THE DEVIL'S ADVOCATE
Jonathan Lemkin and Tony Gilroy
based on the novel by
REVISED SHOOTING DRAFT
January 18, 1997
FOR EDUCATIONAL PURPOSES ONLY
DEVIL'S ADVOCATE - Rev. 11/2/96
1 INT. FLORIDA COURTROOM - DAY 1
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
... we go back to our homeroom for
dismissal, unless you have a pass
for sports or something.
And is that what you did on the
day in question?
No. Mr. Gettys asked me to stay
What happened next, Barbara?
Mr. Gettys closed the door.
Everyone else had gone?
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.
1 CONTINUED: 1
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.
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 --
... Then he put -- before I could
say anything -- he placed his hand
inside my blouse...
Kevin -- checking the jury and --
... 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 --
... 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 --
... his hand then, it started, he
started, moving back and forth --
farther and farther inside my
Kevin -- glancing around -- nobody else can see it --
... 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...
1 CONTINUED: (2) 1
Gettys' hand -- excited now -- stroking the chair leg --
absently -- involuntarily -- unmistakably sexual --
... 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.
... 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 --
-- 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 --
... then he, he got mad and said
we would have to try again
And did he try again?
Not with me.
With friends of yours?
And when you told them what he had
done to you, they told you what he
had done to them, isn't that true?
I have nothing further.
1 CONTINUED: (3) 1
Your witness, Mr. Lomax.
Any chance, Your Honor, for a
2 INT. FLORIDA COURTHOUSE HALL - DAY 2
Kevin heading quickly away from the courtroom. Gettys
right on his heels.
Lloyd, as your attorney, I'm
advising you to get the fuck away
Why? What are you talking about?
The wife. The kid. The outrage.
You definitely had me fooled.
You're my lawyer! You're here to
You know what I'm thinking? Why
don't we put you on the stand and
you can jerk off for the judge.
You know she's lying.
Get the hell out of my way.
Gettys standing aside, as we --
3 INT. FLORIDA COURTHOUSE MEN'S ROOM - DAY 3
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
3 CONTINUED: 3
Behind him, the door opens. A local REPORTER enters,
moves to the urinal.
Well, hell, there you are. Rumor
was you were out wandering in
Not now, Larry.
What's the game plan, Kevin? I
got a four-thirty deadline. I
need a quote. Gimme a quote.
'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...
It was a nice run, Kev. Had to
close out someday. Nobody wins
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 --
4 INT. FLORIDA COURTHOUSE HALLWAY - DAY 4
Kevin walking through. His game face. A court officer
opening the doors and --
DEVIL'S ADVOCATE - Rev. 11/2/96 6.
5 INT. FLORIDA COURTROOM - DAY 5
Barbara on the stand. Everyone in place.
Math hasn't exactly been your
subject this year, has it?
Any theories on why you've done so
poorly in math this year?
It's not my fault.
Would you say Mr. Gettys is the
(as she shrugs)
You're not sure. Have you had
any discipline problems in math
class this year?
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
Have other teachers ever asked you
to stay after class?
Once or twice.
Did they want to talk about your
Goes to motive.
DEVIL'S ADVOCATE - Rev. 11/15/96 7.
5 CONTINUED: 5
Overruled. You may answer the
I don't know what the other
teachers wanted. You'd have to
talk to them.
You ever pass notes in class,
Barbara? Maybe a note that made
fun of Mr. Gettys?
No? Never called him a
'disgusting pig monster'?
Kevin handing out paperwork.
Your Honor, I've pre-marked this
Defense Exhibit A...
Objection, Your Honor, we've had
plenty of time for discovery here.
The Judge quickly studying his copy of the note.
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
I'm sorry, Barbara, I was wrong,
it's 'huge hog beast'. This is
your handwriting, isn't it?
Yes, but --
DEVIL'S ADVOCATE - Rev. 11/15/96 8.
5 CONTINUED: (2) 5
You wrote this in his class.
It's a joke.
'He's a huge hog beast. He
probably eats a thousand pancakes
for breakfast.' You're writing
here about Mr. Gettys, aren't you?
It was meant to be a joke.
Have you ever had a party at your
house when your parents were away?
Yes or no?
Objection. This is way out of...
Credibility and bias.
Overruled. Answer the question.
The word special came up in your
testimony earlier. You claimed
that Mr. Gettys asked you whether
you had special feelings, if you
Have you ever heard of a game
called 'Special Places?'
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?
DEVIL'S ADVOCATE - Rev. 11/15/96 9.
5 CONTINUED: (3) 5
Is this game sexual in nature?
Is this game sexual in nature?
We only played it once.
This special party, Barbara, this
was the first time you told the
story about Mr. Gettys.
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
Objection. Your Honor, if he has
other witnesses let him call them.
(right at Barbara)
If I need to call those other
children, I will.
I'm gonna sustain that, Mr. Lomax.
Rephrase your question.
You threatened those children,
That's not the way it happened --
You told them to falsely claim
that Mr. Gettys had hurt them,
These things did happen!
DEVIL'S ADVOCATE - Rev. 11/15/96 9A.
5 CONTINUED: (3A) 5
Because if they didn't go along
you were going to tell everyone
about this special party.
They happened to me.
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,
I didn't want to be the only one!
BARBARA'S FATHER can take it no longer -- suddenly on his
feet -- charging --
You son of a bitch!
The bailiff making a diving grab --
I have no further questions, Your
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.
5 CONTINUED: (4) 5
Pack it up, baby. You need a
6 INT. FLORIDA NIGHTCLUB - NIGHT 6
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
LAWYER #1 (O.S.)
In the event we all get drunk and
forget, I suggest we frontload the
To the best damn trial lawyer in
Kevin, subdued, watches the rest of them drink.
So, Kev, off the record, how's it
feel to squeeze a man like Gettys
through the door of reasonable
(waving him off)
I told you already, we're not
gonna discuss that damn case
Am I right?
I'll drink to that.
(as he does)
No shop talk.
7 MONTAGE 7
Tequila pours. As the night goes on.
8 INT. FLORIDA NIGHTCLUB - MEN'S ROOM - NIGHT 8
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.
Kevin turns -- Leamon Heath standing beside him.
Helluva job today.
I didn't want to disturb your
Milton, Chadwick, Waters. Never
heard of it.
What're you gonna do? Sue me?
Actually, we were hoping to retain
your services. We've been
following your progress.
From New York.
You've never lost a case.
I've had some sympathetic juries.
That's exactly what we're looking
for. We want you to come to New
York. Help us pick a jury.
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
(as he's walking)
I'm just not drunk enough yet to
fall for it.
8 CONTINUED: 8
You'd have to start next week.
(waiting as Kevin
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 --
9 EXT. FLORIDA CINDERBLOCK CHURCH - DAY 9
Two dozen cars parked. MUSIC and SINGING from inside. A
"SEMINOLE CALVARY CHURCH OF THE REDEEMER"
10 INT. FLORIDA CINDERBLOCK CHURCH - DAY 10
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.
11 EXT. FLORIDA CHURCH PARKING LOT - DAY 11
Post-service. Mrs. Lomax and Kevin walking to her car.
It's two weeks at most.
You've never been to New York.
11 CONTINUED: 11
Every dog gets a day.
Pick a jury...
I feel the hand of Mary Ann on
New York is not a good idea.
Look, how you fixed for cash?
I have my bad feeling.
I put a couple hundred in here...
Sounds like more than two weeks.
Mary Ann typed out the numbers for
you -- phone, the flights -- it's
all in there.
Let me tell you about New York.
(with a smile)
Forewarned is forearmed.
'Fallen, fallen is Babylon the
great. It has become a dwelling
place of demons.' Revelation
Eighteen. Wouldn't hurt you to
look it over.
(rolls with it)
Couldn't forget it if I tried.
11 CONTINUED: (2) 11
And what happened to Babylon?
'Thou mighty city. In one hour
hast thou mighty judgement come.'
'And the light of a single lamp
shall shine in thee no more.'
Kevin gathers her in. Kissing her good-bye, as we --
12 INT. HOTEL SUITE - NIGHT 12
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 --
-- wait -- leave 'em off --
MARY ANN (O.S.)
-- what are you... I can't --
-- close your eyes -- do it --
More LAUGHTER. Stumbling shadows moving PAST us and --
13 EXT. HOTEL SUITE - BALCONY - NIGHT 13
Kevin behind Mary Ann with his hands over her eyes. He
takes his hands away, but her eyes stay closed...
Okay. Open your eyes.
(as she does)
14 EXT. HOTEL SUITE - BALCONY - NIGHT 14
The view. Wham. The definitive New York skyline.
15 EXT. HOTEL SUITE - BALCONY - NIGHT 15
(in her ear)
'... bite the Big Apple.'
'... 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...'
I don't know... looks to me like
that dress is in your way.
(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.
No, ma'am. In fact, I hardly ever
think at all.
Well, that's different, then.
You're my kind of guy.
Kevin smiles. She's taking off the dress. Babylon.
16 EXT. FOLEY SQUARE - ESTABLISHING - DAY 16
Six huge courthouses. All those courtrooms.
17 INT. JURY COURTROOM - DAY 17
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.
17 CONTINUED: 17
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?
That was a question, sir.
What? Do I like bankers?
Heath catches Meisel's eye. Waves him over.
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.
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.
Number six? You're kidding,
right? She's my first choice.
She's my first pass.
And eight? With the dreadlocks?
That's crazy. He's a defendant
juror if I ever saw one.
You see his shoes?
Look, kid, maybe down in Florida
you're the next big thing, but
this is New York. Manhattan.
We're not squeezing oranges here.
17 CONTINUED: (2) 17
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.
And number six? Your favorite?
She's damaged goods.
She's a Catholic schoolteacher.
She believes in human frailty.
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.
How the hell do you know that?
I don't know.
Look, either you put a stop to
this happy horseshit or I walk.
All right. Here's the deal.
I lose with your jury? You do the
The defendant staring a hole into Kevin, as we --
18 EXT. FOLEY SQUARE JURY COURT - DAY 18
Kevin leaving court. In no hurry to get home. He likes
18 CONTINUED: 18
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 --
19 EXT. FOLEY SQUARE - DAY/NIGHT (TIME LAPSE) 19
As day becomes night.
19A NIGHT BECOMES DAY 19A
19B AND AGAIN 19B
19C AND THIS TIME LIGHTNING SIZZLES THROUGH THE SKY 19C
20 INT. HOTEL SUITE - NIGHT 20
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.
