Datasets:

ShunchiZhang
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ToM-in-AMC

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constantine	0	train	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: The hallway crowd discusses possibilities. 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? 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.	INT. APARTMENT 7B One scan of the situation is all it takes. The bed -- the child -- the panicked priest -- who rushes to {{ Alex }}. HENNESSEY: (whispering) Thank God you're here... {{ Alex }} shoots him a disgusted look. Hennessey gives him a wide berth. {{ Alex }} 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 -- {{ ALEX }}: This is Constantine. {{ Alex }} Constantine, asshole. The girl JOLTS, bandages on her arms cut into her skin. Eyes snap open -- glare right through him. {{ ALEX }}: How ya doing? JEANIE: Vamos juntos a matarla. {{ Alex }} whips out a key chain crammed with medallions. {{ ALEX }}: 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. {{ Alex }} stares at the Saint responsible, seems genuinely puzzled. He turns to the Mother -- very serious. {{ ALEX }}: I need a mirror. Now. Shaken, the Mother produces a small compact. {{ Alex }} pushes it away, turns to the doorway crowd. {{ ALEX }}: A large mirror. At least -- (sizes up the child) -- three feet high. CONTINUED: The hallway crowd discusses possibilities. MOVE. Tenants run to retrieve a mirror. Hennessey looks worried. {{ Alex }} 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. {{ Alex }} 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. {{ ALEX }}: {{ Casey }}? {{ Casey }} (20s) looks up from his cab. Cool. Frustrated. You just know he'd love to be up there, not down here. {{ ALEX }}: Move the car. {{ CASEY }}: Why? MOVE THE DAMN CAR. {{ Alex }} frees the drapery rope, ducks back into the room. {{ CASEY }}: Park the car -- Move the car... {{ Casey }} shifts into reverse, moves the car three feet. {{ CASEY }}: There, I moved the damn car.	INT. APARTMENT 7B One scan of the situation is all it takes. The bed -- the child -- the panicked priest -- who rushes to {{ P0 }}. HENNESSEY: (whispering) Thank God you're here... {{ P0 }} shoots him a disgusted look. Hennessey gives him a wide berth. {{ P0 }} 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 -- {{ P0 }}: This is Constantine. {{ P0 }} Constantine, asshole. The girl JOLTS, bandages on her arms cut into her skin. Eyes snap open -- glare right through him. {{ P0 }}: How ya doing? JEANIE: Vamos juntos a matarla. {{ P0 }} whips out a key chain crammed with medallions. {{ P0 }}: 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. {{ P0 }} stares at the Saint responsible, seems genuinely puzzled. He turns to the Mother -- very serious. {{ P0 }}: I need a mirror. Now. Shaken, the Mother produces a small compact. {{ P0 }} pushes it away, turns to the doorway crowd. {{ P0 }}: A large mirror. At least -- (sizes up the child) -- three feet high. CONTINUED: The hallway crowd discusses possibilities. MOVE. Tenants run to retrieve a mirror. Hennessey looks worried. {{ P0 }} 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. {{ P0 }} 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. {{ P0 }}: {{ P1 }}? {{ P1 }} (20s) looks up from his cab. Cool. Frustrated. You just know he'd love to be up there, not down here. {{ P0 }}: Move the car. {{ P1 }}: Why? MOVE THE DAMN CAR. {{ P0 }} frees the drapery rope, ducks back into the room. {{ P1 }}: Park the car -- Move the car... {{ P1 }} shifts into reverse, moves the car three feet. {{ P1 }}: There, I moved the damn car.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "chaz", "casey", "P1" ] ]
constantine	1	train	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: {{ 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. {{ 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 {{ 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.	INT. APARTMENT 7B Hennessey can only watch as {{ Alex }} 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. {{ Alex }} has no choice -- slaps her. Eyes pop back open. Dark and dilated. He yells down at her in Aramaic and English. {{ ALEX }}: Amar natash bow basar! -- Rescind from the flesh I command thee -- The girl chokes as if ready to spit. {{ ALEX }}: That's it -- time to go home. Jeanie SCREAMS -- JEANIE: Tiempo para morir! Her body suddenly PULSES half again larger. {{ Alex }} recoils for a beat. Odd. He continues in Aramaic -- {{ ALEX }}: 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. {{ Alex }} backs off -- watches as the shape ripples her flesh, like fingers caressing from the other side. {{ Alex }} glances to Hennessey. What the hell? MIRROR arrives at the doorway, BANGS against the JAM. {{ Alex }} waves them in. The four men heft it into the room. {{ ALEX }}: Lift it. Over the bed. Up. CONTINUED: {{ Alex }} ducks, settles on the girl as they raise it over him. {{ ALEX }}: Hennessey, tie it off -- Hennessey is glad to be called into service -- quickly ties one end of rope to the mirror. {{ Alex }} straddles the girl, positions his head between her and the mirror above him. {{ ALEX }}: 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. {{ ALEX }}: Amar natash bow basar! -- rescind from the flesh I command thee! Jeanie reacts -- that SHAPE reappears, contorts the young body all out of proportion. {{ Alex }} 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 -- {{ ALEX }}: No! Jeanie SCREAMS -- breaks free of the straps. She rises up, grabs {{ Alex }} tight around the throat. Nails dig deep. HENNESSEY: {{ Alex }}?! {{ ALEX }}: (looking into mirror) Not yet! {{ Alex }} 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. {{ ALEX }}: Look! Look at me! But she's passing out first. {{ Alex }} quickly takes the medallion that caused the earlier reaction -- {{ ALEX }}: Goddamit -- look! -- and presses it against her forehead. Eyes snap wide and {{ Alex }} unblocks the mirror. Jeanie locks on her reflection and the image in the mirror changes drastically. {{ ALEX }}: 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 -- {{ ALEX }}: Now, Hennessey. Now! Hennessey PULLS the rope with all three-hundred-plus pounds as {{ Alex }} gives the demon face a full extended {{ ALEX }}: 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 -- {{ ALEX }}: No you don't. {{ Alex }} jumps up and helps push the mirror free.	INT. APARTMENT 7B Hennessey can only watch as {{ P0 }} 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. {{ P0 }} has no choice -- slaps her. Eyes pop back open. Dark and dilated. He yells down at her in Aramaic and English. {{ P0 }}: Amar natash bow basar! -- Rescind from the flesh I command thee -- The girl chokes as if ready to spit. {{ P0 }}: That's it -- time to go home. Jeanie SCREAMS -- JEANIE: Tiempo para morir! Her body suddenly PULSES half again larger. {{ P0 }} recoils for a beat. Odd. He continues in Aramaic -- {{ P0 }}: 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. {{ P0 }} backs off -- watches as the shape ripples her flesh, like fingers caressing from the other side. {{ P0 }} glances to Hennessey. What the hell? MIRROR arrives at the doorway, BANGS against the JAM. {{ P0 }} waves them in. The four men heft it into the room. {{ P0 }}: Lift it. Over the bed. Up. CONTINUED: {{ P0 }} ducks, settles on the girl as they raise it over him. {{ P0 }}: Hennessey, tie it off -- Hennessey is glad to be called into service -- quickly ties one end of rope to the mirror. {{ P0 }} straddles the girl, positions his head between her and the mirror above him. {{ P0 }}: 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. {{ P0 }}: Amar natash bow basar! -- rescind from the flesh I command thee! Jeanie reacts -- that SHAPE reappears, contorts the young body all out of proportion. {{ P0 }} 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 -- {{ P0 }}: No! Jeanie SCREAMS -- breaks free of the straps. She rises up, grabs {{ P0 }} tight around the throat. Nails dig deep. HENNESSEY: {{ P0 }}?! {{ P0 }}: (looking into mirror) Not yet! {{ P0 }} 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. {{ P0 }}: Look! Look at me! But she's passing out first. {{ P0 }} quickly takes the medallion that caused the earlier reaction -- {{ P0 }}: Goddamit -- look! -- and presses it against her forehead. Eyes snap wide and {{ P0 }} unblocks the mirror. Jeanie locks on her reflection and the image in the mirror changes drastically. {{ P0 }}: 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 -- {{ P0 }}: Now, Hennessey. Now! Hennessey PULLS the rope with all three-hundred-plus pounds as {{ P0 }} gives the demon face a full extended {{ P0 }}: 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 -- {{ P0 }}: No you don't. {{ P0 }} jumps up and helps push the mirror free.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	2	train	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: {{ 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. APARTMENT BUILDING - STAIRWELL - LATER Hennessey follows {{ Alex }} 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. {{ Alex }} pauses, gazes up through the stairwell as if sensing something. No one there. Balthazar is gone. CONTINUED: {{ Alex }} 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... {{ ALEX }}: Hennessey. Hennessey stops his panhandling, continues toward the exit.	INT. APARTMENT BUILDING - STAIRWELL - LATER Hennessey follows {{ P0 }} 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. {{ P0 }} pauses, gazes up through the stairwell as if sensing something. No one there. Balthazar is gone. CONTINUED: {{ P0 }} 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... {{ P0 }}: Hennessey. Hennessey stops his panhandling, continues toward the exit.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	3	train	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. {{ 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.	INT. FOYER {{ Alex }} and Hennessey stop near the front entrance. {{ Alex }} 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. {{ ALEX }}: I'm not back an hour and you drag me into -- HENNESSEY: -- Don't be mad, {{ Alex }}, don't be -- {{ Alex }} rummages through his coat pockets -- HENNESSEY: On the left side. {{ Alex }} keeps searching. HENNESSEY: Vest pocket. {{ Alex }} rips his smokes from the left vest pocket -- {{ ALEX }}: Don't do that shit on me -- HENNESSEY: Sorry, sorry. Here, you can have half. Hennessey starts to divvy the cash but {{ Alex }} snatches the hat. {{ ALEX }}: 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, {{ Alex }}, I need to sleep. {{ Alex }} 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. {{ Alex }} simply holds up a hand. Hennessey stops, watches {{ Alex }} walk out. Alone.	INT. FOYER {{ P0 }} and Hennessey stop near the front entrance. {{ P0 }} 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. {{ P0 }}: I'm not back an hour and you drag me into -- HENNESSEY: -- Don't be mad, {{ P0 }}, don't be -- {{ P0 }} rummages through his coat pockets -- HENNESSEY: On the left side. {{ P0 }} keeps searching. HENNESSEY: Vest pocket. {{ P0 }} rips his smokes from the left vest pocket -- {{ P0 }}: Don't do that shit on me -- HENNESSEY: Sorry, sorry. Here, you can have half. Hennessey starts to divvy the cash but {{ P0 }} snatches the hat. {{ P0 }}: 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, {{ P0 }}, I need to sleep. {{ P0 }} 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. {{ P0 }} simply holds up a hand. Hennessey stops, watches {{ P0 }} walk out. Alone.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	4	train	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. {{ 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. ALLEY BY THE APARTMENT {{ Alex }} turns the corner, spots {{ Casey }} punching a dent from the taxi's hood. {{ ALEX }}: I told you to move it. {{ CASEY }}: 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. {{ Casey }} slams the hood. They slide into the car. {{ CASEY }}: Well? {{ ALEX }}: Well what? {{ Casey }} reaches back into {{ Alex }}'s front coat pocket -- pulls out Hennessey's wad of cash -- slips off a few bills. {{ CASEY }}: Shouldn't have cut your stay in the land of enlightenment. You were so close to growing a conscience. {{ Alex }} grins, pulls his special lighter, lights a smoke and sits back. {{ ALEX }}: Los Angeles... He looks back up at the apartment, still puzzled. {{ ALEX }}: Never ceases to entertain. {{ Casey }} crams the car in gear as {{ Alex }} takes a drag, coughs.	EXT. ALLEY BY THE APARTMENT {{ P0 }} turns the corner, spots {{ P1 }} punching a dent from the taxi's hood. {{ P0 }}: I told you to move it. {{ P1 }}: 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. {{ P1 }} slams the hood. They slide into the car. {{ P1 }}: Well? {{ P0 }}: Well what? {{ P1 }} reaches back into {{ P0 }}'s front coat pocket -- pulls out Hennessey's wad of cash -- slips off a few bills. {{ P1 }}: Shouldn't have cut your stay in the land of enlightenment. You were so close to growing a conscience. {{ P0 }} grins, pulls his special lighter, lights a smoke and sits back. {{ P0 }}: Los Angeles... He looks back up at the apartment, still puzzled. {{ P0 }}: Never ceases to entertain. {{ P1 }} crams the car in gear as {{ P0 }} takes a drag, coughs.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "chaz", "casey", "P1" ] ]
