The Devil's Advocate Page #12

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:

120 OMITTED 120

&&

121 121

122 INT. SUBWAY TO FIGHTS TRAIN - NIGHT 122

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 f*** you looking at?

(it's Milton he's talking to)

You f***ing 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 f***ing car away from me.

(CONTINUED)

76.

122 CONTINUED:
122

MILTON:

(stare-down)

I'm not going anywhere.

Big Guy pulls open his jacket -- a knife in his belt.

KEVIN:

Oh, sh*t.

(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 f*** 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.

123 INT. MADISON SQUARE GARDEN - BOXING RING - NIGHT 123

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.

124 INT. MADISON SQUARE GARDEN - NIGHT 124

And Milton at ringside, breathing deeply of the vibe and -

KEVIN:

(on his feet)

Get up! Get up, dammit! C'mon!

125 INT. MADISON SQUARE GARDEN - NIGHT 125

Blue trunks rises on shaky legs as the BELL RINGS, the round over, and the crowd groans back into its seats.

126 INT. MADISON SQUARE GARDEN - NIGHT 126

Milton turning as DON KING collars him.

DON KING:

Look at this sorry sh*t, 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:

127 INT. SPANISH RESTAURANT (DOWNTOWN) - NIGHT (LATE) 127

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.

128 INT. SPANISH RESTAURANT - PHONE AND ROOM - NIGHT 128

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 f***ing apartment we live in.

(beat)

I live there, too!

CLICK. The LINE is dead. He looks at the cigarette.

Takes a hit. F*** 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.

Christabella.

A DANCER standing there. It's not

DANCER:

Can I help you?

Kevin already backing toward -

128A INT. SPANISH RESTAURANT - NIGHT 128

Kevin moving toward the Milton table.

just realizing that -Sitting down and

Cullen has joined the party. He's wasted. He waves.

(CONTINUED)

DEVIL'S ADVOCATE - Rev. 11/2/96 79.

128A CONTINUED:
128A

Milton catching Kevin's eye, smiling as the Blonde slips below the table. As if nothing were going on.

CUT TO:

129 OMITTED 129

thru thru

132 132

133 INT. LOMAX APARTMENT - NIGHT (LATE) 133

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:

134 INT. LOMAX NURSERY HALLWAY - NIGHT 134

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...?

135 INT. LOMAX NURSERY AND HALL - NIGHT 135

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.

(CONTINUED)

DEVIL'S ADVOCATE - Rev. 11/2/96 80.

135 CONTINUED:
135

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:

136 OMITTED 136

thru thru

142 142

143 INT. HEATH GUEST ROOM AND HALL - DAY 143

Motion -- Kevin rushing down a hallway -- Heath behind him -- heading for an open door and into -

144 INT. HEATH GUEST ROOM AND HALL - DAY 144

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.

(CONTINUED)

144

DEVIL'S ADVOCATE - Rev. 11/2/96

CONTINUED:

81.

144

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:

144A EXT. NY - DAY/NIGHT

New York time transition -- MOS.

144A

145 EXT. LAW FIRM STREET - DAY 145

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 -146

EXT. LAW FIRM STREET - DAY 146

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.

(CONTINUED)

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