(into her show)
Your mother called. She has her
Every now and then she gets one
You okay? Something's up.
They deliberated for thirty-eight
DEVIL'S ADVOCATE - Rev. 11/2/96 19.
20 CONTINUED: 20
MARY ANN (CONT'D)
(turns off the TV,
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.
Yeah. Except one.
(a big ole smile)
Not fucking guilty.
Thirty-eight minutes. My jury.
You did it! Omigod, Kevin...
Put on something that's gonna be
easy to take off later. We are
going out, girl!
21 INT. LAW FIRM LOBBY - DAY 21
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.
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.
22 INT. LAW FIRM HALL - DAY 22
The firm offices. A large central atrium. Offices rim
22 CONTINUED: 22
Lawyers come in all shapes and sizes. Assistants -- male
and female -- are uniformly attractive. The HUM of
serious BUSINESS in the background.
(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 --
He's got you scheduled for fifteen
minutes, which is a good sign, so
make the most of it...
23 INT. LAW FIRM - CHRISTABELLA'S OFFICE - DAY 23
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.
24 INT. LAW FIRM HALL - DAY 24
Heath is now far ahead. Kevin rushing to catch up --
25 INT. LAW FIRM - ARCHED CORRIDOR - DAY 25
Kevin about six steps into it when suddenly, he looks
down. Stops. Completely spooked.
Man, I just love that...
25 CONTINUED: 25
The floor is nothing but glass. Sixty stories above the
world. A bridge between two skyscrapers.
I watched a Senator piss his pants
right where you're standing.
He's waiting for you. Good luck.
Kevin sucks it up. Starts walking. Up ahead, nothing
but an open door.
26 INT. MILTON'S OFFICE - DAY 26
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.
Kevin turns. There he is.
Sorry. Didn't mean to...
Nice to meet you.
Have we been treating you well?
Very well. Thank you.
26 CONTINUED: 26
Your wife, she's had a good time?
She sure has. It's been great.
The whole thing's been great.
Good. That's our secret. We kill
you with kindness.
(walking the room,
What's your secret?
I couldn't say.
You were a prosecutor.
Out of law school. Five years in
the Jacksonville D.A.'s office.
Sixty-four straight convictions.
What a number.
I like to be in court. I didn't
plea out a lot.
What's that like? One day you're
putting them away and the next
you're setting them free?
Takes a little getting used to.
Pays better though, doesn't it?
Yes it does.
The math teacher. The Gettys
case. I hear you were brilliant.
Prosecutor dropped the ball.
DEVIL'S ADVOCATE - Rev. 11/2/96 23.
26 CONTINUED: (2) 26
Really. So you think your guy was
I didn't say that.
What did you say?
How's this? I began the case with
a clear conscience.
(quiet a moment)
I was sure you had a secret.
The men's room.
Upstairs men's room in the Duval
County courthouse. There's a hole
in the wall. Straight through to
the next room.
I spent five years listening to
I love it.
Love it all you want, just don't
repeat it. I'm not sure the
Florida Bar Association would
You don't really want to go back
to Florida, do you? Walk with me.
27 INT. MILTON'S OFFICE - PANEL - DAY 27
With that, Milton pushes a button. Huge panel screens
open out to:
28 EXT. MILTON'S TERRACE - DAY 28
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.
28 CONTINUED: 28
What do you think? Some people
can't handle it.
Fill in the resume. Tell me about
your family. What does your
I never got to know my father. He
passed away before I was born. My
mom raised me. Just the two of
She never remarried?
She wasn't married the first time.
That can't be easy in Gainesville.
I don't think it's easy anywhere.
(re the view)
Little different when you're
looking down, isn't it?
Tell me about her. Your mother.
What's she like?
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
DEVIL'S ADVOCATE - Rev. 11/15/96 25.
28 CONTINUED: (2) 28
'Many are in high places, and of
great renown: but mysteries are
revealed unto the meek.'
So they say.
Didn't rub off on you? The book?
I'm on parole. Early release for
Suddenly they're quiet. Silenced by the view.
Lotta potential clients down
there. (Sooner or later it all
flows through the streets.)
You don't have to sell me on New
You like it here, don't you?
Are we negotiating?
Why do you need a criminal
Because our clients break the law
just like everyone else and I'm
tired of sending their business
across the street.
Are you offering me a job?
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.
28 CONTINUED: (3) 28
What thing is that?
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?
When do we talk about money?
Money's the easy part.
29 EXT. LOMAX BUILDING AND STREET - DAY 29
Carnegie Hall. High off Central Park. A Mercedes
stretch pulls to the curb.
Mt. Sinai Hospital right up the
street. Some excellent schools.
29 CONTINUED: 29
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.
I doubt it was at the top of his
list when Mr. Milton bought the
building, but it's a great
neighborhood for children.
30 LOOKING UP - BUILDING 30
A stately, pre-war apartment house. One unique touch;
the penthouse rises in a sort of wedding cake design.
31 INT. LOMAX APARTMENT LANDING - DAY 31
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.
You must be Mary Ann -- Welcome.
I'm Jackie Heath...
It's so sweet of you to come by.
Please. We live across the hall.
So it's just two apartments per
(to her husband)
You didn't tell them about the
31 CONTINUED: 31
I thought I'd let it speak for
Opening the door, and we enter --
32 INT. LOMAX APARTMENT - DAY 32
A dream. Twelve-foot ceilings. Huge, oversized rooms.
Crown moldings. A huge central hallway. And light.
Kevin and Mary Ann walking through. Blown away.
It's what they call a classic
We had them paint everything
white. Let you see it naked
before you pick your palette.
What am I picking?
Palette. Your colors.
I need to warn you about one
(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
Took us six years to get in here.
33 EXT. LOMAX APARTMENT BALCONY - DAY 33
French doors opening. Kevin walks out. Mary Ann just
behind him. They stand there, staring at the park.
Are you really this good?
DEVIL'S ADVOCATE - Rev. 11/2/96 29.
33 CONTINUED: 33
I sure as hell hope so.
They must want you pretty bad.
Look, Mare, I'm only getting
behind this if you're on board.
You want to go home, I'm with you.
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.
Are you shitting me?
She smiles first. Kevin pulling her toward him, as we --
34 INT. FIRM CONFERENCE ROOM - DAY 34
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 --
Krasna. Maritime Law.
Parvathi Resh. Energy law. I
run the Islamic sub-group.
Joyce Rensaleer. Mergers and
Chan Sanyou. Intellectual property.
Eddie Barzoon. Managing Director.
Christabella and another woman running in. Taking seats
quickly. Christabella beside Kevin.
DEVIL'S ADVOCATE - Rev. 11/2/96 30.
34 CONTINUED: 34
Christabella Adrioli. Economics.
Primarily G-7 and E.C.
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
(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?
How about a public flogging?
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
Let's hold hands. All of us.
Milton is first. Reluctance begins to fold.
DEVIL'S ADVOCATE - Rev. 11/2/96 31.
34 CONTINUED: (2) 34
Right now. Every person at this
table -- take the hand of the
person on either side...
Kevin finds Christabella's hand at his side.
You want out of this, Eddie?
You've made your point, John.
You won't hold hands?
It's important to me, Eddie.
Kevin watching Barzoon fold. Watching the circle form.
See. See, I feel better already.
35 INT. KEVIN'S OFFICE HALL - DAY 35
Very nice. Major windows. Stripped down at the moment,
but there's a desk and phone.
What do you think?
I guess it'll do.
Until something better comes
In the doorway, PAM GARRETY. Never married. Two-pack-a-
day habit. Tough as dirt.
Kevin Lomax. Pam Garrety.
35 CONTINUED: 35
(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.
You're gonna be expediting his New
York Bar application, right?
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...
... I prepared, at Mr. Milton's
request, an overview of the Moyez
The Moyez case?
36 EXT. EAST HARLEM STREET - DAY 36
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 --
36A INT. CAR (EAST HARLEM) - DAY 36A
Kevin and his DRIVER peering across the street.
I gotta stick with the vehicle.
37 EXT. DAHOUMEY BAKA - DAY 37
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.
37 CONTINUED: 37
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 --
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.
I'm looking for Phillipe Moyez.
She moves aside. Kevin enters --
38 INT. DAHOUMEY BAKA - DAY 38
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.
I called this morning, I'm not
sure who I spoke with.
I'm his lawyer. I have a card...
They said he would meet me here.
(into the back)
Kevin taking a very deep breath, as we --
39 INT. DAHOUMEY BAKA - STAIRS - DAY 39
Darkness. A door opening above us. A BOY -- maybe ten
-- standing there. Kevin behind him.
39 CONTINUED: 39
Look, I'm not sure I'm making
myself clear here.
(a French accent)
You need him. Speak wid him.
40 INT. DAHOUMEY BAKA - STAIRS - DAY 40
The Boy hits the lights. A naked bulb on the landing
below. Beyond that, darkness.
You're saying he's down here?
In the basement? In the dark?
Where? Where you think -- ?
Where you think me taking you?
41 INT. DAHOUMEY BAKA - BASEMENT HALL - DAY 41
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 --
42 INT. DAHOUMEY BAKA - BASEMENT - DAY 42
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.
43 INT. DAHOUMEY BAKA - MOYEZ'S BASEMENT - DAY 43
Kevin waiting as the last light goes on --
I thought I would recognize you,
but I do not.
Kevin, spooked, wheels around --
43 CONTINUED: 43
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.
(as he nods)
We've never met. I'm a lawyer.
I'm here about the animals.
As you wish.
I'll be arguing your case with the
city. I need to ask you some
I've done a little preliminary
research -- precedent -- cases in
the past that dealt with Santeria
No. This is not Santeria. We are
not Voodoo. Candomble.
Obeayisne. None of that. We are
much older. Before. Before all
Okay. Is there a name? Or...
We have papers. At your firm. We
have the tax exemption.
Okay. I'll get right into that.
The animals. Let's start with
We have an investment in blood.
Think of it as spiritual currency.
Moyez stands. Starts slowly across the room.
Look, Mr. Moyez, I'm going to need
your help with this.
43 CONTINUED: (2) 43
Yes. That's very clear.
Perhaps we could start at the
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 --
What is the name of the man who
will prosecute us?
Merto. Assistant District
Attorney Arnold Merto.
Bhalla. La chemise noire. Vite!
The Boy already running up the stairs. The sound of
NAILS FALLING onto the workbench --
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.
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 --
44 INT. KEVIN'S OFFICE AND HALL - DAY 44
Video monitor -- FULL FRAME.