constantine	5	train	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: 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. MAN: 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: 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: 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: (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: 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: {{ 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.	INT. SUBWAY - DAY {{ Jordan }}'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. {{ JORDAN }}: 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: So what's next, Detective? We gonna do a full marathon? Intermittent RADIO CHATTER buzzes from {{ Jordan }}'s WALKIE- TALKIE. You get the sense {{ Jordan }} is not alone in here. {{ JORDAN }}: Put your weapon on the tracks and step out with your hands above your head. MAN: Or how 'bout you show yourself and I put a bullet in your skull just like I did hers! {{ JORDAN }}: That's just not going to happen. MAN: You sure about that?! {{ Jordan }} checks the chamber -- sees she has one bullet left. {{ JORDAN }}: (almost pleading) Now put down your weapon on the tracks and -- GROUND BEGINS to VIBRATE. Tunnel starts to GLOW. MAN: Well ain't this a peach?! {{ Jordan }} looks back, sees several SHADOWS of figures waving far off. Her RADIO is flooded with futzed CHATTER. DETECTIVE WEISS: (over radio) Get off the tracks! Blueline is coming! Clear the tracks! {{ Jordan }} 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: C'mon, Detective, step into the light and be saved!! {{ Jordan }} 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. {{ Jordan }} 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: {{ Jordan }} 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.	INT. SUBWAY - DAY {{ P0 }}'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. {{ P0 }}: 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: So what's next, Detective? We gonna do a full marathon? Intermittent RADIO CHATTER buzzes from {{ P0 }}'s WALKIE- TALKIE. You get the sense {{ P0 }} is not alone in here. {{ P0 }}: Put your weapon on the tracks and step out with your hands above your head. MAN: Or how 'bout you show yourself and I put a bullet in your skull just like I did hers! {{ P0 }}: That's just not going to happen. MAN: You sure about that?! {{ P0 }} checks the chamber -- sees she has one bullet left. {{ P0 }}: (almost pleading) Now put down your weapon on the tracks and -- GROUND BEGINS to VIBRATE. Tunnel starts to GLOW. MAN: Well ain't this a peach?! {{ P0 }} looks back, sees several SHADOWS of figures waving far off. Her RADIO is flooded with futzed CHATTER. DETECTIVE WEISS: (over radio) Get off the tracks! Blueline is coming! Clear the tracks! {{ P0 }} 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: C'mon, Detective, step into the light and be saved!! {{ P0 }} 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. {{ P0 }} 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: {{ P0 }} 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.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ] ]
constantine	6	train	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.	EXT. 20 LANES BOWLING ALLEY - DAY {{ Casey }}'s taxi pulls up, parks. TAXI TRUNK OPENS, REVEALS suitcases stamped with AIR INDIA. {{ Alex }} starts inside, pauses as {{ Casey }} yells -- {{ CASEY }}: There are four bags. I have two hands. This give you any ideas? {{ ALEX }}: Make two trips? {{ Alex }} walks in. {{ Casey }} curses under his breath.	EXT. 20 LANES BOWLING ALLEY - DAY {{ P0 }}'s taxi pulls up, parks. TAXI TRUNK OPENS, REVEALS suitcases stamped with AIR INDIA. {{ P1 }} starts inside, pauses as {{ P0 }} yells -- {{ P0 }}: There are four bags. I have two hands. This give you any ideas? {{ P1 }}: Make two trips? {{ P1 }} walks in. {{ P0 }} curses under his breath.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "chaz", "casey", "P0" ], [ "john", "alex", "P1" ] ]
constantine	7	train	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. {{ 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: '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... 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. 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.	INT. {{ Alex }}'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. {{ Casey }} throws the suitcases on it as {{ Alex }} arrives. {{ CASEY }}: (yells across room) Simple question. How much longer do I have to be your slave? {{ Alex }} pulls a chain and a wall of window shutters open. {{ ALEX }}: You're not my slave, {{ Casey }}. 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. {{ Alex }} takes a moment to adjust one out of place. {{ CASEY }}: How much longer? {{ Alex }} doesn't like his tone. {{ ALEX }}: 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? {{ CASEY }}: So what time you want me back? {{ Alex }} gives him a knowing look, goes back to emptying his pockets. {{ ALEX }}: I need to make an appearance at Midnite's. Say ten-ish? {{ Casey }} sighs, starts out -- {{ ALEX }}: {{ Casey }}...? {{ Casey }} turns back, catches an object {{ Alex }} throws him. {{ ALEX }}: A little something from Delphi. It's a dashboard air freshener shaped like a cow. {{ Casey }} tips it. Moooooo. {{ Alex }} finds it rather amusing. {{ CASEY }}: Gee, thanks. {{ Casey }} leaves. {{ Alex }} removes a small BLACK BOX from his jacket. He sets it carefully on its own shelf by the window -- stares out. BEEMAN: 'Provisions depleted?' {{ Alex }} 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. {{ ALEX }}: 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? {{ ALEX }}: Everything you got. BEEMAN: (pausing) You smell something, {{ Alex }}? {{ ALEX }}: 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... 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. {{ Alex }} shrugs. So? BEEMAN: Yeah, to you it's nothing but to the Fallen -- like fingernails on a chalkboard. {{ ALEX }}: What is it with you and bugs? Beeman pulls out a set of sculptured BRASS KNUCKLES. Actually solid gold and engraved with religious markings. {{ Alex }} takes them, tries them on. Nice fit. BEEMAN: Gold was blessed by the Bishop Anicott during the Crusades. {{ Alex }} 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? {{ Alex }} gives the handle a squeeze and WHOOOOSH -- ten-foot FLAME BELCHES out. BEEMAN: Dragon's breath. {{ ALEX }}: I thought you couldn't get it anymore. Beeman shrugs, modesty. {{ Alex }} starts to put it down on the table and Beeman quickly pulls the frayed rag away. BEEMAN: Whoa, don't want to get a flame near this. (off {{ Alex }}'s look) Piece of the shroud Moses wore to the mountain. {{ Alex }} picks it up -- You're shitting me, right? Nope. {{ ALEX }}: Got any callinicus? BEEMAN: (intrigued) How spirited was this incubus? {{ ALEX }}: (coughs) Like it was trying to come right out through the girl Beeman just stares at him -- is this a joke? {{ ALEX }}: I know how it sounds... BEEMAN: We're finger puppets to them, {{ Alex }}, elaborate costumes -- they can work us but don't come through us. They can't. You know that. {{ ALEX }}: Check the scrolls anyway. Corinthians. See if there are any precedents. BEEMAN: Sure, {{ Alex }}. Anything else? {{ ALEX }}: (coughs again) Wouldn't happen to have anything for -- Beeman sets down a bottle from the bag -- Vick's 44. BEEMAN: On the house.	INT. {{ P1 }}'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. {{ P0 }} throws the suitcases on it as {{ P1 }} arrives. {{ P0 }}: (yells across room) Simple question. How much longer do I have to be your slave? {{ P1 }} pulls a chain and a wall of window shutters open. {{ P1 }}: You're not my slave, {{ P0 }}. 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. {{ P1 }} takes a moment to adjust one out of place. {{ P0 }}: How much longer? {{ P1 }} doesn't like his tone. {{ P1 }}: 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? {{ P0 }}: So what time you want me back? {{ P1 }} gives him a knowing look, goes back to emptying his pockets. {{ P1 }}: I need to make an appearance at Midnite's. Say ten-ish? {{ P0 }} sighs, starts out -- {{ P1 }}: {{ P0 }}...? {{ P0 }} turns back, catches an object {{ P1 }} throws him. {{ P1 }}: A little something from Delphi. It's a dashboard air freshener shaped like a cow. {{ P0 }} tips it. Moooooo. {{ P1 }} finds it rather amusing. {{ P0 }}: Gee, thanks. {{ P0 }} leaves. {{ P1 }} removes a small BLACK BOX from his jacket. He sets it carefully on its own shelf by the window -- stares out. BEEMAN: 'Provisions depleted?' {{ P1 }} 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. {{ P1 }}: 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? {{ P1 }}: Everything you got. BEEMAN: (pausing) You smell something, {{ P1 }}? {{ P1 }}: 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... 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. {{ P1 }} shrugs. So? BEEMAN: Yeah, to you it's nothing but to the Fallen -- like fingernails on a chalkboard. {{ P1 }}: What is it with you and bugs? Beeman pulls out a set of sculptured BRASS KNUCKLES. Actually solid gold and engraved with religious markings. {{ P1 }} takes them, tries them on. Nice fit. BEEMAN: Gold was blessed by the Bishop Anicott during the Crusades. {{ P1 }} 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? {{ P1 }} gives the handle a squeeze and WHOOOOSH -- ten-foot FLAME BELCHES out. BEEMAN: Dragon's breath. {{ P1 }}: I thought you couldn't get it anymore. Beeman shrugs, modesty. {{ P1 }} starts to put it down on the table and Beeman quickly pulls the frayed rag away. BEEMAN: Whoa, don't want to get a flame near this. (off {{ P1 }}'s look) Piece of the shroud Moses wore to the mountain. {{ P1 }} picks it up -- You're shitting me, right? Nope. {{ P1 }}: Got any callinicus? BEEMAN: (intrigued) How spirited was this incubus? {{ P1 }}: (coughs) Like it was trying to come right out through the girl Beeman just stares at him -- is this a joke? {{ P1 }}: I know how it sounds... BEEMAN: We're finger puppets to them, {{ P1 }}, elaborate costumes -- they can work us but don't come through us. They can't. You know that. {{ P1 }}: Check the scrolls anyway. Corinthians. See if there are any precedents. BEEMAN: Sure, {{ P1 }}. Anything else? {{ P1 }}: (coughs again) Wouldn't happen to have anything for -- Beeman sets down a bottle from the bag -- Vick's 44. BEEMAN: On the house.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "chaz", "casey", "P0" ], [ "john", "alex", "P1" ] ]
