CONSTANTINE
by
Kevin Brodbin
based on the characters appearing in
magazines published by DC Comics, Inc.
previous revisions by
Mark Bomback
current revisions by
Frank Cappello
EARLY PRODUCTION DRAFT
November 14, 2002
FADE IN:
EXT. ISTANBUL - DUSK
Glimpses of an ancient city. Almost motionless against
the tide of time.
Sea swelled along an endless wall. Billowing silk frozen
against the sky. Birds lighting on Byzantine columns.
FINAL IMAGE is of an imposing STRUCTURE beyond the trees.
INT. PRISON FOR THE CRIMINALLY INSANE
Corridor of ancient stone and steel extends into infinite
darkness. Stale air hangs in the dim half-light like
atomized ether.
There is WHISPERING. And tangled VOICES.
DRIFT IN PAST prison cells the size of closets. Brief
flashes of carved faces, insanity -- COMING TO REST ON the --
FINAL CELL
A gaunt PRISONER kneels on the granite, head bowed to a
wall hung tapestry of Christ. But he's not just praying.
He's digging. With his arm under the tapestry, he
scratches at the stone with a SPOON. After only a year,
the spoon finally breaks through.
INT. NARROW CHANNEL
Prisoner claws his way between ancient walls, comes to a
dead end against a thick wooden door. He nudges a
shoulder against it, digs in and pushes. DOOR GROANS
open, sucking air into the pitch black CHAMBER.
INT. PRISONER'S CELL
The tapestry covering the HOLE is pulled against the
wall, then billows outward like a sail.
INT. CHAMBER - PRISONER
pulls himself inside, chokes in the heavy air. He scans
the musty room. Antique furniture. A few empty crates.
And the remains of several deteriorating skeletons.
(CONTINUED)
2.
CONTINUED:
He looks to the far wall, sees a hint of light above
through the crumbling limestone. A way out. Too high to
reach, Prisoner pulls an old CHEST out of a cobwebbed
corner and slides it under the light.
He steps up onto the chest, grabs the edges of the hole
and starts to shove off when the top of the chest gives
way and his foot crunches through.
Prisoner reaches down to free his foot when he sees
something inside -- wrapped in a red cloth. He pulls it
out and as he unwraps it, he discovers the cloth is a
Nazi flag.
At the center is a crudely-shaped IRON RELIC. Eight inches
long. Stains on the edges. Could be the petrified tooth of
some prehistoric animal. Or maybe an ancient arrowhead.
As he holds it, feverish sweat starts to form on his face.
MYSTERIOUS POV
From BEHIND. As if he's being watched by someone else.
Prisoner spins, looks back AT us. Nothing.
PRISONER
starts toward the way out.
INT. PRISONER CORRIDOR
The Guard's flashlight beam probes the cell -- one by one
-- falls on the tapestry. Christ billows out from the
wall, revealing the hole.
INT. PRISON - VARIOUS SHOTS
ALARMS SOUND. Lights BLAST ON. Guards with weapons rush
through.
INT. NARROW CHANNEL
Prisoner squeezes toward light, grips the relic tight.
EXT. PRISON - NIGHT
SIRENS BLARE as SPOTLIGHTS sweep across the ominous
structure. Prisoner breaks from the darkness, runs for
the trees on the other side of the wall.
(CONTINUED)
3.
CONTINUED:
GUARDS
(in Turkish)
Stop! Stop!
Prisoner spins, griping the relic tight. GUNSHOTS RING
OUT. Bullets streak toward him but never hit their
target. Guards check their weapons on the run.
EXT. NEAR A ROAD - NIGHT
Prisoner breaks from the trees, runs into a road.
Headlights wash over him and TIRES SCREECH. Prisoner
spins, is right in the path of a car.
BRAKES SQUEAL -- car locks up but too late -- IMPACTS
Prisoner who is violently thrown and lands in a heap.
CAR slides to a stop. DRIVER jumps out, sees the front
end sheet metal has accordioned all the way to the tires.
He scans the area for a body, spots the Prisoner and is
stunned to see him getting to his feet. Uninjured.
Prisoner is just as amazed. He glances at the RELIC in
his hand, notes the wrist has reddened and an odd SYMBOL
has appeared as if embossed in the flesh.
Driver calls out but the Prisoner is spooked, runs off.
OVER this we hear -- A CHILD'S SCREAM.
INT. APARTMENT - DAY
FATHER HENNESSEY (50), stands over a young teen (13),
JEANIE, splashes holy water on her body. She screams
again.
HENNESSEY
Et separatur a plasmate tuo, Ut
num quam laedatur amorsu antiqui
serpentes!
Her body convulses, pulls against the bandages tying her
hands and feet to the bed frame. Notice her fingernails.
Drained of color. Almost black.
Her MOTHER is off to one side, completely hysterical.
On the other side is a crowd of bewildered TENANTS, all
crammed into the hallway outside the opened door.
(CONTINUED)
4.
CONTINUED:
Nothing can compare with an exorcism. Especially one
that's gone bad.
The rather obese Priest tries to steady his hands and his
heart. It's obvious he's totally out of his league here.
GIRL lets out another SCREAM that ECHOES OVER --
EXT. AGING APARTMENT BUILDING
Not in a third world country but smack center in one of
America's richest cities. Sparkling high-rises tower in
the distance while flashy billboards tout the sexiest
fashions, the hottest automobiles and the smoothest malt
liquor.
SUPERIMPOSE: LOS ANGELES - TODAY
EXT. ALLEY BY THE APARTMENT
A faded yellow taxi PULLS UP and stops. Someone steps
out, grinds a cigarette butt into the asphalt.
INT. APARTMENT BUILDING - FOYER
Doors open, flood the musty darkness with a brief relief
of sunlight. A MAN -- whose face we don't see -- steps
inside, his trench coat hanging like the folded wings of
a raven.
He pauses, pulls an ORNATE LIGHTER and lights a
cigarette. Takes a puff and pushes on inside.
INT. NARROW STAIRCASE HALL WALL
Lined with tenants trying to get a glimpse of the
unexplainable.
The Stranger pushes through. Suspicious faces step out
of his path. The ones that don't he pushes aside -- even
the gangbangers.
The man has no patience for politeness, no time for tact,
no fear of anything.
This man is JOHN CONSTANTINE.
He arrives at his destination, barges into --
5.
INT. APARTMENT 7B
One scan of the situation is all it takes. The bed --
the child -- the panicked priest -- who rushes to John.
HENNESSEY
(whispering)
Thank God you're here...
John shoots him a disgusted look. Hennessey gives him a
wide berth.
John walks past the panic-stricken MOTHER without a
glance, sets his cigarette on the nightstand, the glowing
tip drooped over the edge. He puts a gloved hand to the
child's face and it burns on contact. His demeanor
instantly changes as he leans right next to the ear of
the little girl and whispers --
JOHN
This is Constantine. John
Constantine, asshole.
The girl JOLTS, bandages on her arms cut into her skin.
Eyes snap open -- glare right through him.
JOHN
How ya doing?
JEANIE
Vamos juntos a matarla.
John whips out a key chain crammed with medallions.
JOHN
Let's see who we got here...
He holds them up so they cast shadows across Jeanie's
face. He flips through each of these sculptured SAINTS
until the child suddenly reacts to one -- tries to look
away.
John stares at the Saint responsible, seems genuinely
puzzled. He turns to the Mother -- very serious.
JOHN
I need a mirror. Now.
Shaken, the Mother produces a small compact. John pushes
it away, turns to the doorway crowd.
JOHN
A large mirror. At least --
(sizes up the child)
-- three feet high.
(CONTINUED)
6.
CONTINUED:
The hallway crowd discusses possibilities.
JOHN
MOVE.
Tenants run to retrieve a mirror. Hennessey looks
worried.
John grabs the bed -- shoves Hennessey aside as he swings
the bed around, legs gouging hardwood all the way. Faces
it toward the window.
INTERCUT - APARTMENT 5G BELOW
Several of the MEN from the hallway crowd storm through
an OLD WOMAN'S stuffy apartment, locate a huge iron-
framed mirror and rip it and half the plaster from the
wall.
JOHN
centers on a drapery ROPE, pulls hard. Drapery HOOKS
EXPLODE off the curtain rod as he swings open the window,
looks down into the alley where that yellow taxi is
parked.
JOHN
Chaz?
CHAZ (20s) looks up from his cab. Cool. Frustrated.
You just know he'd love to be up there, not down here.
JOHN
Move the car.
CHAZ
Why?
JOHN
MOVE THE DAMN CAR.
John frees the drapery rope, ducks back into the room.
CHAZ
Park the car -- Move the car...
Chaz shifts into reverse, moves the car three feet.
CHAZ
There, I moved the damn car.
7.
INT. HALLWAY
Four men struggle to carry up that enormous mirror. The
Old Woman follows, begs them to be gentle. They swing
the mirror around, take out a chunk of banister. She
freaks.
INT. APARTMENT 7B
Hennessey can only watch as John threads the drapery rope
through the fire escape railing, drapes it back through
the window and loops it over the ceiling fan.
He climbs onto the bed, leans over the child whose eyes
have closed and she's shaking badly. Her body seems to
be going into shock. Isn't strong enough for this.
John has no choice -- slaps her. Eyes pop back open.
Dark and dilated. He yells down at her in Aramaic and
English.
JOHN
Amar natash bow basar! -- Rescind
from the flesh I command thee --
The girl chokes as if ready to spit.
JOHN
That's it -- time to go home.
Jeanie SCREAMS --
JEANIE
Tiempo para morir!
Her body suddenly PULSES half again larger. John recoils
for a beat. Odd. He continues in Aramaic --
JOHN
Amar natash bow basar --
Another PULSE and this time a SHAPE is clearly seen
expanding under the child's skin -- as if the demon
inside were trying to burst right through.
John backs off -- watches as the shape ripples her flesh,
like fingers caressing from the other side. John glances
to Hennessey. What the hell?
MIRROR arrives at the doorway, BANGS against the JAM.
John waves them in. The four men heft it into the room.
JOHN
Lift it. Over the bed. Up.
(CONTINUED)
8.
CONTINUED:
John ducks, settles on the girl as they raise it over
him.
JOHN
Hennessey, tie it off --
Hennessey is glad to be called into service -- quickly
ties one end of rope to the mirror. John straddles the
girl, positions his head between her and the mirror above
him.
JOHN
Now close your eyes -- all of you
-- and whatever happens -- do not
look into the mirror.
The men close their eyes. Muscles tense under the
weight.
JOHN
Amar natash bow basar! -- rescind
from the flesh I command thee!
Jeanie reacts -- that SHAPE reappears, contorts the young
body all out of proportion.
John unblocks the mirror for a second and Jeanie is
reflected inside. It's not just the image of a young
girl in there, but something else. The surface of the
mirror FLEXES in the hands of the men. One starts to
look --
JOHN
No!
