Hellblazer - EP101 - The Long Way Back

HELLBLAZER Episode #101 "The Long Way Back" Written by Luis Filipe

Based on the character created by Alan Moore And the DC/Vertigo comic book Hellblazer

Copyright © 2018 This is a fan script luisfilipearaujo13@gmail.com

FADE IN: EXT. NEW YORK CITY - DAY An AIRBORNE view of the great city.

LEGEND: "NEW YORK" CUT TO: RUSHING LEGS. Belonging to someone wearing social slacks and well-polished shoes. Running down the sidewalk.

WIDEN TO REVEAL...

EXT. NEW YORK STREETS - DAY HENRY WAMBACH. A typical overweight middle-aged man in suit and tie. But there is something wrong - he is sweaty, breathless. Quite DESPERATE. He bumps through people as he strides along the sidewalk, as if he's hunting something.

A few feet away on the street corner is a HOT DOG VENDOR working in his tent. He notes Henry coming, an old friend.

HOT DOG VENDOR I thought you were not coming today, Henry, you're late. You want the usual snack?

HENRY I want six, fast! Please!

HOT DOG VENDOR Six? What happened, did not you have lunch today again?

As the vendor prepares the hot dog, he surveys his frightened and restless friend at his side.

HOT DOG VENDOR (CONT'D) Are you really good? You're sweating like a pig.

HENRY Shut up and finish this shit.

2.

HOT DOG VENDOR Hey! If you're in a bad mood today, you do not have to push it on me, okay?

Before the vendor can complete the hot dog, Henry cannot wait any longer and takes the snack from his friend's hand, devouring it like a hungry dog.

HOT DOG VENDOR (CONT'D) What the fuck, Henry?!

Henry doesn't even end chewing on the hot dog and invades the stall of the tent taking more food and putting it into his mouth.

The vendor can only watch that antic scene, confused and without reaction.

HENRY It's not enough... it's not enough!

Like a lunatic, Henry takes off running, dirtying the sidewalk with the leftover food that leaks out of his mouth.

INT. STEAKHOUSE RESTAURANT - DAY CAMERA PANS ACROSS the many horrified customer faces at their tables looking at something off camera that let them with a tremendous disgust.

We still do not see what they see, just HEAR the constant disgusting sound of food being chewed almost non-stop.

REVEAL: alone at his table, Henry eats a porterhouse. He can't get the food to his mouth fast enough so he lifts up the steak and tears it apart with his teeth.

All eyes of the restaurant are locked on him. A WAITRESS approaches as Henry finishes the steak.

WAITRESS Sir, you're upsetting our other diners.

I'm hungry.

HENRY

WAITRESS But that's the second steak dinner...

3.

Henry leans over and grabs another steak from a side table.

Stuffs it into his face.

The waitress steps back in shock. Henry's face is getting smeared with blood thanks to that steaks.

And here's the weirdness: Even though he's trying to eat everything going, this 400 pound man is WASTING AWAY before our eyes.

Thanks to his uncontrollable urges, Henry loses his balance and falls to the ground, knocking the table with him spreading food all over the floor.

People get scared. Most leave the restaurant, some of them can't look away from the man.

More desperate and thin, Henry crawls across the ground eating the food he knocked over. Then he sees a woman next to him.

Using his forces, Henry grabs the customer's ankle pulling her to take a bite. She SCREAMS. Some men and waiters around hurry to help.

They lug Henry away from the woman, and at that moment he CONVULSES. The others back off from him, STARTLED. They just watch Henry squirming on the floor not knowing what to do.

EXT. STEAKHOUSE RESTAURANT - LATER That same day, two PARAMEDICS remove Henry's corpse from inside the restaurant on a stretcher. People from the restaurant and the street ring the area, curious and amazed at the situation.

Henry's practically unrecognizable here: his skin is limp, his suit is loose on his body. It's like he has not eaten for weeks.

The RESTAURANT MANAGER emerges off the crowd and walks up to the paramedics before they put Henry in the ambulance.

RESTAURANT MANAGER Do you know what happened to this man?

PARAMEDIC It's too early to tell, but apparently he starved to death.

Excuse me sir.

4.

They place Henry inside the ambulance and close the back doors.

EXT. LONDON - DAY Establishing.

LEGEND: "LONDON" INT. BAGGAGE CLAIM - HEATRHOW AIRPORT - DAY People take their luggage on the treadmill while others await yours. One of them stands out among the others.

A MAN. Early 30s. Back to us. Wearing a worn trench coat and with a spiky blonde hair.

The others around him are collecting their luggage gradually, leaving the man alone there at the mat.

Until finally, an old discolored bag appears on the mat. The man grabs his only baggage and heads off.

EXT. FRONT CURB - HEATRHOW AIRPORT - DAY Only now we see the man completely after he leaves the airport: JOHN CONSTANTINE. A working-class Londoner with a rakish, debonair look.

He scans his surroundings, as if that environment were familiar enough to him. John closes his eyes and inhales deeply.

That's when a familiar VOICE sounds: VOICE (O.S.) Are you going to absorb the smoke from all those cars or do you want to get out of here?