constantine	8	train	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: 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.	INT. LOCKER ROOM Locker door opens and {{ Jordan }} 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: Gutsy move out there, Dodson. {{ Jordan }} glances at DETECTIVE WEISS as he opens his locker. {{ JORDAN }}: 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. {{ JORDAN }}: Thanks. WEISS: (shuts his locker) Even though it was reckless -- irresponsible -- stupid... {{ JORDAN }}: I knew you still cared. WEISS: You're good, {{ Jordan }}, real good but one of these days... {{ JORDAN }}: (heard it before) I know, nobody's luck lasts forever. He meets her eyes. Exactly. He really does care. Weiss breaks it off, leaves. {{ Jordan }} 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.	INT. LOCKER ROOM Locker door opens and {{ P0 }} 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: Gutsy move out there, Dodson. {{ P0 }} glances at DETECTIVE WEISS as he opens his locker. {{ P0 }}: 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. {{ P0 }}: Thanks. WEISS: (shuts his locker) Even though it was reckless -- irresponsible -- stupid... {{ P0 }}: I knew you still cared. WEISS: You're good, {{ P0 }}, real good but one of these days... {{ P0 }}: (heard it before) I know, nobody's luck lasts forever. He meets her eyes. Exactly. He really does care. Weiss breaks it off, leaves. {{ P0 }} 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.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ] ]
constantine	9	train	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: {{ 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.	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: {{ Casey }} follows {{ Alex }} 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 -- {{ ALEX }}: Two frogs on a bench. Yep. They let him pass. {{ Casey }} steps up and lucky him -- he gets the same TWO FLYING DOLPHINS. {{ CASEY }}: Two frogs on a bench. But {{ Casey }} is stiff-armed because the back of this card shows a BEAR in a dress. {{ CASEY }}: What? But I'm with him! Right, {{ Alex }}? {{ Alex }}? {{ Alex }} glances back -- gives him an impassive look. {{ Casey }} backs away, stares after him. Someday.	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: {{ P1 }} follows {{ P0 }} 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 -- {{ P0 }}: Two frogs on a bench. Yep. They let him pass. {{ P1 }} steps up and lucky him -- he gets the same TWO FLYING DOLPHINS. {{ P1 }}: Two frogs on a bench. But {{ P1 }} is stiff-armed because the back of this card shows a BEAR in a dress. {{ P1 }}: What? But I'm with him! Right, {{ P0 }}? {{ P0 }}? {{ P0 }} glances back -- gives him an impassive look. {{ P1 }} backs away, stares after him. Someday.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "chaz", "casey", "P1" ] ]
constantine	10	train	INT. HALLWAY {{ John }} starts up a long flight of stairs, stops in front of two very large doors. 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. HALLWAY {{ Alex }} starts up a long flight of stairs, stops in front of two very large doors. CONTINUED: Their surface is ancient, the wood petrified over countless centuries. {{ Alex }} places his fingers into the gnarled folds, closes his eyes -- {{ ALEX }}: Numquam leadatur a morsu. A living GROAN BELLOWS from the rigid seams but the doors don't budge. {{ ALEX }}: Bastard changed the code again. (bangs the doors) Midnite! Come on, do I have to huff and puff here?! The doors unlatch.	INT. HALLWAY {{ P0 }} starts up a long flight of stairs, stops in front of two very large doors. CONTINUED: Their surface is ancient, the wood petrified over countless centuries. {{ P0 }} places his fingers into the gnarled folds, closes his eyes -- {{ P0 }}: Numquam leadatur a morsu. A living GROAN BELLOWS from the rigid seams but the doors don't budge. {{ P0 }}: Bastard changed the code again. (bangs the doors) Midnite! Come on, do I have to huff and puff here?! The doors unlatch.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	11	train	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: 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. 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: {{ 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: {{ 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 -- {{ 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.	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: Et separatur a plasmate tuo, Ut num quam laedatur amorsu antiqui serpentes... {{ Alex }} steps in through the doors behind. {{ ALEX }}: 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. {{ ALEX }}: I got tired of spending your money. MIDNITE: But I'm sure you spent enough. {{ ALEX }}: Well I do have a certain standard of living. MIDNITE: Tell me you found it. {{ ALEX }}: I found the vault. MIDNITE: That's not what I asked. {{ ALEX }}: Hey, can I help it if Buddhist monks don't take bribes? Midnite strides toward him when {{ Alex }} calmly pulls from his pocket a small ebony and gold RELIC. It stops Midnite cold. {{ ALEX }}: 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... {{ ALEX }}: 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 -- {{ ALEX }}: That damn thing's never going to balance. Midnite lets go and the complex machine actually starts to move. To turn. CONTINUED: {{ Alex }} is somewhat intrigued until the newest relic collides with another and the orrery jams to a halt. Midnite deflates, stares at {{ Alex }}, suspiciously. MIDNITE: Must I remind you of what selling fake relics will do to your health? {{ ALEX }}: It's authentic, Midnite, you just have the wrong piece. Jesus... The two have a mini stare-down. {{ Alex }}'s rigid poker face is only broken by a cough. Midnite sighs, breaks it off. {{ ALEX }}: 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. {{ ALEX }}: Better not be any Washingtons in here this time. MIDNITE: Why did you cut your trip short? {{ Alex }} stops the counting, actually thinks about it. {{ ALEX }}: I don't know... Just a feeling -- {{ Alex }} suddenly spins toward the entrance doors, is stunned to see -- {{ ALEX }}: Balthazar. Balthazar is behind him. Utterly confident. Chillingly so. BALTHAZAR: We're not still whining about Manhattan, are we? {{ Alex }}'s attempt to disguise his anger fails. BALTHAZAR: That expression alone has made my entire night. CONTINUED: {{ Alex }} takes several steps toward him. Grins. Malevolent. There's history here. {{ ALEX }}: I'll make your night -- I'll deport your sorry ass right where you stand -- {{ Alex }}. {{ Alex }} stops in his tracks. {{ ALEX }}: 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. {{ ALEX }}: What?! Midnite's eyes say it all -- not here, not now. BALTHAZAR: Things change, balances shift. Get used to it, Constantine. {{ ALEX }}: Not while I'm still breathing -- {{ Alex }} starts to cough again. BALTHAZAR: I'm sorry, I didn't catch that. {{ Alex }} tries to catch his breath, can't. And that scares him a bit. He tries to hide it, pushes out.	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: Et separatur a plasmate tuo, Ut num quam laedatur amorsu antiqui serpentes... {{ P0 }} steps in through the doors behind. {{ P0 }}: 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. {{ P0 }}: I got tired of spending your money. MIDNITE: But I'm sure you spent enough. {{ P0 }}: Well I do have a certain standard of living. MIDNITE: Tell me you found it. {{ P0 }}: I found the vault. MIDNITE: That's not what I asked. {{ P0 }}: Hey, can I help it if Buddhist monks don't take bribes? Midnite strides toward him when {{ P0 }} calmly pulls from his pocket a small ebony and gold RELIC. It stops Midnite cold. {{ P0 }}: 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... {{ P0 }}: 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 -- {{ P0 }}: That damn thing's never going to balance. Midnite lets go and the complex machine actually starts to move. To turn. CONTINUED: {{ P0 }} is somewhat intrigued until the newest relic collides with another and the orrery jams to a halt. Midnite deflates, stares at {{ P0 }}, suspiciously. MIDNITE: Must I remind you of what selling fake relics will do to your health? {{ P0 }}: It's authentic, Midnite, you just have the wrong piece. Jesus... The two have a mini stare-down. {{ P0 }}'s rigid poker face is only broken by a cough. Midnite sighs, breaks it off. {{ P0 }}: 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. {{ P0 }}: Better not be any Washingtons in here this time. MIDNITE: Why did you cut your trip short? {{ P0 }} stops the counting, actually thinks about it. {{ P0 }}: I don't know... Just a feeling -- {{ P0 }} suddenly spins toward the entrance doors, is stunned to see -- {{ P0 }}: Balthazar. Balthazar is behind him. Utterly confident. Chillingly so. BALTHAZAR: We're not still whining about Manhattan, are we? {{ P0 }}'s attempt to disguise his anger fails. BALTHAZAR: That expression alone has made my entire night. CONTINUED: {{ P0 }} takes several steps toward him. Grins. Malevolent. There's history here. {{ P0 }}: I'll make your night -- I'll deport your sorry ass right where you stand -- {{ P0 }}. {{ P0 }} stops in his tracks. {{ P0 }}: 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. {{ P0 }}: What?! Midnite's eyes say it all -- not here, not now. BALTHAZAR: Things change, balances shift. Get used to it, Constantine. {{ P0 }}: Not while I'm still breathing -- {{ P0 }} starts to cough again. BALTHAZAR: I'm sorry, I didn't catch that. {{ P0 }} tries to catch his breath, can't. And that scares him a bit. He tries to hide it, pushes out.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	12	train	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: {{ 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. 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.	EXT. CLUB MIDNITE {{ Alex }} SLAMS out the exit -- coughing. He pulls the Vicks 44 from his jacket, struggles with the child protector cap. HENNESSEY: Hey, {{ Alex }}. CONTINUED: {{ Alex }} 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. {{ Alex }} guzzles the syrup. HENNESSEY: I'm real sorry about this morning, {{ Alex }}, real sorry. Please don't hate me for draggin' you into that. Please don't... {{ Alex }} can finally breathe. {{ ALEX }}: I don't hate you. HENNESSEY: That's good to hear. Real good... {{ ALEX }}: But could you at least wait until I call for you before you show up? HENNESSEY: You didn't call? {{ ALEX }}: Not yet. Jesus, Hennessey, you freak me out sometimes. HENNESSEY: So you want me to go away and come back? {{ ALEX }}: No. I've got an assignment for you. HENNESSEY: Really? What kind of assignment? {{ ALEX }}: 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. {{ ALEX }}: Come on, you know that exorcism wasn't right. HENNESSEY: I... I don't have the Sight anymore. {{ ALEX }}: Don't have it or don't want to use it? Hennessey vacillates. This is obviously tough for him. {{ ALEX }}: Just look around. A few days. You spot anything unusual, anything -- you let me know. Okay? {{ Alex }} wraps an arm around his shoulder like a good buddy, then reaches behind his neck -- {{ ALEX }}: It'll be like old times. -- and unclips the amulet from Hennessey's neck. That unnerves the big guy. {{ Alex }} drops it in Hennessey's pocket. {{ ALEX }}: Just for a few days. HENNESSEY: Okay, okay... for you, {{ Alex }}. Like old times. Right. Hennessey takes one last sip from his drink, hands the bottle over. {{ Alex }} downs the rest. Nods.	EXT. CLUB MIDNITE {{ P0 }} SLAMS out the exit -- coughing. He pulls the Vicks 44 from his jacket, struggles with the child protector cap. HENNESSEY: Hey, {{ P0 }}. CONTINUED: {{ P0 }} 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. {{ P0 }} guzzles the syrup. HENNESSEY: I'm real sorry about this morning, {{ P0 }}, real sorry. Please don't hate me for draggin' you into that. Please don't... {{ P0 }} can finally breathe. {{ P0 }}: I don't hate you. HENNESSEY: That's good to hear. Real good... {{ P0 }}: But could you at least wait until I call for you before you show up? HENNESSEY: You didn't call? {{ P0 }}: Not yet. Jesus, Hennessey, you freak me out sometimes. HENNESSEY: So you want me to go away and come back? {{ P0 }}: No. I've got an assignment for you. HENNESSEY: Really? What kind of assignment? {{ P0 }}: 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. {{ P0 }}: Come on, you know that exorcism wasn't right. HENNESSEY: I... I don't have the Sight anymore. {{ P0 }}: Don't have it or don't want to use it? Hennessey vacillates. This is obviously tough for him. {{ P0 }}: Just look around. A few days. You spot anything unusual, anything -- you let me know. Okay? {{ P0 }} wraps an arm around his shoulder like a good buddy, then reaches behind his neck -- {{ P0 }}: It'll be like old times. -- and unclips the amulet from Hennessey's neck. That unnerves the big guy. {{ P0 }} drops it in Hennessey's pocket. {{ P0 }}: Just for a few days. HENNESSEY: Okay, okay... for you, {{ P0 }}. Like old times. Right. Hennessey takes one last sip from his drink, hands the bottle over. {{ P0 }} downs the rest. Nods.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	13	train	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.	INT. ST. ANTHONY'S CHURCH - CONFESSION BOOTH - NIGHT {{ Jordan }} sits inside. {{ JORDAN }}: I killed a man today. Another one. FATHER GARRET sits on the other side of the mesh window. FATHER GARRET: I'm sorry, {{ Jordan }}. {{ JORDAN }}: Most cops go twenty years without firing their gun. Not me. I always seem to be in the wrong place at the wrong time.	INT. ST. ANTHONY'S CHURCH - CONFESSION BOOTH - NIGHT {{ P0 }} sits inside. {{ P0 }}: I killed a man today. Another one. FATHER GARRET sits on the other side of the mesh window. FATHER GARRET: I'm sorry, {{ P0 }}. {{ P0 }}: Most cops go twenty years without firing their gun. Not me. I always seem to be in the wrong place at the wrong time.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ] ]