Jeanie SCREAMS -- breaks free of the straps. She rises
up, grabs John tight around the throat. Nails dig deep.
HENNESSEY
John?!
JOHN
(looking into
mirror)
Not yet!
John struggles, puts his hands over her mouth -- cutting
off her air supply. Question is, who's going to pass out
first?
Jeanie's body is racked by whatever's inside her. She
goes into shock, body collapsing -- shaking -- close to
death.
(CONTINUED)
9.
CONTINUED:
JOHN
Look! Look at me!
But she's passing out first. John quickly takes the
medallion that caused the earlier reaction --
JOHN
Goddamit -- look!
-- and presses it against her forehead. Eyes snap wide
and John unblocks the mirror. Jeanie locks on her
reflection and the image in the mirror changes
drastically.
JOHN
Smile pretty you vain prick.
The child's reflection has now changed to a pissed off
DEMON. One that knows it just got suckered in.
MIRROR VIBRATES wildly in the men's grip. Demon
reflection ripples the glass -- bending it outward into
three-D space as the girl takes her last breaths --
JOHN
Now, Hennessey. Now!
Hennessey PULLS the rope with all three-hundred-plus
pounds as John gives the demon face a full extended
FINGER.
JOHN
For your boss.
Demon pushes for him but mirror is jerked into motion.
Swings right out the window but catches on a sliver of
wood --
JOHN
No you don't.
John jumps up and helps push the mirror free.
EXT. APARTMENT BUILDING - HUGE MIRROR
Falls SLOW MOTION from the 7th story -- tumbling end over
end, sunlight beams glancing off the glass, PROJECTING
the image of the Demon into the LA cityscape. ONTO
buildings, sidewalks, a passing truck -- until all three
hundred pounds of IRON AND GLASS come CRASHING down ON
the taxi's hood.
(CONTINUED)
10.
CONTINUED:
CHAZ
SHIT!
Demon's image SHATTERS on impact -- GLASS SPLINTERING
into a million diamond-like fragments that choke the air.
The GROAN of something evil reverberates into the city
beyond.
Chaz looks up, sees he missed dying by three feet.
INT. APARTMENT - CONTINUOUS ACTION
Jeanie GASPS -- takes her first breath as a child again.
And CRIES. Mother pulls her in, hugs her tight. Note
the girl's fingernails. No longer black.
John's beat, reclaims that stub of a cigarette, still
burning. Takes a drag. He pushes past Hennessey who is
approaching the mother.
HENNESSEY
Now about the fee...
John slips FROM VIEW into the kitchenette, hides the fact
that he has to lean against the door to keep his balance.
He catches his breath, looks up and is staring right at a
child's crayon drawing magneted to the fridge. A drawing
of a figure poking another in the side with a long stick.
This image is repeated over and over.
John tugs it off the fridge, tucks it away.
INT. APARTMENT BUILDING - STAIRWELL - LATER
Hennessey follows John down the spiraling stairs, passing
the gathered tenants. A few are freaked, cross
themselves. Others horrified. But many want to touch
them, shake their hands.
A shadowy FIGURE several floors up stares over the rail
at the heroes below. Note the slick suit, the polished
veneer.
This is BALTHAZAR and he definitely does not rent here.
He flicks an ancient COIN between his fingers.
JOHN pauses, gazes up through the stairwell as if sensing
something. No one there. Balthazar is gone.
(CONTINUED)
11.
CONTINUED:
JOHN shakes off the feeling, continues down the steps
where Hennessey is shoving his HAT in front of the
tenants. They're gladly giving to the cause.
HENNESSEY
Thank you. Yes... Gracias...
JOHN
Hennessey.
Hennessey stops his panhandling, continues toward the
exit.
INT. FOYER
John and Hennessey stop near the front entrance. John
rips the white collar from Hennessey's neck.
HENNESSEY
I know, I know, but I didn't think
she was really possessed, not like
that.
JOHN
I'm not back an hour and you drag
me into --
HENNESSEY
-- Don't be mad, John, don't be --
John rummages through his coat pockets --
HENNESSEY
On the left side.
John keeps searching.
HENNESSEY
Vest pocket.
John rips his smokes from the left vest pocket --
JOHN
Don't do that shit on me --
HENNESSEY
Sorry, sorry. Here, you can have
half.
Hennessey starts to divvy the cash but John snatches the
hat.
(CONTINUED)
12.
CONTINUED:
JOHN
I should take it all, save you
from yourself.
He gestures that bagged BOTTLE in Hennessey's jacket.
HENNESSEY
It keeps them out, so I can sleep.
Please, John, I need to sleep.
John stares at his pathetic friend, sighs, finally slips
a few bills from the wad and hands them over.
Hennessey is bubbling with appreciation, starts to
follow. John simply holds up a hand. Hennessey stops,
watches John walk out. Alone.
EXT. ALLEY BY THE APARTMENT
John turns the corner, spots Chaz punching a dent from
the taxi's hood.
JOHN
I told you to move it.
CHAZ
Well maybe if you had told me you
were dropping a three-hundred
pound mirror with a pissed-off
demon in it I would have moved it
further.
Chaz slams the hood. They slide into the car.
CHAZ
Well?
JOHN
Well what?
Chaz reaches back into John's front coat pocket -- pulls
out Hennessey's wad of cash -- slips off a few bills.
CHAZ
Shouldn't have cut your stay in
the land of enlightenment. You
were so close to growing a
conscience.
John grins, pulls his special lighter, lights a smoke and
sits back.
(CONTINUED)
13.
CONTINUED:
JOHN
Los Angeles...
He looks back up at the apartment, still puzzled.
JOHN
Never ceases to entertain.
Chaz crams the car in gear as John takes a drag, coughs.
EXT. THE SKY
One of those perfect days. With perfect clouds. So
clear you feel you could reach out and touch Heaven.
Two young girls rise INTO FRAME on side-by-side swings.
For a moment they're suspended against that incredible
sky. Then gravity takes hold and they fall back to
Earth.
MAN (V.O.)
You still with me?
INT. SUBWAY - DAY
ANGELA'S (30) weary eyes open. She's on her belly hidden
between track ties and shadows even deeper. Grips a
police-issue revolver tight. She's pinned down, unable
to move.
ANGELA
Yeah...
The MAN is thirty feet down the same track. Their VOICES
ECHO off the curved walls, come from everywhere.
How either of these two got here isn't important. Who
will get out is.
MAN (O.S.)
So what's next, Detective? We
gonna do a full marathon?
Intermittent RADIO CHATTER buzzes from Angela's WALKIE-
TALKIE. You get the sense Angela is not alone in here.
ANGELA
Put your weapon on the tracks and
step out with your hands above
your head.
(CONTINUED)
14.
CONTINUED:
MAN (O.S.)
Or how 'bout you show yourself and
I put a bullet in your skull just
like I did hers!
ANGELA
That's just not going to happen.
MAN (O.S.)
You sure about that?!
Angela checks the chamber -- sees she has one bullet
left.
ANGELA
(almost pleading)
Now put down your weapon on the
tracks and --
GROUND BEGINS to VIBRATE. Tunnel starts to GLOW.
MAN (O.S.)
Well ain't this a peach?!
Angela looks back, sees several SHADOWS of figures waving
far off. Her RADIO is flooded with futzed CHATTER.
DETECTIVE WEISS (V.O.)
(over radio)
Get off the tracks! Blueline is
coming! Clear the tracks!
Angela peeks over the track. Still no sign of her perp.
The TRAIN is coming INTO VIEW and its BEAM shoots through
the tunnel, turning every particle of dust into a supernova.
The SOUND is DEAFENING.
MAN (O.S.)
C'mon, Detective, step into the
light and be saved!!
Angela looks back, squints into the brilliant LIGHT.
She grips her GUN and in one burst of flat-out bravado --
rises as she AIMS.
And there he is -- the Man rising with his own gun.
Angela FIRES as both dive off the track. His BULLET
RICOCHETS behind her. Hers finds its mark. Man goes
down right in the train's path.
(CONTINUED)
15.
CONTINUED:
Angela rolls over on the side of the tracks, catches her
breath. She closes her eyes and crosses herself as the
train roars past in a staccato blur.
EXT. 20 LANES BOWLING ALLEY - DAY
Chaz's taxi pulls up, parks.
TAXI TRUNK
OPENS, REVEALS suitcases stamped with AIR INDIA. John
starts inside, pauses as Chaz yells --
CHAZ
There are four bags. I have two
hands. This give you any ideas?
JOHN
Make two trips?
John walks in. Chaz curses under his breath.
INT. 20 LANES BOWLING ALLEY
Evening leagues are going strong. John walks in, looks
totally out of place. He moves down the BALL RACK area,
runs his fingers across the various leftovers, finally
stops at a pearl-white dazzler.
He lifts it from the rack, steps out into the prep
area -- in front of one of the few lanes not in use.
Number 13.
John snatches a grease pencil from the overhead,
scribbles right on the ball -- "PROVISIONS DEPLETED."
He fluffs his trench coat back, steps onto the polished
wood with his well-traveled Oxfords.
Young bowlers on both sides stop to look at this oddity.
An attractive brunette is rather curious. John gives her
a wink. Her boyfriend doesn't appreciate it.
John bowls. Perfect hook ball. Strike! Brunette grins.
John returns the smile, heads into the hallway by the
pool tables.
16.
INT. JOHN'S APARTMENT
Seems small until you walk in and realize it's as long as
a bowling lane. Makes that cage enclosed bed at one end
seem like it's a mile away.
Chaz throws the suitcases on it as John arrives.
CHAZ
(yells across room)
Simple question. How much longer
do I have to be your slave?
John pulls a chain and a wall of window shutters open.
JOHN
You're not my slave, Chaz. You're
my very appreciated assistant.
Like Tonto and Robin and that
skinny fellow with the fat friend.
Along the floor, encircling the entire room, are 5 gallon
Sparkletts bottles. Each is adorned by a small hand-
marked CROSS. John takes a moment to adjust one out of
place.
CHAZ
How much longer?
John doesn't like his tone.
JOHN
Well I don't know, what's the
going rate for saving a taxi
driver hanging from his
fingernails about to be swallowed
into the jaws of Hell?
CHAZ
So what time you want me back?
John gives him a knowing look, goes back to emptying his
pockets.
JOHN
I need to make an appearance at
Midnite's. Say ten-ish?
Chaz sighs, starts out --
JOHN
Chaz...?
Chaz turns back, catches an object John throws him.
(CONTINUED)
17.
CONTINUED:
JOHN
A little something from Delphi.
It's a dashboard air freshener shaped like a cow.
Chaz tips it. Moooooo. John finds it rather amusing.
CHAZ
Gee, thanks.
Chaz leaves. John removes a small BLACK BOX from his
jacket. He sets it carefully on its own shelf by the
window -- stares out.
BEEMAN (O.S.)
'Provisions depleted?'
John turns to see BEEMAN waddle in.
BEEMAN
I gave you three months worth.
You were gone only one.