Constantine turns to CHAS CHANDLER. John's closest and longest surviving friend, propped up on the hood of his cab.

CONSTANTINE Would you be hurt if I said I thought you would not come?

5.

CHAS In fact I almost didn't come. But I wanted to see your face after spending so much time outside.

CONSTANTINE And are you satisfied?

CHAS I was hoping you'd fix that shit hair.

CONSTANTINE (sarcastically) Forgive me for disappointing you, I promise I'll try harder next time.

Chas moves to the driver's door. Constantine approaches the car, but before entering...

CONSTANTINE (CONT'D) Did you bring what I asked for?

CHAS Of course. Unfortunately.

Chas draws a pack of CIGARETTES from his pocket and tosses it to Constantine.

When Chas gets into the taxi, Constantine lights a cigarette. In the first swallow of smoke, Constantine delights in it by supplying his addiction.

Hell yeah.

CONSTANTINE

As he gets in the cab, Chas pulls away.

INT. TAXI CAB - MOVING - DAY The smoke of Constantine's cigarette fills the whole car interior. And Chas does not like it at all.

CHAS Open the damn window, for God's sake.

CONSTANTINE You're very nervous, better to see a doctor.

CHAS You make me nervous.

6.

Constantine opens the window, letting all cigarette smoke fly into the streets.

After a short beat: CHAS (CONT'D) So, are not you going to tell me anything at all?

Tell what?

CONSTANTINE

CHAS Really? You've been gone for almost six months. What was so important about America?

CONSTANTINE It was just a trip to clear my mind, organize ideas, you know.

Chas shoots him a look, unrelieved.

What?

CONSTANTINE (CONT'D)

CHAS C'mon, I know you long enough to know all that is bullshit. Tell me, was it a woman?

Wrong Money?

Try again.

CONSTANTINE CHAS CONSTANTINE

CHAS I do not know, there are still many options available.

CONSTANTINE So for now you're going to have to settle for my version.

CHAS Whatever you did there, it seems to have made you worse

7.

EXT. APARTMENT BUILDING - DAY Chas parks in front of an ancient apartment building. John steps out of the car, still with the cigarette in his mouth.

CONSTANTINE Home sweet home.

He opens the back door and picks up his bag. Chas stands beside his car.

CHAS (re: the building) It has not changed since you left.

CONSTANTINE I see. Do you want to get in? Maybe drink a bottle of whiskey?

CHAS No, thanks. I still have work to do.

You boring.

CONSTANTINE

They shake hands.

CONSTANTINE (CONT'D) Thank you, mate. I owe you one.

CHAS One? I counted much more than that.

Show off.

CONSTANTINE

CHAS When you want to drink something that is not in the sty of your apartment, call me.

Alright.

CONSTANTINE

Chas gets in his taxi and drives off. Constantine walks to the front door of the building, then presses the intercom.

OLD LADY VOICE (over intercom) Who is there?

CONSTANTINE It's me. John.

8.

John?

OLD LADY VOICE (over intercom)

CONSTANTINE John Constantine.

Moments later, we hear the door being unlocked from the inside. It's opened by MRS. EMMA. 70s. The landlady of the apartment building.

MRS. EMMA Oh Lord, it's really you.

CONSTANTINE Yes, Mrs. Emma. Did not you get my message about my arrival?

MRS. EMMA Yes but I did not believe you would really come.

CONSTANTINE It's okay, I would not trust myself either.

They enter the building.

INT. RECEPTION - APARTMENT BUILDING - DAY Constantine looks around, remembering that old place.

CONSTANTINE Is my apartment still intact?

MRS. EMMA The same way you left it. If you can consider it as intact.

Great.

CONSTANTINE

Constantine starts to climb the stairs.

INT. CONSTANTINE'S APARTMENT - DAY It's dark. We see only the shape of the furniture in the shadows. John opens the door and turns on the light in the living room, revealing...

9. ... a terrible mess. You can almost smell the alcohol and cigarette inside. But for Constantine, it is the king's chambers.

CONSTANTINE (V.O.) My sanctuary.

As Constantine shuts the door: INT. BEDROOM - CONSTANTINE'S APARTMENT - MOMENTS LATER John unpacks his clothes from his bag and spreads them all over the bed. That's when he finds something unexpected in there.

He pulls out of the bottom of his bag a brooch from the RAVENSCAR INSTITUTE, forgotten for years there.

He stares at it, remembering old bad memories.

CONSTANTINE (V.O.) Ravenscar. Somehow the bastards can always remind me of this nightmare.

With disgust, Constantine tosses the little brooch through the window, then he returns to deflate his bag.

CONSTANTINE (V.O.) (CONT'D) A bunch of doctors stuffing syringes and medicine into your body. They do not want you to be healed, but to tell them what they want to hear. And I said it.

After removing all that is inside the bag, Constantine walks out.

INT. KITCHEN - CONSTANTINE'S APARTMENT - DAY When opening the refrigerator, John finds a bottle of whiskey long held there. He takes it.

