The Devil's Advocate Page #13

DEVIL'S ADVOCATE - Rev. 11/15/96 82.

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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 bridgehigh above.

CUT TO:

147 INT. NEW YORK SIDE STREET - DAY 147

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 f***ing 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 f*** around, she gets rich.

(you a**hole)

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 f***.

(CONTINUED)

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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. F*** 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:

148 OMITTED 148

thru thru

151 151

151A EXT. NY - DAY/NIGHT 151A

New York time transition -- MOS.

152 OMITTED 152

thru thru

155 155

DEVIL'S ADVOCATE - Rev. 11/15/96 84.

155A EXT. LOMAX APARTMENT BUILDING - SIDEWALK - NIGHT 155A

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.

156 INT. LOMAX LOBBY - ENTRANCE - NIGHT 156

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...

(CONTINUED)

DEVIL'S ADVOCATE - Rev. 11/15/96 85/86.

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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 -

157 INT. LOMAX APARTMENT ELEVATOR - NIGHT 157

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.

(CONTINUED)

DEVIL'S ADVOCATE - Rev. 11/2/96 87.

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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.

(CONTINUED)

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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:

158 OMITTED 158

thru thru

161 161

162 INT. LOMAX KITCHEN - NIGHT (ONE MINUTE LATER) 162

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.

(CONTINUED)

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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?

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