This diminutive occult version of Bond's "Q" carries a
custom bowling bag and squints in the light like a mole.
JOHN
What can I say, Beeman, India was
a real drain.
They shake hands. Beeman sets his bowling bag onto the
table, unzips it.
BEEMAN
So what do you need?
JOHN
Everything you got.
BEEMAN
(pausing)
You smell something, John?
JOHN
Maybe. Incubus in this girl I
just exorcized seemed a bit more
spirited than usual.
Beeman starts pulling things out. First is a frayed RAG.
Then glass containers...
(CONTINUED)
18.
CONTINUED:
BEEMAN
Well, I've got your stone
fragments from the Road to
Damascus, dust from the Dead Sea
Scrolls -- oh, you'll love this --
Out comes a little MATCHBOX with a smiling bug graphic.
BEEMAN
Screech beetle from Mount Sinai.
He shakes the matchbox and the BEETLE flutters inside.
It's WINGS create an eerie HIGH-PITCHED WHIRL. John
shrugs. So?
BEEMAN
Yeah, to you it's nothing but to
the Fallen -- like fingernails on
a chalkboard.
JOHN
What is it with you and bugs?
Beeman pulls out a set of sculptured BRASS KNUCKLES.
Actually solid gold and engraved with religious markings.
John takes them, tries them on. Nice fit.
BEEMAN
Gold was blessed by the Bishop
Anicott during the Crusades.
John spots a foot-long COPPER TUBE in the bag, pulls it
out, grips the bicycle handle on one end.
BEEMAN
Watch it there.
With this puny little thing? John gives the handle a
squeeze and WHOOOOSH -- ten-foot FLAME BELCHES out.
BEEMAN
Dragon's breath.
JOHN
I thought you couldn't get it
anymore.
Beeman shrugs, modesty. John starts to put it down on
the table and Beeman quickly pulls the frayed rag away.
(CONTINUED)
19.
CONTINUED:
BEEMAN
Whoa, don't want to get a flame
near this.
(off John's look)
Piece of the shroud Moses wore to
the mountain.
John picks it up -- You're shitting me, right? Nope.
JOHN
Got any callinicus?
BEEMAN
(intrigued)
How spirited was this incubus?
JOHN
(coughs)
Like it was trying to come right
out through the girl
Beeman just stares at him -- is this a joke?
JOHN
I know how it sounds...
BEEMAN
We're finger puppets to them,
John, elaborate costumes -- they
can work us but don't come through
us. They can't. You know that.
JOHN
Check the scrolls anyway.
Corinthians. See if there are any
precedents.
BEEMAN
Sure, John. Anything else?
JOHN
(coughs again)
Wouldn't happen to have anything
for --
Beeman sets down a bottle from the bag -- Vick's 44.
BEEMAN
On the house.
EXT. LOS ANGELES POLICE DEPARTMENT - DAY
Lots of blue on blue in this parking lot.
20.
INT. LOCKER ROOM
Locker door opens and Angela is there, covered in the
grime of the subway. She's pained as she pulls off her
shoulder holster. Looks at herself in the door mirror.
Tired, aging eyes stare back.
WEISS (O.S.)
Gutsy move out there, Dodson.
Angela glances at DETECTIVE WEISS as he opens his locker.
ANGELA
Gutsy? Well that's a new one.
The two exchange a look.
WEISS
You're alive. Bad guy's dead. No
point in using the other words.
ANGELA
Thanks.
WEISS
(shuts his locker)
Even though it was reckless --
irresponsible -- stupid...
ANGELA
I knew you still cared.
WEISS
You're good, Angela, real good but
one of these days...
ANGELA
(heard it before)
I know, nobody's luck lasts
forever.
He meets her eyes. Exactly. He really does care.
Weiss breaks it off, leaves. Angela turns to close her
locker door, notices her reflection does not turn.
She grabs the door, looks back in. Reflection is as it
should be. She shudders, slams the locker door.
EXT. CLUB MIDNITE - 10 PM
So exclusive there's not even a line out front. Just a
pair of bouncers waiting to roll someone just for fun.
(CONTINUED)
21.
CONTINUED:
Chaz follows John from the cab to the entrance. A
Bouncer selects a PICTURE CARD from a deck. On the front
are TWO FLYING DOLPHINS. Only we can see the back, which
is --
JOHN
Two frogs on a bench.
Yep. They let him pass. Chaz steps up and lucky him --
he gets the same TWO FLYING DOLPHINS.
CHAZ
Two frogs on a bench.
But Chaz is stiff-armed because the back of this card
shows a BEAR in a dress.
CHAZ
What? But I'm with him! Right,
John? John?
John glances back -- gives him an impassive look. Chaz
backs away, stares after him. Someday.
INT. CLUB MIDNITE
MUSIC FLOODS this exclusive establishment. It's a clash
of cultures and influences not easily dated. A retro
speakeasy for the new millennium.
John walks through a maze of passages while the fantasies
of a twisted city play out in the shadows. He pauses,
sees a clan of suited businessmen in a corner, showing
off for several ladies.
One fills a line of shot glasses from a pitcher of water.
Another waves his hand over them, turns the water into
RED WINE. The ladies are very impressed, drink up.
NICO, a young black man, walks past John.
NICO
Neighborhood's going to Hell.
John offers a half smile. He likes this kid, walks on.
One of the men in the group turns, watches John.
Balthazar. He grins and pockets that odd COIN.
INT. HALLWAY
John starts up a long flight of stairs, stops in front of
two very large doors.
(CONTINUED)
22.
CONTINUED:
Their surface is ancient, the wood petrified over
countless centuries. John places his fingers into the
gnarled folds, closes his eyes --
JOHN
Numquam leadatur a morsu.
A living GROAN BELLOWS from the rigid seams but the doors
don't budge.
JOHN
Bastard changed the code again.
(bangs the doors)
Midnite! Come on, do I have to
huff and puff here?!
The doors unlatch.
INT. MIDNITE'S OFFICE
SWEEP ACROSS a meticulously-crafted ORRERY, a scientific
sculpture that normally displays our solar system in
relative motion. But the planets here are ancient RELICS
with symbols and names -- MATERIAL, ASTRAL, SPIRITUAL,
ICONIC, etc. And the globe at the center -- "CREATOR."
This is an orrery of the forces of the Universe. And
it's not moving.
MIDNITE (O.S.)
Et separatur a plasmate tuo, Ut
num quam laedatur amorsu antiqui
serpentes...
John steps in through the doors behind.
JOHN
Deciding which color to paint this
place again?
PAPPA MIDNITE stands in the jungle he calls an office.
Part African witch doctor, part savvy businessman. A
full six and half feet of solid contradictions.
MIDNITE
You're back early.
JOHN
I got tired of spending your
money.
(CONTINUED)
23.
CONTINUED:
MIDNITE
But I'm sure you spent enough.
JOHN
Well I do have a certain standard
of living.
MIDNITE
Tell me you found it.
JOHN
I found the vault.
MIDNITE
That's not what I asked.
JOHN
Hey, can I help it if Buddhist
monks don't take bribes?
Midnite strides toward him when John calmly pulls from
his pocket a small ebony and gold RELIC. It stops
Midnite cold.
JOHN
Gotcha.
A reluctant grin cracks Midnite's stern features. He
takes the relic in his thick fingers -- stares
breathlessly at a gaunt figure bracing itself against a
cosmic wind.
MIDNITE
Second century depiction of a
sephiroth in the 4th realm...
JOHN
Right. So we good here?
Midnite ignores his outstretched palm, slides the relic
precisely onto one of the many rods jutting from the
Universal orrery.
MIDNITE
It should counter the iconic
plane --
JOHN
That damn thing's never going to
balance.
Midnite lets go and the complex machine actually starts
to move. To turn.
(CONTINUED)
24.
CONTINUED:
John is somewhat intrigued until the newest relic
collides with another and the orrery jams to a halt.
Midnite deflates, stares at John, suspiciously.
MIDNITE
Must I remind you of what selling
fake relics will do to your
health?
JOHN
It's authentic, Midnite, you just
have the wrong piece. Jesus...
The two have a mini stare-down. John's rigid poker face
is only broken by a cough. Midnite sighs, breaks it off.
JOHN
What? -- I didn't blink -- that
was a cough. You never cough?
Midnite reaches into his tuxedo jacket and hands over a
thick stack of HUNDREDS.
JOHN
Better not be any Washingtons in
here this time.
MIDNITE
Why did you cut your trip short?
John stops the counting, actually thinks about it.
JOHN
I don't know... Just a feeling --
John suddenly spins toward the entrance doors, is stunned
to see --
JOHN
Balthazar.
Balthazar is behind him. Utterly confident. Chillingly
so.
BALTHAZAR
We're not still whining about
Manhattan, are we?
John's attempt to disguise his anger fails.
BALTHAZAR
That expression alone has made my
entire night.
(CONTINUED)
25.
CONTINUED:
John takes several steps toward him. Grins. Malevolent.
There's history here.
JOHN
I'll make your night -- I'll
deport your sorry ass right where
you stand --
MIDNITE
JOHN.
John stops in his tracks.
JOHN
It's bad enough that you let these
half-breeds in at all but this
piece of shit --
BALTHAZAR
Perks of becoming a primary
investor.
JOHN
What?!
Midnite's eyes say it all -- not here, not now.
BALTHAZAR
Things change, balances shift.
Get used to it, Constantine.
JOHN
Not while I'm still breathing --
John starts to cough again.
BALTHAZAR
I'm sorry, I didn't catch that.
John tries to catch his breath, can't. And that scares
him a bit. He tries to hide it, pushes out.
EXT. CLUB MIDNITE
John SLAMS out the exit -- coughing. He pulls the Vicks
44 from his jacket, struggles with the child protector
cap.
HENNESSEY
Hey, John.
(CONTINUED)
26.
CONTINUED:
John is surprised to see Hennessey waiting. He chokes,
is about to bust the Vicks 44 bottle. Hennessey grabs
hold, twists off the cap with one flick. John guzzles
the syrup.
HENNESSEY
I'm real sorry about this morning,
John, real sorry. Please don't
hate me for draggin' you into
that. Please don't...
John can finally breathe.
JOHN
I don't hate you.
HENNESSEY
That's good to hear. Real good...
JOHN
But could you at least wait until
I call for you before you show up?
HENNESSEY
You didn't call?
JOHN
Not yet. Jesus, Hennessey, you
freak me out sometimes.
HENNESSEY
So you want me to go away and come
back?
JOHN
No. I've got an assignment for you.
HENNESSEY
Really? What kind of assignment?
JOHN
The kind you'll have to be sober
for.
HENNESSEY
Oh God, you want me to surf the
ether.
He instinctively touches an AMULET around his neck. Four
intersecting crosses.
JOHN
Come on, you know that exorcism
wasn't right.
(CONTINUED)
27.
CONTINUED:
HENNESSEY
I... I don't have the Sight
anymore.
JOHN
Don't have it or don't want to use
it?