Then opens the cupboard and gets a glass. Constantine begins to drink as he walks over to the window, watching the intense commotion of the urban world on the streets.

CONSTANTINE (V.O.) Nothing has changed. I can still smell the diesel.

10.

There is nothing that interests him out there. He moves to the kitchen counter where he places the drink, and prepares to light a cigarette, but then he realizes.

Loneliness.

Silence.

His only company is the engine noises in the streets.

CONSTANTINE (V.O.) (CONT'D) Come on, you've been alone too much in this life to continue here.

Constantine grabs his trench coat resting on the armchair, picks up the keys from the apartment and leaves.

INT. RECEPTION - CONSTANTINE'S APT. BUILDING - DAY As Emma notices Constantine stepping down the stairs, she waves for him.

MRS. EMMA Mr. Constantine! Your sister left a message for you.

My sister?

CONSTANTINE

He approaches the reception counter.

CONSTANTINE (CONT'D) I do not remember telling her. Did you tell her I was in town?

MRS. EMMA Should not I? CONSTANTINE Nevermind. What's the message?

Mrs. Emma takes a small piece of paper where she wrote.

MRS. EMMA She said she wants to meet with you at this address this afternoon.

She hands Constantine the paper.

CONSTANTINE Did she tell you why?

11.

MRS. EMMA Stop being fearful, boy. It's your sister, your family. You should talk to her.

CONSTANTINE Okay, okay. Let's do it in your way, but only this time.

MRS. EMMA If you'd followed my advises since always, you still would be with that German girl.

He just smiles.

CONSTANTINE Do not wait for me, I do not know what my sister planned to welcome.

Constantine turns and walks out.

INT. LONDON STREETS - DAY As Constantine walks down on the sidewalk, he stops at a newsstand and buys a newspaper.

He goes back to walking reading the news, but one in particular catches his eyes.

ON THE NEWSPAPER: A headline which reads - "Man dies of hunger in New York after devouring plates of food."

CONSTANTINE (V.O.) This world is turning upside down.

INT. CAFE - DAY The place is filled with customers, eating and talking. John comes in, looking around until he finally spots CHERYL MASTERS. Constantine's sister.

She's already waiting for him at one of the tables.

John takes a deep breath and steps up to her. Cheryl gets up and they both hug.

CHERYL Thank you for coming.

As they sit down, the WAITRESS comes.

12.

WAITRESS Good morning, what are you going to want today?

CHERYL A coffee, please.

CONSTANTINE I want the best bacon in the house.

And maybe your phone number.

WAITRESS I'm sorry but I'm engaged.

The waitress shows off her beautiful wedding ring. Cheryl rolls her eyes. Typical John.

CONSTANTINE Oh... hum... just the bacon is fine.

WAITRESS I'll be right back.

The waitress heads off.

CHERYL "Your phone number"? Seriously? I thought you'd be more sensible.

CONSTANTINE Why does everyone think so? Sometimes you guys give me reason to want to disappoint you.

CHERYL You did not even let me know you were coming back today. Why? CONSTANTINE I was going to warn you, I swear. But things have been turbulent lately.

I'm sorry.

CHERYL For a moment I thought you were dead, but I always prayed instead. What happened to you?

CONSTANTINE That's not important now.

The waitress arrives with orders and puts them on the table.

13.

CONSTANTINE (CONT'D) Thank you, luv.

She responds with a smile and leaves again.

How's Gemma?

CONSTANTINE (CONT'D)

CHERYL I had to say that I was going to the bank, otherwise she would not going to school to see you.

CONSTANTINE You've always been awful with those excuses. When Gemma grows up, you will not be able to fool her. How old is she, by the way?

CHERYL Twelve. You should go there, it would do her good... for both of you.

CONSTANTINE Of course, just let me know when your freak husband is away from home.

CHERYL Tony became involved with a religious brotherhood soon. The Crusaders, if I'm not mistaken. He's excited.

And you?

CONSTANTINE

CHERYL You know I've never been a religious girl, have you?

CONSTANTINE Yep, so I'm going to send two bibles for you: one in English and one in Hebrew.

CHERYL (grins) Make yourself comfortable, but do not complain when I crush your face with them.

You rule.

CONSTANTINE

14.

They exchange smiles and lunch.

EXT. CONSTANTINE'S APT. BUILDING - NIGHT Under the cold night winds, Constantine enters his building.

INT. RECEPTION - CONSTANTINE'S APT. BUILDING - NIGHT As he walks in, John finds Mrs. Emma staring at the top of the stairs, concerned.

Mrs. Emma?

CONSTANTINE

MRS. EMMA Mr. Constantine!

CONSTANTINE What happened? Are you sleeping on feet now?

MRS. EMMA I'm sorry, sir -- he came looking for you but I tried to warn him that you were not here.

CONSTANTINE Hey, chill out. Who came here, exactly?

MRS. EMMA He said he was a friend of yours.

Gary Lester. But the boy looked sick, maybe drugged.

John REACTS to that name, but with not good feelings.

CONSTANTINE That bastard is still alive.

MRS. EMMA He made me open your apartment and stayed there until now. I'm sorry, I was nervous and...