DEVIL'S ADVOCATE - Rev. 11/2/96 37.
45 INT. DAHOUMEY BAKA BASEMENT - DAY 45
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.
46 OMITTED 46
48 INT. KEVIN'S OFFICE AND HALL - KEVIN - DAY 48
with the remote control. Pam there with him. A long,
What do you think?
It's a health code case. And it's
a loser. So what's the point?
It's a test, right?
The smart thing to do is make a
deal. Plea him out and suppress
I'm sure the D.A.'s waiting for
Yeah, well, let him wait.
And you can tell Milton too.
I didn't come to New York to plea
DEVIL'S ADVOCATE - Rev. 11/15/96 38.
49 INT. LOMAX APARTMENT - DAY 49
Jackie rejecting Mary Ann's color choices.
50 INT. KEVIN'S OFFICE AND HALL - NIGHT 50
Law books stacked around. An associate wheels in a
trolley with more books.
50A INT. LOMAX APARTMENT - NIGHT 50A
Mary Ann eating fried chicken. She doesn't like the
wallpaper. She's tearing it off, as we --
50B INT. KEVIN'S OFFICE AND HALL - NIGHT 50B
Kevin working late. Across the hall Pam is going home.
It's only a health code case.
51 INT. MANHATTAN COURTROOM #2 (MOYEZ COURTROOM) - DAY 51
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.
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
DEVIL'S ADVOCATE - Rev. 11/15/96 38A/39.
51 CONTINUED: 51
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
Phillipe Moyez is not shrink-
Merto begins to cough. Quietly at first, but...
Your Honor, the city timed this
police action to catch my client
exercising his constitutionally-
protected right to religious
Merto's coughing getting worse as he tries to stop...
This is a law protecting Kosher
Exactly, Your Honor. And I'd like
to move at this time for an
immediate directed verdict for
Moyez staring a hole in Merto, and the man cannot stop
I happen to know a little bit
about Kashrut law, Mr. Lomax.
DEVIL'S ADVOCATE - Rev. 11/2/96 40.
51 CONTINUED: (2) 51
I'm aware of that, Your Honor,
which is why I feel confident in
requesting a dismissal.
Merto can't speak -- wheezing and coughing, as we --
52 INT. MOYEZ COURTHOUSE HALLWAY - DAY (TEN MINUTES LATER) 52
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 --
(coming toward them)
Bravo, Kevin. Bravo.
(as he arrives)
Pamela, you're looking lovely.
Kevin, what can I say?
Kevin, trying to look modest and failing, as we --
53 EXT. CANAL STREET (CHINATOWN) - DAY (LITTLE LATER) 53
A street-food stall. Milton paying for Kevin's eggroll.
And they're walking...
Best street food in the world.
Try that. Tell me it isn't great.
(as Kevin eats)
New York. What a scene, right?
DEVIL'S ADVOCATE - Rev. 11/2/96 41.
53 CONTINUED: 53
Guy like Moyez living in that
subterranean shithole all the
time he's running around with
fifteen million dollars in the
You gotta be kidding.
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
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.
So what the hell are they doing?
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
I figure you came to court to
make sure I didn't fuck this up.
DEVIL'S ADVOCATE - Rev. 11/2/96 42.
53 CONTINUED: (2) 53
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
The look. The Florida stud thing.
'Scuse me, ma'am, did I leave my
boots under your bed?'
Never worked a jury didn't have a
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
Milton escaping across the street.
So why did you come down today?
DEVIL'S ADVOCATE - Rev. 11/2/96 43.
53 CONTINUED: (3) 53
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?
A CHINESE MAN sits in a doorway --
Where's the chicken? The chicken
that plays tic-tac-toe. He used
to be right here.
No, you passed it. Back that way.
(back to Kevin, as
There's a chicken, he's famous, he
plays tic-tac-toe. He never
Hey. Like you. Right?
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?
I believe in the presumption of
Better a hundred guilty men go
free than a single innocent be
DEVIL'S ADVOCATE - Rev. 11/2/96 44.
53 CONTINUED: (4) 53
Something like that.
No. Exactly like that. It's
faith. You're either in or out.
You can't believe a little bit.
I was kidding.
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.
Milton offering a token. Behind him, the entrance to the
Canal Street station --
Learn the subways, Kevin. Use
them. Stay in the trenches.
Kevin taking the token, as we --
54 OMITTED 54
56 INT. LOMAX APARTMENT - NIGHT 56
Kevin just coming in from work. The apartment is
starting to come together. Still not enough furniture,
but the sparseness reads as elegance.
MARY ANN (O.S.)
(from the bedroom)
DEVIL'S ADVOCATE - Rev. 11/2/96 45.
56 CONTINUED: 56
He stops. In the hallway -- a wall is missing --
sheetrock stacked on the floor -- tools piled around -- a
renovation project halted for the night.
What's all this?
MARY ANN (O.S.)
Mary Ann up the hall in the bedroom door. Finishing her
makeup for a night out.
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
Kevin smiles. Drops his briefcase. Drops his pants.
Save the thought. We were due up
there fifteen minutes ago.
She blows him a kiss. Ducking back into bedroom.
57 INT. LOMAX APARTMENT BUILDING - ELEVATOR - NIGHT 57
Kevin and Mary Ann in their go-to-meeting clothes. Going
Tell me I can handle this.
You can handle this.
Say something nice.
Promise me you won't leave me
alone in there.
DEVIL'S ADVOCATE - Rev. 11/2/96 46.
57 CONTINUED: 57
How the hell did we get here?
58 INT. BARZOON APARTMENT - NIGHT 58
The door opens. DIANA BARZOON, tonight's hostess,
There you are!
Diana Barzoon, Eddie's wife.
(an air kiss for
Come on, you two. Everyone can't
wait to meet you.
59 INT. BARZOON APARTMENT - NIGHT 59
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
60 INT. BARZOON APARTMENT - NIGHT 60
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.
63 OMITTED 63
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.
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.
Not yet. I don't think so.
Come with me. Instantly.
I'm borrowing your wife...
Be gentle, honey. These are
Mary Ann giving Kevin a "help me" look as she's dragged
into the party --
Is this your first marriage?
66 OMITTED 66
67 INT. BARZOON APARTMENT - SAME SCENE (PARTY) - NIGHT 67
Front door -- abuzz -- Milton has just arrived.
DEVIL'S ADVOCATE - Rev. 11/2/96 48.
68 INT. BARZOON APARTMENT - NIGHT 68
Across the room, Mary Ann with Jackie and Diana and
another wife --
Who is that?
My God, girl...
You haven't met him yet?
Who is he?
69 INT. BARZOON APARTMENT - NIGHT 69
Milton -- across the room -- looks over -- he's found
them -- already coming toward them -- smiling --
I swear he can hear us.
Hell, he can smell us.
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 --
70 INT. BARZOON APARTMENT - NIGHT (SAME TIME) 70
Kevin talking with another lawyer. Looking over as
Christabella glides through the room.
71 INT. BARZOON APARTMENT - SOFA - DUSK (SAME TIME) 71
Milton and Mary Ann sitting together. Alone.
DEVIL'S ADVOCATE - Rev. 11/2/96 49.
71 CONTINUED: 71
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
No deadbeats here tonight.
You'd be surprised. There's a
lot more fear in this room than
What do these people have to be
Each other. Themselves. Why?
What scares you?
Not knowing who the deadbeats are.
You'll figure that out. There's
only one thing worth being
frightened of anyway, and that's
being alone. Truly and finally
Yes. I think you're right.
You know what terrifies me?
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.
71 CONTINUED: (2) 71
It's a wonderful opportunity for
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?
I'm not leaving a lot behind.
You must have family.
Bad subject. I haven't spoken
to my folks in a long time. My
sister ran all the way to
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.
I tell Kevin the only thing worse
than not having a father was
So you've got a lot at stake here.
You've made a real commitment.
I guess I have.
It's not gonna be like
Gainesville, but then you know
We're gonna be fine. It's gonna
DEVIL'S ADVOCATE - Rev. 11/2/96 51.
71 CONTINUED: (3) 71
If it isn't, will you come to me?
Let me help? I'd feel a lot less
responsible. Will you do that
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.
No. I mean, go ahead. You don't
You have shoulders nobody can see.
Pull it back.
You mean, you want me to pull my
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.
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.
You know, your natural color
would really bring out your eyes...
Mary Ann frozen there, as we --
DEVIL'S ADVOCATE - Rev. 11/2/96 52.
72 EXT. BARZOON APARTMENT - TERRACE (PARK VIEW) - NIGHT 72
Kevin standing at the rail. He looks over. Christabella
not ten feet away.
Do you have this view?
From your terrace, is this your
Sort of. Not exactly. I'm about
twelve floors down. What about
No, I live downtown. This is the
Sounds like fun. Downtown, I
mean. I'm just getting to know
Is it everything you expected?
(raising her glass)
May we always have more than we
Are you alone?
You mean, tonight?
Is your wife a jealous woman?
Silly question. We're all
jealous, aren't we?
DEVIL'S ADVOCATE - Rev. 11/2/96 53.
72 CONTINUED: 72
Oh, dear, I'm going to scare you
I doubt it.
You like to be on top, don't you?
Of the situation. You prefer to
be on top.
Depends on the view.
You know what I see?
Milton in the doorway. He's been watching them.
I see the future of this law firm.
Christabella, cara, prestamelo per
favore, pe lo riporto piu tardi.
It's a boring party, anyway.
Kevin can't help watching her walk away.
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.
73 OMITTED 73
DEVIL'S ADVOCATE - Rev. 11/2/96 54.
77 INT. BARZOON APARTMENT (PARTY) - NIGHT 77
Getting louder and wilder. Mary Ann looking lost.
Searching for Kevin... He's not here... not there...
Have you seen Kevin?
Jackie Heath shaking her head no, as Mary Ann continues
on through the party.
78 INT. LOMAX APARTMENT - ELEVATOR - NIGHT 78
Silence. Going up. Kevin, Heath, and Barzoon.
79 INT. BARZOON APARTMENT - STUDY - HALLWAY - NIGHT 79
Mary Ann still looking for Kevin. Scanning faces.
Stopping as she reaches a door. Opening it and --
80 INT. BARZOON APARTMENT - STUDY - NIGHT 80
Just enough light to make out two MEN standing across the
room. Silhouettes against the window.
I'm looking for my husband.
The Men -- two vaguely familiar faces from the firm.
Don't think he's here.
