There will be other things during the course of this trial that you will hear about and like even less. But this isn't a popularity contest. It's a murder trial and Alex Cullen hasn't killed anybody.
(MORE)
DEVIL'S ADVOCATE - Rev. 11/15/96 99.
KEVIN (CONT'D)
The state is going all out here. They've got a whole team over there. They're throwing everything but the kitchen sink at this case. I need one thing from you. That's it. One thing. I need you to ask yourself, 'Is not liking this man reason enough to convict him of murder?'
(beat)
Enjoy your lunch. We'll talk again.
Stunned silence, and then --
HARD CUT TO:
INT. COURTHOUSE - SMALL CONFERENCE ROOM - DAY
Kevin thrown back against a wall --
CULLEN
What the fuck was that? Are you out of your fucking mind?
(murderous)
They fucking hate me!
Kevin -- one push -- Cullen sent flying.
KEVIN
Listen to me like you've never listened to anybody before. I'm going to bust my ass to make sure they hate you. Because as long as you're out boning Melissa, you're not home killing your wife.
CULLEN
(pause, as he warms to the idea)
Why didn't you tell me before?
KEVIN
Then it doesn't look spontaneous.
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/2/96 100.
INT. CULLEN COURTROOM - DAY
A Forensic TECHNICIAN on the stand. A display chart beside him.
Blowups of the bloody hand-prints.
KEVIN
Let me put it this way, then: can you tell from a blood sample if the person were alive or dead?
TECHNICIAN
The victim? Of course not.
KEVIN
And there's a two hour window in which to place these murders.
TECHNICIAN
Yes.
KEVIN
So, you've got absolutely no way to determine the condition of the victims when Alexander Cullen put his hand on that wall.
CUT TO:
& &
EXT. CARNEGIE HILL GROCERY - LATE AFTERNOON
Kevin into the evening air, carrying a bag of stuff. Barzoon standing there in a jogging suit. Furious.
KEVIN
Eddie...
BARZOON
Saw you go in.
KEVIN
What's up?
BARZOON
(cold)
Congratulations.
DEVIL'S ADVOCATE - Rev. 11/2/96 101.
KEVIN
It's not over yet.
BARZOON
I'm not talking about the trial.
KEVIN
What are you talking about?
BARZOON
How the fuck does your name get on the firm's charter?
KEVIN
What?
BARZOON
Looks like it's been there for years. Now you're a partner? When did that happen? I am still the managing director of this firm. You want my job? Take me head on. Backdoor me one more time and I'll take your partnership papers and stuff 'em down your throat.
KEVIN
I don't know what you're talking about, but I sure as hell don't like your tone of voice.
BARZOON
Bullshit.
KEVIN
You got a problem with documents, I suggest you put together one of your late-night shredding sessions.
BARZOON
You think you're tough enough to run this firm? Fine.
(backing away)
You tell Milton next time Weaver calls maybe I pick up the phone.
Kevin standing there, watching him jog away, as we --
CUT TO:
INT. MILTON'S APARTMENT - DUSK
Kevin sitting there with his bag of groceries. Milton looking sadly perplexed --
MILTON
Was he drunk?
KEVIN
I doubt it. He was going running. What the hell was he talking about?
MILTON
Eddie's gotten himself into trouble again. And he wants me to save him. And I can't.
KEVIN
Why does he think I'm after his job?
MILTON
Do you have any experience with manic-depression?
KEVIN
Not directly, no.
MILTON
You do now.
Milton already on the phone. Punching a number.
MILTON
Yes, it's me.
(beat)
Get Eddie Barzoon. Right away. He may be out running, so page him if you have to. It's an emergency.
(hangs up, turns back to Kevin)
Looks like you could use a drink.
CUT TO:
INT. LOMAX APARTMENT - DUSK
Mary Ann coming through the living room. She looks stoned. But moving with purpose. As if she were hearing something. Opening the terrace doors and staring out over the park, as we --
CUT TO:
EXT. CENTRAL PARK RESERVOIR - DUSK
The reservoir entrance. It's a nice night and busy with runners and bikes and --
Barzoon comes jogging past.
CUT TO:
INT. MILTON'S APARTMENT - DUSK
Kevin has a vodka in his hand.
MARY ANN
Eddie Barzoon.
(wearily)
I've nursed him through two divorces, a cocaine rehab, and a pregnant receptionist.
(beat)
God's creature, right?
CUT TO:
EXT. CENTRAL PARK - RESERVOIR - DUSK
No leaves on the trees. Barzoon running. Breaking a sweat now. Leaving the heavy traffic behind.
CUT TO:
INT. MILTON'S APARTMENT - DUSK
MILTON
I'll tell you, Kevin, because I know you're into theology. When you've seen -- when you've represented -- when you've dealt with as many people as I have over the years, finally you say to yourself, 'God must've been awfully bored.'
(MORE)
DEVIL'S ADVOCATE - Rev. 11/2/96 104.
MILTON (CONT'D)
(beat)
Choice. The opportunity to fuck up. Talk about entertainment value.
CUT TO:
EXT. CENTRAL PARK - RESERVOIR - DUSK
Barzoon running. Into his pace.
Glancing down and on the horsepath below.
EXT. CENTRAL PARK - RESERVOIR - DUSK
Three running shadows. Side-by-side. Just passing beneath an iron bridge.
MILTON (V.O.)
You take a look at Eddie Barzoon you gotta wonder if maybe God overplayed his hand. Maybe he made the game a little too interesting...
EXT. CENTRAL PARK - RESERVOIR - DUSK
Barzoon turns back -- stumbles -- catches himself -- sprinting now to the Pump House. He pulls up here. Resting as several other runners pass by. Glancing back, almost an afterthought and --
EXT. CENTRAL PARK - RESERVOIR - DUSK
Those three running shadows are now crossing the bridge which is completely impossible considering where they just were a moment ago and --
EXT. CENTRAL PARK - RESERVOIR - DUSK
Barzoon starts running again -- instinctively -- faster than before -- glancing back and --
EXT. CENTRAL PARK - RESERVOIR (FX) - DUSK
(EFX) The three shadows. The sun setting behind them. Transforming as they run -- animal shapes mixing with the harsh silhouettes of bare trees and --
DEVIL'S ADVOCATE - Rev. 11/2/96 105.