constantine	14	train	INT. APARTMENT BUILDING - SERIES OF SHOTS - NIGHT {{ Angela }} arrives home. Pours milk for a cat. Lets her hair down. Slips off her shoes. {{ ANGELA }}: 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: 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: But you have to be strong. You can't allow your faith to be overshadowed by guilt. {{ ANGELA }}: I'm trying. Her eyes close. {{ ANGELA }}: I'm trying real hard.	INT. APARTMENT BUILDING - SERIES OF SHOTS - NIGHT {{ Jordan }} arrives home. Pours milk for a cat. Lets her hair down. Slips off her shoes. {{ JORDAN }}: I didn't even see his face. I just pulled the trigger and he went away. Just like all the others... {{ Jordan }} in the SHOWER -- trying to wash off the guilt. FATHER GARRET: These feelings are natural in your line of work, {{ Jordan }}. I'd be worried if you didn't have them. {{ Jordan }} now in a recliner, cat in her lap. She's tired. Eyes are heavy. FATHER GARRET: But you have to be strong. You can't allow your faith to be overshadowed by guilt. {{ JORDAN }}: I'm trying. Her eyes close. {{ JORDAN }}: I'm trying real hard.	INT. APARTMENT BUILDING - SERIES OF SHOTS - NIGHT {{ P0 }} arrives home. Pours milk for a cat. Lets her hair down. Slips off her shoes. {{ P0 }}: I didn't even see his face. I just pulled the trigger and he went away. Just like all the others... {{ P0 }} in the SHOWER -- trying to wash off the guilt. FATHER GARRET: These feelings are natural in your line of work, {{ P0 }}. I'd be worried if you didn't have them. {{ P0 }} now in a recliner, cat in her lap. She's tired. Eyes are heavy. FATHER GARRET: But you have to be strong. You can't allow your faith to be overshadowed by guilt. {{ P0 }}: I'm trying. Her eyes close. {{ P0 }}: I'm trying real hard.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ] ]
constantine	15	train	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 -- ANGLE - {{ Angela }}'S EYES looking equally distraught. WEISS: It's her, {{ Angela }}... 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 -- {{ ANGELA }}: Isabel would never in a million years take her own life. Never. WEISS: {{ Angela }}... there was a surveillance camera on the roof.	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 -- ANGLE - {{ Jordan }}'S EYES looking equally distraught. WEISS: It's her, {{ Jordan }}... DAY {{ Jordan }} 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 {{ Jordan }} approach and lifts the sheet from the face. {{ Jordan }} comes to a dead stop, emotions coming fast and furious. She leans close and we see a mirror of {{ Jordan }}. That's when you realize that wasn't a dream. This is her twin. But that circular symbol is nowhere on her wrist now. {{ Jordan }}'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. {{ JORDAN }}: She... she fell from the roof? WEISS: No. She jumped. {{ Jordan }} gives him an incredulous glare. Shakes her head. WEISS: I know it's hard to accept but -- {{ JORDAN }}: Isabel would never in a million years take her own life. Never. WEISS: {{ Jordan }}... there was a surveillance camera on the roof.	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 -- ANGLE - {{ P0 }}'S EYES looking equally distraught. WEISS: It's her, {{ P0 }}... DAY {{ P0 }} 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 {{ P0 }} approach and lifts the sheet from the face. {{ P0 }} comes to a dead stop, emotions coming fast and furious. She leans close and we see a mirror of {{ P0 }}. That's when you realize that wasn't a dream. This is her twin. But that circular symbol is nowhere on her wrist now. {{ P0 }}'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. {{ P0 }}: She... she fell from the roof? WEISS: No. She jumped. {{ P0 }} gives him an incredulous glare. Shakes her head. WEISS: I know it's hard to accept but -- {{ P0 }}: Isabel would never in a million years take her own life. Never. WEISS: {{ P0 }}... there was a surveillance camera on the roof.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ] ]
constantine	16	train	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. 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. DOCTOR'S OFFICE A LINE OF LIGHT BOXES illuminate several CHEST X-RAYS. A DARK sinister splotch snakes through both LUNGS. {{ Alex }} stands there, stares at this wall of death with disbelief. {{ ALEX }}: 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. DR. ARCHER: You wouldn't be the first, {{ Alex }}. {{ ALEX }}: 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. {{ Alex }} 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. {{ ALEX }}: That's because I know exactly where I'm going this time.	INT. DOCTOR'S OFFICE A LINE OF LIGHT BOXES illuminate several CHEST X-RAYS. A DARK sinister splotch snakes through both LUNGS. {{ P0 }} stands there, stares at this wall of death with disbelief. {{ P0 }}: 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. DR. ARCHER: You wouldn't be the first, {{ P0 }}. {{ P0 }}: 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. {{ P0 }} 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. {{ P0 }}: That's because I know exactly where I'm going this time.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	17	train	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. {{ JOHN }}: Not if I can help it. The doors close right on {{ Angela }}.	INT. RAVENSCAR - HALLWAY {{ Jordan }} 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. {{ JORDAN }}: (rushing toward it) Wait, hold the door! {{ Jordan }}, gets to the elevator, looks in. {{ Alex }} stands inside alone. This should be the first time we realize they were in the same hospital. {{ JORDAN }}: Going down? {{ Alex }} pauses as the doors start to close. {{ ALEX }}: Not if I can help it. The doors close right on {{ Jordan }}.	INT. RAVENSCAR - HALLWAY {{ P0 }} 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. {{ P0 }}: (rushing toward it) Wait, hold the door! {{ P0 }}, gets to the elevator, looks in. {{ P1 }} stands inside alone. This should be the first time we realize they were in the same hospital. {{ P0 }}: Going down? {{ P1 }} pauses as the doors start to close. {{ P1 }}: Not if I can help it. The doors close right on {{ P0 }}.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ], [ "john", "alex", "P1" ] ]
constantine	18	train	EXT. ECHO PARK {{ 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: 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: 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.	EXT. ECHO PARK {{ Alex }} sits at a park bench. Motionless. Taking in the world. Clouds passing the sun. Shadows drifting across the city. Leaves swirling after passing cars. {{ Alex }} just sits there, HEARING every breath he takes, wondering which one will be his last. ELLIE: Lung cancer? Lung cancer?! {{ Alex }} 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, {{ Alex }}. {{ ALEX }}: As if you guys didn't have something to do with it... ELLIE: Hey, I think you brought this one on yourself. {{ Alex }} stares at her, tries to get a read. ELLIE: Now why wouldn't you trust me? {{ ALEX }}: I don't know, something in the air -- She sits right on his lap, playfully. ELLIE: Don't worry, {{ Alex }}, you'll beat this. You beat everything. {{ ALEX }}: Not this time, Ellie. {{ Alex }} lifts her off of him, sets her aside. ELLIE: Oh wow, you're serious... No wonder the Boss is in such a good mood. {{ ALEX }}: Yeah, I thought maybe you could talk to him for me. You know...? CONTINUED: Ellie jumps off the bench, creates an odd SOUND as she does. ELLIE: What?! Dammit, {{ Alex }}, 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, {{ Alex }}, and he's going to enjoy ripping your soul to shreds until the end of time. {{ ALEX }}: 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. {{ ALEX }}: 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 {{ Alex }}'s leg is brushed by a tail. {{ Alex }} doesn't react. Just turns and walks away.	EXT. ECHO PARK {{ P0 }} sits at a park bench. Motionless. Taking in the world. Clouds passing the sun. Shadows drifting across the city. Leaves swirling after passing cars. {{ P0 }} just sits there, HEARING every breath he takes, wondering which one will be his last. ELLIE: Lung cancer? Lung cancer?! {{ P0 }} 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, {{ P0 }}. {{ P0 }}: As if you guys didn't have something to do with it... ELLIE: Hey, I think you brought this one on yourself. {{ P0 }} stares at her, tries to get a read. ELLIE: Now why wouldn't you trust me? {{ P0 }}: I don't know, something in the air -- She sits right on his lap, playfully. ELLIE: Don't worry, {{ P0 }}, you'll beat this. You beat everything. {{ P0 }}: Not this time, Ellie. {{ P0 }} lifts her off of him, sets her aside. ELLIE: Oh wow, you're serious... No wonder the Boss is in such a good mood. {{ P0 }}: Yeah, I thought maybe you could talk to him for me. You know...? CONTINUED: Ellie jumps off the bench, creates an odd SOUND as she does. ELLIE: What?! Dammit, {{ P0 }}, 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, {{ P0 }}, and he's going to enjoy ripping your soul to shreds until the end of time. {{ P0 }}: 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. {{ P0 }}: 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 {{ P0 }}'s leg is brushed by a tail. {{ P0 }} doesn't react. Just turns and walks away.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	19	train	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 }} -- {{ 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./EXT. {{ Casey }}'S TAXI - DAY Seen through a mild rain is the Theological Society building, a foreboding structure that looks out of place for this city. {{ Alex }} stares out the back seat window, takes a swig from a bottle of hard liquor. He turns to {{ Casey }} -- {{ ALEX }}: I'm sure I can get you in here. {{ Casey }} gives the building another glance, shoves the meter flag back down. Tick... tick... tick... {{ CASEY }}: Pass.	INT./EXT. {{ P1 }}'S TAXI - DAY Seen through a mild rain is the Theological Society building, a foreboding structure that looks out of place for this city. {{ P0 }} stares out the back seat window, takes a swig from a bottle of hard liquor. He turns to {{ P1 }} -- {{ P0 }}: I'm sure I can get you in here. {{ P1 }} gives the building another glance, shoves the meter flag back down. Tick... tick... tick... {{ P1 }}: Pass.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "chaz", "casey", "P1" ] ]