CONSTANTINE It's okay, Mrs. Emma. I handle this from now on.

Constantine climbs the stairs, angry.

15.

INT. CONSTANTINE'S APARTMENT - NIGHT John enters, switches on the light. As he takes another step, he CRUSHES something. John looks at his shoe and sees INSECTS scattered on his carpet.

The more John scans his apartment, more he gets disgust.

There are more insects in the furniture. Others crawling over an open playboy magazine on the table.

He also finds a heroin SYRINGE on the couch, half used.

CONSTANTINE (under his breath) You sick son of a bitch.

John walks over to the kitchen and sees it from afar: several dishes dirty with food and with more insects around.

Something awfully disgusting to see.

CONSTANTINE (CONT'D) What's wrong with you, Lester?

THEN - a strange NOISE coming from inside the bathroom catches his attention. With cautious steps, John approaches his bathroom.

Arriving at the door, he notices more insects coming out from underneath it.

The noises continue to go on inside. John grips the knob and takes a deep breath before turning it.

He counts up to three mentally and opens the door abruptly, trying to surprise anyone inside. However, he is quite surprised. Something off camera makes John's eyes go wide.

CONSTANTINE (CONT'D) Oh my God -- Gary?

REVERSE ANGLE REVEALS to us: GARY LESTER, John's former friend. Crouched in the corner of the tub, with an AGGLOMERATE of insects all over his body and in the entire bathroom.

The poor sleazy man tries every moment to get rid of those little creatures on, thus causing the noises we heard before.

16.

GARY John... I need your help, they are everywhere!

Almost by instinct, John closes the bathroom door and leans his back against it, mind churning.

CONSTANTINE (V.O.) Shit. I must leave and never come back, but it's like the saying goes: if you're in the rain, it's to get wet.

JUMP CUT: John returns to the bathroom covering his mouth and nose with a cloth and toting a couple of INSECTICIDE cans in each hand.

He turns to Gary.

CONSTANTINE Cover your nose and hold on!

Gary obeys. John SPRAYS both insecticides relentless at that insect colony in the bathroom.

And it's working.

Off that...

INT. RECEPTION - CONSTANTINE'S APT. BUILDING - NIGHT John is using the reception's phone.

CONSTANTINE Chas? It's me. I don't care, wake up and come straight here, it's an emergency. And bring some painkillers.

INT. LIVING ROOM - CONSTANTINE'S APARTMENT - LATER Someone is KNOCKING on the door outside. Constantine opens it, and Chas enters.

CHAS I brought the medicines you asked for. What is your problem now?

17.

CONSTANTINE Not mine. His. He refers to Gary, who lies on the couch wearing clean clothes after a shower. However, he's almost fainting suffering from his abstinence from drugs.

CHAS Who the hell is this guy?

CONSTANTINE His name is Gary Lester. He was a friend of mine until we got into a mess in Geordie Land. The last thing I knew of him was that he was in Africa.

John shows a ROPE to Chas.

Take this.

Why?

CONSTANTINE (CONT'D) CHAS

CONSTANTINE I'm going to do something and I want to make sure he doesn't run out of here again.

Chas grabs the rope and walks with John to Gary. The two carefully place Gary on the floor of the room.

John then collects some stuff on his table. As Chas ties Gary's wrists with the rope, he hears him muttering something. John joins them.

GARY Mnemoth... it was it... it did this to me, John...

CHAS What is he talking about?

CONSTANTINE Let's see. I'll hypnotize him and find out what this Mnemoth guy is.

John hangs his POCKET WATCH within inches of Gary's head, and begins to swing it slightly.

Gary is almost asleep, but John needs him attentive.

18.

CONSTANTINE (CONT'D) Come on, Gary, I need you to focus on the clock. Help me help you.

He struggles to open his eyes as much as possible and look at the clock.

GARY I feel... weird, John...

CONSTANTINE This is good. Concentrate and tell me what you see.

Gary's eyes begin to follow the movement of the watch subtly.

GARY I... I was...

EXT. MEDINA MARKETPLACE - EVENING (FLASHBACK) In the middle of that crowded and busy place of merchants and their stalls, we see Gary, quite different from how we knew him before. Healthy, willing.

GARY (V.O.) ... I was in Medina, trying to get drugs but without success.

He's anxiously walking among those people. His abstinence is affecting him strongly.

GARY (V.O.) (CONT'D) That's when I saw him.

Gary sights a TEN-YEARS-OLD BLACK BOY stripped on the ground near an alley.

Thin and weak. No one stops to help him. He seems to try to speak but no sound comes out of his mouth.

Seeing that scene, Gary pities the poor kid.

GARY (V.O.) (CONT'D) He had no tongue. It seemed to have been abandoned... maybe he was a slave. And he was suffering a lot, I could feel it.

Then Gary's eyes meet the boy's.

19.

GARY'S POV: SLOW MOTION as the young boy stares at Gary, into camera, with his big eyes.

GARY (V.O.) (CONT'D) I had to help him. I could feel something like it had... calling me.