EXT. CENTRAL PARK - RESERVOIR - DUSK
Barzoon freaked -- What the fuck was that? -- The park suddenly looking very empty -- and dark --
EXT. CENTRAL PARK - RESERVOIR - DUSK
The three shadows and they're closer and weirder and --
EXT. CENTRAL PARK TREE - DUSK
Barzoon -- suddenly turning -- changing course -- leaving the path -- into the woods -- quickly ducking down beside a huge sycamore tree. Hiding. Sweating. Scared. Staring back out at the path --
EXT. CENTRAL PARK - RESERVOIR - DUSK
Three women runners -- clear as day -- pass beneath a streetlight. Team clothes. Machine-like strides. Flat- out. And then gone.
EXT. CENTRAL PARK TREE - DUSK
Barzoon stands from behind the sycamore tree. Relief. Smiling at his own stupidity. What a jerk. Dusting off. Heading back toward the path, when --
EXT. CENTRAL PARK TREE - DUSK
Suddenly, there's an arm around his neck -- throwing him to the ground --
EXT. CENTRAL PARK TREE - DUSK
Standing there above him, a crazed-looking homeless MAN -- he's white and old and hungry --
OLD MAN
Gimme your watch.
BARZOON
(standing now)
You want the watch, old man? Come and get it.
DEVIL'S ADVOCATE - Rev. 11/2/96 106.
EXT. CENTRAL PARK TREE - DUSK
Barzoon moving toward the old guy when -- Crack! -- A tree branch swings out of nowhere -- catching his elbow -- snapping it back and --
A second homeless man. He's black and older than the first guy but just as wild and dangerous and he's winding up to swing the branch again and --
Barzoon on his knees -- dazed -- blood pouring from his head -- uncomprehending eyes watching these park creatures tear at his clothes --
EXT. CENTRAL PARK TREE - DUSK
(EFX) Watching them grow more feral and less human by the moment and --
CUT TO:
EXT. LOMAX TERRACE - DUSK
Mary Ann staring out at the park. Covering her ears against some horrible sound that she alone can hear.
CUT TO:
EXT. CENTRAL PARK TREE - DUSK
Barzoon -- on his belly -- in the dirt -- trying to move -- crawl -- anything --
EXT. CENTRAL PARK TREE - DUSK
The two men beating Barzoon to death with stones --
EXT. CENTRAL PARK TREE (FX) - DUSK
-- transforming with every blow -- (EFX) as their hands descend they become terrifying, demonic creatures, and as they rise we see them as men and over and over, as we hear --
CUT TO:
DEVIL'S ADVOCATE - Rev. 11/2/96 107/108.
INT. MILTON'S APARTMENT - DUSK
MILTON (V.O.)
You take a look at Eddie Barzoon you gotta wonder if maybe God overplayed his hand. Maybe he made the game a little too interesting.
Milton turns to find Kevin staring at him.
KEVIN
I'm gonna, I'm gonna go downstairs now. Put this stuff away.
(backing away with his bag of groceries)
Ice cream's already melting.
Milton watching him walk away, as we --
CUT TO:
INT. LAW FIRM - PAM'S OFFICE AND HALL - DAY
Pam exits the room. Melissa sitting at the head of the table. Kevin pacing around her. They are alone. Practicing her testimony over early morning coffee.
KEVIN
You testified that the defendant called you at four-thirty to ask you to come to his office gym for the purposes of sex.
MELISSA
Yes.
KEVIN
Mr. Cullen, though, he's not just your lover, is he? He's the boss.
MELISSA
Yes.
KEVIN
So two hours go by before you act on his request?
MELISSA
Yes, I went up at six-ten. I knew it was six-ten, they had weather coming on the news. I remember --
Cut off by --
KEVIN
Okay. Stop.
(breaking character)
This prosecutor is no fool. He's gonna change tempo, attitude, tone of voice -- he's gonna come out with questions you never thought of, just to screw you up.
(coaching)
So what do we do?
MELISSA
Yes and no answers. Stay calm.
KEVIN
Exactly.
(back into it)
Is it your testimony, Ms. Block, that between the hours of six-ten and nine-forty you were engaged in sexual congress with the defendant?
MELISSA
Yes.
KEVIN
At any point during this three hour marathon, Ms. Block, did you lose sight of the defendant?
MELISSA
No.
KEVIN
Did he use the bathroom?
MELISSA
Yes.
KEVIN
Is he circumcised?
(silence)
You understand the question?
MELISSA
Yes.
KEVIN
So is he cut or not?
MELISSA
Yes.
KEVIN
Which is it?
Silence. Melissa looks away.
KEVIN
You've been polishing his knob three times a week for six months and you don't know whether or not he's got foreskin?
MELISSA
(total transformation)
I've had it up to here with this fucking game. Why don't you take your questions and shove 'em up your ass.
Kevin staring at her. Looking away. Moving quickly for the door, and into:
INT. LAW FIRM LIBRARY HALL - DAY
Three steps out and he stops. Something's wrong. Very wrong. People are out of their offices, standing in the doorways. Some of them crying.
Christabella rushes toward him, into his arms --
CHRISTABELLA
Oh, Kevin --
KEVIN
What's happened?
CHRISTABELLA
Eddie Barzoon...
KEVIN
What about him?
CHRISTABELLA
He's dead. He was killed.
KEVIN
When?
DEVIL'S ADVOCATE - Rev. 11/2/96 111.
Heath nearby has more answers --
HEATH
Last night in the park. He was running if you can believe it.
Kevin standing there, holding Christabella. Feeling heat on the back of his neck and turning to find Milton at the far end of the hall. Their eyes lock --
CHRISTABELLA (O.S.)
What is wrong with people?
HEATH (O.S.)
At least they got the scumbags who did it.
KEVIN
(turning on this)
Who?
LAWYER #1 Two old, homeless crazies.
Pam coming through the hallway like steel --
PAM
Kevin... Kevin, I'm sorry, but you're due in court in thirty minutes.
As Melissa appears in the conference room door --
MELISSA
Are we through here, or what?
PAM
I'll bring Melissa down in the car, but you better get going.
CUT TO:
INT. SUBWAY TO COURT - DAY
SCREAMING uptown. Kevin looking very rattled. Milton, beside him. Talking him down.