constantine	20	train	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. {{ 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: {{ 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: {{ 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.	INT. THEOLOGICAL SOCIETY - LATER A few bishops talk quietly. A cardinal studies Scriptures. Definitely not the place for atheists. {{ Alex }} walks through the vaulted chamber room to the -- LIBRARY {{ Alex }} 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. {{ Alex }} stands to the side and waits for their conversation to end. An ATTENDANT makes the rounds. ATTENDANT: Can I take your coat, Mr. Constantine? {{ ALEX }}: No thanks, I'm not staying long. ATTENDANT: How about you, ma'am? Attendant turns to {{ Jordan }} standing just a few feet away, her gaze fixed on the same two men. {{ JORDAN }}: I'm not staying long either. {{ Alex }} glances over and for the second time they make contact. Something about her eyes. {{ Alex }} stares a bit too long. {{ Jordan }} looks back toward the fireplace. {{ JORDAN }}: My business with him is urgent. {{ ALEX }}: First come, first served. {{ JORDAN }}: So you're rude no matter where you are. {{ Alex }} gives her a look. The two men shake hands and start to part. {{ Alex }} and {{ Jordan }} make their move toward the men. Both are surprised when {{ Jordan }} goes for Father Garret and {{ Alex }} goes for -- -- the SNOB, officially known as GABRIEL. Yes, that one. FATHER GARRET and {{ Jordan }} have retreated to another area for privacy. {{ JORDAN }}: Why is he stalling on this? My sister needs a Catholic funeral. FATHER GARRET: {{ Jordan }}, it's still considered a mortal sin -- {{ JORDAN }}: She didn't commit suicide. FATHER GARRET: The Bishop has read otherwise. {{ JORDAN }}: 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 {{ Jordan }} has just lost a load of faith. BY THE FIREPLACE Gabriel sits in his chair, watches the fire with unblinking eyes. {{ Alex }} 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: {{ Alex }} sits across from him. {{ ALEX }}: 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. {{ ALEX }}: So you're going to make me beg? {{ Jordan }} pauses on her way out, looks over. GABRIEL: It wouldn't help. You've already wasted your chance at redemption. {{ ALEX }}: 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. {{ ALEX }}: This is bullshit -- bullshit! Now he's really got {{ Jordan }}'s attention. {{ ALEX }}: 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: {{ Alex }} jumps up, leans into his face. {{ ALEX }}: 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. {{ ALEX }}: Gift?! More like a curse the way you manage things. Gabriel stands and towers over {{ Alex }}. GABRIEL: I am taking your situation into account, {{ Alex }}, but don't push me. {{ ALEX }}: 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.	INT. THEOLOGICAL SOCIETY - LATER A few bishops talk quietly. A cardinal studies Scriptures. Definitely not the place for atheists. {{ P0 }} walks through the vaulted chamber room to the -- LIBRARY {{ P0 }} 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. {{ P0 }} stands to the side and waits for their conversation to end. An ATTENDANT makes the rounds. ATTENDANT: Can I take your coat, Mr. Constantine? {{ P0 }}: No thanks, I'm not staying long. ATTENDANT: How about you, ma'am? Attendant turns to {{ P1 }} standing just a few feet away, her gaze fixed on the same two men. {{ P1 }}: I'm not staying long either. {{ P0 }} glances over and for the second time they make contact. Something about her eyes. {{ P0 }} stares a bit too long. {{ P1 }} looks back toward the fireplace. {{ P1 }}: My business with him is urgent. {{ P0 }}: First come, first served. {{ P1 }}: So you're rude no matter where you are. {{ P0 }} gives her a look. The two men shake hands and start to part. {{ P0 }} and {{ P1 }} make their move toward the men. Both are surprised when {{ P1 }} goes for Father Garret and {{ P0 }} goes for -- -- the SNOB, officially known as GABRIEL. Yes, that one. FATHER GARRET and {{ P1 }} have retreated to another area for privacy. {{ P1 }}: Why is he stalling on this? My sister needs a Catholic funeral. FATHER GARRET: {{ P1 }}, it's still considered a mortal sin -- {{ P1 }}: She didn't commit suicide. FATHER GARRET: The Bishop has read otherwise. {{ P1 }}: 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 {{ P1 }} has just lost a load of faith. BY THE FIREPLACE Gabriel sits in his chair, watches the fire with unblinking eyes. {{ P0 }} 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: {{ P0 }} sits across from him. {{ P0 }}: 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. {{ P0 }}: So you're going to make me beg? {{ P1 }} pauses on her way out, looks over. GABRIEL: It wouldn't help. You've already wasted your chance at redemption. {{ P0 }}: 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. {{ P0 }}: This is bullshit -- bullshit! Now he's really got {{ P1 }}'s attention. {{ P0 }}: 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: {{ P0 }} jumps up, leans into his face. {{ P0 }}: 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. {{ P0 }}: Gift?! More like a curse the way you manage things. Gabriel stands and towers over {{ P0 }}. GABRIEL: I am taking your situation into account, {{ P0 }}, but don't push me. {{ P0 }}: 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.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "angela", "jordan", "P1" ] ]
constantine	21	train	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: {{ 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.	EXT. THEOLOGICAL SOCIETY - MINUTES LATER Angela stands on the porch at the edge of a downpour. She hears a cough, looks over to see {{ Alex }} standing on the other side, looking equally frayed. They share another glance. CONTINUED: {{ Alex }} fishes a pack of cigarettes from his pocket. Empty. {{ ALEX }}: He has a rotten sense of humor. (steps past) And his punch lines are killers. {{ Alex }} tosses the cigarette pack, walks right into the RAIN, away from {{ Casey }}'s taxi pulling up. {{ CASEY }}: (shouting out) {{ Alex }}? It's raining! Hey! Angela watches {{ Alex }} disappear in the rain, looks down at the empty cigarette pack.	EXT. THEOLOGICAL SOCIETY - MINUTES LATER Angela stands on the porch at the edge of a downpour. She hears a cough, looks over to see {{ P0 }} standing on the other side, looking equally frayed. They share another glance. CONTINUED: {{ P0 }} fishes a pack of cigarettes from his pocket. Empty. {{ P0 }}: He has a rotten sense of humor. (steps past) And his punch lines are killers. {{ P0 }} tosses the cigarette pack, walks right into the RAIN, away from {{ P1 }}'s taxi pulling up. {{ P1 }}: (shouting out) {{ P0 }}? It's raining! Hey! Angela watches {{ P0 }} disappear in the rain, looks down at the empty cigarette pack.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "chaz", "casey", "P1" ] ]
constantine	22	train	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: (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. {{ Jordan }}'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." {{ Jordan }} sits on the couch in her robe. Disheveled and distraught. She's taking this hard. {{ JORDAN }}: I'm sorry, Isabel... She lowers her head. And in that brief moment of silence -- ISABEL: (on TV) Constantine. {{ Jordan }} 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 {{ Jordan }}. Then she's gone. {{ Jordan }} quickly rewinds the tape and watches the sequence again. This time Isabel doesn't look back. This time there is no name. But {{ Jordan }} did see it. Did hear it. She sits for a second. Stunned.	INT. {{ P0 }}'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." {{ P0 }} sits on the couch in her robe. Disheveled and distraught. She's taking this hard. {{ P0 }}: I'm sorry, Isabel... She lowers her head. And in that brief moment of silence -- ISABEL: (on TV) Constantine. {{ P0 }} 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 {{ P0 }}. Then she's gone. {{ P0 }} quickly rewinds the tape and watches the sequence again. This time Isabel doesn't look back. This time there is no name. But {{ P0 }} did see it. Did hear it. She sits for a second. Stunned.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ] ]
constantine	23	train	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. {{ JOHN }}: (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 }}. 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. MIDNITE'S OFFICE {{ Alex }} paces as Midnite works on that Universal orrery, adjusting components but balance continues to elude him. {{ ALEX }}: A few months, maybe a year. That's it. End of story. Game over. {{ ALEX }}: (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? {{ ALEX }}: This bastard attacked me right out in the open -- on Sepulveda no less. MIDNITE: They don't like you, {{ Alex }}. You've deported how many back to Hell? {{ ALEX }}: 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. {{ ALEX }}: I know what I saw. MIDNITE: You must have just crossed over and didn't even realize it -- {{ ALEX }}: 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 -- {{ ALEX }}: Emotional?! {{ Alex }} slams a fist against the counter. The orrery almost topples but Midnite saves it. Decades of work almost lost. Midnite glares at a desperate {{ Alex }}. MIDNITE: Okay, so you saw something. We've seen a few small ones slip through now and then. {{ ALEX }}: It's more than that... first the girl, then this. MIDNITE: {{ Alex }}, you know my connections. Any shifts or tremors in the planes and I'd hear about it. {{ Alex }} just shakes his head, looks up -- convinced. {{ ALEX }}: Something's coming. Midnite sighs, gives up with him.	INT. MIDNITE'S OFFICE {{ P0 }} paces as Midnite works on that Universal orrery, adjusting components but balance continues to elude him. {{ P0 }}: A few months, maybe a year. That's it. End of story. Game over. {{ P0 }}: (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? {{ P0 }}: This bastard attacked me right out in the open -- on Sepulveda no less. MIDNITE: They don't like you, {{ P0 }}. You've deported how many back to Hell? {{ P0 }}: 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. {{ P0 }}: I know what I saw. MIDNITE: You must have just crossed over and didn't even realize it -- {{ P0 }}: 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 -- {{ P0 }}: Emotional?! {{ P0 }} slams a fist against the counter. The orrery almost topples but Midnite saves it. Decades of work almost lost. Midnite glares at a desperate {{ P0 }}. MIDNITE: Okay, so you saw something. We've seen a few small ones slip through now and then. {{ P0 }}: It's more than that... first the girl, then this. MIDNITE: {{ P0 }}, you know my connections. Any shifts or tremors in the planes and I'd hear about it. {{ P0 }} just shakes his head, looks up -- convinced. {{ P0 }}: Something's coming. Midnite sighs, gives up with him.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	24	train	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: 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?	INT. LAPD OFFICE - LATER The name JOHN CONSTANTINE is center screen on a monitor -- typed into the police station's SEARCH ENGINE. {{ Jordan }} 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 {{ Jordan }} 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: Another line -- "INSUFFICIENT EVIDENCE to PROSECUTE." {{ Jordan }} 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. {{ Jordan }} hits PRINT and the HP HUMS away. A desk PHONE RINGS. {{ Jordan }} quickly looks around, sees she's the only one here. She gets up, answers it. {{ JORDAN }}: L.A.P.D. This is Dodson, hello?	INT. LAPD OFFICE - LATER The name JOHN CONSTANTINE is center screen on a monitor -- typed into the police station's SEARCH ENGINE. {{ P0 }} 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 {{ P0 }} 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: Another line -- "INSUFFICIENT EVIDENCE to PROSECUTE." {{ P0 }} 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. {{ P0 }} hits PRINT and the HP HUMS away. A desk PHONE RINGS. {{ P0 }} quickly looks around, sees she's the only one here. She gets up, answers it. {{ P0 }}: L.A.P.D. This is Dodson, hello?	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ] ]
