The Devil’s Advocate journey continued with more direct scenes filled with raw intensity. Billy was approaching when he might have to push his performance to the limit, while handling the steamy scenes with Charlize and Monica, who danced slowly in the fire.
Charlize ran her fingers through her long hair—she was monts away from cutting it, a bold move considering how rigorously the film industry always defined her image. But things were different now. With more daring actors willing to take risks, her natural, unfiltered look was a stark contrast to her upcoming years. Where once insecurity was masked by distrust, now she embraced every trace of herself with laughter and confidence.
On the terrace, Monica tilted her face upward, studying the skyline.
Scene 143, Take 1.
72 EXT. BARZOON APARTNT - TERRACE (PARK VIEW) - NIGHT
Kevin stands by the railing, looking up. Christabella is less than ten feet away.
CHRISTABELLA: Do you have this view?
KEVIN: Excuse ?
CHRISTABELLA: From your terrace, is this what you see?
KEVIN: More or less. Not exactly. I’m about twelve floors lower. What about you?
CHRISTABELLA: No, I live downtown. This is my family’s building.
KEVIN: Sounds fun. Downtown, I an. I’m getting to know the city.
CHRISTABELLA: Is it everything you expected?
KEVIN: More.
CHRISTABELLA
(raising her glass)May we always get more than we expect. Cheers.
KEVIN: An.
CHRISTABELLA: Are you alone?
KEVIN: You an tonight?
CHRISTABELLA: Is your wife the jealous type?
(pause)What a silly question. We’re all jealous, aren’t we?
CHRISTABELLA: (laughing)Oh, darling, I’m going to scare you away.
KEVIN: I doubt it.
CHRISTABELLA: You like being on top, don’t you?
KEVIN: Excuse ?
CHRISTABELLA: In control. You prefer being on top.
KEVIN: Depends on the view.
MILTON (O.S.): You know what I see?
Milton stands at the door, watching them.
MILTON: I see the future of this law firm.
(in perfect Italian)
Christabella, cara, préstalo per favore, pe lo riporto piu tardi.
CHRISTABELLA It’s a dull party anyway.
(to Kevin)Ciao.
Kevin can’t help but watch her leave.
MILTON: Look, we need to talk. Grab Heath and Eddie Barzoon and co to my place imdiately. And let’s not discuss this.
- Cut. -
The pace was quick, with night and day blending. Many scenes were shot on the building’s rooftop, and for now, most of the extras had wrapped up their main work.
Billy took a breath, trying not to react.
- It’s incredible when you act with such intensity. - Monica whispered at his side. She was thrilled to be part of it. The production was reaching its final stretch, arriving at the most provocative monts in each scene. Those deep, different eyes—cautious yet filled with desire—traced her body as if two distinct people inhabited the sa fra. It was unlike anything she’d seen before, as if Billy had transford into soone entirely new, wanting to strip her bare.
- We still have a few more scenes. - Billy noted, observing the changes—her lighter, slightly reddish hair, the tight dresses emphasizing her figure, the deep crimson of her lips.
The next scene took on a different tone.
- We have a break. Tomorrow, we’ll be filming together again, my love.- Monica purred, savoring the mont. She spotted Al Pacino arriving, effortlessly slipping into character. Whenever he beca Milton, it was as if he transford completely, ready for any role he took on.
- Good work, kid. - Al Pacino remarked.
- Just a whisper. - Billy replied. None of them truly stepped out of character. Milton’s irreverence was refreshing, helping the flow of the performance. Monica approached Billy hesitantly, making Al chuckle.
- Then I guess we’ll see each other to wrap up these scenes, son. - Al Pacino added.
Monica moved closer to Billy, who smiled at her before stepping into his next scene with Charlize.
From a distance, Monica watched. The boom mics were up, preventing them from talking freely, but the tension between the two won was a challenge—each look between them sparked with electricity.
Billy took her arm and gave her a subtle wink.
***
When Billy bought a comic book distributor in Santa Monica, he stumbled upon The n in Black by Lowell Cunningham, originally published by Malibu Comics in 1990. Seeing its potential, Billy Carson proposed the project to Amblin Entertainnt, setting the stage for a strategic move. Unlike the comic’s dark and conspiratorial tone, the adaptation took a more codic, action-driven approach—a suggestion from producers that led Universal to join in. In a unique collaboration, four major studios beca involved: DreamWorks, Universal, Amblin, and Lux Animation. The latter two would handle distribution, as the project was expected to be a major box office success.
Planned for filming in New York with a multimillion-dollar budget, the film was poised to be a bold triumph in the months ahead. Science fiction was finding a new niche, one that resonated with late-night conspiracy theories—the hidden world of aliens, secret societies, and lost civilizations that seed to vanish from history.
- We have so recomndations, but I’d strongly consider bringing in Rick Baker—one of the best special effects designers. And of course, we could involve Industrial Light & Magic. I believe they’d take us on. - Steven Spielberg, one of the producers, suggested. He had a keen eye for striking visuals and knew how to craft a cinematic masterpiece.
- Interesting, but I think Barry Sonnenfeld would be the best choice for director. - Walter F. Parks insisted, ensuring that the film’s codic tone remained intact. With Billy’s creative input and a strong script, the project was shaping up to be sothing remarkable.
Barry Sonnenfeld—the man behind The Addams Family—had close ties to Universal. His unique style made him the perfect fit for a story about New Yorkers and aliens, blending flying saucers, rocket ships, and the peculiar magic of places like the Brooklyn Tunnel.
- Billy recomnded Will Smith for the codic lead, alongside Tommy Lee Jones as the film’s anchor. - Parks added. With that, the team set up auditions for the supporting cast, solidifying the film’s foundation.
- I’d love for Danny Elfman to compose the score. Laurie MacDonald, the final producer, chid in.
- Are all the licensing agreents in place? - Spielberg questioned.
- Almost. Universal has been incredibly cooperative in securing the necessary rights. - Laurie confird.
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