MILTON
I want you to put Eddie aside. Let me worry about it. You gotta deal with Cullen now. Marshal your strength. Prioritize. Conserve your energy.
DEVIL'S ADVOCATE - Rev. 11/2/96 112.
KEVIN
I can't put her on the stand.
MILTON
What choice do we have?
KEVIN
I know she's lying.
MILTON
Because she didn't answer you fast enough? Did she lie to you? No. She said nothing. The fact is, you'll never know.
KEVIN
He killed those people.
MILTON
You really believe that?
KEVIN
Cullen set me up. Melissa, the whole thing, I know it.
MILTON
Look, you gotta go with your gut.
KEVIN
That's your advice?
MILTON
I'll back you either way. Hey, you think I haven't lost before?
(pause)
We talked about this, Kevin. Pressure. Take a big whiff.
Kevin unreadable. The SUBWAY CAR RATTLING away.
CUT TO:
INT. CULLEN COURTROOM - DAY
Packed and ready.
JUDGE POE
Mr. Lomax, you may call your next witness.
A long, awful pause. Kevin in agony. Milton behind him. Cullen and Pamela and everyone waiting...
JUDGE POE
Counselor...
KEVIN
I call Melissa Block.
CUT TO:
INT. COURT - HALL - DAY
Chaos! -- media madness -- Kevin pushing past dozens of reporters and camera crews -- court officers trying to clear the way -- fifteen voices screaming at once -- questions flying like shrapnel -- Cullen, all smiles, alongside Milton as they're pushed along -- Pam, waving a cell phone, fighting her way to Kevin and --
PAM
Kevin!
(re the phone)
Kevin, it's for you --
Kevin takes the phone, trying to hear above the noise.
CUT TO:
EXT. LOMAX BUILDING AND STREET - DAY
A cab speeds to a stop. Kevin jumps out. Feeney, the doorman, standing there with Felix, his partner.
FEENEY
She didn't look well, sir. Felix tried to talk to her, but she --
KEVIN
Where is she?
CUT TO:
EXT. MADISON AVENUE AND CHURCH - DAY
Kevin running down the sidewalk and --
CUT TO:
INT. CHURCH - DAY
Kevin enters. It's empty and dark. Two old ladies up front. Mary Ann in back, wrapped in a comforter.
KEVIN
Honey...
(sitting beside her)
Mare. It's me.
MARY ANN
He let himself in. You need to know that. The bath running, or something, I didn't hear him. I swear to you.
KEVIN
Who?
MARY ANN
Then we talked. We talked for hours.
(coming apart for good)
I haven't talked to anyone, really talked to anyone in such a long time. You have this whole life and all I have is me and he was so clear about it all.
KEVIN
Who let himself in?
MARY ANN
I came down here. I've just been sitting. I'm afraid to pray. I let him stay. I'm sorry. I'm sorry. I'm sorry, Kevin.
KEVIN
Did somebody hurt you?
MARY ANN
Milton. He fucked me, Kevin. I let him fuck me. I couldn't stop him.
KEVIN
What? When?
MARY ANN
Today. This afternoon. All afternoon. God, I'm so ashamed...
DEVIL'S ADVOCATE - Rev. 11/2/96 115.
KEVIN
Today? Today? Today. He was in court, Mare. He was in court, in my presence all afternoon!
MARY ANN
(sobbing)
I'm not crazy. I'm not. I swear.
KEVIN
I don't know, Mare. I don't know how much more of this I can take.
She stands. Throws open the comforter. She is naked. There are scratch marks all over her body.
CUT TO:
INT. HOSPITAL CUBICLE - NIGHT
Kevin with a NURSE and paperwork.
NURSE
Sign there... And there... And one more...
(as he's done)
She's calm now so this might be a good time to say good night.
Kevin nods. Stands, moving now -- into --
INT. HOSPITAL HALLWAY - NIGHT
Mary Ann on a moving gurney. Calm now, in the sway of some very strong drugs. Kevin kneels beside her.
MARY ANN
I know why this is happening.
KEVIN
They want you to go to sleep.
MARY ANN
It's the money, Kevin. Blood money. We just drank it down. Both of us. We knew it. Winning those cases, taking the money. We knew they were guilty. But you kept winning. Every time.
(MORE)
DEVIL'S ADVOCATE - Rev. 11/2/96 116.
MARY ANN (CONT'D)
(fading)
I can't look at myself in the mirror, Kevin.
CUT TO:
EXT. CATHOLIC CHURCH - DAY
A big one. A funereal morning. Hearse and cortege parked on the street outside.
CUT TO:
INT. CATHOLIC CHURCH - DAY
Barzoon's funeral. Big deal. Big crowd. An excess of flowers. ORGAN MUSIC as foreplay. Milton, up front, seating Diana and children.
Kevin seated on the aisle. Beside him, Jack Heath.
JACKIE
What do they say?
KEVIN
They don't know. It's bad. She's falling apart.
CHRISTABELLA (O.S.)
Do you have room for one more?
Kevin turns to see Christabella standing beside him. Jackie's concerned expression blossoms into a private, knowing smile now that Kevin has turned away. Christabella squeezes in, as the MUSIC SWELLS and THE PRIEST walks solemnly to the altar. Kevin caught in a high-intensity sexual cross-fire between Jackie and Christabella. He's tense. He's flipping out.
INT. CATHOLIC CHURCH - DAY
Milton passes on his way to the back. Smiles.
DEVIL'S ADVOCATE - Rev. 11/2/96 117.
INT. CATHOLIC CHURCH - DAY
On one side the Therapist, on the other Allesandra, except she looks different than last we saw her. Hair down. Makeup. She could be all of seventeen.
THE PRIEST
We are here today, to remember and pray and exalt in the spirit of Edward Barzoon...
Kevin staring at Cullen and the girl.
THE PRIEST
... Father, husband, partner, friend, colleague...
INT. CATHOLIC CHURCH - DAY
(EFX) Cullen's hand stroking at the back of the pew -- nothing outrageous, except it does call to mind the hand of Mr. Gettys back in Florida --
THE PRIEST
... taken from us so suddenly...
Cullen's hand moving with purpose -- stopping -- waiting -- as Allesandra sits back and now his fingers find her skin -- stroking ever so subtly --
THE PRIEST
... to contemplate evil. How it robs -- how it steals everything of value from us...