Off that, we CUT TO: INT. GARY'S HUT - MEDINA - NIGHT (FLASHBACK) The child lies in bed with his limbs tied. Gary stands holding a kind of sacred AMULET and babbling a spell for the child.

GARY (V.O.) I tied him up to secure my safety and started the exorcism.

As Gary speaks, the boy WRITHES on the bed moaning. His body PULSES, expanding under the child's skin - as if something inside were trying to burst right through.

GARY (V.O.) (CONT'D) I was almost there... I was going to get the thing out of him.

And finally - the boy's chest BLASTS IN THOUSANDS OF INSECTS. A dense black cloud of living insects coming out of that little body.

Gary can only watch everything, gaping.

The swarm heaps near the ceiling forming the shape of a larger insect in unison, staring at Gary.

GARY (V.O.) (CONT'D) And when the thing was finally free from its prison of flesh, I imprisoned it again.

Gary barks more Latin words for the insects. As if being sucked in, they enter a GLASS BOTTLE on the bedside table.

After all the insects are confined inside, Gary closes the bottle with a cork. Finally, it's over.

But what we see inside the glass container are not insects, but a kaleidoscope of luminescent energy. Gary glares at it almost hypnotized.

20.

GARY (V.O.) (CONT'D) I did it, John, I overcame the entity. I did not know I was capable but I did.

CONSTANTINE (V.O.) What about the boy, Gary?

The boy?

GARY (V.O.)

CLOSE ON THE BOY'S HAND: Hanging and motionless. Dripping blood on the ground. Gary's at the background with the bottle, completely oblivious to the kid.

GARY (V.O.) (CONT'D) He did not survive, but I did my job.

I did what should be done.

TIGHT ON Gary, gazing and handling the glass bottle with a look of desire on it.

GARY (V.O.) (CONT'D) I could feel the demon's power through the glass. He wanted me, John. And I wanted him.

TIME CUT: Gary sleeps on the floor over a sheet. The glass bottle shines behind him on the bedside table.

GARY (V.O.) (CONT'D) But things just got worse. I could not sleep... it would not let me.

Thousands of voices echoed in my mind, saying its name.

Mnemoth.

CONSTANTINE (V.O.) TIME CUT:

ASSORTED VOICES disturb Gary during the night. He grabs his ears trying to stop the sounds, but it's impossible.

GARY (V.O.) Every day, every night, it invaded my mind and tried to seduce me to its desires.

TIME CUT:

21.

A pale, stunned Gary crawls on fours toward the bottle.

GARY (V.O.) (CONT'D) It knew about my addictions. It promised me to make up for these vices if I gave it freedom. (beat) It was then that I realized that I could not bear that alone.

EXT. ALLEY - MEDINA - DAY (FLASHBACK) A man lies face down on the ground, with some blood streaming down his forehead. Gary steals his PAPERS and heads off.

GARY (V.O.) I found a tourist and steal his passport. John Constantine will know what to do.

EXT. POST OFFICE - LONDON - DAY (FLASHBACK) Gary heads to a post office toting a BOX. GARY (V.O.) When I arrived in London a week ago, your landlady said you were in New York and gave me a possible address.

EXT. BOX - EFX SHOT CAMERA is attached to the back of Gary's cardboard box so that it stays constantly in the center of FRAME as it travels across the country.

GARY (V.O.) I only knew you could deal with such a thing. I was desperate.

INSIDE THE BOX: Mnemoth's glass bottle. The turbulence of constant travels CRACKS it.

The box arrives at an airport in New York, then to a vehicle, to a post office storehouse where HENRY WAMBACH who works there - hears Mnemoth's WHISPERS to him.

22.

INT. LIVING ROOM - CONSTANTINE'S APARTMENT - NIGHT John finishes the hypnosis, Gary's with tired eyes. Chas stares at him confused.

Only now John realizes in the problem that he has gotten himself into.

Bloody hell.

CONSTANTINE

CHAS John, if you want I can take this guy away... leave him somewhere far from here.

CONSTANTINE No, I need to figure it out now. And I also need paper and pen.

Chas stands and picks up a piece of paper on the table and gives it to Constantine, then he hands his own pen to him.

Constantine makes Gary hold both, helping him put the pen on the paper.

CONSTANTINE (CONT'D) I just need one more thing, Gary, okay? Show me how the boy looks like, some tattoo, anything.

Still weak, Gary slides his hand over the paper to form some vague drawings of his memory. When he's done, Gary sleeps soundly.

CHAS I guess I'm no longer needed here.

CONSTANTINE Wrong, my friend. I need you to be Gary's nanny while I'm out. I'll let you drink my beer.

CHAS What? Do you want me to take care of a guy like that? Did not you listen to what he just said?

CONSTANTINE Of course I did. But there's no need to worry, he's nice now.

23.

CHAS So why do not you take him with you?

CONSTANTINE Because he needs to rest more than anyone else. It will be three long days. John heads to his room.

CHAS Where the hell are you going?

EXT. BRITISH MUSEUM - DAY John climbs up the steps UNDER: CONSTANTINE (V.O.) What do you think of this drawing, professor?

