Constantine Page #21

SATAN (V.O.)

Time to go.

115.

INT. CORRIDOR

John relaxes, stops fighting the inevitable. Satan takes

his hand, starts to pull him home but suddenly findshimself pulling on what seems to be infinite mass. Tryas he might, he can't budge John an inch.

And now John's other hand leaves his side, and as ifweightless, begins to rise toward something above.

No sense in beating around the bush here, John is in theembrace of God.

Satan sees this and recoils in absolute RAGE --

SATAN:

The sacrifice!! No!!!! THIS ONE

BELONGS TO ME!!

John's rising hand drifts back down in front of Satan,

the middle finger fully extended. Final straw.

Satan goes rabid --turns to PURE ENERGY for a splitsecond. His hands remain on fire.

SATAN:

You will live, John Constantine,

you will live so you'll have thechance to prove that your soultruly belongs in Hell. You will

live!

Satan eagerly plunges his blazing hands into John'sbody --

John screams in agony. Satan tears through his tissue -collecting

the cancer, then ripping out a mass ofdiseased tissue with one vengeful pull. John's final

blood-curdling SCREAM ECHOES over --

INT./EXT. RAVENSCAR

--through every room. Every corridor. Rippling outacross the ground and finally dissipating in the hillsbeyond.

INT. CORRIDOR

On his hands and knees, John takes that first breath.

New lungs fill for the first time. No cough. Not even a

wheeze. Face has renewed color. Wrists have sealed

tight.

(CONTINUED)

116.

CONTINUED:

John is healed.

He stands, steps back inside the --

PHYSICAL THERAPY ROOM

John stops over the body of one seven-foot African

warrior. He stands immobilized, wrecked with emotion. A

SOUND draws his attention to the one thing that couldcause him even greater rage --

GABRIEL -

is hunched over near a wall. Jagged cartilage stumpsprotrude from his back. A pattern of sinew and bone is

burned into the floor behind him. It's all that remains

of his once majestic wings.

John approaches, spots blood dripping from the former angel.

He realizes what this means. Gets a kick out of it.

JOHN:

Human...

Gabriel looks up as John retrieves a gun from the wet

floor.

JOHN:

You don't deserve to be human.

GABRIEL:

Then pass judgment on me now.

John raises the gun --puts it to Gabriel's forehead.

GABRIEL:

Do it. Seek revenge. End mylife.

John's finger nudges the trigger.

GABRIEL:

Kill me! Pull the trigger! Be

the hand of God!

John pauses, realizes what's happening here...

JOHN:

... and I'll be condemned again...

GABRIEL:

Do it!

(CONTINUED)

117.

CONTINUED:

It takes everything John has not to pull that trigger.

He lowers the gun, shaking his head.

JOHN:

You're even worthless as bait.

John starts to turn away --

GABRIEL:

Deny your true nature today, butwhat of tomorrow, of the tomorrowafter that? It is only a matterof time before you end up rightback where you belong. It is who

you are, Constantine. Damned.

John's fist starts behind his back, gains momentum theentire arc until it ends abruptly against Gabriel's face.

The ex-angel is propelled all the way to the wall --

SLAMS HARD against the concrete. Body crumples onimpact, slides down to the muck. You know this hurt like

absolute hell.

JOHN:

That's called pain. Get used to it.

John turns toward the double doors --stops cold.

Huddled in the doorway, covered in grime is Angela andBarry. The experience has obviously left them both

drained.

John walks across the room, kneels down to them.

ANGELA:

Thank you, John.

He nods, beat. Wipes a trace of blood off her brow, putsa hand on Barry's shoulder. HOLD a beat ON this grittyfamily tableau.

INT. JOHN'S APARTMENT -MIDNITE'S UNIVERSAL ORRERY

MOVING SLOWLY PAST the inoperative device. PAST

strangely-shaped objects of platinum and gold, with namesand symbols that make a bit more sense now.

EXT. AFRICA -DAY

Huge sun beats down on a lone FIGURE walking across astretch of the most barren landscape on Earth. He stops,

kneels to the heavily-cracked soil. Starts digging.

118.

INT. JOHN'S APARTMENT -THE ORRERY

A HAND comes in, affixes an unseen object to a protrudingrod. Its weight causes it to drop OUT OF FRAME but a

moment later it rises back INTO VIEW and finds a balance.

EXT. AFRICA

JOHN pulls back the protective hood from his face.

Healthy and tan with a new lease on life. He pops aNICORETTE TABLET, then unwraps rolls of cloth from aroundthe Spear of Destiny. He drops it in the hole, stares atit a long beat.

INT. JOHN'S APARTMENT -THE ORRERY

The entire mechanism shudders. And now miraculously,

every globe, every moon, every obscure object in thisminiature occult universe begins to rotate in complete

sync.

As it does, the defining object finally slides INTO VIEW.

John's lighter. ANGELA watches it rotate past, nods inapproval.

EXT. AFRICA

John sighs, finally sweeps mounds of soil over the sacredrelic. He stands, nods. Job done.

A breeze blows past and John senses being watched. He

spins and finds --nothing. For a hundred miles. He

starts walking.

JOHN (V.O.)

Some people are born to make adifference. I had to die. Twice.

MATCH CUT TO:

EXT. 20 LANES BOWLING ALLEY -ANGELA

walking right in step. Something is closing in on her.

A new TAXI pulls up. Chaz is driving. Angela gets in.

JOHN (V.O.)

God does work in mysterious ways.

119.

EXT. AFRICA

John continues walking as something closes in on him atincredible speed.

JOHN (V.O.)

Some people like it...

Our view RISES OVER him and gliding across the barrenlandscape are the SHADOW of WINGS.

JOHN (V.O.)

Some people don’t.

FADE OUT.

THE END:

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