Cullen turns -- except it's not Cullen, it's Gettys -- yes, Gettys -- whispering in Allesandra's ear and --
THE PRIEST
... farther from God's purpose...
INT. CATHOLIC CHURCH - DAY
Kevin out of his seat. Pushing past Christabella -- rushing up the aisle --
THE PRIEST
... and the greater that distance, the greater evil's pleasure...
INT. CATHOLIC CHURCH - DAY
Milton watching Kevin flee the church.
CUT TO:
EXT. CATHOLIC CHURCH - DAY
Moments later. Kevin hustling away --
WEAVER (O.S.)
(behind him)
Mr. Lomax?
KEVIN
No comment. I'll have something for you later.
WEAVER (O.S.)
I'm a friend of Eddie Barzoon.
Kevin turns. Weaver walking beside him.
WEAVER
Remember me? Mitch Weaver. Justice Department.
KEVIN
Staking out the funeral?
WEAVER
Looking for you actually.
KEVIN
I'm in a bit of a hurry right now. I need to talk to my wife.
WEAVER
Just wanted to ask you -- off the record -- I had a few questions about Eddie.
CUT TO:
INT. CATHOLIC CHURCH - DAY
The funeral. In progress. CHOIR and ORGAN getting LOUDER. We're watching Milton move in the back of the church.
CUT TO:
EXT. STREET - DAY
Kevin walking faster. Weaver right beside him.
WEAVER
Milton, Chadwick, Waters is a little more than a law firm, but then I assume you knew that.
(working him)
Devada Holdings? I'm sure you've heard of it. London, Kinshasa, Karachi -- Arms brokering mostly. You've got Munzer-Dietch, they're in Berlin and Djakarta -- chemical weapons, toxic waste. Ivanaco Limited -- Moscow -- money laundering for the Eastern Bloc.
(at his ear)
It goes on and on, Kevin.
CUT TO:
INT. CATHOLIC CHURCH - DAY
Stained glass. Angels. The Stations of the Cross.
INT. CATHOLIC CHURCH - DAY
Milton standing in the shadows at the back. Taking it all in. Prodigal angel.
INT. CATHOLIC CHURCH - DAY
(EFX) And then, the stained-glass angels begin to move. Wings begin to beat. Expressions come alive. Expressions of panic and fear and --
CUT TO:
EXT. STREET - WEAVER - DAY
Kevin really striding. Weaver right there.
WEAVER
Milton is into everything.
(listen to me)
Barzoon was coming in, Kevin. He was gonna testify.
(MORE)
WEAVER (CONT'D)
Desoto and Dibalista, in Panama, that's a firm that specializes in opening bank accounts for judges all over South America. Huge drug cases. Murder. Everything.
KEVIN
He's a lawyer! What the fuck do you want?
(stopping there)
Stay off my back.
Weaver left standing there, as Kevin rushes away -- through traffic -- across the street --
WEAVER
This is a first time, last time offer!
(calling after him)
I'm learning about you, Kevin. I talked to some old friends down in Florida this morning...
(louder now)
The Gettys case. The eighth grade teacher?
(did Kevin just slow down)
Found him this morning. He had the body of a ten-year-old girl in the trunk of his car.
Kevin, across the street, stops.
CUT TO:
INT. CATHOLIC CHURCH - DAY
(EFX) Stained-glass angels going nuts now -- wings flapping like mad -- danger everywhere, as the MUSIC STARTS to CLIMAX and --
INT. CATHOLIC CHURCH - DAY
Milton down below. Lowering a single finger into the holy water. Instantly -- it's boiling, and we --
HARD CUT TO:
DEVIL'S ADVOCATE - Rev. 1/18/97 121.
EXT. STREET - DAY
Kevin standing there, across the street -- Weaver smiles, thinking he'll talk now for sure -- stepping off the curb and --
TIRES SCREECHING and Weaver turning and --
A car trying to stop and --
Kevin watching as --
WHAMM! -- Weaver ploughed onto the hood and --
A mother at the wheel -- her daughter beside her -- both screaming and --
The car's WINDSHIELD as it CRUMPLES and --
Kevin watching as the car stops and --
Weaver is dazed but alive -- his face buried in the windshield -- pulling himself up and --
Weaver's face THROUGH the shattered glass as he looks down to see --
Mother and child (EFX) -- transforming -- for an instant -- into monsters and --
Weaver more terrified than hurt -- scrambling off the hood of the car -- staring back in horror and --
Mother and child -- completely freaked out -- both of them hysterical and --
Weaver holding his arm -- nose bloodied -- but moving -- backing away -- turning to find Kevin still across the street and --
It's gonna be okay.
And then, a big flat-nose truck -- out of nowhere -- air BRAKES BLASTING as it just wipes Weaver OFF the SCREEN and --
Kevin falling back, flat against a wall -- STAYING ON Kevin -- as the street comes alive with the SOUNDS of EMERGENCY and he starts moving away and we --
CUT TO:
& &
DEVIL'S ADVOCATE - Rev. 1/18/97 122.
INT. HOSPITAL HALLWAY - DAY
Kevin walking through -- stopping finally at an open door --
INT. HOSPITAL ROOM - DAY
Mary Ann in a chair. Heavily sedated. Pam standing beside her, brushing her hair. Mrs. Lomax, on her knees, standing now --
MRS. LOMAX
Kevin... honey...
KEVIN
What are you doing here?
MRS. LOMAX
I came this morning. I been calling the house and getting no answer and then I spoke to Pam and... I need to talk to you.
PAM
We got her on the first flight up this morning.
MRS. LOMAX
Are you all right?
KEVIN
I just... I don't know.
MRS. LOMAX
Will you excuse us a moment?
Mrs. Lomax guides Kevin out. Mary Ann's vacant eyes watching them exit --
CUT TO:
INT. HOSPITAL HALLWAY - DAY
Just outside the room.
MRS. LOMAX
I never should've left. I knew it. I'll never forgive myself.
KEVIN
I was gonna call you, I just...
DEVIL'S ADVOCATE - Rev. 1/18/97 123.
MRS. LOMAX
What I did, Kevin, I thought it was for the best. Loving you was always first for me.
KEVIN
There's nothing you could've done.
MRS. LOMAX
I could've told you the truth.
KEVIN
About what?
MRS. LOMAX
I've lied to you, Kevin.