Suddenly, a WOMAN's head rises INTO FRAME --
It's just us...
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.
81 OMITTED 81
82 INT. MILTON'S APARTMENT - NIGHT 82
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.
Is there more to it?
Just this room.
And a bedroom?
Where does he sleep?
Who said he sleeps?
Where does he fuck?
What's up, John?
How many hours did we bill Alex
Cullen last year?
Sixteen thousand, two hundred and
DEVIL'S ADVOCATE - Rev. 11/2/96 56.
82 CONTINUED: 82
What the fuck did he do now?
Alex Cullen has just been
charged with murdering his ex-
wife, her stepson, and a maid.
When did this happen?
Just now. Tonight. I already
sent Pam downtown to make bail
DEVIL'S ADVOCATE - Rev. 10/22/96 57.
82 CONTINUED: (2) 82
They'll fucking crucify him.
They'll get in line. I gotta call
No. I want Kevin on this case.
I hope you're kidding.
Alexander Cullen in a Manhattan
triple murder? With Kevin?
I've shaken hands with every
marquee defense attorney in town.
I take Kevin and I don't look
You're a great judge of talent,
John. You're the master. I just
don't see it coming together.
I want you on board, Eddie.
Look, I appreciate the vote of
confidence, but maybe Eddie's got
a point here.
We can get this case. The man's
He's a business client.
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.
Tell it to Cullen.
No. That's up to Kevin.
82 CONTINUED: (3) 82
With that, the PHONE starts RINGING --
That's Pam calling...
Are we fighting for this, or not?
83 INT. LOMAX APARTMENT - NIGHT 83
It's late. Dark. Kevin tiptoeing through the apartment
-- turning the corner and --
You left me there. I had a
fucking panic attack until Jackie
told me where you were.
Three hours? You don't even call?
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!
You bailed on me!
Mare... did you hear me?
I was all by myself!
For three whole hours...
(as she's walking)
You gotta be kidding, right?
No, she's leaving. Kevin left there, alone --
DEVIL'S ADVOCATE - Rev. 11/2/96 59.
84 EXT. STREET - CONSTRUCTION SITE - DAY (MORNING) 84
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
85 EXT. STREET - CONSTRUCTION SITE - DAY 85
Two photographers sprinting toward the shell of a high-
rise building. A sign blankets the scaffolding. Huge,
ego-size lettering reads...
"The Next Great Address"
86 EXT. CONSTRUCTION HIGH-RISE - DAY 86
Looking DOWN FROM fifty stories high, as the media
vehicles converge like toys below.
... Look at this, I'm not out
twenty minutes, we're running from
the goddamn press. Look at those
insects down there...
87 INT. CONSTRUCTION HIGH-RISE - DAY 87
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.
... 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
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.
87 CONTINUED: 87
I don't know... I gotta look
You don't have time to shop, Mr.
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.
I didn't kill anybody.
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
How do you know that?
There's a second print in blood --
it's a partial of a hand -- on the
wall next to th--
I have keys! I called the cops
from the house! I touched the
I was panicked! I panicked!
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.
87 CONTINUED: (2) 87
I panicked! Is that a crime? I
touched the wall!
He's right, Alex. People need
to hear these things.
You're not happy tomorrow? The
next day? We'll move over. But
right now -- this moment -- you
need immediate representation.
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.
We need to issue a statement.
Cullen looks to Milton. Waiting. Help me.
He's a winner, Alex. And they'll
never see him coming.
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.
And you better be every fucking
inch as good as you think you are.
88 OMITTED 88
89 EXT. SOHO BOUTIQUE STREET - DAY 89
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 --
DEVIL'S ADVOCATE - Rev. 11/2/96 62.
90 INT. SOHO BOUTIQUE AND DRESSING ROOM - DAY 90
White wine and couture. Mary Ann holding a blouse.
This is three thousand dollars.
Know what you need to do? Buy it.
Wear it once. And then throw it
away. That'll loosen you up.
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
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?
It's not my tits I'm worried
Mary Ann turns. Jackie beside her. Topless. Smiling.
Real or not?
They look real...
They move real...
Must be real.
Feel them. Go ahead. That's the
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.
90 CONTINUED: 90
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 --
91 OMITTED 91
92 INT. SOHO BOUTIQUE - DRESSING ROOM (FX) - DAY 92
(EFX) Jackie pulling a dress down over her head.
She's taking her time because it's a delicate, clingy...
93 INT. SOHO BOUTIQUE - DRESSING ROOM (FX) - DAY 93
... 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.
94 INT. SOHO BOUTIQUE - DRESSING ROOM - DAY 94
Jackie's face appears. She straightens the seams.
Turning now --
What do you think?
But Mary Ann is gone.
95 OMITTED 95
DEVIL'S ADVOCATE - Rev. 11/2/96 64/65.
103 INT. LAW FIRM - STAIRCASE/OFFICE - DAY 103
Kevin, coming out a door with Heath and an associate.
... first thing -- I need this
ASAP -- I want articles, clippings,
TV interviews, I want everything
you can get on Alex Cullen.
You better get a semi truck.
104 INT. LAW FIRM - STAIRCASE/OFFICE - DAY 104
Christabella climbing the stairs. Short skirt. Great
angle. Halfway up, she stops to fix her stockings.
104 CONTINUED: 104
Sorry. I'm just...
Just what? Looking?
Congratulations on Cullen.
What an incredible situation, even
if you lose you become a star.
What if I win?
If you win...
If you win it's everything.
Cullen is a pig. He's a pig
beyond reasonable doubt. I
suggest you keep him as far away
from the jury as possible.
I'll keep it in mind.
You can look all you want, but I
don't fuck married men.
What a relief. I was starting to
think you were perfect.
DEVIL'S ADVOCATE - Rev. 10/22/96 67.
104 CONTINUED: (2) 104
He turns instantly -- Pamela standing behind him.
Your wife is on the phone. She
Christabella smiling as Kevin rushes off.
105 INT. LOMAX APARTMENT - DAY 105
Mary Ann very upset. Kevin has just come home.
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!
You just left them in the store?
Look, calm down, all right?
Listen to me... Mare? First,
you do this radical thing with
You hate it.
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 --
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.
105 CONTINUED: 105
What about Kathy?
What about her? She's pregnant
Oh, and that's got nothing to do
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.
What about the apartment?
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.
Let's make a baby.
Don't tease me.
I wouldn't do that. Unless you
You hate my hair, don't you?
106 INT. LOMAX APARTMENT - DAY 106
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.
107 INT. LOMAX APARTMENT - DAY 107
(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 --
108 INT. LOMAX APARTMENT - DAY 108
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.
109 INT. LOMAX APARTMENT - DAY 109
(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 --
110 INT. LOMAX APARTMENT - DAY 110
Suddenly -- She's Mary Ann -- flattening against the wall
and her blouse is open and --
111 INT. LOMAX APARTMENT - DAY 111
(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 --
112 INT. LOMAX APARTMENT - DAY 112
Kevin looks like he's been shot. In the balls.
Where are you?
Mary Ann doesn't look so sure.
113 INT. CULLEN'S APARTMENT - DAY 113
Huge. Opulent. Kevin and Pamela have been taking notes.
Cullen is exhausted, frustrated.
... 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.
113 CONTINUED: 113
I don't know why I picked it up --
it was before I saw Elucinda's
body and then, I mean we've been
You kneeled down to pick it up?
You work late. You come home.
You walk in. Everybody's dead.
It's not something you plan for.
Back up. Two prints by the gun.
Right knee. Right hand. It's a
strange move you must've made to
pick it up.
The blood, I don't know, maybe I
was trying to avoid the blood.
I'm trying to picture it...
Your hand came from inside and
Cullen reaches into his jacket and pulls out a gun.
You want to see? Here...
(dropping to his
I'll fucking show you.
Kevin watching Cullen quickly retrieve the gun from the
floor with this weird little motion.
Okay? Clear? Got it?
Whose gun is that, Alex?
DEVIL'S ADVOCATE - Rev. 11/2/96 71.
113 CONTINUED: (2) 113
Are you out of your mind?
You're charged in a triple
homicide, you're walking around
with a forty-five?
I've had nine death threats.
Give it over. Now. Gimme the
I gotta protect myself.
That's my job. When the case is
over you can have it back.
This is a dealbreaker, Alex.
Cullen hands him the gun.
Okay. Let's wrap it up.
So what's next?
We need to talk to your assistant.
You feel confident she'll back you
on the time.
Melissa, yeah. She's okay. She's
a real straight arrow.
So we're going to talk to her and
you're not going to talk to
(with a smile)
DEVIL'S ADVOCATE - Rev. 11/2/96 72.
114 INT. D.A. MERTO'S OFFICE - DAY 114
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.
115 OMITTED 115
116 EXT. LAW FIRM HELICOPTER - DUSK 116
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.
117 OMITTED 117
118 INT. KEVIN'S OFFICE AND HALL - NIGHT 118
Kevin and Pam walking Melissa out through the empty
Would my babysitter have to
We need her to establish the time
you returned home.
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.
118 CONTINUED: 118
Tell you what, Melissa, let's talk
to her first. See where she
stands and take it from there.
I'll make sure Melissa gets down
to the car.
Mr. Cullen didn't kill those
That's why we're all working so
As Melissa exits with Pam, Kevin notices two associates
carrying boxes far up the hall and we --
119 INT. LAW FIRM LIBRARY AND HALL - NIGHT (SAME TIME) 119
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.
Okay, Excelsior Insurance, who's
(a hand goes up)
All this has to go. Guatemala,
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.
I thought I was the only one
So did we.
DEVIL'S ADVOCATE - Rev. 11/2/96 74.
119 CONTINUED: 119
Good news. We just wrapped up
with Cullen's assistant. She
looks like a great alibi.
What a pleasant surprise.
But it looks like you have your
Just a little housekeeping.
If they ask, you never saw this.
Who would ask?
Justice Department. Weaver
(staring at him)
You don't know about Weaver?
How nice for you.
Grab your coat, Mr. Lomax...
Milton in the hall behind Kevin. Tickets in hand.
The night is young.
Title fight. Ringside.
I'd have to call Mary Ann...
Do it on the way.
DEVIL'S ADVOCATE - Rev. 11/2/96 75.
119 CONTINUED: (2) 119
(am I here?)
You get my message?
You write beautifully, Eddie.
We need to talk.
I hope so.
120 OMITTED 120
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.
So what's this Weaver Commission?
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 --
What the fuck you looking at?
(it's Milton he's
You fucking deaf or something?