Hennessey vacillates. This is obviously tough for him.
JOHN
Just look around. A few days.
You spot anything unusual,
anything -- you let me know.
Okay?
John wraps an arm around his shoulder like a good buddy,
then reaches behind his neck --
JOHN
It'll be like old times.
-- and unclips the amulet from Hennessey's neck. That
unnerves the big guy. John drops it in Hennessey's
pocket.
JOHN
Just for a few days.
HENNESSEY
Okay, okay... for you, John. Like
old times. Right.
Hennessey takes one last sip from his drink, hands the
bottle over. John downs the rest. Nods.
INT. ST. ANTHONY'S CHURCH - CONFESSION BOOTH - NIGHT
Angela sits inside.
ANGELA
I killed a man today. Another
one.
FATHER GARRET sits on the other side of the mesh window.
FATHER GARRET
I'm sorry, Angela.
ANGELA
Most cops go twenty years without
firing their gun. Not me. I
always seem to be in the wrong
place at the wrong time.
28.
INT. APARTMENT BUILDING - SERIES OF SHOTS - NIGHT
Angela arrives home. Pours milk for a cat. Lets her
hair down. Slips off her shoes.
ANGELA (V.O.)
I didn't even see his face. I
just pulled the trigger and he
went away. Just like all the
others...
Angela in the SHOWER -- trying to wash off the guilt.
FATHER GARRET (V.O.)
These feelings are natural in your
line of work, Angela. I'd be
worried if you didn't have them.
Angela now in a recliner, cat in her lap. She's tired.
Eyes are heavy.
FATHER GARRET (V.O.)
But you have to be strong. You
can't allow your faith to be
overshadowed by guilt.
ANGELA (V.O.)
I'm trying.
Her eyes close.
ANGELA (V.O.)
I'm trying real hard.
INT. RAVENSCAR - NIGHT
Angela's eyes open. An Angela whose frightened features
are dripping with a fever sweat.
She's in a hospital gown, stares around a corner.
Janitor polishes the floor in the distance. A nurse
checks off charts in the f.g. And right between the two
darts Angela, unseen by anyone.
EXT. ROOFTOP - NIGHT
A metal fire door swings open and Angela bursts out --
breathing deep. She runs across the tar roof, almost
afraid to look back.
She gets to the ledge, steps up. A BOTTLE in the way
fall -- FOLLOW IT DOWN TO the --
29.
COURTYARD
-- where it SHATTERS --
INT. GROUND FLOOR HOSPITAL ROOM
The sound has drawn the attention of BARRY (10) lying in
bed. He moves up and stares out the window -- sees the
broken glass in the courtyard. He scans up the building
and spots a FIGURE standing on the roof.
ROOFTOP - WIDER
Chilling April air flutters Angela's gown, vaporizes her
breath. Tears stream down her cheeks as she contemplates
the unthinkable.
Cityscape of lights are spread out below but Angela is
seeing something else.
REFLECTED IN HER EYES --
is a city engulfed in RED FLAMES. Follow that tear with
the same reflection of fire inside as it traces her cheek
and slips into her mouth.
ANGELA shudders, rubs her wrist where we see the skin has
swelled and reddened just like the Prisoner's. And
there's that same circular symbol in the flesh.
She wipes her tears -- tries to be strong. Takes a few
breaths for courage, them simply steps off.
INT. BARRY'S ROOM
BARRY'S WIDE EYES follow her down.
EXT. COURTYARD - LATER
Barry approaches across the barren courtyard, leans down
to Angela's contorted body. But she's still alive.
Barry stares into eyes that are fading fast. He reaches
out, touches her face. Eyes close. She's gone.
INT. ANGELA'S APARTMENT
Angela stirs awake. Disturbed.
OVER this we hear INCESSANT COUGHING --
30.
INT. JOHN'S APARTMENT - BATHROOM
John switches on the light, leans up from the sink and
wipes his mouth with a towel. It's covered with blood.
More runs down the drain. He stares at himself in the
mirror. ON John's worried eyes --
MATCH CUT TO:
ANGLE - ANGELA'S EYES
looking equally distraught.
WEISS (V.O.)
It's her, Angela...
EXT. RAVENSCAR HOSPITAL - WIDER - CONTINUOUS ACTION -
DAY
Angela is led by Detective Weiss past several officers
and medical personnel.
WEISS
It's Isabel.
They arrive at the covered body in the courtyard.
Coroner sees Angela approach and lifts the sheet from the
face.
Angela comes to a dead stop, emotions coming fast and
furious.
She leans close and we see a mirror of Angela. That's
when you realize that wasn't a dream. This is her twin.
But that circular symbol is nowhere on her wrist now.
Angela's eyes well with tears. It takes everything she
has to stay in control. Helps to wrap herself in the
job. She steps back, looks up at the tall building.
ANGELA
She... she fell from the roof?
WEISS
No. She jumped.
Angela gives him an incredulous glare. Shakes her head.
WEISS
I know it's hard to accept but --
(CONTINUED)
31.
CONTINUED:
ANGELA
Isabel would never in a million
years take her own life. Never.
WEISS
Angela... there was a surveillance
camera on the roof.
INT. HOSPITAL - DAY
John marches down a hallway, his trench coat a step
behind. He unconsciously rubs his left wrist, coughs.
Flicks an unlit smoke between his fingers.
John stops at a doctor's office door -- hesitates.
INT. RAVENSCAR - SURVEILLANCE FOOTAGE
View of the rooftop. There's Isabel in her nightgown,
stepping up -- pausing just a second. Then one step and
she's gone. So clear. So unrefutable.
WIDER
Angela shudders as a comforting HAND rests on her
shoulder.
WEISS (O.S.)
Take some time...
Angela brushes off his hand, then spots Weiss and the
others on the other side of the room. Whose hand was
that?
INT. DOCTOR'S OFFICE
A LINE OF LIGHT BOXES illuminate several CHEST X-RAYS. A
DARK sinister splotch snakes through both LUNGS. John
stands there, stares at this wall of death with disbelief.
JOHN
No -- I've beaten things,
insurmountable things, things most
people have never even heard of
and after all that you think I'm
going to be done in by THIS?
He raises a puny little cigarette. DR. LES ARCHER (50)
sighs. A delicate bedside manner is not his specialty.
(CONTINUED)
32.
CONTINUED:
DR. ARCHER
You wouldn't be the first, John.
JOHN
It can't be that simple. I mean
come on, Les, you saved me before.
You can do it again, right.
DR. ARCHER
This is different. This is
aggressive.
John tries to stay cool -- fails. He TRASHES the X-ray
boxes. Diseased lungs disappear. Doc shakes his head.
DR. ARCHER
Twenty years ago you didn't want
to be here. Now you don't want to
leave.
JOHN
That's because I know exactly
where I'm going this time.
INT. HALLWAY
John steps outside of the Doctor's office, pauses to
gather himself. He starts walking. Wants out of here
fast.
INT. RAVENSCAR - HALLWAY
Angela is on the move. Emotions are coming in strong.
She can't get out of here fast enough.
She aims for the elevators, sees a MAN has just entered
one.
ANGELA
(rushing toward it)
Wait, hold the door!
Angela, gets to the elevator, looks in. John stands
inside alone. This should be the first time we realize
they were in the same hospital.
ANGELA
Going down?
John pauses as the doors start to close.
(CONTINUED)
33.
CONTINUED:
JOHN
Not if I can help it.
The doors close right on Angela.
EXT. SOMEWHERE IN ISTANBUL - DAY
A PICKUP TRUCK crosses a barren landscape.
In the back bed are several goats and one Prisoner.
He grips the relic tight in one hand. That anxious fever
has returned.
Glazed eyes dart to the side and lock on a rising
jetliner in the distance -- dart back to the road they're
on -- heading the opposite way.
Prisoner clamps his eyes tight, grips to the relic
tighter.
Eyes snap open and he turns, thrusts his elbow through
the center window, leans in and grabs the Driver -- jerks
his head back against the bulkhead -- cracking it in the
process.
Prisoner latches onto the wheel, takes control. He
swerves the car off the pavement, gets out and takes over
as driver.
Truck continues on, bouncing through a shallow ditch and
into the field beyond, aiming straight for the rising
airliners in the distance.
EXT. L.A. APARTMENT - DAY
Close to condemned status. SCAN UP floor after floor,
COMING TO REST ON a window covered with aluminum foil.
INT. HENNESSEY'S APARTMENT
Every wall of this tiny shithole is covered in aluminum
foil. A sober Hennessey stands surrounded by decades of
newspapers and periodicals -- tries to get his breathing
in check.
He instinctively reaches to his neck to touch the amulet
but it's not there. Oh yeah -- in the pocket. Decision
made, he reaches up, starts tearing the foil from the
walls and the window.
34.
EXT. ECHO PARK (DOWNTOWN L.A.) - DAY
John sits at a park bench. Motionless. Taking in the
world. Clouds passing the sun. Shadows drifting across
the city. Leaves swirling after passing cars.
John just sits there, HEARING every breath he takes,
wondering which one will be his last.
ELLIE (O.S.)
Lung cancer? Lung cancer?!
John turns to see ELLIE (23) strutting up the sidewalk.
Uninhibited. Oozing sex appeal. But dangerous. In more
ways than you think.
ELLIE
That's funny as shit, John.
JOHN
As if you guys didn't have
something to do with it...
ELLIE
Hey, I think you brought this one
on yourself.
John stares at her, tries to get a read.
ELLIE
Now why wouldn't you trust me?
JOHN
I don't know, something in the
air --
She sits right on his lap, playfully.
ELLIE
Don't worry, John, you'll beat
this. You beat everything.
JOHN
Not this time, Ellie.
John lifts her off of him, sets her aside.
ELLIE
Oh wow, you're serious... No
wonder the Boss is in such a good
mood.
JOHN
Yeah, I thought maybe you could
talk to him for me. You know...?
(CONTINUED)
35.
CONTINUED:
Ellie jumps off the bench, creates an odd SOUND as she
does.
ELLIE
What?! Dammit, John, I know I owe
you but to even ASK that? All
those saints and martyrs slipping
through his grasp -- his own foot
soldiers sent back to him in
chunks. He's going to take all
that out on you, John, and he's
going to enjoy ripping your soul
to shreds until the end of time.
JOHN
So I take that as a 'no?'
ELLIE
You're the one soul the man
himself would actually come up
here to collect. And you know how
much he despises this place.
JOHN
I'm starting to see his point.
Ellie sits back down, strokes his arm.
ELLIE
Have you gone to see the Snob?
Like scratching fingers across a blackboard. No way.
ELLIE
Look, don't let your ego get in
the way on this. I'd miss having
someone up here I can... relate
to.
She gives him a kiss. And for a second John's leg is
brushed by a tail. John doesn't react. Just turns and
walks away.