KEVIN
When?
MRS. LOMAX
Always.
(pause)
Baptist Endeavor Youth Crusade, ninety-sixty-four. I was here. In New York. That night in the elevator, you never let me answer.
KEVIN
What are you talking about?
MRS. LOMAX
We stayed a week. The Tremont Hotel, it's not there anymore, I went by and it's gone -- they had a restaurant downstairs and we ate there almost every meal --
KEVIN
Wait. Stop.
MRS. LOMAX
Your father was a waiter in that restaurant.
KEVIN
Oh, this is great, Ma... this is just perfect --
MRS. LOMAX
-- honey, listen to me --
DEVIL'S ADVOCATE - Rev. 1/18/97 124.
KEVIN
(total incredulity)
-- Now? You do this now? -- Because, I mean, your timing -- it's superb -- you wait thirty years? -- you fly up here -- you pick today? --
MRS. LOMAX
-- Kevin, honey, wait --
KEVIN
-- obviously I'm not under enough pressure -- I don't have enough on my mind, I need this little --
MRS. LOMAX
Listen to me.
KEVIN
Why are you doing this now?
MRS. LOMAX
Because I'm afraid!
Kevin overwhelmed -- walking away -- down the hall -- completely fritzed -- leaving her standing there --
MRS. LOMAX
Kevin. Kevin!
(calling after him)
'Behold I send you out as sheep amidst the wolves.'
Kevin just stopped walking.
CUT TO:
INT. HOSPITAL ROOM - DAY
Mary Ann quiet as Pam finishes brushing her hair.
PAM
Don't you look beautiful now.
(re something in her bag)
Here. Have a look and see.
A hand mirror. Mary Ann turns away instantly --
MARY ANN
No.
DEVIL'S ADVOCATE - Rev. 1/18/97 125.
PAM
It's all right, dear. Look...
MARY ANN
No. Please...
PAM
Go on. Take a look. See how beautiful you are?
Mary Ann opens her eyes. There's her reflection. She is beautiful. It's okay. She smiles. What was she afraid of? And then, the mirror shifts to find --
INT. HOSPITAL ROOM - DAY
Pam -- A monster (EFX) -- her features horribly transformed in the glass and --
INT. HOSPITAL ROOM - DAY
Mary Ann rears back -- her head smashing into Pam's face so hard that the MIRROR SHATTERS -- Pam, blind for a moment, staggering back -- Mary Ann on her feet and fighting and Pam suddenly pushed and --
CUT TO:
INT. HOSPITAL HALLWAY - DAY
Pam standing there, holding her face in pain, as the glass door slams shut and --
MRS. LOMAX
What's going on?
Mary Ann THROUGH the glass, jamming a chair up under the doorknob --
MRS. LOMAX
Kevin!
Kevin jogging down the hall -- trying the door --
DEVIL'S ADVOCATE - Rev. 1/18/97 126.
KEVIN
(it won't open)
Mary Ann. Hey. Hey!
(still no luck)
Omigod... Get somebody! Go!
Pam doesn't move.
& &
INT. HOSPITAL ROOM - DAY
Mary Ann, kneeling on the floor, picking up a broken shard of mirror and --
CUT TO:
INT. HOSPITAL HALLWAY - DAY
KEVIN
Mare! -- Look at me! -- Stop! -- right now -- Mare! --
CUT TO:
INT. HOSPITAL ROOM - DAY
Mary Ann raising the glass/blade to her throat.
KEVIN
(through the glass)
Mary Ann, no! No! No!
CUT TO:
INT. HOSPITAL HALLWAY - DAY
MRS. LOMAX
-- Help! -- Help! -- Somebody! We need help --
CUT TO:
DEVIL'S ADVOCATE - Rev. 1/18/97 127.
INT. HOSPITAL GLASS DOOR/HALLWAY - DAY
Kevin banging like mad on the glass but --
KEVIN
-- Mare! -- No! -- Look at me! --
Mary Ann raising the blade to her throat and --
KEVIN
-- Stop! -- No! -- Mare! --
Kevin grabbing a folding chair -- swinging it --
CUT TO:
thru thru
INT. HOSPITAL ROOM - DAY
SMASH! -- GLASS SHATTERING over the floor, but Kevin still can't get in -- wire mesh embedded in the window is bent but unbroken and he's tearing at it and --
KEVIN
-- Mare! -- Hang on! -- I'm almost there! -- Look at me!
And she does. Watching him claw at the wire --
MARY ANN
I loved you.
Pulling the blade across her neck --
KEVIN
Noooooooooo!
CUT TO:
thru thru
INT. HOSPITAL HALLWAY - DAY
Kevin kicking full force against the door and --
CUT TO:
DEVIL'S ADVOCATE - Rev. 1/18/97 128.
INT. HOSPITAL ROOM - DAY
The door buckles -- the chair wedged in there sent flying -- Kevin stumbling over broken glass --
KEVIN
Oh, God, Mare, what've you done? -- no...
Mary Ann falling to the floor -- her bloody hand still holding the blade deep in her neck --
ORDERLY #1 -- why? -- Oh God, Mare, why? (over his shoulder) We need a doctor in here!
CUT TO:
INT. HOSPITAL HALLWAY - DAY
Patients out of their rooms -- standing at their doorways -- sedated, bovine expressions watching --
MRS. LOMAX
(running through)
-- please -- somebody -- help her! -- What are you all doing? Somebody! --
ORDERLY #1 turning the corner up ahead --
ORDERLY #1 What's the hell's going on down here?
CUT TO:
INT. HOSPITAL ROOM - DAY
Kevin cradling Mary Ann -- his hand trying to staunch the wound in her neck -- blood flowing -- she isn't moving -- her eyes are starting to fix and --
KEVIN
-- no, Mare -- hang on -- please, Mare, I'm right here, it's gonna be okay, baby -- oh, God, Mare, why did you do this? --
(screaming now)
Where's the fucking doctor?!
ORDERLY #1 (O.S.) Oh shit, man...
DEVIL'S ADVOCATE - Rev. 1/18/97 129.
Kevin turns -- Orderly #1 in the doorway --
KEVIN
What are you doing? Help her!
ORDERLY #1 Hey, look, I ain't no doctor... (backing away) Hang on -- lemme --
YELLING in the hall now, and faces in the doorway.Mrs. Lomax crying and two weird patients from the next staring and...