No. I can hear you just fine.
Good, 'cause I want you should get
your skinny little ass somewhere
down the fucking car away from me.
122 CONTINUED: 122
I'm not going anywhere.
Big Guy pulls open his jacket -- a knife in his belt.
But Milton doesn't move. He smiles.
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 --
Como...? How do you...?
The SUBWAY RATTLING into the Fourteenth Street station.
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.
What did you say to him?
I told him if he didn't leave us
alone, you were going to kick all
three of their asses.
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
(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.
Look at this sorry shit, you got
better seats than me.
You need a better lawyer.
Nobody better than you, Johnny.
Hang on a second...
Meet my new heavyweight. Kevin
Kevin shaking hands with Don King, as we --
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.
And say what? He's the senior
partner at the --
Mare, you're really starting to
piss me off --
Yes. I'm having one cigarette.
You want me to lie? One cigarette
after seven months is not --
That's exactly what I'm saying.
Go to bed. I have no idea.
I told you, he never sleeps.
Mare. Stop. The guy pays our
bills. The food, the heat, the
rent on that enormous fucking
apartment we live in.
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
Kevin crosses to the door. Knocks. And again.
The door opens. A DANCER standing there. It's not
Can I help you?
Kevin already backing toward --
128A 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.
128A CONTINUED: 128A
Milton catching Kevin's eye, smiling as the Blonde slips
below the table. As if nothing were going on.
129 OMITTED 129
133 INT. LOMAX APARTMENT - NIGHT (LATE) 133
Dark. Mary Ann asleep in a chair. A breeze through the
open terrace windows. Suddenly she wakes.
Silence. And then, the sound of a BABY CRYING...
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 --
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.
You poor thing...
Mary Ann easing slowly forward.
How did you... how did you get
(billing and cooing)
Are you okay? Look at you...
Where's your mommy?
The baby turns to her voice. Smiling now.
DEVIL'S ADVOCATE - Rev. 11/2/96 80.
135 CONTINUED: 135
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...
... Oh, God, no...
The baby raising his hands toward her --
... 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
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
Took two seconals to get her out.
(hung-over and guilty)
Milton got his hooks into me.
Relax. We've all been there.
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.
144 CONTINUED: 144
This transition, it's been really
tough on her...
We're gonna find some names for
you. Doctors. Good people.
Kevin nods. Jackie ushering them out, as we --
144A EXT. NY - DAY/NIGHT 144A
New York time transition -- MOS.
145 EXT. LAW FIRM STREET - DAY 145
Pamela and three other women smoking. Looking up, as
Kevin comes flying out of the building.
I've gotta find Cullen.
(as he passes)
We just got the prosecution
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 --
You'll spoil me for other men.
That's what they all say.
DEVIL'S ADVOCATE - Rev. 11/15/96 82.
146 CONTINUED: 146
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
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
I get one supervised hour a week
with my stepdaughter. This is it.
You better have a great reason to
call me out.
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.'
Hearsay. Never gets in.
(listen to me)
Your prenuptial agreement is on
file at the firm. The contract is
null and void in the event of
You fuck around, she gets rich.
That's a motive, Alex.
What do I need to know?
Melissa. My assistant.
(such a headache)
She's not even that good a fuck.
DEVIL'S ADVOCATE - Rev. 11/15/96 83.
147 CONTINUED: 147
And, on the night in question?
I was boning my assistant while my
wife was getting shot.
I've got to re-interview Melissa.
Forget it. We're not telling that
Juries want honesty. Fuck with
that at your peril.
Cullen turns -- something more important --
Allesandra emerging from the building looking teary and
distraught. Her THERAPIST helping her toward the limo.
Time's up, Mr. Cullen.
Kevin watching Cullen rush away, as we --
148 OMITTED 148
151A EXT. NY - DAY/NIGHT 151A
New York time transition -- MOS.
152 OMITTED 152
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 --
Kevin, hey, how's it going? Can
we get a couple shots here? How
about a thumbs-up here? What do
Kevin reluctantly smiles. Get it over with.
What's he doing?
Kevin's had his picture in the
FEENEY, the doorman, at the ready. Mary Ann first inside.
Mrs. Lomax lingers a moment watching Kevin have his
Welcome to Babylon, Ma.
Sorry, Mr. Lomax, I thought we'd
scared 'em all away...
Always did like to stick his nose
in a camera.
156 INT. LOMAX LOBBY - ENTRANCE - NIGHT 156
(as they enter)
And how are you, Mrs. Lomax? Did
you have a fine dinner?
I surely did.
(she's got a
Are you hungry?
No, I'm fine. Thank you.
Speak of the devil...
DEVIL'S ADVOCATE - Rev. 11/15/96 85/86.
156 CONTINUED: 156
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.
I was just telling the Moyez
And is this your mother?
Yes. Mom, this is...
John Milton. Nice to meet you.
Alice Lomax. How do you do?
(a kiss for her)
I think you've met Christabella,
and this is Giselle who's just in
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.
Thanks for the champagne.
You've very welcome.
(to Mrs. Lomax)
This isn't really your first visit
to New York, is it?
(after a moment)
DEVIL'S ADVOCATE - Rev. 11/2/96 87.
157 CONTINUED: 157
Cette femme, elle est la mere de
l'homme dont vous m'avez parle?
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 has been staring, and now Milton meets her
eyes as the elevator stops and the doors open.
Nice to see you...
Have a lovely evening.
Kevin next out, holding the door, waiting --
Mom, we're here...
Yes. Good night to you.
Mrs. Lomax takes one last look at Milton as she exits.
Kevin, hang on...
(holding the door)
How's Cullen. Everything on beam?
That's a long conversation.
In the b.g., Mary Ann opening the apartment door and
going inside. Mrs. Lomax right behind her.
Why don't you come on up?
Milton smiles. Christabella smiles. Giselle smiles.
Let's talk tomorrow.
DEVIL'S ADVOCATE - Rev. 11/2/96 88.
157 CONTINUED: (2) 157
Milton shrugs. Your loss. Christabella has her hand on
Giselle's ass, working up her skirt --
Kevin left standing there as the doors close.
158 OMITTED 158
162 INT. LOMAX KITCHEN - NIGHT (ONE MINUTE LATER) 162
Mrs. Lomax, subdued, listening to Kevin and Mary Ann
That what you're doing when you're
What are we talking about?
You know exactly what I'm talking
I'm going to bed.
Mary Ann exits.
DEVIL'S ADVOCATE - Rev. 11/15/96 89.
162 CONTINUED: 162
I'm worried about her. You
shouldn't fight like that.
That's not a fight, Ma, it's
marriage. Not exactly your area
Are you happy here?
Are you happy here?
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?
You were always running somewhere.
I guess I finally got there.
Look, I'm sorry about being so
busy this week. Maybe Saturday I
can get some time off and...
Don't worry on it.
(touching his face)
I love you more than anything in
the whole world. You know that,
I love you too, Ma.
Kevin turning out the lights, as we --
163 INT. LOMAX APARTMENT - FOYER/HALL - DAY 163
Newspapers. Laying on the doorstep. Headline reads:
DEVIL'S ADVOCATE - Rev. 11/15/96 90.
163 CONTINUED: 163
CULLEN PRE-NUP SHOCKER!
Kevin, dressed for work, briefcase in hand, rushing down
a cup of coffee, reading the headline and --
The door to the guest room is open. He looks in --
164 OMITTED 164
165 INT. LOMAX GUEST ROOM - DAY 165
Mrs. Lomax fully dressed. The bed is made. Her bag is
Mom? Ma, what are you doing?
I'm going home, Kevin.
What? What are you talking about?
I don't feel right.
You just got here.
Look, I'm late and I just got my
teeth kicked in on the front page,
so I gotta run. We'll talk later.
I have to go, Kevin. I miss my
Ma, this is New York, there must
be twenty-thousand goddamn
churches. Take your pick.
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.
165 CONTINUED: 165
So stay. Take care of her if
you're so concerned! Help me out.
I'll take her home if you let me.
This is home. You understand?
This is where we live! I'm not
going back to Gainesville.
'Wide is the gate, and broad is
the way that leadeth to
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 --
166 EXT. CENTRAL PARK PLAYGROUND - DAY 166
Melissa and Kevin on a bench. Kids playing. One of them
is hers, but she's not paying much attention at the
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.
We have to bring it out, Melissa.
My ex-husband would have a field
day with this.
A man's life is at stake. You're
our whole case.
Melissa looking away, as we --
DEVIL'S ADVOCATE - Rev. 11/15/96 92.
167 INT. WEAVER FEDERAL COURTROOM - DAY 167
Modern. Empty. The JUDGE is a WOMAN. No bullshit.
Barzoon sitting alone at the defense table. Federal
prosecutor MITCHELL WEAVER on his feet.
... 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!
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.
Your Honor, this is outrageous.
We need to get in there and seize
these documents before there's
Your Honor, it's exactly these
types of insulting accusations --
Enough. Both of you. Put it on
paper. I'll read it.
DEVIL'S ADVOCATE - Rev. 10/22/96 93.
167 CONTINUED: 167
But the gavel comes down. Done. Barzoon packing up,
looks to the back of the room.
Kevin sitting there. Waiting.
168 INT. WEAVER FEDERAL COURT - HALL - DAY (MINUTES LATER) 168
Busy. Lots of traffic. Barzoon and Kevin walking.
Forget about lunch. This guy
Weaver is running me ragged.
A REPORTER pulls up alongside -- excited --
Kevin. Nancy Osborne, Metro News.
How are you?
We had a report of a private plane
at Teterboro airport ready to take
Alexander Cullen out of the coun --
(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.
Kevin, is there any truth to --
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.
I'm picking a jury tomorrow.
You're good at that.
DEVIL'S ADVOCATE - Rev. 10/22/96 94.
168 CONTINUED: 168
You're not gonna have time to help
me on Cullen, are you?
Just then, Weaver comes rumbling past --
Devada Holdings, Eddie. Look in
your rearview window, I'm right
Before he can answer -- ANOTHER REPORTER swoops in --
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.
Kevin, just a statement --
And a photographer -- Kevin under siege and --
Barzoon escaping as reporters begin to materialize from
all sides, and we --
169 INT. LOMAX LIVING ROOM - NIGHT 169
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.
I dreamt about this.
It's not a dream if it's true.
Tell me this is the medication.
169 CONTINUED: 169
You won't stay with me now.
Look, let's get you undressed and
in the tub. Okay?
You won't stay. I know you.
You'll leave me now for sure.