INT. ANTHROPOLOGIST'S OFFICE - DAY A veteran ANTHROPOLOGIST examines the symbols that Gary did on paper. Constantine sits down, waiting for the verdict.

ANTHROPOLOGIST I'm a little rusty about occult matters, but these figures seem to be from Africa.

CONSTANTINE Good shot, but I need something more specific.

The professor looks more closely at the drawing with his experienced eyes.

ANTHROPOLOGIST When I was still doing field work, there was a tribe in southern Sudan that still practiced this kind of sacrificial magic. (hands the paper to John) You can find something there.

CONSTANTINE Thank you, professor.

24.

EXT. BRITISH MUSEUM - DAY As John exits the museum, he lights a cigarette.

CONSTANTINE (V.O.) Great. Sudan. How do you travel to another continent when you have no money? (beat) You find someone who has it.

EXT. NIGHTCLUB - NIGHT An upscale nightclub. A colossal line stretches down the sidewalk. People of all cultures want to enter that nightclub, which is monitored by two huge security guards.

WE PULL BACK, ACROSS THE STREET, TO... ... Constantine, leaning against the wall of an alley smoking his cigarette.

He watches the club for a moment. It doesn't take long before he makes a decision. John drops the cigarette and moves toward the building.

INT. NIGHTCLUB MANAGER'S OFFICE - NIGHT THE NIGHTCLUB MANAGER who runs all the place counts his banknotes at his desk. One of the security guards opens the door.

SECURITY GUARD Sir, there's a man wanting to see you right now.

NIGHTCLUB MANAGER Was he invited to the club?

SECURITY GUARD Well... no, sir.

NIGHTCLUB MANAGER So I don't care.

SECURITY GUARD But he says he knows Papa Midnight, sir. Now that catches Mason's attention.

The manager stops, and considers.

25.

NIGHTCLUB MANAGER Okay, let him in.

The security nods and walks out. A moment later, he comes back dragging John by the arm and puts him inside the room.

CONSTANTINE What a gentlemen.

The manager signals for the security to leave, and so he does.

NIGHTCLUB MANAGER Have a sit, mister...?

CONSTANTINE (sitting down) Constantine. John Constantine.

NIGHTCLUB MANAGER You made a somewhat unexpected demand. How do you know Mr. Midnight?

CONSTANTINE It's a boring story, you would not want to hear it, believe me. So, can I talk to the big boss?

NIGHTCLUB MANAGER I'm the boss around here, Mr. Constantine. If you knew Papa Midnight himself, you'd know he's in New York while I take care of his club.

CONSTANTINE If I wanted to talk to Midnight in New York, I would go to New York. We both know he's very zealous about his business so I'm pretty sure he keeps in touch with you constantly. Now take the laptop out of your ass and call Midnight. (sarcastically, smiling) Please.

Without having an answer, he pulls a LAPTOP from under the desk and types.

Good boy.

CONSTANTINE (CONT'D)

26.

NIGHTCLUB MANAGER You'll regret it, Constantine. I can turn your life into hell.

CONSTANTINE I'm sorry to inform you but you're late for that.

On the laptop screen, a SKYPE windows pops up revealing to us PAPA MIDNIGHT. 40s. An imposing bulky, bald black man wearing sharp suits.

PAPA MIDNIGHT (on screen) Constantine. I thought we'd just meet on the other side.

CONSTANTINE I'm good at spoiling expectations. I need to get right to the point with you: I need your help.

PAPA MIDNIGHT (on screen) You? Why would a man like you want the help of a man like me?

CONSTANTINE Because if you help me now, I will help you and we will be even and happy.

PAPA MIDNIGHT (on screen; chuckles) How do you plan to help me? Oh, I almost forgot, I need more cleaners in my building.

CONSTANTINE Very funny. But I bet it's not funny when people devour each other like lions in the Savannah.

Midnight's face hardens. John knows he hit a nerve.

CONSTANTINE (CONT'D) Is it my impression or was that chill on your spine?

PAPA MIDNIGHT (on screen) Why do you think I give a shit?

27.

CONSTANTINE From what I heard, all this shit is concentrated in your city. You probably know how to handle it, but not your clients. And I bet you would miss them a lot for your business.

Midnight pauses, but he knows that John is right. And he hates it.

PAPA MIDNIGHT (on screen) Supposing I accept to help you... what you need?

Money.

CONSTANTINE

PAPA MIDNIGHT (on screen) Money for what?

To travel.

CONSTANTINE

EXT. SUDAN DESERT - DAY Vast, unending. Mountains rise up from the high desert floor.

LEGEND: "SUDAN, SAUDI ARABIA" Under the blazing sun, Constantine and his GUIDE MAN drive down the bumpy ground in a beat-up jeep.

John, wearing light clothes and sunglasses, is constantly wagging himself in the passenger seat. He looks at the guide and sees the man casually there.

CONSTANTINE Seriously? Do not you feel that your skin is melting on your bones?

GUIDE MAN After walking through these lands for a long time, sir, we get used to it.

CONSTANTINE You damn bastard. How much time before we get in the place?

28.

GUIDE MAN Not much, it's just down that hill.