constantine	25	train	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 }}: Mr. Constantine? {{ John }} looks up, spots {{ Angela }}. Those eyes again. {{ ANGELA }}: I saw you at -- {{ JOHN }}: -- I remember. {{ ANGELA }}: And -- {{ JOHN }}: Yeah. 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. {{ 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 -- {{ 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.	INT. 20 LANES - THE BAR {{ Alex }} drinks alone. Pissed at life. At death. That small black box of his lies on the table unopened. Spider runs across the table. {{ Alex }} 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. {{ ALEX }}: Welcome to my life. {{ JORDAN }}: Mr. Constantine? {{ Alex }} looks up, spots {{ Jordan }}. Those eyes again. {{ JORDAN }}: I saw you at -- {{ ALEX }}: -- I remember. {{ JORDAN }}: And -- {{ ALEX }}: Yeah. CONTINUED: She did make an impression. {{ JORDAN }}: I'd like to ask you a few questions. {{ ALEX }}: I'm not really in the talking mood right now. {{ JORDAN }}: Could you just listen then? {{ Jordan }} sets her LAPD detective badge on the table. {{ JORDAN }}: Please? {{ ALEX }}: Always a catch... {{ Jordan }} sits across from him, puts the badge away. {{ JORDAN }}: My sister was murdered last week. {{ ALEX }}: Sorry to hear... {{ JORDAN }}: Her name was Isabel. Isabel Dodson? She looks for a reaction. None. {{ JORDAN }}: You don't remember her? {{ ALEX }}: Never met her. {{ JORDAN }}: You sure? {{ ALEX }}: She look anything like you? (as {{ Jordan }} nods) I would've remembered. Another beat as their eyes meet. {{ Alex }} looks away. {{ JORDAN }}: She was a patient at Ravenscar. Then last Tuesday she just decided to step off the roof. {{ ALEX }}: I thought you said she was murdered? {{ JORDAN }}: Isabel would never take her own life. {{ ALEX }}: You'd be surprised at what people will do. {{ JORDAN }}: 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... {{ Alex }} just stares at that spider in the glass. Trapped. {{ JORDAN }}: I believe someone got to her, Mr. Constantine, brainwashed her into stepping off that roof. Some kind of legion or cult. {{ ALEX }}: Sounds like a theory. Good luck. {{ JORDAN }}: Well I thought with your background and experience, you could at least point me in the right direction. {{ ALEX }}: Yeah, okay. Sure. {{ Alex }} points -- toward the exit. {{ Jordan }} is not amused. But she's not giving up. {{ JORDAN }}: 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 -- {{ ALEX }}: -- 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 {{ Jordan }} is speechless. {{ Alex }} sees the hurt in her eyes, would like to take it back -- but it's too late. She turns and starts out, slows -- {{ JORDAN }}: You're not the only one afraid of Hell. {{ Alex }} 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. {{ Alex }} watches, confused, realizes they're heading in {{ Jordan }}'s direction. {{ ALEX }}: Oh shit... He stands, gains his bearings. As he walks out he flicks the glass over. Spider runs free.	INT. 20 LANES - THE BAR {{ P0 }} drinks alone. Pissed at life. At death. That small black box of his lies on the table unopened. Spider runs across the table. {{ P0 }} 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. {{ P0 }}: Welcome to my life. {{ P1 }}: Mr. Constantine? {{ P0 }} looks up, spots {{ P1 }}. Those eyes again. {{ P1 }}: I saw you at -- {{ P0 }}: -- I remember. {{ P1 }}: And -- {{ P0 }}: Yeah. CONTINUED: She did make an impression. {{ P1 }}: I'd like to ask you a few questions. {{ P0 }}: I'm not really in the talking mood right now. {{ P1 }}: Could you just listen then? {{ P1 }} sets her LAPD detective badge on the table. {{ P1 }}: Please? {{ P0 }}: Always a catch... {{ P1 }} sits across from him, puts the badge away. {{ P1 }}: My sister was murdered last week. {{ P0 }}: Sorry to hear... {{ P1 }}: Her name was Isabel. Isabel Dodson? She looks for a reaction. None. {{ P1 }}: You don't remember her? {{ P0 }}: Never met her. {{ P1 }}: You sure? {{ P0 }}: She look anything like you? (as {{ P1 }} nods) I would've remembered. Another beat as their eyes meet. {{ P0 }} looks away. {{ P1 }}: She was a patient at Ravenscar. Then last Tuesday she just decided to step off the roof. {{ P0 }}: I thought you said she was murdered? {{ P1 }}: Isabel would never take her own life. {{ P0 }}: You'd be surprised at what people will do. {{ P1 }}: 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... {{ P0 }} just stares at that spider in the glass. Trapped. {{ P1 }}: I believe someone got to her, Mr. Constantine, brainwashed her into stepping off that roof. Some kind of legion or cult. {{ P0 }}: Sounds like a theory. Good luck. {{ P1 }}: Well I thought with your background and experience, you could at least point me in the right direction. {{ P0 }}: Yeah, okay. Sure. {{ P0 }} points -- toward the exit. {{ P1 }} is not amused. But she's not giving up. {{ P1 }}: 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 -- {{ P0 }}: -- 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 {{ P1 }} is speechless. {{ P0 }} sees the hurt in her eyes, would like to take it back -- but it's too late. She turns and starts out, slows -- {{ P1 }}: You're not the only one afraid of Hell. {{ P0 }} 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. {{ P0 }} watches, confused, realizes they're heading in {{ P1 }}'s direction. {{ P0 }}: Oh shit... He stands, gains his bearings. As he walks out he flicks the glass over. Spider runs free.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "angela", "jordan", "P1" ] ]
constantine	26	train	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 }}: Detective! {{ Angela }} looks back, sees {{ John }} in the street. {{ JOHN }}: How open is your mind? 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. {{ 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 {{ 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. 20 LANES BOWLING ALLEY - NIGHT Cars are lined all the way down the street. {{ Jordan }} walks along the sidewalk unaware of the shadow following her. It's joined by another in the trees -- both closing in with each step. {{ ALEX }}: Detective! {{ Jordan }} looks back, sees {{ Alex }} in the street. {{ ALEX }}: How open is your mind? CONTINUED: She doesn't answer, continues walking. What she doesn't see are the shadows seeping back into the fringes. But {{ Alex }} does. He starts walking toward her. {{ ALEX }}: Do you believe in Heaven and Hell? (off no answer) How about what comes out of each? {{ Jordan }} keeps walking. He catches up with her. {{ ALEX }}: Hey! {{ JORDAN }}: You mean like angels? {{ ALEX }}: And demons. {{ Jordan }} stares at him, continues walking. He keeps up. {{ ALEX }}: See, you don't have the mindset for this kind of work. They walk together down the lonely street. {{ JORDAN }}: 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. {{ ALEX }}: 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. {{ ALEX }}: Then sometimes, something comes along and gives us just the right nudge and we do truly evil things just for the kick of it. {{ JORDAN }}: I don't believe in demons. {{ ALEX }}: 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. {{ Jordan }} turns and sees that there are no lights behind them. She looks to {{ Alex }}. But he's staring straight ahead. Because now the light in front of them is FLARING {{ ALEX }}: We should go... Second later it BLINKS OFF. {{ Alex }} grabs her hand -- {{ ALEX }}: Fast. {{ Jordan }}'s confusion turns to tension as a raspy guttural WIND races toward them. {{ Alex }} 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. 20 LANES BOWLING ALLEY - NIGHT Cars are lined all the way down the street. {{ P1 }} walks along the sidewalk unaware of the shadow following her. It's joined by another in the trees -- both closing in with each step. {{ P0 }}: Detective! {{ P1 }} looks back, sees {{ P0 }} in the street. {{ P0 }}: How open is your mind? CONTINUED: She doesn't answer, continues walking. What she doesn't see are the shadows seeping back into the fringes. But {{ P0 }} does. He starts walking toward her. {{ P0 }}: Do you believe in Heaven and Hell? (off no answer) How about what comes out of each? {{ P1 }} keeps walking. He catches up with her. {{ P0 }}: Hey! {{ P1 }}: You mean like angels? {{ P0 }}: And demons. {{ P1 }} stares at him, continues walking. He keeps up. {{ P0 }}: See, you don't have the mindset for this kind of work. They walk together down the lonely street. {{ P1 }}: 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. {{ P0 }}: 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. {{ P0 }}: Then sometimes, something comes along and gives us just the right nudge and we do truly evil things just for the kick of it. {{ P1 }}: I don't believe in demons. {{ P0 }}: 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. {{ P1 }} turns and sees that there are no lights behind them. She looks to {{ P0 }}. But he's staring straight ahead. Because now the light in front of them is FLARING {{ P0 }}: We should go... Second later it BLINKS OFF. {{ P0 }} grabs her hand -- {{ P0 }}: Fast. {{ P1 }}'s confusion turns to tension as a raspy guttural WIND races toward them. {{ P0 }} 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.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "angela", "jordan", "P1" ] ]
constantine	27	train	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: {{ 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: 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. {{ 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. HOLY CROSS CEMETERY They make it through the gate, pass through an alley of overhanging trees. Something RIPPLES through the branches -- flitters right past {{ Jordan }}'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. {{ Alex }} stops in an OPEN AREA between trees and a mausoleum. A lit CROSS on the wall provides the only illumination. {{ Jordan }} feels the scratch on her cheek, sees a trickle of blood. Now she hears SOUNDS in the darkness. Like LEATHER RUBBING. Surrounding them. {{ JORDAN }}: What is that? CONTINUED: {{ Alex }} is just as surprised he's saying this -- {{ ALEX }}: Wings. {{ JORDAN }}: Wings? {{ Alex }} rummages through his trench coat -- fishes out that cloth Beeman gave him. The one supposedly wrapped around Moses. {{ ALEX }}: And maybe talons. The cross is getting dimmer and dimmer... {{ JORDAN }}: Are you kidding? Of what? {{ ALEX }}: Something that's not supposed to be here. {{ Alex }} quickly wraps the cloth tight around his hand. {{ Jordan }} 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. {{ Alex }} takes out his special lighter. {{ ALEX }}: Close your eyes. They are now standing in pitch darkness. {{ JORDAN }}: Why? {{ ALEX }}: Suit yourself. {{ Alex }} 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 {{ Jordan }} and illuminating a -- -- CIRCLE OF WINGED DEMONS -- a roiling broth of reptilian death -- right there -- ready to pounce. CONTINUED: RED FLAME radiates from the cloth and DEMONS SHRIEK as they are instantly vaporized. {{ Alex }} 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. {{ ALEX }}: (to himself) 'I accidentally crossed over?' I don't think so. {{ JORDAN }}: (coming up behind) What was that? I saw wings -- and teeth -- they were flying. What the hell were those things?! {{ ALEX }}: They weren't angels. {{ Alex }} scans the area, trying to think this through. {{ ALEX }}: Seplavites, actually. Scavengers for the damned. (off her lost look) Demons? {{ JORDAN }}: What? You can't be serious... this is impossible... {{ ALEX }}: Yeah... (to himself) And I don't think they were after me... {{ Alex }} looks at her with renewed interest. {{ ALEX }}: You really believe she wouldn't commit suicide? {{ JORDAN }}: (a bit thrown) My sister? (a beat) Never in a million years. {{ Alex }} makes the decision. {{ ALEX }}: Let's be sure. He starts walking. {{ Jordan }} is now compelled to follow. {{ JORDAN }}: How? {{ ALEX }}: Simple. See if she's in Hell.	