INT./EXT. CHAZ'S TAXI - DAY
Seen through a mild rain is the Theological Society
building, a foreboding structure that looks out of place
for this city. John stares out the back seat window,
takes a swig from a bottle of hard liquor. He turns to
Chaz --
(CONTINUED)
36.
CONTINUED:
JOHN
I'm sure I can get you in here.
Chaz gives the building another glance, shoves the meter
flag back down. Tick... tick... tick...
CHAZ
Pass.
INT. THEOLOGICAL SOCIETY - LATER
A few bishops talk quietly. A cardinal studies
Scriptures. Definitely not the place for atheists.
John walks through the vaulted chamber room to the --
LIBRARY
John stops, fixes on the two gentlemen standing in front
of a fireplace. One is a young man of pure class wrapped
in Armani's best. The other is Father Garret.
John stands to the side and waits for their conversation
to end. An ATTENDANT makes the rounds.
ATTENDANT
Can I take your coat, Mr.
Constantine?
JOHN
No thanks, I'm not staying long.
ATTENDANT
How about you, ma'am?
Attendant turns to Angela standing just a few feet away,
her gaze fixed on the same two men.
ANGELA
I'm not staying long either.
John glances over and for the second time they make
contact. Something about her eyes. John stares a bit
too long. Angela looks back toward the fireplace.
ANGELA
My business with him is urgent.
JOHN
First come, first served.
(CONTINUED)
37.
CONTINUED:
ANGELA
So you're rude no matter where you
are.
John gives her a look. The two men shake hands and start
to part. John and Angela make their move toward the men.
Both are surprised when Angela goes for Father Garret and
John goes for --
-- the SNOB, officially known as GABRIEL. Yes, that one.
FATHER GARRET
and Angela have retreated to another area for privacy.
ANGELA
Why is he stalling on this? My
sister needs a Catholic funeral.
FATHER GARRET
Angela, it's still considered a
mortal sin --
ANGELA
She didn't commit suicide.
FATHER GARRET
The Bishop has read otherwise.
ANGELA
Father... David -- this is Isabel.
(meeting his eyes)
Please...
Father Garret stares at her, tries to be compassionate.
FATHER GARRET
I'll talk to him again.
But Angela has just lost a load of faith.
BY THE FIREPLACE
Gabriel sits in his chair, watches the fire with
unblinking eyes. John approaches from behind and against
the backdrop of flame, sees the nebulous shape of wings.
The ghostly image is visible for only a heartbeat.
GABRIEL
(without looking back)
I know what you want, son.
(CONTINUED)
38.
CONTINUED:
John sits across from him.
JOHN
Been keeping your all-seeing eye
on me, have you?
GABRIEL
I could offer how a shepherd leads
even the most wayward of his flock
but it might sound disingenuous.
JOHN
So you're going to make me beg?
Angela pauses on her way out, looks over.
GABRIEL
It wouldn't help. You've already
wasted your chance at redemption.
JOHN
What about the minions I've sent
back, the souls that I've saved --
that should guarantee my passage
across --
GABRIEL
(keeping it private)
-- No -- passage requires faith
and faith by definition is belief
without proof. You have proof.
And that means you're not playing
by the same rules as everyone
else. Your work has mostly been
for selfish reasons. I'm sorry.
JOHN
This is bullshit -- bullshit!
Now he's really got Angela's attention.
JOHN
It's like you've got some cosmic
scale weighing everything we do --
help an old lady across the
street -- put in a nickel, kick a
dog, take out a dime -- you're
fucking nickel and diming us to
death down here!
GABRIEL
Keep your voice down.
(CONTINUED)
39.
CONTINUED:
John jumps up, leans into his face.
JOHN
And you know what, you're the ones
with the problem, not us -- You make
these impossible rules to decide who
goes up, who goes down and you don't
even understand us --
This more than anything gets under Gabriel's skin.
GABRIEL
Each of you is born with the
promise of salvation preordained.
The cost of your redemption is
simple belief. And yet you whine
about impossible rules. Sometimes
I imagine you hardly deserve the
gift you have been given.
JOHN
Gift?! More like a curse the way
you manage things.
Gabriel stands and towers over John.
GABRIEL
I am taking your situation into
account, John, but don't push me.
JOHN
Why me, Gabriel? It's personal,
isn't it? I didn't go to church
enough? I didn't pray enough? I
was five bucks short in the
collection plate? Why?
Gabriel moves right up to him, makes this very personal.
GABRIEL
You're going to die because you
smoked 30 cigarettes a day since
you were 15. And you're going to
Hell because of the life you took.
Or to put it in a way that your kind
would understand. You're fucked.
EXT. THEOLOGICAL SOCIETY - MINUTES LATER
Angela stands on the porch at the edge of a downpour.
She hears a cough, looks over to see John standing on the
other side, looking equally frayed. They share another
glance.
(CONTINUED)
40.
CONTINUED:
John fishes a pack of cigarettes from his pocket. Empty.
JOHN
He has a rotten sense of humor.
(steps past)
And his punch lines are killers.
John tosses the cigarette pack, walks right into the
RAIN, away from Chaz's taxi pulling up.
CHAZ
(shouting out)
John? It's raining! Hey!
Angela watches John disappear in the rain, looks down at
the empty cigarette pack.
DISSOLVE TO:
INT. HENNESSEY'S APARTMENT - A CIGARETTE PACK
lies on the floor next to food wrappers, Coke bottles and
stacks of newspapers. Hennessey sits amongst the
garbage, slumped over. But he's not sleeping.
He's surfing the ether. Allowing his sixth sense to
guide him. His hands move down and across the stacks of
newer periodicals, fingers probing the layers of
information.
Left hand suddenly stops.
Hennessey's eyes open. He removes the layers of periodicals
on top of his left hand, leans close. Edges his fingers
away and sees an OBITUARY. A name -- Isabel Dodson.
EXT. L.A. STREETS - EVENING
John walks the streets, numb to the world. A rat
scurries past near the curb. Then another. Several
crows fly by.
Above him is a BILLBOARD - "YOUR TIME IS RUNNING OUT."
Doesn't matter that below it is -- "TO BUY A NEW CHEVY."
The point is crystal clear. John shakes his head, breaks
out laughing which quickly turns into a coughing fit.
He leans to a gutter. Another rat scoots past. John
barely notices. Then a frog jumps past. But it's the
crab crawling by that finally catches John's gaze.
(CONTINUED)
41.
CONTINUED:
VOICE OF MAN (O.S.)
Hey, buddy, you got a light?
John turns, settles on a silhouetted figure standing
behind him, unlit cigarette butt in its mouth.
OLD MAN
(coughs)
We gotta stick together, right?
John gathers himself. As he walks over to this OLD MAN,
he rummages through his coat pocket, retrieves a
matchbox.
The box shudders as a high-pitch FLUTTERING filters from
inside. Old Man winces as his entire body VIBRATES.
John realizes -- this is Beeman's matchbox, the one with
the screech beetle inside. And now he knows -- a beat
too late.
Old Man attacks.
John is knocked onto his haunches. As the Old Man closes
in, he's revealed in more detail. Body and face are
actually an intricate puzzle, an assemblage of city
vermin. Rats, insects, crows, frogs, crabs -- all held
together in the shape of a man.
John scampers backwards, just inches from this being's
outstretched grasp. He shakes the matchbox and the
screech beetle inside flutters again.
Old Man/Demon cringes as his entire body vibrates apart
for a second, then snaps back together. He GRABS onto
John with fingers of squirming vermin. Snake wraps
around his wrist. Crab snaps at his skin.
John shakes the beetle box harder -- causing the parts to
vibrate even further. Old Man grabs John's head and
vermin of various leg count crawl right onto John's face.
John's had enough -- shakes the matchbox violently, then
smashes it against the sidewalk.
BEETLE lets out a death SHRIEK and the Old Man
stutters -- his parts vibrating so wildly you can
actually see the b.g. through the seams.
John scampers loose, grabs a road barricade and swings it
with all his might. Old Man form shatters on impact.
(CONTINUED)
42.
CONTINUED:
The entire mess collapses to the ground in a flood of
scattering critters. John starts stomping on them as
they scatter into the city.
John stands there, shocked and concerned. What the hell
is going on?
INT. ANGELA'S APARTMENT - DAY
That surveillance VIDEO FOOTAGE from Ravenscar plays
again. There's Isabel in her nightgown walking across
the roof.
Spread out on a cluttered coffee table is Isabel's case
file. CORONER'S REPORT is opened. Let's see "NO DRUGS
IN SYSTEM" and the biggie -- "Cause of Death -- SUICIDE."
Angela sits on the couch in her robe. Disheveled and
distraught. She's taking this hard.
ANGELA
I'm sorry, Isabel...
She lowers her head. And in that brief moment of
silence --
ISABEL (V.O.)
(on TV)
Constantine.
Angela snaps back to the TV, freezes in shock.
There's Isabel ready to jump but this time she's looking
right back AT us -- at Angela. Then she's gone.
Angela quickly rewinds the tape and watches the sequence
again. This time Isabel doesn't look back. This time
there is no name. But Angela did see it. Did hear it.
She sits for a second. Stunned.
INT. MIDNITE'S OFFICE
John paces as Midnite works on that Universal orrery,
adjusting components but balance continues to elude him.
JOHN
A few months, maybe a year.
That's it. End of story. Game
over.
(MORE)
(CONTINUED)
43.
CONTINUED:
JOHN (CONT'D)
(as Midnite doesn't
react)
Well, don't break down on my
account.
MIDNITE
What do you want from me? A
shoulder to cry on?
JOHN
This bastard attacked me right out
in the open -- on Sepulveda no
less.
MIDNITE
They don't like you, John. You've
deported how many back to Hell?
JOHN
That's just it -- this wasn't some
possession or wayward half breed,
it was a full-fledged demon.
Here. On our plane.
MIDNITE
Right.
JOHN
I know what I saw.
MIDNITE
You must have just crossed over
and didn't even realize it --
JOHN
I didn't cross over -- It was on
this side. Here.
MIDNITE
-- it's wet out, you're wandering
around aimlessly, not to mention
completely emotional --
JOHN
Emotional?!
John slams a fist against the counter. The orrery almost
topples but Midnite saves it. Decades of work almost
lost.
Midnite glares at a desperate John.
(CONTINUED)
44.
CONTINUED:
MIDNITE
Okay, so you saw something. We've
seen a few small ones slip through
now and then.
JOHN
It's more than that... first the
girl, then this.
MIDNITE
John, you know my connections.
Any shifts or tremors in the
planes and I'd hear about it.
John just shakes his head, looks up -- convinced.
JOHN
Something's coming.
Midnite sighs, gives up with him.
INT. LAPD OFFICE - LATER
The name JOHN CONSTANTINE is center screen on a
monitor -- typed into the police station's SEARCH ENGINE.
Angela sits alone in the squad room, rain streaking
across the windows.
Interpol comes back with results and a list of priors
scroll under John's name.
Must be a hundred PARKING VIOLATIONS. Several SPEEDING
tickets and a few RECKLESS ENDANGERMENT. In fact John's
license has been REVOKED.