Pam. And only we can see it, but she's smiling...
KEVIN
-- please, baby, stay with me... it'll be okay -- it's gonna be fine just, just stay with me -- Oh God, Mare... please, baby...
Kevin holding her, but she's gone, as we --
DISSOLVE TO:
thru thru
INT. HOSPITAL - BACK STAIRWELL - DAY
But someplace completely different. Older. Dark. Empty. Echoey. A fluorescent bulb sputtering out.
FOOTSTEPS approaching...
It's Kevin. And we know instantly that Mary Ann is dead. There's blood on his shirt. His eyes are raw. At his side, a small suitcase containing her personal effects. More than grief, more than shock, what we notice most is his frighteningly grim determination.
Up ahead, a bench. Mrs. Lomax huddled here. Cried out. Empty. Holding herself more tightly as he sets down the suitcase.
MRS. LOMAX
I could've packed that up for you.
Kevin sits. If he loses his steel he'll drown.
DEVIL'S ADVOCATE - Rev. 1/18/97 130.
MRS. LOMAX
I wish you'da let me help you.
KEVIN
Finish the story.
(off silence)
Nineteen-sixty-four. You're in New York. There's a waiter in a restaurant.
(waiting)
Finish the story.
MRS. LOMAX
He talked to me. Nobody'd ever really talked to me before. Sixteen years old, a thousand miles away from home, somebody takes an interest... Working so hard, putting himself through school, I'd never met anybody like that. Knew the Bible, every word, just knew it by heart. Every meal, there he was, at my ear and I just... I didn't want that week to ever end. But it did. He came to say goodbye, it was late, and I started to cry and he said not to worry, 'Behold, I send you out as sheep amidst the wolves.' And that just stopped me cold because we'd spent that whole day at Bible study reading Matthew Ten and there was just no way for him to know about that, so I was... I took it as a sign. I let him in. And then everything was different. He was cruel. He was so cruel and I was so ashamed, I thought I'd die...
Kevin's eyes settle on the suitcase. Mary Ann...
MRS. LOMAX
I promised right there if God would let me back into His grace I would never leave again. I prayed there was a reason this terrible thing had happened. There had to be a reason. And there was. It was you. You were my blessing. You were reason enough to endure anything. How much I love you.
KEVIN
I want to hear you say it.
DEVIL'S ADVOCATE - Rev. 1/18/97 131.
MRS. LOMAX
His face -- that night -- I knew it was him and the same time I was confused -- and you were so proud you'd come to New York and done all this on your own, I didn't have the heart to tell you --
KEVIN
Say it.
MRS. LOMAX
(desperate to finish)
-- you wondered yourself -- the apartment, the money, all this attention, everything out of nowhere...
(pause)
Milton. He's your father.
(there it is, out loud)
Somehow he found us. Tracked you down.
KEVIN
No.
MRS. LOMAX
What do you mean?
KEVIN
He's always been there. I know that now. Watching. Waiting. He's been playing us like a game. Jerking us around. Destroying Mary Ann...
Kevin stands. Quiet fury. A machine.
MRS. LOMAX
What are you doing?
KEVIN
I gotta go.
MRS. LOMAX
No... let it alone! Stay with me.
(panicked)
Forget about him! We can leave here. We can go home! We don't ever have to see him again!
DEVIL'S ADVOCATE - Rev. 1/18/97 132.
KEVIN
I can't do that. You go home.
(backing away)
Pray for Mary Ann.
MRS. LOMAX
Kevin, please... Honey!
(calling after him)
I love you!
Kevin disappearing down the stairs. Mrs. Lomax dropping to her knees as his FOOTSTEPS ECHO away, and we --
CUT TO:
EXT. HOSPITAL EXIT AND STREET - DAY
As Kevin explodes through a fire door. Pam standing there, having a smoke.
PAM
There you are...
(all smiles)
Look at you... you're terrified. Not to worry. He'll take that fear away. You don't ever have to be frightened again. Go on, he's waiting...
Kevin turning and something is very wrong --
EXT. HOSPITAL EXIT AND STREET - DAY
Fifty-seventh Street is empty. No cars. No people. Just the building and the silence. Turning back and Pam is gone, and then --
And then a WIDER ANGLE -- it goes on and on... He's alone. Just now realizing the scale of Milton's power. Starting to walk, as we --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
The room's only light coming from the huge bas relief. Kevin steps off the elevator, into the room.
DEVIL'S ADVOCATE - Rev. 1/18/97 133.
MILTON (O.S.)
You're right about one thing... I have been watching. Couldn't help myself. Watching, waiting, holding my breath. But I'm no puppeteer, Kevin...
Milton appears out of nowhere. Walking past Kevin.
MILTON
... I don't make things happen. Doesn't work like that. Free will -- it's like butterfly wings -- one touch and it never gets off the ground. I only set the stage. You pull your own strings.
Kevin has a gun -- Cullen's gun, in his hand --
KEVIN
What did you do to Mary Ann?
MILTON
A gun? In here?
KEVIN
What did you do to my wife?
MILTON
On a scale of one to ten, ten being the most depraved acts of sexual theater, one being an average Friday night run-through at the Lomax household, I'd say...
(beat)
Six.
Kevin FIRES the GUN -- BANG! BANG! BANG! -- bullets pass right through him -- into the wall --
MILTON
Whoa... Got me! Damn!
(laughing)
That's my boy. Step on up! Stay angry! Keep hold to that great fury! Hang on tight, Kevin, because it's the final fig leaf.
Kevin lowers the gun to his side.
KEVIN
Who are you?
DEVIL'S ADVOCATE - Rev. 1/18/97 134.
MILTON
Never lost a case. Why? Why? Because you're so fucking good? Yes. But why?
KEVIN
Because you're my father.
MILTON
Well, I'm a little more than that. Awful hot in that courtroom, wasn't it? 'What's the game plan, Kevin?'
(reporter's voice)
'It was a nice run, Kevin. Had to close out someday.'
KEVIN
Who are you?
MILTON
I have so many names.
KEVIN
Satan.
MILTON
Call me Dad.
KEVIN
Mary Ann, Barzoon, Weaver...
MILTON
Come on. You're not listening. Blaming me for Mary Ann? I hope you're kidding. You could've saved her any time you liked. She only wanted love. But you knew it wouldn't really work out, didn't you? Mary Ann in New York? Face it, you started looking to better- deal her the minute you got here.