(as he moves to
comfort her -- )
Okay. I'm confused.
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.
They took my ovaries. I told you!
My sisters have seven children
between them. My mother had Derek
when she was forty-five. You
could set a clock by my periods.
What are you talking about?
I can't have children!
The doctor! The other doctor. I
was there today.
Non-specific ovarian failure.
The PHONE begins to RING across the room.
(grabbing his arm)
I know you. You'll leave me.
DEVIL'S ADVOCATE - Rev. 11/2/96 96.
169 CONTINUED: (2) 169
It's these monsters, Kevin.
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.
170 EXT. FOLEY SQUARE - DAY 170
Kevin on a cell phone walking with Milton.
Uh huh. For sleep. And she can
take that during the day?
No, she won't be driving.
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
I'm taking you off the case.
I want you to drop this case.
This case? Cullen?
John, I've got a jury showing up
Do you love this woman?
Yes. Of course I do.
DEVIL'S ADVOCATE - Rev. 10/22/96 97.
170 CONTINUED: 170
Kevin, she's sick. Everyone will
understand. I'll understand.
What about Cullen?
We'll find someone new. You
consult. You live to fight
I put together a great jury.
It's a disappointment. We all
have them. Embrace it. Use it.
You move on.
Hang on, we gotta talk about
What's to talk? It's your wife,
man. And she's very sick. And
that's gotta come first.
Are you telling me the possibility
of leaving the case has never
crossed your mind?
You know what scares me? I quit
the case. She gets better. And I
hate her for it.
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.
I guess you have thought about it.
I stand corrected.
DEVIL'S ADVOCATE - Rev. 11/15/96 98.
171 INT. CULLEN COURTROOM - DAY 171
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 --
... 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.
(checking his watch)
We can break for lunch now, or you
can do a stop and start...
If it's a choice, I'll go now. I
won't be as long as Mr. Broygo.
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.
DEVIL'S ADVOCATE - Rev. 11/15/96 99.
171 CONTINUED: 171
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
Enjoy your lunch. We'll talk
Stunned silence, and then --
HARD CUT TO:
172 INT. COURTHOUSE - SMALL CONFERENCE ROOM - DAY 172
Kevin thrown back against a wall --
What the fuck was that? Are you
out of your fucking mind?
They fucking hate me!
Kevin -- one push -- Cullen sent flying.
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.
(pause, as he warms
to the idea)
Why didn't you tell me before?
Then it doesn't look spontaneous.
DEVIL'S ADVOCATE - Rev. 11/2/96 100.
173 INT. CULLEN COURTROOM - DAY 173
A Forensic TECHNICIAN on the stand. A display chart
Blowups of the bloody hand-prints.
Let me put it this way, then: can
you tell from a blood sample if
the person were alive or dead?
The victim? Of course not.
And there's a two hour window in
which to place these murders.
So, you've got absolutely no way
to determine the condition of the
victims when Alexander Cullen put
his hand on that wall.
174 OMITTED 174
176 EXT. CARNEGIE HILL GROCERY - LATE AFTERNOON 176
Kevin into the evening air, carrying a bag of stuff.
Barzoon standing there in a jogging suit. Furious.
Saw you go in.
DEVIL'S ADVOCATE - Rev. 11/2/96 101.
176 CONTINUED: 176
It's not over yet.
I'm not talking about the trial.
What are you talking about?
How the fuck does your name get on
the firm's charter?
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.
I don't know what you're talking
about, but I sure as hell don't
like your tone of voice.
You got a problem with documents,
I suggest you put together one of
your late-night shredding
You think you're tough enough to
run this firm? Fine.
You tell Milton next time Weaver
calls maybe I pick up the phone.
176 CONTINUED: (2) 176
Kevin standing there, watching him jog away, as we --
177 INT. MILTON'S APARTMENT - DUSK 177
Kevin sitting there with his bag of groceries. Milton
looking sadly perplexed --
Was he drunk?
I doubt it. He was going running.
What the hell was he talking
Eddie's gotten himself into
trouble again. And he wants me to
save him. And I can't.
Why does he think I'm after his
Do you have any experience with
Not directly, no.
You do now.
Milton already on the phone. Punching a number.
Yes, it's me.
Get Eddie Barzoon. Right away.
He may be out running, so page him
if you have to. It's an
(hangs up, turns
back to Kevin)
Looks like you could use a drink.
178 INT. LOMAX APARTMENT - DUSK 178
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 --
179 EXT. CENTRAL PARK RESERVOIR - DUSK 179
The reservoir entrance. It's a nice night and busy with
runners and bikes and --
Barzoon comes jogging past.
180 INT. MILTON'S APARTMENT - DUSK 180
Kevin has a vodka in his hand.
I've nursed him through two
divorces, a cocaine rehab, and a
God's creature, right?
181 EXT. CENTRAL PARK - RESERVOIR - DUSK 181
No leaves on the trees. Barzoon running. Breaking a
sweat now. Leaving the heavy traffic behind.
182 INT. MILTON'S APARTMENT - DUSK 182
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
DEVIL'S ADVOCATE - Rev. 11/2/96 104.
182 CONTINUED: 182
Choice. The opportunity to fuck
up. Talk about entertainment
183 EXT. CENTRAL PARK - RESERVOIR - DUSK 183
Barzoon running. Into his pace.
Glancing down and on the horsepath below.
184 EXT. CENTRAL PARK - RESERVOIR - DUSK 184
Three running shadows. Side-by-side. Just passing
beneath an iron bridge.
You take a look at Eddie Barzoon
you gotta wonder if maybe God
overplayed his hand. Maybe he
made the game a little too
184A EXT. CENTRAL PARK - RESERVOIR - DUSK 184A
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 --
184B EXT. CENTRAL PARK - RESERVOIR - DUSK 184B
Those three running shadows are now crossing the bridge
which is completely impossible considering where they
just were a moment ago and --
184C EXT. CENTRAL PARK - RESERVOIR - DUSK 184C
Barzoon starts running again -- instinctively -- faster
than before -- glancing back and --
184D EXT. CENTRAL PARK - RESERVOIR (FX) - DUSK 184D
(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.
185 EXT. CENTRAL PARK - RESERVOIR - DUSK 185
Barzoon freaked -- What the fuck was that? -- The park
suddenly looking very empty -- and dark --
186 EXT. CENTRAL PARK - RESERVOIR - DUSK 186
The three shadows and they're closer and weirder and --
186A EXT. CENTRAL PARK TREE - DUSK 186A
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 --
186B EXT. CENTRAL PARK - RESERVOIR - DUSK 186B
Three women runners -- clear as day -- pass beneath a
streetlight. Team clothes. Machine-like strides. Flat-
out. And then gone.
187 EXT. CENTRAL PARK TREE - DUSK 187
Barzoon stands from behind the sycamore tree. Relief.
Smiling at his own stupidity. What a jerk. Dusting off.
Heading back toward the path, when --
188 EXT. CENTRAL PARK TREE - DUSK 188
Suddenly, there's an arm around his neck -- throwing him
to the ground --
189 EXT. CENTRAL PARK TREE - DUSK 189
Standing there above him, a crazed-looking homeless
MAN -- he's white and old and hungry --
Gimme your watch.
You want the watch, old man? Come
and get it.
DEVIL'S ADVOCATE - Rev. 11/2/96 106.
190 EXT. CENTRAL PARK TREE - DUSK 190
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 --
191 EXT. CENTRAL PARK TREE - DUSK 191
(EFX) Watching them grow more feral and less human by the
moment and --
192 EXT. LOMAX TERRACE - DUSK 192
Mary Ann staring out at the park. Covering her ears
against some horrible sound that she alone can hear.
193 EXT. CENTRAL PARK TREE - DUSK 193
Barzoon -- on his belly -- in the dirt -- trying to
move -- crawl -- anything --
194 EXT. CENTRAL PARK TREE - DUSK 194
The two men beating Barzoon to death with stones --
195 EXT. CENTRAL PARK TREE (FX) - DUSK 195
-- 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
DEVIL'S ADVOCATE - Rev. 11/2/96 107/108.
196 INT. MILTON'S APARTMENT - DUSK 196
You take a look at Eddie Barzoon
you gotta wonder if maybe God
overplayed his hand. Maybe he
made the game a little too
Milton turns to find Kevin staring at him.
I'm gonna, I'm gonna go downstairs
now. Put this stuff away.
with his bag
Ice cream's already melting.
Milton watching him walk away, as we --
197 INT. LAW FIRM - PAM'S OFFICE AND HALL - DAY 197
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.
You testified that the defendant
called you at four-thirty to ask
you to come to his office gym for
the purposes of sex.
Mr. Cullen, though, he's not just
your lover, is he? He's the boss.
So two hours go by before you act
on his request?
197 CONTINUED: 197
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 --
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.
So what do we do?
Yes and no answers. Stay calm.
(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
At any point during this three
hour marathon, Ms. Block, did you
lose sight of the defendant?
Did he use the bathroom?
Is he circumcised?
You understand the question?
197 CONTINUED: (2) 197
So is he cut or not?
Which is it?
Silence. Melissa looks away.
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?
I've had it up to here with this
fucking game. Why don't you take
your questions and shove 'em up
Kevin staring at her. Looking away. Moving quickly for
the door, and into:
198 INT. LAW FIRM LIBRARY HALL - DAY 198
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 --
Oh, Kevin --
What about him?
He's dead. He was killed.
DEVIL'S ADVOCATE - Rev. 11/2/96 111.
198 CONTINUED: 198
Heath nearby has more answers --
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 --
What is wrong with people?
At least they got the scumbags who
(turning on this)
Two old, homeless crazies.
Pam coming through the hallway like steel --
Kevin... Kevin, I'm sorry, but
you're due in court in thirty
As Melissa appears in the conference room door --
Are we through here, or what?
I'll bring Melissa down in the
car, but you better get going.
199 INT. SUBWAY TO COURT - DAY 199
SCREAMING uptown. Kevin looking very rattled. Milton,
beside him. Talking him down.
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.
199 CONTINUED: 199
I can't put her on the stand.
What choice do we have?
I know she's lying.
Because she didn't answer you fast
enough? Did she lie to you? No.
She said nothing. The fact is,
you'll never know.
He killed those people.
You really believe that?
Cullen set me up. Melissa, the
whole thing, I know it.
Look, you gotta go with your gut.
That's your advice?
I'll back you either way. Hey,
you think I haven't lost before?
We talked about this, Kevin.
Pressure. Take a big whiff.