But it's the other incidents that draw Angela in.
BRIEF CLOSEUPS
Of specific words in a few HEADLINES -- "Occult activity
on the rise..." "Claimed possession is refuted by
Bishop..." "Satanic cult dissolved..."
Accompanies with an assortment of unusual case photos.
-- BLOOD PATTERNS on a WALL -- Odd SYMBOLS burned into a
ceiling. A cross burnt to a crisp.
-- JOHN in handcuffs looking back at a mother holding her
son in her arms. A younger and more noble Father
Hennessey stands beside them, looking grateful.
(CONTINUED)
45.
CONTINUED:
Another line -- "INSUFFICIENT EVIDENCE to PROSECUTE."
Angela scrolls, sees cities listed where John has made
waves -- LONDON -- PARIS -- ROME -- BUDAPEST -- MOSCOW.
Stops on the one that matters -- LOS ANGELES. And
there's an address.
Angela hits PRINT and the HP HUMS away.
A desk PHONE RINGS. Angela quickly looks around, sees
she's the only one here. She gets up, answers it.
ANGELA
L.A.P.D. This is Dodson, hello?
Dead air. The next PHONE RINGS. Angela reaches for it
when the NEXT ONE RINGS, and the NEXT, the NEXT.
The RINGS HOP phone to phone in intimidating mockery.
Angela freezes, forces herself to stay calm. Sure
enough, the RINGS abruptly CEASE.
Angela reaches over, rips the page from the printer,
leaves.
INT. ISTANBUL AIRPORT - DAY
A police guard scans passengers and a printout of the
Prisoner. He walks past a man standing in the metal
detector line.
This is actually the Prisoner wearing the clothes and
glasses of the Driver. Is that a blood stain on the
lapel?
Sweat drops from his forehead and he nervously places the
iron relic in a bag he took from the truck driver. He
has no choice but to place it on the conveyer belt.
MYSTERIOUS POV
Watching the Prisoner. He looks back AT us, suspicious.
Nothing there.
PRISONER
looks back nervously, as his bag goes through the
detector.
46.
DETECTOR SCREEN
shows the folds of the bag, a wallet, a passport and
nothing else. The iron relic doesn't even produce an
outline.
Bag slides out, untouched. Prisoner can't believe his
luck, grabs the bag and walks on toward the gates.
EXT. LOS ANGELES - NIGHT
VARIOUS of the city -- the contrasts between the bright
and cheerful and the dark and mysterious. That abandoned
mission behind Bob's Big Boy, the Islamic Temple wedged
between competing banks.
COME TO REST ON --
The towering statue of The Good Shepherd. His hands are
welcoming us into the "HOLY CROSS CEMETERY."
Right across the street is the 20 Lanes Bowling Alley.
INT. 20 LANES - THE BAR
John drinks alone. Pissed at life. At death.
That small black box of his lies on the table unopened.
Spider runs across the table. John flips an empty glass,
traps it underneath. He takes a drag on his cigarette,
tips the glass and blows smoke inside. Spider can't
escape the poison air, bumps the glass. Trapped. Dying.
JOHN
Welcome to my life.
ANGELA (O.S.)
Mr. Constantine?
John looks up, spots Angela. Those eyes again.
ANGELA
I saw you at --
JOHN
-- I remember.
ANGELA
And --
JOHN
Yeah.
(CONTINUED)
47.
CONTINUED:
She did make an impression.
ANGELA
I'd like to ask you a few
questions.
JOHN
I'm not really in the talking mood
right now.
ANGELA
Could you just listen then?
Angela sets her LAPD detective badge on the table.
ANGELA
Please?
JOHN
Always a catch...
Angela sits across from him, puts the badge away.
ANGELA
My sister was murdered last week.
JOHN
Sorry to hear...
ANGELA
Her name was Isabel. Isabel
Dodson?
She looks for a reaction. None.
ANGELA
You don't remember her?
JOHN
Never met her.
ANGELA
You sure?
JOHN
She look anything like you?
(as Angela nods)
I would've remembered.
Another beat as their eyes meet. John looks away.
(CONTINUED)
48.
CONTINUED:
ANGELA
She was a patient at Ravenscar.
Then last Tuesday she just decided
to step off the roof.
JOHN
I thought you said she was murdered?
ANGELA
Isabel would never take her own life.
JOHN
You'd be surprised at what people
will do.
ANGELA
Look, I know I'm not making much
sense -- hell I'm not really sure
what I'm doing here... I just
feel -- the circles you travel
in -- the occult, demonology,
exorcisms...
John just stares at that spider in the glass. Trapped.
ANGELA
I believe someone got to her, Mr.
Constantine, brainwashed her into
stepping off that roof. Some kind
of legion or cult.
JOHN
Sounds like a theory. Good luck.
ANGELA
Well I thought with your
background and experience, you
could at least point me in the
right direction.
JOHN
Yeah, okay. Sure.
John points -- toward the exit. Angela is not amused.
But she's not giving up.
ANGELA
My sister always talked about a
world better than this. Heaven as
some call it. She wasn't afraid
of dying because she knew it was
waiting for her. What everyone
fails to grasp is that if she had
really taken her own life --
(CONTINUED)
49.
CONTINUED:
JOHN
-- she would have committed a
mortal sin and her soul would have
gone straight to Hell where it
would never feel love or
compassion or anything but pain
again as the master himself rips
her apart over and over for the
rest of eternity.
(beat)
That about right?
The words have hit so hard that Angela is speechless.
John sees the hurt in her eyes, would like to take it
back -- but it's too late.
She turns and starts out, slows --
ANGELA
You're not the only one afraid of
Hell.
John tries not to let that get to him. She leaves. He
glances out the window, watches her pass by. So long.
Good riddance.
But something's not right. Those deep shadows on the
buildings seem to be moving. John watches, confused,
realizes they're heading in Angela's direction.
JOHN
Oh shit...
He stands, gains his bearings. As he walks out he flicks
the glass over. Spider runs free.
EXT. 20 LANES BOWLING ALLEY - NIGHT
Cars are lined all the way down the street. Angela walks
along the sidewalk unaware of the shadow following her.
It's joined by another in the trees -- both closing in
with each step.
JOHN (O.S.)
Detective!
Angela looks back, sees John in the street.
JOHN
How open is your mind?
(CONTINUED)
50.
CONTINUED:
She doesn't answer, continues walking. What she doesn't
see are the shadows seeping back into the fringes. But
John does. He starts walking toward her.
JOHN
Do you believe in Heaven and Hell?
(off no answer)
How about what comes out of each?
Angela keeps walking. He catches up with her.
JOHN
Hey!
ANGELA
You mean like angels?
JOHN
And demons.
Angela stares at him, continues walking. He keeps up.
JOHN
See, you don't have the mindset
for this kind of work.
They walk together down the lonely street.
ANGELA
Look, I see terrible things every
day. A mother drowns her baby. A
ten-year-old shoots his father.
But it's not demons, it's the evil
that men do.
Behind them, a streetlight BLINKS OUT. Then another.
They're not looking back so they don't see it.
JOHN
You're right, we're capable of
terrible things but we usually
justify it with motives like money
and power and jealousy.
Another LIGHT FIZZES, blinks out.
JOHN
Then sometimes, something comes
along and gives us just the right
nudge and we do truly evil things
just for the kick of it.
(CONTINUED)
51.
CONTINUED:
ANGELA
I don't believe in demons.
JOHN
You should. They believe in us.
They pass another streetlamp as it goes bright, then
blacks out. Both look up.
The next LAMP FLARES then FIZZES OUT.
Angela turns and sees that there are no lights behind
them. She looks to John. But he's staring straight
ahead. Because now the light in front of them is FLARING
BRIGHT.
JOHN
We should go...
Second later it BLINKS OFF. John grabs her hand --
JOHN
Fast.
Angela's confusion turns to tension as a raspy guttural
WIND races toward them.
John jerks her into action. They run towards the next
light. It blinks out right when they reach it.
They race to stay in the light, aiming toward the safety
of the brightly-lit statue of the Good Shepherd.
EXT. HOLY CROSS CEMETERY
They make it through the gate, pass through an alley of
overhanging trees. Something RIPPLES through the
branches -- flitters right past Angela's face. She swats
at it, manages to get a branch across the cheek.
They near the Good Shepherd and the floodlights FLICKER,
fade out. Statues of saints become dark monoliths.
John stops in an OPEN AREA between trees and a mausoleum.
A lit CROSS on the wall provides the only illumination.
Angela feels the scratch on her cheek, sees a trickle of
blood. Now she hears SOUNDS in the darkness. Like
LEATHER RUBBING. Surrounding them.
ANGELA
What is that?
(CONTINUED)
52.
CONTINUED:
John is just as surprised he's saying this --
JOHN
Wings.
ANGELA
Wings?
John rummages through his trench coat -- fishes out that
cloth Beeman gave him. The one supposedly wrapped around
Moses.
JOHN
And maybe talons.
The cross is getting dimmer and dimmer...
ANGELA
Are you kidding? Of what?
JOHN
Something that's not supposed to
be here.
John quickly wraps the cloth tight around his hand.
Angela spins, eyes seeing only darkness as the sounds get
CLOSER -- ghastly sound of MOVEMENT in the fringes of
light.
The cross now resembles a dying wire filament and with
every second the circle of light gets smaller and those
SOUNDS GET CLOSER. John takes out his special lighter.
JOHN
Close your eyes.
They are now standing in pitch darkness.
ANGELA
Why?
JOHN
Suit yourself.
John flicks the lighter and in one powerful motion --
sweeps his arm up as he lights his hand.
Sacred cloth catches fire -- then IGNITES with a
brilliant retina-searing FLASH -- blinding Angela and
illuminating a --
-- CIRCLE OF WINGED DEMONS -- a roiling broth of
reptilian death -- right there -- ready to pounce.
(CONTINUED)
53.
CONTINUED:
RED FLAME radiates from the cloth and DEMONS SHRIEK as
they are instantly vaporized.
John tucks his burning hand into a coat pocket,
extinguishes the flame. He leans down to a rubbery stain
left from one of the burnt demon carcasses. Shakes his
head in disbelief.
JOHN
(to himself)
'I accidentally crossed over?' I
don't think so.
ANGELA
(coming up behind)
What was that? I saw wings -- and
teeth -- they were flying. What
the hell were those things?!
JOHN
They weren't angels.
John scans the area, trying to think this through.
JOHN
Seplavites, actually. Scavengers
for the damned.
(off her lost look)
Demons?
ANGELA
What? You can't be serious...
this is impossible...
JOHN
Yeah...
(to himself)
And I don't think they were after
me...
John looks at her with renewed interest.
JOHN
You really believe she wouldn't
commit suicide?
ANGELA
(a bit thrown)
My sister?
(a beat)
Never in a million years.
John makes the decision.
(CONTINUED)
54.