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 {{ P0 }}'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. {{ P1 }} stops in an OPEN AREA between trees and a mausoleum. A lit CROSS on the wall provides the only illumination. {{ P0 }} feels the scratch on her cheek, sees a trickle of blood. Now she hears SOUNDS in the darkness. Like LEATHER RUBBING. Surrounding them. {{ P0 }}: What is that? CONTINUED: {{ P1 }} is just as surprised he's saying this -- {{ P1 }}: Wings. {{ P0 }}: Wings? {{ P1 }} rummages through his trench coat -- fishes out that cloth Beeman gave him. The one supposedly wrapped around Moses. {{ P1 }}: And maybe talons. The cross is getting dimmer and dimmer... {{ P0 }}: Are you kidding? Of what? {{ P1 }}: Something that's not supposed to be here. {{ P1 }} quickly wraps the cloth tight around his hand. {{ P0 }} 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. {{ P1 }} takes out his special lighter. {{ P1 }}: Close your eyes. They are now standing in pitch darkness. {{ P0 }}: Why? {{ P1 }}: Suit yourself. {{ P1 }} 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 {{ P0 }} and illuminating a -- -- CIRCLE OF WINGED DEMONS -- a roiling broth of reptilian death -- right there -- ready to pounce. CONTINUED: RED FLAME radiates from the cloth and DEMONS SHRIEK as they are instantly vaporized. {{ P1 }} 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. {{ P1 }}: (to himself) 'I accidentally crossed over?' I don't think so. {{ P0 }}: (coming up behind) What was that? I saw wings -- and teeth -- they were flying. What the hell were those things?! {{ P1 }}: They weren't angels. {{ P1 }} scans the area, trying to think this through. {{ P1 }}: Seplavites, actually. Scavengers for the damned. (off her lost look) Demons? {{ P0 }}: What? You can't be serious... this is impossible... {{ P1 }}: Yeah... (to himself) And I don't think they were after me... {{ P1 }} looks at her with renewed interest. {{ P1 }}: You really believe she wouldn't commit suicide? {{ P0 }}: (a bit thrown) My sister? (a beat) Never in a million years. {{ P1 }} makes the decision. {{ P1 }}: Let's be sure. He starts walking. {{ P0 }} is now compelled to follow. {{ P0 }}: How? {{ P1 }}: Simple. See if she's in Hell.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ], [ "john", "alex", "P1" ] ]
constantine	28	train	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: {{ 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 --	INT. {{ Jordan }}'S APARTMENT - NIGHT {{ Alex }} stares at a photo of {{ Jordan }} and her father in police uniform. Obviously happier times. {{ Jordan }} walks out of her bedroom holding a cardboard box. That gray cat follows close to her heels. {{ JORDAN }}: These are all Isabel's things. {{ ALEX }}: The cat too? {{ JORDAN }}: Yeah, why...? {{ Alex }} ignores the box of items, picks up the cat. He studies it a bit, then sits back in a chair with it. {{ JORDAN }}: Don't you need candles and a pentagram for this to work? {{ ALEX }}: (deadpan) Why, do you have any? {{ Alex }} puts his feet, shoes and all into a BUCKET OF WATER. {{ ALEX }}: I need you to step outside now. CONTINUED: {{ Jordan }} wants to stay. {{ ALEX }}: {{ Jordan }}? Please. {{ Jordan }} reluctantly moves toward the exit. {{ Alex }} holds the cat, stares into its huge, unblinking eyes. There's a moment where animal and man seem to connect. The water around {{ Alex }}'s feet begins to BOIL. {{ Jordan }} 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 {{ Alex }} has now crossed over into -- APARTMENT IN HELL Same layout, different decorator. {{ Alex }} 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. {{ Alex }} steps over the crumbling wall into --	INT. {{ P0 }}'S APARTMENT - NIGHT {{ P1 }} stares at a photo of {{ P0 }} and her father in police uniform. Obviously happier times. {{ P0 }} walks out of her bedroom holding a cardboard box. That gray cat follows close to her heels. {{ P0 }}: These are all Isabel's things. {{ P1 }}: The cat too? {{ P0 }}: Yeah, why...? {{ P1 }} ignores the box of items, picks up the cat. He studies it a bit, then sits back in a chair with it. {{ P0 }}: Don't you need candles and a pentagram for this to work? {{ P1 }}: (deadpan) Why, do you have any? {{ P1 }} puts his feet, shoes and all into a BUCKET OF WATER. {{ P1 }}: I need you to step outside now. CONTINUED: {{ P0 }} wants to stay. {{ P1 }}: {{ P0 }}? Please. {{ P0 }} reluctantly moves toward the exit. {{ P1 }} holds the cat, stares into its huge, unblinking eyes. There's a moment where animal and man seem to connect. The water around {{ P1 }}'s feet begins to BOIL. {{ P0 }} 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 {{ P1 }} has now crossed over into -- APARTMENT IN HELL Same layout, different decorator. {{ P1 }} 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. {{ P1 }} steps over the crumbling wall into --	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ], [ "john", "alex", "P1" ] ]
constantine	29	train	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: {{ 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. 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.	EXT. HELL LOS ANGELES {{ Alex }} 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. {{ ALEX }}: Is she here? On the horizon is a dying RED SUN. It strains to cut through the putrid brown haze. {{ ALEX }}: Is she here?! His VOICE REVERBERATES to infinity. CONTINUED: {{ Alex }} 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. IS SHE HERE?! That low DRONE RISES IN PITCH and {{ Alex }} 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. {{ ALEX }}: It's a simple question! Is she here or not?!! {{ Alex }} suddenly locks on something far off. On top of a distant skyscraper is a FEMALE FIGURE in a sheer white gown. {{ Alex }} can't make out her face but knows she's looking right at him. {{ ALEX }}: Isabel? She lifts something and tosses it. {{ Alex }} watches as a small object tumbles toward him just ahead of closing darkness.	EXT. HELL LOS ANGELES {{ P0 }} 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. {{ P0 }}: Is she here? On the horizon is a dying RED SUN. It strains to cut through the putrid brown haze. {{ P0 }}: Is she here?! His VOICE REVERBERATES to infinity. CONTINUED: {{ P0 }} 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. IS SHE HERE?! That low DRONE RISES IN PITCH and {{ P0 }} 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. {{ P0 }}: It's a simple question! Is she here or not?!! {{ P0 }} suddenly locks on something far off. On top of a distant skyscraper is a FEMALE FIGURE in a sheer white gown. {{ P0 }} can't make out her face but knows she's looking right at him. {{ P0 }}: Isabel? She lifts something and tosses it. {{ P0 }} watches as a small object tumbles toward him just ahead of closing darkness.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	30	train	INT. ANGELA'S APARTMENT - HALLWAY In that same motion we left her in -- Angela finishes pushing the door closed. As it LATCHES -- {{ JOHN }}: (weakly) Angela... come back in... Confused, Angela pushes the door back open. Cat BOLTS out. Angela catches her breath, moves inside.	INT. ANGELA'S APARTMENT - HALLWAY In that same motion we left her in -- Angela finishes pushing the door closed. As it LATCHES -- {{ ALEX }}: (weakly) Angela... come back in... Confused, Angela pushes the door back open. Cat BOLTS out. Angela catches her breath, moves inside.	INT. ANGELA'S APARTMENT - HALLWAY In that same motion we left her in -- Angela finishes pushing the door closed. As it LATCHES -- {{ P0 }}: (weakly) Angela... come back in... Confused, Angela pushes the door back open. Cat BOLTS out. Angela catches her breath, moves inside.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	31	train	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: 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. LIVING ROOM John sits slumped in the chair, drained. Steam rises off his skin. {{ Jordan }} sees the water in the bucket has almost all boiled out. She walks in, kneels down to him. {{ JORDAN }}: John? What happened? CONTINUED: Sweat drips off as he looks up. He opens his palm -- reveals to {{ Jordan }} a simple HOSPITAL BAND. The name "ISABEL DODSON" is typed on it. Even as a semi-convert, this news completely floors {{ Jordan }}. 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 {{ Jordan }} falls right into his arms. John hasn't been this close to anyone in a long time. {{ Jordan }} finally composes herself. {{ JORDAN }}: How? How did you do this...? John tries not to stare into those eyes too long. Fails.	INT. LIVING ROOM John sits slumped in the chair, drained. Steam rises off his skin. {{ P0 }} sees the water in the bucket has almost all boiled out. She walks in, kneels down to him. {{ P0 }}: John? What happened? CONTINUED: Sweat drips off as he looks up. He opens his palm -- reveals to {{ P0 }} a simple HOSPITAL BAND. The name "ISABEL DODSON" is typed on it. Even as a semi-convert, this news completely floors {{ P0 }}. 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 {{ P0 }} falls right into his arms. John hasn't been this close to anyone in a long time. {{ P0 }} finally composes herself. {{ P0 }}: How? How did you do this...? John tries not to stare into those eyes too long. Fails.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ] ]
constantine	32	train	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 }}: When I was a kid, I saw things...	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 -- {{ ALEX }}: When I was a kid, I saw things...	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 -- {{ P0 }}: When I was a kid, I saw things...	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	33	train	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 }}: 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. WAITRESS: Coffee? Young {{ John }} looks up toward the voice --	FLASHBACK - EXT. STREET - DAY A TEN-YEAR-OLD {{ Alex }} comes out of a corner store with milk in a bag. He slows, eyes a MAN at a mailbox. {{ ALEX }}: Things I wasn't supposed to. The man looks right at young {{ Alex }} as he passes. His face is distorted and his feet have sprouted roots which are dug into the ground. WAITRESS: Coffee? Young {{ Alex }} looks up toward the voice --	FLASHBACK - EXT. STREET - DAY A TEN-YEAR-OLD {{ P0 }} comes out of a corner store with milk in a bag. He slows, eyes a MAN at a mailbox. {{ P0 }}: Things I wasn't supposed to. The man looks right at young {{ P0 }} as he passes. His face is distorted and his feet have sprouted roots which are dug into the ground. WAITRESS: Coffee? Young {{ P0 }} looks up toward the voice --	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	34	train	INT. DINER - NIGHT {{ 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...	INT. DINER - NIGHT {{ Alex }} looks up at the Waitress. {{ ALEX }}: Tea. She leaves. Angela sits across from him. They're at the table by the window. {{ ALEX }}: 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. {{ ALEX }}: The last place they put me was run by a church... A DOCTOR rushes past their table. PAN WITH him INTO...	INT. DINER - NIGHT {{ P0 }} looks up at the Waitress. {{ P0 }}: Tea. She leaves. Angela sits across from him. They're at the table by the window. {{ P0 }}: 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. {{ P0 }}: The last place they put me was run by a church... A DOCTOR rushes past their table. PAN WITH him INTO...	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	35	train	FLASHBACK - INT. MENTAL INSTITUTION - HALLWAY The Doctor rushes toward distant SCREAMING. {{ JOHN }}: The revered Father made the brilliant deduction that I was possessed, said I needed to be exorcised...	FLASHBACK - INT. MENTAL INSTITUTION - HALLWAY The Doctor rushes toward distant SCREAMING. {{ ALEX }}: The revered Father made the brilliant deduction that I was possessed, said I needed to be exorcised...	