Constantine Page #12

INT. DINER

JOHN:

So when one of them gets a littlecocky, peddles their influence orhijacks a soul --I deport theirscaly ass right back to Hell.

(takes a sip of tea)

I don't get them all but maybeenough to insure my retirement.

ANGELA:

Sounds like you're trying to buy

your way into Heaven.

JOHN:

Well, what would you do if youwere sentenced to a prison wherehalf the inmates were put there byyou?

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 athim --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 nearthe 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 atthe entire menu and pow -deflates

like a fricken Macy's dayballoon.

--COME TO REST ON John's shattered face. He stares down

at Hennessey. Now yards of loose flesh sunken over anassemblage of bones. Only that ragged black tie he woreis familiar now.

John leans down to the remains of his friend. A copstarts to intervene but Angela blocks him. Let him be.

John has trouble taking this in, reluctantly reaches intoHennessey's coat pocket --finds the protective amulet hehimself removed from his friend. That's even more

crushing.

(CONTINUED)

64.

CONTINUED:

JOHN:

Sh*t...

(sympathetic)

Why didn't you call me, you fat

sonna b*tch...

John lowers his head, then spots blood stains on one ofHennessey's hands. He opens the fingers, studies thefork 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 driedblood. 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 oneof the biggies.

Beeman quickly reaches for a marker, puts it to paper andstarts 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-storyhospital 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 justtrying to get attention. She

certainly did that.

EXT. ROOFTOP

Angela stands behind John. A large water tank isanchored to the roof next to her. Note the FLAME logo.

ANGELA:

She'd tell everyone about thingsshe 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 juststopped... never said anotherword.

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 hebreaks away from the Nurse, runs toward her with armsoutstretched.

NURSE:

Barry!

He runs right into Angela's arms, hugs her tight. Angelais 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 herface, 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 buildingwithout leaving something behind.

ANGELA:

You saw everything she leftbehind. 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 spendevery waking hour with each other.

You'd start a sentence, she'dfinish it. You'd get hurt, she'd

cry.

ANGELA:

That was a long time ago...

JOHN:

That kind of bond doesn't justdisappear.

ANGELA:

There's nothing here.

Angela seems unbalanced. John gets more aggressive.

JOHN:

She planned her death in thisroom, she thought it up rightwhere you're standing --

Angela backs away. John advances.

JOHN:

She knew you'd come --She counted

on you to see what she saw, tofeel 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 ofher way. She turns to the window, almost hyperventilating.

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