Kevin unreadable. The SUBWAY CAR RATTLING away.
200 INT. CULLEN COURTROOM - DAY 200
Packed and ready.
Mr. Lomax, you may call your next
200 CONTINUED: 200
A long, awful pause. Kevin in agony. Milton behind him.
Cullen and Pamela and everyone waiting...
I call Melissa Block.
201 INT. COURT - HALL - DAY 201
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 --
(re the phone)
Kevin, it's for you --
Kevin takes the phone, trying to hear above the noise.
202 EXT. LOMAX BUILDING AND STREET - DAY 202
A cab speeds to a stop. Kevin jumps out. Feeney, the
doorman, standing there with Felix, his partner.
She didn't look well, sir. Felix
tried to talk to her, but she --
Where is she?
203 EXT. MADISON AVENUE AND CHURCH - DAY 203
Kevin running down the sidewalk and --
204 INT. CHURCH - DAY 204
Kevin enters. It's empty and dark. Two old ladies up
front. Mary Ann in back, wrapped in a comforter.
Mare. It's me.
He let himself in. You need to
know that. The bath running, or
something, I didn't hear him. I
swear to you.
Then we talked. We talked for
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.
Who let himself in?
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.
Did somebody hurt you?
Milton. He fucked me, Kevin. I
let him fuck me. I couldn't stop
Today. This afternoon. All
afternoon. God, I'm so ashamed...
DEVIL'S ADVOCATE - Rev. 11/2/96 115.
204 CONTINUED: 204
Today? Today? Today. He was in
court, Mare. He was in court, in
my presence all afternoon!
I'm not crazy. I'm not. I swear.
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.
205 INT. HOSPITAL CUBICLE - NIGHT 205
Kevin with a NURSE and paperwork.
Sign there... And there... And one
(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 --
206 INT. HOSPITAL HALLWAY - NIGHT 206
Mary Ann on a moving gurney. Calm now, in the sway of
some very strong drugs. Kevin kneels beside her.
I know why this is happening.
They want you to go to sleep.
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.
DEVIL'S ADVOCATE - Rev. 11/2/96 116.
206 CONTINUED: 206
MARY ANN (CONT'D)
I can't look at myself in the
207 EXT. CATHOLIC CHURCH - DAY 207
A big one. A funereal morning. Hearse and cortege
parked on the street outside.
208 INT. CATHOLIC CHURCH - DAY 208
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.
What do they say?
They don't know. It's bad. She'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.
209 INT. CATHOLIC CHURCH - DAY 209
Milton passes on his way to the back. Smiles.
DEVIL'S ADVOCATE - Rev. 11/2/96 117.
210 INT. CATHOLIC CHURCH - DAY 210
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.
We are here today, to remember and
pray and exalt in the spirit of
Kevin staring at Cullen and the girl.
... Father, husband, partner,
211 INT. CATHOLIC CHURCH - DAY 211
(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 --
... 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 --
... 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 --
... farther from God's purpose...
212 INT. CATHOLIC CHURCH - DAY 212
Kevin out of his seat. Pushing past Christabella --
rushing up the aisle --
... and the greater that distance,
the greater evil's pleasure...
213 INT. CATHOLIC CHURCH - DAY 213
Milton watching Kevin flee the church.
214 EXT. CATHOLIC CHURCH - DAY 214
Moments later. Kevin hustling away --
No comment. I'll have something
for you later.
I'm a friend of Eddie Barzoon.
Kevin turns. Weaver walking beside him.
Remember me? Mitch Weaver.
Staking out the funeral?
Looking for you actually.
I'm in a bit of a hurry right now.
I need to talk to my wife.
Just wanted to ask you -- off the
record -- I had a few questions
215 INT. CATHOLIC CHURCH - DAY 215
The funeral. In progress. CHOIR and ORGAN getting
LOUDER. We're watching Milton move in the back of the
216 EXT. STREET - DAY 216
Kevin walking faster. Weaver right beside him.
Milton, Chadwick, Waters is a
little more than a law firm, but
then I assume you knew that.
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.
217 INT. CATHOLIC CHURCH - DAY 217
Stained glass. Angels. The Stations of the Cross.
218 INT. CATHOLIC CHURCH - DAY 218
Milton standing in the shadows at the back. Taking it
all in. Prodigal angel.
219 INT. CATHOLIC CHURCH - DAY 219
(EFX) And then, the stained-glass angels begin to move.
Wings begin to beat. Expressions come alive.
Expressions of panic and fear and --
220 EXT. STREET - WEAVER - DAY 220
Kevin really striding. Weaver right there.
Milton is into everything.
(listen to me)
Barzoon was coming in, Kevin. He
was gonna testify.
220 CONTINUED: 220
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.
He's a lawyer! What the fuck do
Stay off my back.
Weaver left standing there, as Kevin rushes away --
through traffic -- across the street --
This is a first time, last time
I'm learning about you, Kevin. I
talked to some old friends down in
Florida this morning...
The Gettys case. The eighth grade
(did Kevin just
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.
221 INT. CATHOLIC CHURCH - DAY 221
(EFX) Stained-glass angels going nuts now -- wings
flapping like mad -- danger everywhere, as the MUSIC
STARTS to CLIMAX and --
222 INT. CATHOLIC CHURCH - DAY 222
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.
223 EXT. STREET - DAY 223
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
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 --
224 OMITTED 224
DEVIL'S ADVOCATE - Rev. 1/18/97 122.
226 INT. HOSPITAL HALLWAY - DAY 226
Kevin walking through -- stopping finally at an open
227 INT. HOSPITAL ROOM - DAY 227
Mary Ann in a chair. Heavily sedated. Pam standing
beside her, brushing her hair. Mrs. Lomax, on her knees,
standing now --
What are you doing here?
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.
We got her on the first flight up
Are you all right?
I just... I don't know.
Will you excuse us a moment?
Mrs. Lomax guides Kevin out. Mary Ann's vacant eyes
watching them exit --
228 INT. HOSPITAL HALLWAY - DAY 228
Just outside the room.
I never should've left. I knew it.
I'll never forgive myself.
I was gonna call you, I just...
DEVIL'S ADVOCATE - Rev. 1/18/97 123.
228 CONTINUED: 228
What I did, Kevin, I thought it
was for the best. Loving you was
always first for me.
There's nothing you could've done.
I could've told you the truth.
I've lied to you, Kevin.
Baptist Endeavor Youth Crusade,
ninety-sixty-four. I was here.
In New York. That night in the
elevator, you never let me answer.
What are you talking about?
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 --
Your father was a waiter in that
Oh, this is great, Ma... this is
just perfect --
-- honey, listen to me --
DEVIL'S ADVOCATE - Rev. 1/18/97 124.
228 CONTINUED: (2) 228
-- Now? You do this now? --
Because, I mean, your timing --
it's superb -- you wait thirty
years? -- you fly up here -- you
pick today? --
-- Kevin, honey, wait --
-- obviously I'm not under enough
pressure -- I don't have enough on
my mind, I need this little --
Listen to me.
Why are you doing this now?
Because I'm afraid!
Kevin overwhelmed -- walking away -- down the hall --
completely fritzed -- leaving her standing there --
'Behold I send you out as sheep
amidst the wolves.'
Kevin just stopped walking.
229 INT. HOSPITAL ROOM - DAY 229
Mary Ann quiet as Pam finishes brushing her hair.
Don't you look beautiful now.
in her bag)
Here. Have a look and see.
A hand mirror. Mary Ann turns away instantly --
DEVIL'S ADVOCATE - Rev. 1/18/97 125.
229 CONTINUED: 229
It's all right, dear. Look...
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 --
230 OMITTED 230
231 INT. HOSPITAL ROOM - DAY 231
Pam -- A monster (EFX) -- her features horribly
transformed in the glass and --
232 INT. HOSPITAL ROOM - DAY 232
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 --
233 INT. HOSPITAL HALLWAY - DAY 233
Pam standing there, holding her face in pain, as the glass
door slams shut and --
What's going on?
Mary Ann THROUGH the glass, jamming a chair up under the
Kevin jogging down the hall -- trying the door --
DEVIL'S ADVOCATE - Rev. 1/18/97 126.
233 CONTINUED: 233
(it won't open)
Mary Ann. Hey. Hey!
(still no luck)
Omigod... Get somebody! Go!
Pam doesn't move.
234 OMITTED 234
236 INT. HOSPITAL ROOM - DAY 236
Mary Ann, kneeling on the floor, picking up a broken
shard of mirror and --
237 INT. HOSPITAL HALLWAY - DAY 237
Mare! -- Look at me! -- Stop! --
right now -- Mare! --
238 INT. HOSPITAL ROOM - DAY 238
Mary Ann raising the glass/blade to her throat.
Mary Ann, no! No! No!
239 OMITTED 239
240 INT. HOSPITAL HALLWAY - DAY 240
-- Help! -- Help! -- Somebody! We
need help --
DEVIL'S ADVOCATE - Rev. 1/18/97 127.
241 INT. HOSPITAL GLASS DOOR/HALLWAY - DAY 241
Kevin banging like mad on the glass but --
-- Mare! -- No! -- Look at me! --
Mary Ann raising the blade to her throat and --
-- Stop! -- No! -- Mare! --
Kevin grabbing a folding chair -- swinging it --
241A OMITTED 241A
243A INT. HOSPITAL ROOM - DAY 243A
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 --
-- Mare! -- Hang on! -- I'm almost
there! -- Look at me!
And she does. Watching him claw at the wire --
I loved you.
Pulling the blade across her neck --
243B OMITTED 243B
244 INT. HOSPITAL HALLWAY - DAY 244
Kevin kicking full force against the door and --
DEVIL'S ADVOCATE - Rev. 1/18/97 128.
244A INT. HOSPITAL ROOM - DAY 244A
The door buckles -- the chair wedged in there sent
flying -- Kevin stumbling over broken glass --
Oh, God, Mare, what've you done? --
Mary Ann falling to the floor -- her bloody hand still
holding the blade deep in her neck --
-- why? -- Oh God, Mare, why?
(over his shoulder)
We need a doctor in here!
244B INT. HOSPITAL HALLWAY - DAY 244B
Patients out of their rooms -- standing at their doorways --
sedated, bovine expressions watching --
-- please -- somebody -- help
her! -- What are you all doing?
ORDERLY #1 turning the corner up ahead --
What's the hell's going on down
244C INT. HOSPITAL ROOM - DAY 244C
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 --
-- no, Mare -- hang on -- please,
Mare, I'm right here, it's gonna
be okay, baby -- oh, God, Mare,
why did you do this? --
Where's the fucking doctor?!