CONSTANTINE Let's hope they have water at least.

GUIDE MAN I advise you not to arrive with requests, sir.

EXT. VILLAGE - DAY The jeep pulls up in a small indigenous community.

Constantine and the guide man get out the car as the VILLAGERS approach, with a curious look at them.

The guide waves to them. Some reciprocate the gesture in the same way. John draws the paper with the symbols.

CONSTANTINE Ask them about these symbols.

John stands as the guide man takes the paper and asks some people about those drawings in their native language.

Some avoid talking, apprehensive. Others get frightened. But some women point away, to a specific tent. Then the guide returns to John.

GUIDE MAN They said that the elder of the tribe knows these figures.

John nods, and strides toward that tent. All eyes turn to him as he passes by the people.

INT. CHIEFTAIN'S TENT - DAY Carefully, Constantine enters the tent finding the grand CHIEFTAIN of the tribe.

Eyes closed, meditating. Full of puzzling tattoos on his body that looks more like a painted map.

Hello...?

CONSTANTINE

CHIEFTAIN What inconvenience, the goats said you would arrive yesterday. Come in, son.

29.

CONSTANTINE You can not trust anything else today, right? (realizes) Wait, how did you learn my language?

CHIEFTAIN You hear your language but I do not speak your language.

CONSTANTINE Pentecost effect, of course. If you know all this then you know why I'm here.

CHIEFTAIN The spirit of hunger is coming loose again, is not it?

I think so.

CONSTANTINE

CHIEFTAIN And you want to imprison it again.

CONSTANTINE Well, my plan was to persuade you to repeat the spell, but it seems like you're not very keen.

CHIEFTAIN Unfortunately I could not, anyway. My power is bound to this earth. But I can show you.

CONSTANTINE What happened?

CHIEFTAIN I had to save my people, but for that it demanded a difficult choice, because I consider them all as my children.

INSERT CUT: That same black boy lying on a sacrificial stone, with the chieftain standing beside him conjuring the spell.

CHIEFTAIN (CONT'D) The demon is persuasive. I had to silence his cocoon.

30.

INSERT CUT: The chieftain holds the boy's tongue out of his mouth and a dagger in his other hand.

CHIEFTAIN (CONT'D) With my call I make the spirit enter into his prison of flesh and forbid him to leave.

INSERT CUT: As two villagers hold the squirming boy on the stone, the chieftain draws the symbols on his skin.

CHIEFTAIN (CONT'D) And when it's all over, I send it away from my land, so that the demon consummates itself to its last end.

INSERT CUT: Two men from the tribe take the cursed boy wrapped in sheets into the vast desert.

CHIEFTAIN (CONT'D) (heavy) It was my mistake. I should have watched it until its end.

CONSTANTINE I understand. I will not make the same mistake.

As John gets on his feet, the old man grips his hand hard.

CHIEFTAIN It's not just about mistakes or right answers, but choices you'll have to deal with for the rest of your life.

Off Constantine as he lets that words sink in...

INT. AIRPLANE CABIN - DAY At 30000 feet, John is in his seat, lost in thought, staring out the window at the clouds.

CONSTANTINE (V.O.) Even when you try to get away from the shit, it comes after you, is not it John? And I always sink into it. (beat) Fuck.

31.

EXT. BROOKLYN BRIDGE - NIGHT Busy traffic. A mix of loud, irritating horns sounds all over the bridge.

LEGEND: "NEW YORK" INT. TAXI CAB - NIGHT The impatient driver doesn't stop honking and shouting at the others outside. In the backseat: John and Gary.

Annoyed, John just shakes his head wanting to be somewhere else right now. And Gary, he keeps nervously looking around all the time.

GARY Mnemoth is here, is not it, John? I can feel it! I am afraid!

CONSTANTINE I told you to stay calm, nothing will happen to you.

GARY Do you trust this Papa Midnight? Do you think he can handle this?

CONSTANTINE If you trust me then you can trust him.

INT. MIDNIGHT'S PENTHOUSE - NIGHT A beautiful bespoke kitchen/breakfast room. Outside, an incredible view of Manhattan. The entire room is decorated with ornaments from different cultures of the world, mostly tribal.

It's eerie here. Standing in front of the large windows is PAPA MIDNIGHT. He wipes an object in his hands with a handkerchief.

When he keeps the handkerchief, it's revealed to us that it is a SKULL, but a special skull for him.

He raises it up to his face level.

PAPA MIDNIGHT I ask you to advise me once more, sister.

(MORE)

32.

PAPA MIDNIGHT (CONT'D) There is something moving in the jungle out there that I could not predict. (beat) Can your dead eyes see the creature?

Can your mouth utter a name?

EXT. MIDNIGHT'S BUILDING - NIGHT The taxi stops. After paying the driver, Constantine and Gary walk into the huge building.

INT. MIDNIGHT'S PENTHOUSE - NIGHT Midnight brings the skull closer to his face.

PAPA MIDNIGHT Nothing? I thought you were my personal watchman of demons.

He puts the skull on his desk.