CONTINUED:
JOHN
Let's be sure.
He starts walking. Angela is now compelled to follow.
ANGELA
How?
JOHN
Simple. See if she's in Hell.
EXT. L.A. COUNTY MORGUE - NIGHT
Not exactly an inviting place.
Hennessey steps off the curb, looks up at his
destination.
INT. ANGELA'S APARTMENT - NIGHT
John stares at a photo of Angela and her father in police
uniform. Obviously happier times.
Angela walks out of her bedroom holding a cardboard box.
That gray cat follows close to her heels.
ANGELA
These are all Isabel's things.
JOHN
The cat too?
ANGELA
Yeah, why...?
John ignores the box of items, picks up the cat. He
studies it a bit, then sits back in a chair with it.
ANGELA
Don't you need candles and a
pentagram for this to work?
JOHN
(deadpan)
Why, do you have any?
John puts his feet, shoes and all into a BUCKET OF WATER.
JOHN
I need you to step outside now.
(CONTINUED)
55.
CONTINUED:
Angela wants to stay.
JOHN
Angela? Please.
Angela reluctantly moves toward the exit. John holds the
cat, stares into its huge, unblinking eyes. There's a
moment where animal and man seem to connect.
The water around John's feet begins to BOIL.
ANGELA pushes the door closed behind her but it slows on
its way to latch.
Bulbs pulsate as current ramps down. The room flickers,
is suddenly caught in a ghostly dim half-light and John
has now crossed over into --
APARTMENT IN HELL
Same layout, different decorator. John takes a deep,
raspy breath, slowly stands. He turns to the wall behind
him which is torn away, looking like some half-bombed
structure in Beirut.
Beyond the wall is no longer the blackness of a
nightscape but a sickly sepia glow. Not quite day, not
quite night.
John steps over the crumbling wall into --
EXT. HELL LOS ANGELES
John walks out onto the top overpass of a crumbling maze
of intersecting freeways. Burnt-out husks of long-
forgotten vehicles sit in rows of gridlock. A low DRONE
penetrates the silence.
JOHN
Is she here?
On the horizon is a dying RED SUN. It strains to cut
through the putrid brown haze.
JOHN
Is she here?!
His VOICE REVERBERATES to infinity.
(CONTINUED)
56.
CONTINUED:
John cautiously steps closer to the railing, looks down
to the ribbons of twisting streets below. They're
crammed with teeming masses of the damned. All walking
down in silence, faces numb with sorrow and grief.
JOHN
IS SHE HERE?!
That low DRONE RISES IN PITCH and John now spots a huge
blanket-like BLACKNESS crawling over the cityscape,
rapidly closing in on him. You get the feeling this
isn't a safe place for the living.
JOHN
It's a simple question! Is she
here or not?!!
John suddenly locks on something far off.
On top of a distant skyscraper is a FEMALE FIGURE in a
sheer white gown. John can't make out her face but knows
she's looking right at him.
JOHN
Isabel?
She lifts something and tosses it. John watches as a
small object tumbles toward him just ahead of closing
darkness.
INT. ANGELA'S APARTMENT - HALLWAY
In that same motion we left her in -- Angela finishes
pushing the door closed. As it LATCHES --
JOHN (O.S.)
(weakly)
Angela... come back in...
Confused, Angela pushes the door back open. Cat BOLTS
out. Angela catches her breath, moves inside.
INT. LIVING ROOM
John sits slumped in the chair, drained. Steam rises off
his skin. Angela sees the water in the bucket has almost
all boiled out. She walks in, kneels down to him.
ANGELA
John? What happened?
(CONTINUED)
57.
CONTINUED:
Sweat drips off as he looks up. He opens his palm --
reveals to Angela a simple HOSPITAL BAND. The name
"ISABEL DODSON" is typed on it.
Even as a semi-convert, this news completely floors
Angela. She takes the plastic band -- grips it tight --
tries to hold herself together. The adrenaline and pain
overwhelm. Her knee buckle and she drops to the floor.
John watches, isn't sure how to help. He finally reaches
out a single hand -- slowly rests it on her shoulder.
The contact seems to open a floodgate of emotion and
Angela falls right into his arms. John hasn't been this
close to anyone in a long time. Angela finally composes
herself.
ANGELA
How? How did you do this...?
John tries not to stare into those eyes too long. Fails.
INT. L.A. COUNTY MORGUE - NIGHT
Body drawer slides open -- reveals Isabel. Lying in a
cold, sterile room of death. A Hell of a different type.
Hennessey stares down at her, looks around the room
again, makes sure he's still alone.
He reaches in, rips open the protective plastic and
lowers his hand inside. Places it first on her forehead.
Nothing. Then on her chest. Nothing. Wrist is last.
Hennessey shudders. This is it.
He closes his eyes and opens himself to the void --
JOHN (V.O.)
When I was a kid, I saw things...
FLASHBACK - EXT. STREET - DAY
A TEN-YEAR-OLD John comes out of a corner store with milk
in a bag. He slows, eyes a MAN at a mailbox.
JOHN (V.O.)
Things I wasn't supposed to.
The man looks right at young John as he passes. His face
is distorted and his feet have sprouted roots which are
dug into the ground.
(CONTINUED)
58.
CONTINUED:
WAITRESS (O.S.)
Coffee?
Young John looks up toward the voice --
INT. DINER - NIGHT (PRESENT)
John looks up at the Waitress.
JOHN
Tea.
She leaves. Angela sits across from him. They're at the
table by the window.
JOHN
My parents sent me to a doctor, a
shrink, a priest. I was in four
different institutions by the time
I was eighteen.
Angela notes him rubbing his wrist.
JOHN
The last place they put me was run
by a church...
A DOCTOR rushes past their table. PAN WITH him INTO...
FLASHBACK - INT. MENTAL INSTITUTION - HALLWAY
The Doctor rushes toward distant SCREAMING.
JOHN (V.O.)
The revered Father made the
brilliant deduction that I was
possessed, said I needed to be
exorcised...
INT. ROOM - HIGH ANGLE
The Doctor runs in. Sees the revered Father below,
leaning over a bed where an 18-year-old John is held down
by three interns and that Doctor. John angrily screams
at them all.
JOHN (V.O.)
It was like someone trying to pull
teeth that weren't there.
Young John clamps his eyes shut tight.
59.
INT. DINER - JOHN (PRESENT)
Present-day John does the same, remembering the pain.
JOHN
So I took things into my own hands
and I found a way out.
ANGELA
You attempted suicide.
John sees she's looking at his wrist. The hint of a
jagged scar can now be seen under the sleeve.
JOHN
I never attempt anything.
John's reflection in the window becomes --
FLASHBACK - TEENAGE JOHN
kneeling with a pair off scissors. He's inside a...
INT. CLASSROOM
Teenage John looks up at a room filled with people from
all walks of life. Teachers, doctors, lawyers, garbage
men. All somewhat different than normal. They sit in
school chairs and wait for John to do the deed.
He puts the blade to his wrist -- one swipe and the world
around him accelerates away in a STREAKED BLUR --
INT. DINER (PRESENT)
ANGELA
But you're still here. Alive.
JOHN
Not my doing.
His chest suddenly HEAVES forward -- and we're on...
FLASHBACK - TEENAGE JOHN
as he's jolted by DEFIB PADS. He's in the back of a...
INT. AMBULANCE - MOVING
Paramedics are soaked in sweat. One looks a bit like a
young Dr. Archer. Heart monitor is FLAT LINE. There's
little hope.
60.
EXT. LOS ANGELES
The ambulance moves through a city that is transforming.
From this world's Los Angeles to a barren Hell version.
JOHN (V.O.)
Officially I was dead for seven
minutes. But believe me, seven
minutes in Hell is a lifetime.
Ambulance heads toward that dying RED SUN.
INT. AMBULANCE
FLAT LINE on the monitor suddenly SPIKES with a pulse --
INT. MORGUE (PRESENT)
Hennessey's hand jerks back from the plastic. His eyes
fix on Isabel's wrist. That odd circular SYMBOL is back.
Hennessey's unsettled, quickly shoves the drawer closed.
He rushes out, slams right into a SECURITY GUARD coming
in.
SECURITY GUARD
Hey, what're you doing in here?
Guard looks back into the body room, sees a drawer
partially open. He walks over, pulls it out further --
sees the plastic cut away. Jesus.
The symbol has already faded from Isabel's wrist.
JOHN (V.O.)
When I returned I didn't just see
demons anymore, I could do the one
thing they couldn't -- come and go
as I please.
EXT. MORGUE - HENNESSEY
runs as fast as a very obese man can -- aiming for that
PHONE BOOTH on the corner. He grabs the receiver,
punches numbers as fast as he can. RING -- RING --
RING --
HENNESSEY
Be there, John... please...
Something shivers up Hennessey's leg and into his body.
Eyes glaze over and Hennessey settles on a RESTAURANT.
(CONTINUED)
61.
CONTINUED:
JOHN (V.O.)
Heaven and Hell are right here,
behind every wall, every face --
the world behind the world. It's
crossing over that's the real
trick. That's why most demons can
only whisper in our ears. But
even a whisper can turn your
favorite pleasure into your worst
nightmare.
INT. LATE NIGHT RESTAURANT
HENNESSEY barges in, squeezes past the MAITRE D'.
MAITRE D'
Sir, you need a reservation!
But Hennessey is on a quest. For food. And it's
everywhere.
He starts grabbing meals right off of plates. Fish,
pasta, prime rib. Shovels it all in. Patrons are
yelling -- screaming. He's eating as if his life
depended on it. And even though he's devouring anything
in sight, this huge man is wasting away before our eyes.
In the middle of all this chaos is one customer calmly
eating his meal. Balthazar.
Hennessey hijacks a food cart -- consumes everything on
it yet his skin is getting looser and the body inside
gets thinner.
He grabs a steak from a woman's plate but she jerks it
back so he bites into his arm. She screams as her
husband pulls her away.
Hennessey's strength is withering away. Desperate, he
grabs a FORK, digs it into his own hand.
A Hispanic BUSBOY rushes into the room, grabs onto
Hennessey.
JOHN (V.O.)
But the worst demons are the ones
that are allowed to be here -- the
ones that are half-human so they
blend in...
Balthazar stands, throws a few bills on the table and
starts toward the back EXIT.
(CONTINUED)
62.
CONTINUED:
JOHN (V.O.)
... just like those with the
angel's touch living alongside of
us. The half-breeds.
That Busboy lowers Hennessey to the floor. For a moment
we see him framed against the front doorway. And in that
instant we get a brief glimpse of --
ALTERNATE LOS ANGELES
An incredible pristine lake reflecting a city of light.
BACK TO SCENE
BUSBOY looks up, meets Balthazar's eyes. Bitter enemies.
Balthazar grins, flips that coin between his fingers. He
leaves out the back exit.
JOHN (V.O.)
They call it 'the Balance.' I
call it hypocritical bullshit.