KEVIN
That's a lie.
MILTON
Hey, it's not that you didn't care for her, it's just you were a little bit more involved with someone else. Yourself.
KEVIN
What the hell do you know about love?
DEVIL'S ADVOCATE - Rev. 1/18/97 135.
MILTON
Bio-chemically no different than eating large quantities of chocolate.
(sharply now)
Don't be such a fucking chump. There's only one real sickness in all of creation and that is self- delusion. I told you to take care of your wife -- that the world would understand. And you made a choice. 'You know what scares me, John? I leave the case, she gets better and I hate her for it...' Remember?
KEVIN
You set me up. It's entrapment.
MILTON
Who told you to pull out the stops for Mr. Gettys? And Moyez -- the direction you took -- Snake handlers, Popes and swamis all feeding at the same trough -- whose ideas were those? And then Cullen -- knowing he's guilty -- seeing those pictures -- putting that lying bitch on the stand... What did I say, Kevin? Maybe it was time to lose, right? You didn't think so.
KEVIN
That's my job. That's what I do!
MILTON
Exactly!
(gotcha)
Vanity is definitely my favorite sin. Self love. It's so basic. What a drug. Cheap, all-natural, and right at your fingertips. Pride. That's where you're strongest. And believe me, I understand. Work for someone else? -- Hey, I couldn't hack it. 'Better to reign in Hell than serve in Heaven.'
KEVIN
What do you want from me?
MILTON
What do I want? I want you to be yourself!
DEVIL'S ADVOCATE - Rev. 1/18/97 136.
& &
INT. MILTON'S APARTMENT - NIGHT
(EFX) The Bas Relief -- that wall of bodies swirling in marble clouds -- it's going to come to life --
INT. MILTON'S APARTMENT - NIGHT
MILTON
I've had many children, Kevin. So many disappointments. Neurotic, indecisive wannabes. Over-eager, ham-handed butchers. Strung-out, priapic losers. And then there's you. Your mother, I'll tell you, she outstripped my wildest fantasy. That church she dragged you to? Every day? What training. What a challenge! It's awesome what you've done. How far you've come. Both of you... You and your sister.
Christabella emerges from behind the bar --
MILTON
Half-sister to be exact.
CHRISTABELLA
Surprise.
MILTON
What do you think, Kevin? What a scene, huh?
CHRISTABELLA
(passing Kevin)
Don't let him scare you.
MILTON
Wait till you meet her mother.
KEVIN
It is a test, isn't it? The whole game, you sitting there, keeping score.
MILTON
No. That's the other guy. I don't judge anybody. As far as I'm concerned, everyone's a winner.
(MORE)
DEVIL'S ADVOCATE - Rev. 1/18/97 137.
MILTON (CONT'D)
God's your prankster, my boy. Think of it. He gives man instincts. He gives you this extraordinary gift and then, I swear to you -- for his own amusement -- his own private, cosmic gag reel -- he sets the rules in opposition. It's the goof of all time. Look but don't touch. Touch but don't taste. Taste but don't swallow. And while you're jumping from one foot to the other he's laughing his sick fucking ass off! He's a tight-ass. He's a sadist. He's an absentee landlord!
(incredulous)
Worship that? Never.
INT. MILTON'S APARTMENT - NIGHT
(EFX) The Bas Relief getting stranger and more seductive by the moment -- bodies spinning and spawning --
INT. MILTON'S APARTMENT - NIGHT
MILTON
I'm here, on the ground, my nose in it since the whole damn thing began. Why? Because I worship man himself. And it's my time now. Our time.
CHRISTABELLA
Anybody want a drink? I'm having a drink.
KEVIN
This is some pitch. You must need me pretty bad. What do you want?
MILTON
Eddie was right. Your name is on the partnership charter. I want you to take over the firm. You and your sister.
KEVIN
Is that it?
DEVIL'S ADVOCATE - Rev. 1/18/97 138.
MILTON
No.
(letting his hand brush her cheek)
She's ovulating. Right now.
KEVIN
What?
MILTON
Your vanity is justified, Kevin, you're the seed to a new future. Your son will sit at the head of all tables. You hold a special place in the history of all things.
KEVIN
You want a child.
MILTON
I want a family.
KEVIN
The Antichrist.
MILTON
Whatever...
KEVIN
But I have to volunteer.
Christabella begins to strip.
MILTON
Free will. It's a bitch.
(beat)
I need a family. I command an ever larger presence on the board. I'm busy and I need some help. There's a plan here. I've been conserving my energy. Synergy. Prioritize. It's the millennium, Kevin. Title fight. Round twenty. I'm ready to work.
KEVIN
So what are you offering?
MILTON
Are we negotiating?
KEVIN
Always.
DEVIL'S ADVOCATE - Rev. 1/18/97 139.
MILTON
Yes!
KEVIN
What are you offering?
MILTON
Everything. Anything. All of it!
(he's got him)
What am I offering? I'm offering bliss. Instant bliss. Bliss by remote control. Bliss on tap. That first line of cocaine. That walk into a strange girl's bedroom. The jury coming back in thirty- eight minutes. Freedom. Revolution! Viva la causa!
thru thru
INT. MILTON'S APARTMENT - NIGHT
(EFX) The Bas Relief transforming into real clouds and bodies and the frame of it disappearing and --
INT. MILTON'S APARTMENT - NIGHT
KEVIN
You're right, aren't you? About me. I mean, I made all the choices, didn't I? Gettys. Cullen. Mary Ann. I did kill her, didn't I?
MILTON
Don't be too hard on yourself.
Christabella passing Kevin, handing him her bra.
CHRISTABELLA
It's done. Forget it. It's all for us now.
MILTON
God, she's just fucking stunning, isn't she?
Christabella lingering and Kevin leaning in... kissing her... just a moment before she pulls away --
DEVIL'S ADVOCATE - Rev. 1/18/97 140.
KEVIN
You're right. I wanted to fuck her from the minute we met.
MILTON
Like that's wrong. Like there's anything wrong with that. That there could be laws preventing something so natural. That's our ticket in.
(excited now)
Did you know there were more students in law school right now than lawyers walking the Earth?