FLASHBACK - INT. MENTAL INSTITUTION - HALLWAY The Doctor rushes toward distant SCREAMING. {{ P0 }}: The revered Father made the brilliant deduction that I was possessed, said I needed to be exorcised...	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	36	train	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 }}: It was like someone trying to pull teeth that weren't there. Young {{ John }} clamps his eyes shut tight.	INT. ROOM - HIGH ANGLE The Doctor runs in. Sees the revered Father below, leaning over a bed where an 18-year-old {{ Alex }} is held down by three interns and that Doctor. {{ Alex }} angrily screams at them all. {{ ALEX }}: It was like someone trying to pull teeth that weren't there. Young {{ Alex }} clamps his eyes shut tight.	INT. ROOM - HIGH ANGLE The Doctor runs in. Sees the revered Father below, leaning over a bed where an 18-year-old {{ P0 }} is held down by three interns and that Doctor. {{ P0 }} angrily screams at them all. {{ P0 }}: It was like someone trying to pull teeth that weren't there. Young {{ P0 }} clamps his eyes shut tight.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	37	train	INT. DINER - {{ John }} 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. DINER - {{ Alex }} Present-day {{ Alex }} does the same, remembering the pain. {{ ALEX }}: So I took things into my own hands and I found a way out. {{ JORDAN }}: You attempted suicide. {{ Alex }} sees she's looking at his wrist. The hint of a jagged scar can now be seen under the sleeve. {{ ALEX }}: I never attempt anything. {{ Alex }}'s reflection in the window becomes -- FLASHBACK - TEENAGE {{ Alex }} kneeling with a pair off scissors. He's inside a...	INT. DINER - {{ P0 }} Present-day {{ P0 }} does the same, remembering the pain. {{ P0 }}: So I took things into my own hands and I found a way out. {{ P1 }}: You attempted suicide. {{ P0 }} sees she's looking at his wrist. The hint of a jagged scar can now be seen under the sleeve. {{ P0 }}: I never attempt anything. {{ P0 }}'s reflection in the window becomes -- FLASHBACK - TEENAGE {{ P0 }} kneeling with a pair off scissors. He's inside a...	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "angela", "jordan", "P1" ] ]
constantine	38	train	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 -- {{ 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. CLASSROOM Teenage {{ Alex }} 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 {{ Alex }} to do the deed. He puts the blade to his wrist -- one swipe and the world around him accelerates away in a STREAKED BLUR -- {{ JORDAN }}: But you're still here. Alive. {{ ALEX }}: Not my doing. His chest suddenly HEAVES forward -- and we're on... FLASHBACK - TEENAGE {{ Alex }} as he's jolted by DEFIB PADS. He's in the back of a...	INT. CLASSROOM Teenage {{ P1 }} 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 {{ P1 }} to do the deed. He puts the blade to his wrist -- one swipe and the world around him accelerates away in a STREAKED BLUR -- {{ P0 }}: But you're still here. Alive. {{ P1 }}: Not my doing. His chest suddenly HEAVES forward -- and we're on... FLASHBACK - TEENAGE {{ P1 }} as he's jolted by DEFIB PADS. He's in the back of a...	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ], [ "john", "alex", "P1" ] ]
constantine	39	train	EXT. LOS ANGELES The ambulance moves through a city that is transforming. From this world's Los Angeles to a barren Hell version. {{ JOHN }}: Officially I was dead for seven minutes. But believe me, seven minutes in Hell is a lifetime. Ambulance heads toward that dying RED SUN.	EXT. LOS ANGELES The ambulance moves through a city that is transforming. From this world's Los Angeles to a barren Hell version. {{ ALEX }}: Officially I was dead for seven minutes. But believe me, seven minutes in Hell is a lifetime. Ambulance heads toward that dying RED SUN.	EXT. LOS ANGELES The ambulance moves through a city that is transforming. From this world's Los Angeles to a barren Hell version. {{ P0 }}: Officially I was dead for seven minutes. But believe me, seven minutes in Hell is a lifetime. Ambulance heads toward that dying RED SUN.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	40	train	INT. MORGUE 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 }}: 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.	INT. MORGUE 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. {{ ALEX }}: 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.	INT. MORGUE 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. {{ P0 }}: 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.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	41	train	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 -- HENNESSEY: Be there, {{ John }}... please... Something shivers up Hennessey's leg and into his body. Eyes glaze over and Hennessey settles on a RESTAURANT. {{ JOHN }}: 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.	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 -- HENNESSEY: Be there, {{ Alex }}... please... Something shivers up Hennessey's leg and into his body. Eyes glaze over and Hennessey settles on a RESTAURANT. {{ ALEX }}: 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.	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 -- HENNESSEY: Be there, {{ P0 }}... please... Something shivers up Hennessey's leg and into his body. Eyes glaze over and Hennessey settles on a RESTAURANT. {{ P0 }}: 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.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	42	train	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 }}: 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. {{ JOHN }}: ... 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 }}: They call it 'the Balance.' I call it hypocritical bullshit. {{ 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? {{ 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.	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. {{ ALEX }}: 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. {{ ALEX }}: ... 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. {{ ALEX }}: They call it 'the Balance.' I call it hypocritical bullshit. {{ ALEX }}: 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. {{ JORDAN }}: Sounds like you're trying to buy your way into Heaven. {{ ALEX }}: 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. {{ Jordan }} studies him. {{ JORDAN }}: Why you? I mean many go to Hell, why were you able to escape? {{ ALEX }}: (sips tea) I don't know. {{ JORDAN }}: God has a plan for all of us. {{ ALEX }}: Not for me. {{ Alex }}'s bitterness is obvious. {{ Jordan }} just stares at him -- finally -- {{ JORDAN }}: Isabel saw things too. {{ Alex }} looks up. Moment is lost when her CELLULAR RINGS. The cop in her reacts, flips it open. {{ JORDAN }}: Detective Dodson here.	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. {{ P0 }}: 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. {{ P0 }}: ... 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. {{ P0 }}: They call it 'the Balance.' I call it hypocritical bullshit. {{ P0 }}: 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. {{ P1 }}: Sounds like you're trying to buy your way into Heaven. {{ P0 }}: 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. {{ P1 }} studies him. {{ P1 }}: Why you? I mean many go to Hell, why were you able to escape? {{ P0 }}: (sips tea) I don't know. {{ P1 }}: God has a plan for all of us. {{ P0 }}: Not for me. {{ P0 }}'s bitterness is obvious. {{ P1 }} just stares at him -- finally -- {{ P1 }}: Isabel saw things too. {{ P0 }} looks up. Moment is lost when her CELLULAR RINGS. The cop in her reacts, flips it open. {{ P1 }}: Detective Dodson here.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ], [ "angela", "jordan", "P1" ] ]
constantine	43	train	EXT. RESTAURANT - LATER The morgue is seen across the street. The Guard that chased Hennessey is just outside. WEISS: 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. {{ 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.	EXT. RESTAURANT - LATER The morgue is seen across the street. The Guard that chased Hennessey is just outside. WEISS: 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 {{ Alex }}'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. {{ Alex }} leans down to the remains of his friend. A cop starts to intervene but Angela blocks him. Let him be. {{ Alex }} 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. {{ ALEX }}: Shit... (sympathetic) Why didn't you call me, you fat sonna bitch... {{ Alex }} 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. {{ Alex }} 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. {{ Alex }} 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. {{ Alex }} doesn't know what it is, but he knows it's important. {{ ALEX }}: (to Hennessey) Rest in peace, Father.	EXT. RESTAURANT - LATER The morgue is seen across the street. The Guard that chased Hennessey is just outside. WEISS: 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 {{ P0 }}'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. {{ P0 }} leans down to the remains of his friend. A cop starts to intervene but Angela blocks him. Let him be. {{ P0 }} 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. {{ P0 }}: Shit... (sympathetic) Why didn't you call me, you fat sonna bitch... {{ P0 }} 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. {{ P0 }} 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. {{ P0 }} 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. {{ P0 }} doesn't know what it is, but he knows it's important. {{ P0 }}: (to Hennessey) Rest in peace, Father.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	44	train	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 }}: I need to see where Isabel died.	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. {{ ALEX }}: I need to see where Isabel died.	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. {{ P0 }}: I need to see where Isabel died.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "john", "alex", "P0" ] ]
constantine	45	train	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: A rim-lit figure stands on the roof. But this one isn't wearing a hospital gown, he's wearing a trench coat. {{ ANGELA }}: Seances, crystals -- channeling... Our father thought she was just trying to get attention. She certainly did that.	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: A rim-lit figure stands on the roof. But this one isn't wearing a hospital gown, he's wearing a trench coat. {{ JORDAN }}: Seances, crystals -- channeling... Our father thought she was just trying to get attention. She certainly did that.	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: A rim-lit figure stands on the roof. But this one isn't wearing a hospital gown, he's wearing a trench coat. {{ P0 }}: Seances, crystals -- channeling... Our father thought she was just trying to get attention. She certainly did that.	[ [ "john", "alex" ], [ "chaz", "casey" ], [ "angela", "jordan" ] ]	[ [ "angela", "jordan", "P0" ] ]

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Dataset Card for ToM-in-AMC

The dataset consists of ∼1,000 parsed movie scripts from IMSDb, each corresponding to a character understanding task.

Citation

BibTeX:

@inproceedings{yu2024few,
  title = {Few-Shot Character Understanding in Movies as an Assessment to Meta-Learning of Theory-of-Mind},
  author = {Yu, Mo and Wang, Qiujing and Zhang, Shunchi and Sang, Yisi and Pu, Kangsheng and Wei, Zekai and Wang, Han and Xu, Liyan and Li, Jing and Yu, Yue and Zhou, Jie},
  booktitle = {Proceedings of the 41st International Conference on Machine Learning},
  year = {2024}
}

Dataset Card Authors

Mo Yu*, Qiujing Wang*, Shunchi Zhang*, Yisi Sang, Kangsheng Pu, Zekai Wei, Han Wang, Liyan Xu, Jing Li, Yue Yu, and Jie Zhou.

Downloads last month: 32

Homepage:

shunchizhang.github.io

moyumyu@global.tencent.com

Size of downloaded dataset files:

201 MB

Size of the auto-converted Parquet files:

201 MB

Number of rows:

75,564