ORDERLY #1 (O.S.)
Oh shit, man...
DEVIL'S ADVOCATE - Rev. 1/18/97 129.
244C CONTINUED: 244C
Kevin turns -- Orderly #1 in the doorway --
What are you doing? Help her!
Hey, look, I ain't no doctor...
Hang on -- lemme --
YELLING in the hall now, and faces in the doorway. Mrs.
Lomax crying and two weird patients from the next staring
Pam. And only we can see it, but she's smiling...
-- 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 --
245 OMITTED 245
247 INT. HOSPITAL - BACK STAIRWELL - DAY 247
But someplace completely different. Older. Dark. Empty.
Echoey. A fluorescent bulb sputtering out.
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
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.
247 CONTINUED: 247
I wish you'da let me help you.
Finish the story.
Nineteen-sixty-four. You're in
New York. There's a waiter in a
Finish the story.
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...
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.
I want to hear you say it.
DEVIL'S ADVOCATE - Rev. 1/18/97 131.
247 CONTINUED: (2) 247
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 --
-- you wondered yourself -- the
apartment, the money, all this
attention, everything out of
Milton. He's your father.
(there it is,
Somehow he found us. Tracked you
What do you mean?
He's always been there. I know
that now. Watching. Waiting.
He's been playing us like a game.
Jerking us around. Destroying Mary
Kevin stands. Quiet fury. A machine.
What are you doing?
I gotta go.
No... let it alone! Stay with me.
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.
247 CONTINUED: (3) 247
I can't do that. You go home.
Pray for Mary Ann.
Kevin, please... Honey!
I love you!
Kevin disappearing down the stairs. Mrs. Lomax dropping
to her knees as his FOOTSTEPS ECHO away, and we --
248 EXT. HOSPITAL EXIT AND STREET - DAY 248
As Kevin explodes through a fire door. Pam standing
there, having a smoke.
There you are...
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
Kevin turning and something is very wrong --
249 EXT. HOSPITAL EXIT AND STREET - DAY 249
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 --
250 INT. MILTON'S APARTMENT - NIGHT 250
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.
250 CONTINUED: 250
You're right about one thing... I
have been watching. Couldn't help
myself. Watching, waiting, holding
my breath. But I'm no puppeteer,
Milton appears out of nowhere. Walking past Kevin.
... 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 --
What did you do to Mary Ann?
A gun? In here?
What did you do to my wife?
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...
Kevin FIRES the GUN -- BANG! BANG! BANG! -- bullets pass
right through him -- into the wall --
Whoa... Got me! Damn!
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.
Who are you?
DEVIL'S ADVOCATE - Rev. 1/18/97 134.
250 CONTINUED: (2) 250
Never lost a case. Why? Why?
Because you're so fucking good?
Yes. But why?
Because you're my father.
Well, I'm a little more than that.
Awful hot in that courtroom, wasn't
it? 'What's the game plan, Kevin?'
'It was a nice run, Kevin. Had to
close out someday.'
Who are you?
I have so many names.
Call me Dad.
Mary Ann, Barzoon, Weaver...
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.
That's a lie.
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.
What the hell do you know about
DEVIL'S ADVOCATE - Rev. 1/18/97 135.
250 CONTINUED: (3) 250
Bio-chemically no different than
eating large quantities of chocolate.
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...'
You set me up. It's entrapment.
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
That's my job. That's what I do!
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.'
What do you want from me?
What do I want? I want you to be
DEVIL'S ADVOCATE - Rev. 1/18/97 136.
251 OMITTED 251
253 INT. MILTON'S APARTMENT - NIGHT 253
(EFX) The Bas Relief -- that wall of bodies swirling in
marble clouds -- it's going to come to life --
254 INT. MILTON'S APARTMENT - NIGHT 254
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 --
Half-sister to be exact.
What do you think, Kevin? What a
Don't let him scare you.
Wait till you meet her mother.
It is a test, isn't it? The whole
game, you sitting there, keeping
No. That's the other guy. I
don't judge anybody. As far as
I'm concerned, everyone's a winner.
DEVIL'S ADVOCATE - Rev. 1/18/97 137.
254 CONTINUED: 254
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!
Worship that? Never.
255 INT. MILTON'S APARTMENT - NIGHT 255
(EFX) The Bas Relief getting stranger and more seductive
by the moment -- bodies spinning and spawning --
256 INT. MILTON'S APARTMENT - NIGHT 256
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.
Anybody want a drink? I'm having
This is some pitch. You must need
me pretty bad. What do you want?
Eddie was right. Your name is on
the partnership charter. I want
you to take over the firm. You
and your sister.
Is that it?
DEVIL'S ADVOCATE - Rev. 1/18/97 138.
256 CONTINUED: 256
(letting his hand
brush her cheek)
She's ovulating. Right now.
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.
You want a child.
I want a family.
But I have to volunteer.
Christabella begins to strip.
Free will. It's a bitch.
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
So what are you offering?
Are we negotiating?
DEVIL'S ADVOCATE - Rev. 1/18/97 139.
256 CONTINUED: (2) 256
What are you offering?
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!
257 OMITTED 257
260 INT. MILTON'S APARTMENT - NIGHT 260
(EFX) The Bas Relief transforming into real clouds and
bodies and the frame of it disappearing and --
261 INT. MILTON'S APARTMENT - NIGHT 261
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,
Don't be too hard on yourself.
Christabella passing Kevin, handing him her bra.
It's done. Forget it. It's all
for us now.
God, she's just fucking stunning,
Christabella lingering and Kevin leaning in... kissing
her... just a moment before she pulls away --
DEVIL'S ADVOCATE - Rev. 1/18/97 140.
261 CONTINUED: 261
You're right. I wanted to fuck
her from the minute we met.
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.
Did you know there were more
students in law school right now
than lawyers walking the Earth?
262 INT. MILTON'S APARTMENT - NIGHT 262
(EFX) The Bas Relief has become an orgy, bodies coming to
life in a swirling, narcotic haze and --
263 INT. MILTON'S APARTMENT - NIGHT 263
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!
In the Bible you lose. You're
destined to lose.
Consider the source.
Christabella -- her hands -- moving over her body --
Stop talking. Both of you.
DEVIL'S ADVOCATE - Rev. 1/18/97 141.
264 INT. MILTON'S APARTMENT - NIGHT 264
(EFX) The bodies craning to watch as they roll by.
265 INT. MILTON'S APARTMENT - NIGHT 265
Kevin, really, please...
She's right, my son. It's time to
step up and take what's yours.
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 --
266 OMITTED 266
268 INT. MILTON'S APARTMENT - NIGHT 268
(EFX) Kevin starting to fall in SUPER SLOW MOTION and --
269 INT. MILTON'S APARTMENT - NIGHT 269
(EFX) The room consumed with fire as the heat explodes
around Milton's body and --
270 INT. MILTON'S APARTMENT - NIGHT 270
(EFX) Kevin still falling and --
271 INT. MILTON'S APARTMENT - NIGHT 271
(EFX) Christabella beating at the flames that now cover
her body and --
272 INT. MILTON'S APARTMENT - NIGHT 272
(EFX) Kevin still falling and --
273 INT. MILTON'S APARTMENT - NIGHT 273
(EFX) The Bas Relief. The clouds are now fire -- the
bodies now burning and --
274 INT. MILTON'S APARTMENT - NIGHT 274
(EFX) Kevin still falling and --
275 INT. MILTON'S APARTMENT - NIGHT 275
(EFX) Milton as his clothes burn away -- as the heat eats
away his features --
276 INT. MILTON'S APARTMENT - NIGHT 276
(EFX) as he becomes younger and younger and younger,
until suddenly --
277 INT. MILTON'S APARTMENT - NIGHT 277
(EFX) For a moment. He is an angel. An instant of
exquisite perfection amidst the flames. And then, just
278 INT. MILTON'S APARTMENT - NIGHT 278
(EFX) suddenly -- HE EXPLODES! -- and we --
279 INT. MILTON'S APARTMENT - NIGHT 279
(EFX) The Bas Relief freezing instantly back into stone
-- trapped in tortured, agonizing finality.
280 INT. MILTON'S APARTMENT - NIGHT 280
(EFX) And then, the whole thing just crumbling. Stone
raining down in tiny pieces and --
281 INT. MILTON'S APARTMENT - NIGHT 281
(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 --
282 INT. FLORIDA COURTHOUSE - MEN'S ROOM - DAY 282
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.
282 CONTINUED: 282
It was a nice run. Kev. Had to
close out someday. Nobody wins
The Reporter exits. Kevin alone with the mirror and his
And then it's over. He's made his decision. Replacing
his wedding ring. Reaching for his jacket, as we --
283 INT. FLORIDA COURTHOUSE - HALLWAY - DAY 283
Kevin walking through. His game face. A court officer
opening the doors and --
284 INT. FLORIDA COURTROOM - DAY 284
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.
Honey, what are you doing?
Are you okay?
Kevin nods. Smiles. Backs away. Into his seat. Gettys
there beside him. Kevin will not look at him.
All rise for the honorable Justice
The Judge enters. Takes his seat.
You're still under oath, young
284 CONTINUED: 284
Your witness, Mr. Lomax.
Your Honor, I'm terribly sorry,
but I can no longer represent my
client. I need to be replaced as
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 --
285 INT. FLORIDA COURTHOUSE - HALLWAY - DAY 285
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 --
Kevin! -- Hey!
Listen, this story -- this is the
one, pal -- this is the one you
dream about --
There is no story.
Bullshit. A lawyer with a crisis
of conscience? You gotta be
kidding. It's huge!
They're gonna disbar me, Larry.
You can cover that.
Can they do that?
Not when I get through with the
You gotta talk, Kevin. You gotta
gimme an exclusive.
285 CONTINUED: 285
This is wire service. This is
'Sixty Minutes'. This is a story
that needs to be told. It's you!
You're a star!
Call me tomorrow.
You got it. First thing.
Kevin nods. Holding Mary Ann's hand as they escape.
286 INT. FLORIDA COURTHOUSE - HALLWAY - DAY 286
The Reporter watching them go for a moment. Then turning
287 INT. FLORIDA COURTHOUSE - HALLWAY - DAY 287
(EFX) And as he does, his features change, transforming - - like
that -- into Milton.
288 INT. FLORIDA COURTHOUSE - HALLWAY - DAY 288
And he smiles. And we FREEZE FRAME.