INT. MILTON'S APARTMENT - NIGHT
(EFX) The Bas Relief has become an orgy, bodies coming to life in a swirling, narcotic haze and --
INT. MILTON'S APARTMENT - NIGHT
MILTON
We're coming out, guns blazing. The two of you -- all of us -- acquittal after acquittal until the stench of it reaches so high into heaven it chokes the whole fucking lot of them! What we cannot legislate we will buy. What we cannot buy we will degrade. We will blow every fuse of enlightenment until it looks like a vandalized, neon sign! And while God is busy at his peephole -- as he deigns us with his disapproval -- as he lumbers around his empty kingdom like some overfed colonial governor -- as God sleeps late, we will win. We've got a winner here, kids!
KEVIN
In the Bible you lose. You're destined to lose.
MILTON
Consider the source.
Christabella -- her hands -- moving over her body --
CHRISTABELLA
Stop talking. Both of you.
(reaching out)
Kevin, please...
DEVIL'S ADVOCATE - Rev. 1/18/97 141.
INT. MILTON'S APARTMENT - NIGHT
(EFX) The bodies craning to watch as they roll by.
INT. MILTON'S APARTMENT - NIGHT
CHRISTABELLA
(urgently now)
Kevin, really, please...
MILTON
She's right, my son. It's time to step up and take what's yours.
KEVIN
You're right. It's time.
Kevin raises the GUN to his temple -- quick and simple -- SNAP! -- he's blown his brains out --
Milton stunned -- disbelieving for a moment and then an aura of fire and heat explodes around him --
MILTON
Nooooooo...!
CUT TO:
& &
INT. MILTON'S APARTMENT - NIGHT
(EFX) Kevin starting to fall in SUPER SLOW MOTION and --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
(EFX) The room consumed with fire as the heat explodes around Milton's body and --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
(EFX) Kevin still falling and --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
(EFX) Christabella beating at the flames that now cover her body and --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
(EFX) Kevin still falling and --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
(EFX) The Bas Relief. The clouds are now fire -- the bodies now burning and --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
(EFX) Kevin still falling and --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
(EFX) Milton as his clothes burn away -- as the heat eats away his features --
INT. MILTON'S APARTMENT - NIGHT
(EFX) as he becomes younger and younger and younger, until suddenly --
INT. MILTON'S APARTMENT - NIGHT
(EFX) For a moment. He is an angel. An instant of exquisite perfection amidst the flames. And then, just as --
INT. MILTON'S APARTMENT - NIGHT
(EFX) suddenly -- HE EXPLODES! -- and we --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
(EFX) The Bas Relief freezing instantly back into stone -- trapped in tortured, agonizing finality.
INT. MILTON'S APARTMENT - NIGHT
(EFX) And then, the whole thing just crumbling. Stone raining down in tiny pieces and --
CUT TO:
INT. MILTON'S APARTMENT - NIGHT
(EFX) Kevin in SUPER SLOW MOTION as he falls the final few inches to the floor and at the moment of impact we hear the sound of THUNDER and we --
CUT TO:
INT. FLORIDA COURTHOUSE - MEN'S ROOM - DAY
The mirror. And Kevin's face. As THUNDER ECHOES AWAY and becomes nothing more than a FLUSHING URINAL.
We're back in Florida. Where we started. Kevin touches his face. His body. His head. He's alive. He touches the mirror. He's insane. He's here. It's now. WATER RUNNING in the sink.
REPORTER (O.S.)
(behind him)
It was a nice run. Kev. Had to close out someday. Nobody wins 'em all.
The Reporter exits. Kevin alone with the mirror and his reflection.
And then it's over. He's made his decision. Replacing his wedding ring. Reaching for his jacket, as we --
CUT TO:
INT. FLORIDA COURTHOUSE - HALLWAY - DAY
Kevin walking through. His game face. A court officer opening the doors and --
CUT TO:
INT. FLORIDA COURTROOM - DAY
Kevin entering. Standing there a moment. Searching for Heath in the back of the courtroom. He's not there. A single empty seat.
Kevin moving quickly down the aisle.
Mary Ann standing there, completely unprepared as Kevin comes in behind her. Embracing her. Holding her tightly to him with a fervor that we alone will understand.
MARY ANN
Honey, what are you doing?
(quietly)
Are you okay?
Kevin nods. Smiles. Backs away. Into his seat. Gettys there beside him. Kevin will not look at him.
BAILIFF
All rise for the honorable Justice Garson Deeds.
The Judge enters. Takes his seat.
JUDGE
(to Barbara)
You're still under oath, young lady.
(MORE)
JUDGE (CONT'D)
(to Kevin)
Your witness, Mr. Lomax.
KEVIN
Your Honor, I'm terribly sorry, but I can no longer represent my client. I need to be replaced as counsel.
Another silence. But this one isn't very long. There will be chaos in the courtroom. Gettys will freak out and the press will start running for the phones and the Judge will be banging that gavel, as we --
CUT TO:
INT. FLORIDA COURTHOUSE - HALLWAY - DAY
As the doors open and the chaos begins to spill into the hallway. Kevin trying to rush away with Mary Ann but right behind them --
REPORTER
Kevin! -- Hey!
(catching up)
Listen, this story -- this is the one, pal -- this is the one you dream about --
KEVIN
There is no story.
REPORTER
Bullshit. A lawyer with a crisis of conscience? You gotta be kidding. It's huge!
KEVIN
They're gonna disbar me, Larry. You can cover that.
MARY ANN
Can they do that?
REPORTER
Not when I get through with the story.
(still walking)
You gotta talk, Kevin. You gotta gimme an exclusive.
(MORE)
REPORTER (CONT'D)
This is wire service. This is 'Sixty Minutes'. This is a story that needs to be told. It's you! You're a star!
KEVIN
Call me tomorrow.
REPORTER
You got it. First thing.
Kevin nods. Holding Mary Ann's hand as they escape.
INT. FLORIDA COURTHOUSE - HALLWAY - DAY
The Reporter watching them go for a moment. Then turning back.
INT. FLORIDA COURTHOUSE - HALLWAY - DAY
(EFX) And as he does, his features change, transforming- - like that -- into Milton.
INT. FLORIDA COURTHOUSE - HALLWAY - DAY
It's Milton.
Always there.
And he smiles. And we FREEZE FRAME.
FADE OUT.
THE END