INT. DINER
JOHN
So when one of them gets a little
cocky, peddles their influence or
hijacks a soul -- I deport their
scaly ass right back to Hell.
(takes a sip of tea)
I don't get them all but maybe
enough to insure my retirement.
ANGELA
Sounds like you're trying to buy
your way into Heaven.
JOHN
Well, what would you do if you
were sentenced to a prison where
half the inmates were put there by
you?
Not a serene image at all. Angela studies him.
ANGELA
Why you? I mean many go to Hell,
why were you able to escape?
(CONTINUED)
63.
CONTINUED:
JOHN
(sips tea)
I don't know.
ANGELA
God has a plan for all of us.
JOHN
Not for me.
John's bitterness is obvious. Angela just stares at
him -- finally --
ANGELA
Isabel saw things too.
John looks up. Moment is lost when her CELLULAR RINGS.
The cop in her reacts, flips it open.
ANGELA
Detective Dodson here.
EXT. RESTAURANT - LATER
The morgue is seen across the street. The Guard that
chased Hennessey is just outside.
WEISS (O.S.)
Security Guard spotted him near
the body, chased him out.
We MOVE PAST Angela standing with Weiss. Around them is
a complete shambles of fine dining --
WEISS
He comes over here, makes a run at
the entire menu and pow --
deflates like a fricken Macy's day
balloon.
-- COME TO REST ON John's shattered face. He stares down
at Hennessey. Now yards of loose flesh sunken over an
assemblage of bones. Only that ragged black tie he wore
is familiar now.
John leans down to the remains of his friend. A cop
starts to intervene but Angela blocks him. Let him be.
John has trouble taking this in, reluctantly reaches into
Hennessey's coat pocket -- finds the protective amulet he
himself removed from his friend. That's even more
crushing.
(CONTINUED)
64.
CONTINUED:
JOHN
Shit...
(sympathetic)
Why didn't you call me, you fat
sonna bitch...
John lowers his head, then spots blood stains on one of
Hennessey's hands. He opens the fingers, studies the
fork wound. The blood is already drying over it.
John reaches over to the mess of dishes on the floor and
grabs a melting ice cube.
He pushes it into Hennessey's hand, wiping away the dried
blood. It quickly becomes apparent -- this isn't random
stabbings. This is a shape.
John takes a napkin, lays it on the palm and presses.
Residual blood creates a symbol onto the napkin.
It's the same circular symbol we saw on Isabel's wrist.
John doesn't know what it is, but he knows it's important.
JOHN
(to Hennessey)
Rest in peace, Father.
INT. 20 LANES - BEHIND THE LANES
With a loud crowd and 20 huge PIN MACHINES GRINDING AWAY
the noise back here is DEAFENING. But this is Beeman's
home. See the desk, the TV. The fold-away bed.
Beeman is on the phone. There's a conversation but it's
way too noisy to hear. All we see are the emotions on
Beeman's face. No doubt news of Hennessey's death is one
of the biggies.
Beeman quickly reaches for a marker, puts it to paper and
starts drawing -- listening and drawing --
He's finished, hangs up. Stares at the Symbol. That
cabinet with the ancient books now gets his attention.
JOHN (V.O.)
I need to see where Isabel died.
EXT. EAST LA - NIGHT
Graffiti-adorned walls give way to a tall iron fence,
heavily-shadowed grounds and finally the six-story
hospital complex of RAVENSCAR.
(CONTINUED)
65.
CONTINUED:
A rim-lit figure stands on the roof. But this one isn't
wearing a hospital gown, he's wearing a trench coat.
ANGELA (V.O.)
Seances, crystals -- channeling...
Our father thought she was just
trying to get attention. She
certainly did that.
EXT. ROOFTOP
Angela stands behind John. A large water tank is
anchored to the roof next to her. Note the FLAME logo.
ANGELA
She'd tell everyone about things
she said she saw. Crazy things.
Things that hadn't happened yet.
She'd scare my mother to death,
talking on and on about
Revelations and the end of the
world. Then one day she just
stopped... never said another
word.
JOHN
So you put her in here.
Angela doesn't need to be reminded. It hurts even more now.
JOHN
Show me her room.
INT. CORRIDOR
John and Angela head toward Isabel's room. A NURSE
appears from around the corner walking with a boy. It's
Barry, the boy in the courtyard.
He locks on Angela and when she makes eye contact he
breaks away from the Nurse, runs toward her with arms
outstretched.
NURSE
Barry!
He runs right into Angela's arms, hugs her tight. Angela
is totally baffled. John is thoroughly intrigued.
NURSE
Oh God...
(CONTINUED)
66.
CONTINUED:
She rushes in, gently tugs the boy away.
NURSE
No, Barry, that's not Isabel.
Barry stares at Angela. He reaches out, touches her
face, confused. Nurse pulls him back even further.
NURSE
I'm sorry. They were friends. He
kind of had a crush on your sister.
Angela nods, understanding. The Nurse leads Barry away.
He doesn't take his eyes off Angela the entire time.
Neither does John.
JOHN
You were twins.
Angela nods, steps inside. John pauses, thinking.
INT. ISABEL'S ROOM
John steps inside, gives the sterile room a thorough
scan.
JOHN
So how long?
ANGELA
Two months.
(beat)
This time.
He pulls out a drawer, looks at the bottom.
ANGELA
I already did all that.
John runs his hands under the steel bed frame.
ANGELA
Now you're insulting me.
JOHN
You don't walk off a building
without leaving something behind.
ANGELA
You saw everything she left
behind. In that box.
(CONTINUED)
67.
CONTINUED:
JOHN
Maybe she left something else.
Something more personal. Just for
you.
Angela doesn't like that look he's giving her.
JOHN
You were her twin, Angela. Twins
tend to think alike.
ANGELA
I'm not like my sister.
JOHN
But you were at once time. When
you were kids. When you'd spend
every waking hour with each other.
You'd start a sentence, she'd
finish it. You'd get hurt, she'd
cry.
ANGELA
That was a long time ago...
JOHN
That kind of bond doesn't just
disappear.
ANGELA
There's nothing here.
Angela seems unbalanced. John gets more aggressive.
JOHN
She planned her death in this
room, she thought it up right
where you're standing --
Angela backs away. John advances.
JOHN
She knew you'd come -- She counted
on you to see what she saw, to
feel what she felt -- to do what
she did. What did she do, Angela?
ANGELA
How should I know?
JOHN
What did she do, Angela?
(CONTINUED)
68.
CONTINUED:
ANGELA
I don't know!
JOHN
What would you do?
Angela backs into a wall. Nowhere else to go now.
JOHN
What would you leave her? What
would it be? Where would it be?!
Where would it be?
Angela lashes out, shoves John hard, pushing him out of
her way. She turns to the window, almost hyperventilating.
John stays back, watches. Angela opens her eyes. The
tension seems to flow right out of her when she sees --
ANGELA
The tree.
EXT. COURTYARD - NIGHT
A lone tree stands in the center of the lit courtyard.
John and Angela approach it. Examine it. Nothing. John
drops lower on the tree, to a child's height. Finally
sees something near the ground, gestures to Angela.
She kneels down next to him, sees what he sees.
That same SYMBOL. The one Hennessey carved into his
hand. But this time there's more.
ANGELA
(trying to
rationalize)
There must have been a tree in our
backyard... when we were kids...
John may not be buying it but he's not saying anything.
His fingers trace these words carved below the symbol --
JOHN
'COR 14:01.'
ANGELA
Cor?
JOHN
Corinthians.
(CONTINUED)
69.
CONTINUED:
ANGELA
(shaking her head)
There is no 14h act in Corinthians.
John's face goes pale --
JOHN
I need a church.
INT. HOSPITAL CHAPEL - MINUTES LATER
Several families sit in solemn prayer. The pastor
comforts a man and wife. John and Angela slip through,
head for the shelves of reference books on the back wall.
They whisper.
JOHN
Corinthians goes to 21 acts in the
book of Ethenius. It's like a
dark mirror of the Bible. It
paints a different view of
Revelations, says that the world
will not come to an end at the
hand of God but be reborn in the
embrace of the damned.
ANGELA
There's a difference?
JOHN
Depends on which side of the fence
you're standing.
John stops, casually sticks his hand in the pastor's bowl
of holy water near the altar.
ANGELA
So why haven't I seen this book
before?
JOHN
Because it doesn't exist here on
this side.
John closes his eyes and the water in the bowl begins to
BOIL --
ANGELA (O.S.)
What do you mean --
Flickering candlelight slows to a stop, catching Angela
mid-question and the room in that dim half-light.
John turns and is inside --
70.
SAME CHAPEL - HELL
The epitome of blasphemy -- A church in Hell. Only they
don't worship God in here. And that's not Christ on the
cross. And those stained glass windows are now slate
black.
John is now facing books with completely different
markings. He searches as a DRONE rises in pitch and an
INKY BLACKNESS begins to flow down the walls, getting
closer to John with each heartbeat.
He finds the book, steps back as he closes his eyes --
REGULAR CHAPEL
ANGELA
-- not here on this side?
John turns, covered in sweat. He's holding a book she's
never seen, is already flipping through it.
ANGELA
Where did that come from?
JOHN
(stopping to read)
13:29. 13:30 -- Here...
Corinthians 14:01...
(skimming to this)
'The sins of the father would only
be exceeded by the ego of the
son.'
ANGELA
Whose son?
John stands, his brain going into overdrive.
JOHN
Symbol isn't a demon's... that's
why I couldn't place it... not a
normal possession...
ANGELA
John, what are you talking about?
JOHN
But he can't cross over --
impossible for the son to cross
over...
ANGELA
Whose son? God's?
(CONTINUED)
71.
CONTINUED:
JOHN
No. The other one.
(off her look)
Lucifer had a son too.
INT. 20 LANES - BEHIND THE LANES
Beeman sits under the glow of a desk lamp. The narrow
alley of machines stretches out behind him. He stares
into the scrolls -- an ancient book with a single page
folded a thousand times. Turns another page.
BOWLING AREA
Amazing how disturbing a bowling alley is when it's
closed. Rows of empty lanes stretching into darkness,
the unlit pin areas looking like the jaws of an army of
beasts.
BEEMAN (O.S.)
Oh my...
BEHIND THE LANES
Beeman has stopped turning pages. That's because he's
now staring at an etching of the same symbol. Below are
ink drawings of a ghastly beast rising up through a body.
But it's what's above the beast that is most troubling.
A figure on a cross -- his arms outstretched -- seemingly
welcoming the beast into this world.
BEEMAN
This is not good...
BOWLING BALL hits a lane. Beeman spins to the sound.
BALL ROLLS round and round, closer and closer until it
CLANGS dead against the back wall of one of the lanes.
Beeman gets up, starts down the corridor of dormant pin
machines.
He stops at lane 13, leans way way down, past the
machinery and peeks out the pin hole.
BEEMAN
John?
72.
EXT. LA STREETS - NIGHT
Angela's SUV races quickly thr |