PAPA MIDNIGHT (CONT'D) Does not matter. It's a hungry beast, is not it? So let's get it out of here.

A door slamming interrupts Midnight.

You're late.

PAPA MIDNIGHT (CONT'D)

He turns to Constantine and Gary, standing together.

CONSTANTINE Blame your city, the traffic was shit.

Midnight realizes Gary and scans him, head to toe.

CONSTANTINE (CONT'D) I liked the decor, reminds me of New Garden.

PAPA MIDNIGHT This is the guy?

Yes, he --

CONSTANTINE

33.

PAPA MIDNIGHT (cutting in; to Gary) You fucking bastard! Do you have any idea what you did?

Papa Midnight paces toward Gary with clenched fists.

Constantine intervenes in his way, shielding his friend.

Hey! Hey!

CONSTANTINE

Gary STARTLES, but completely oblivious to the situation.

Midnight gives him a look of disgust.

PAPA MIDNIGHT Look at you, you're just a junkie. If you survive all this, pray to survive me then.

CONSTANTINE Take it easy with the man, he went through a lot to get here. He only has us now.

PAPA MIDNIGHT Do not treat sinners as victims, they are not. (beat) It's good your plan to work, Constantine.

Me too.

CONSTANTINE

PAPA MIDNIGHT I suggest you regain your energy. You will need it all when we fight against the spirit of hunger tomorrow.

CONSTANTINE Of course. You would not have a good room in this huge building, would you?

PAPA MIDNIGHT It's already waiting for you.

GARY And me? Where do I go to sleep?

34.

INT. PRISON CORRIDOR - MIDNIGHT'S BUILDING - NIGHT A long corridor filled with cells lined up. One of Midnite's SERVANTS puts Gary inside one of them and locks the door.

GARY Wait! You can not leave me here alone!

Constantine lights a cigarette.

PAPA MIDNIGHT The scent of fear always helps attract the devil.

GARY John, I do not trust this guy, get me out of here, please!

CONSTANTINE Stay easy, Gary, this is to ensure your own safety. There's nothing wrong.

Gary grasps the cell bars with shaky hands.

GARY At least makes him give me some junk, John. Please.

CONSTANTINE We'll use you to attract Mnemoth. It knows you and wants you. Your need will bring it to us.

GARY What? You can not bring the demon here! It's too risky!

CONSTANTINE I told you, relax, we're under control here.

GARY No -- you do not know it, John! You do not know what that thing is capable of!

CONSTANTINE Of course I do, Gaz. Try to sleep.

John and Midnight walk away while Gary pounds the bars of his cell with his fists, desperate.

35.

John! JOHN!

GARY

INT. GUEST ROOM - MIDNIGHT'S BUILDING - NIGHT Midnight opens the door and turns on the light. It is a modest and spacious room.

PAPA MIDNIGHT This is what I have for you.

CONSTANTINE It's bigger than my apartment. Nice.

Constantine walks in admiring his new bedroom.

PAPA MIDNIGHT Remember: you're under my roof now and you'll have to follow my orders.

Do not do anything that forces me to kill you.

CONSTANTINE You're hoping for that, are not you?

Midnight responds by shutting the door.

LATER Moonlight bathes half the room. John is in a deep sleep in bed. Finally a moment of peace.

A beat.

SUDDENLY JOHN!

LITTLE GIRL VOICE

John STARTLES awake with wide eyes. That distant voice seems to echo through time.

He sits up rubbing his face. Sighs.

Still a bit drowsy, John gets up and walks toward the bathroom. But as he opens the door, he comes across... ... SISTER ANNIE-MARIE. A nun who has a story with John. He jumps back in fright.

Fuck!

CONSTANTINE

36.

As he steps backwards, two more figures appear behind him: FRANK NORTH and BENJAMIN COX. They are GHOSTS. Not again...

CONSTANTINE (CONT'D)

John walks away from those three who stare at him with expressionless faces.

None of them speak anything.

CONSTANTINE (CONT'D) What? Are not you going to say anything today? No sermon or are you just here to judge me?

No response.

CONSTANTINE (CONT'D) You know what? Fuck you guys, you knew the risks! We were playing high stakes. The highest. And sometimes, you lose.

Pissed, John lies down in his bed again. The three spirits keep staring at him.

He opens his eyes and sees that the ghosts are still there.

CONSTANTINE (CONT'D) So that's it, will you continue with this? Tell me what you want. You want me to say I'm sorry? I'm sorry that you guys who brought this to yourselves. (beat) I wish there was another way, I swear, but it's already past. Then go take care of your business and leave me alone!

John wraps himself in his sheets ignoring the ghosts at the edge of the bed. But they're still there, just looking. And John knows they will not leave soon enough.

CONSTANTINE (CONT'D) I'm done with all you. I do not have to put up with this sort of thing.

He gets up and picks up his clothes, heading toward the bedroom door.

37.

CONSTANTINE (CONT'D) The show is over, now go back to wherever you live.

John leaves, letting the three spirits alone inside.

INT. CORRIDOR - MIDNIGHT'S BUILDING - NIGHT John steps into the hallway and lights a cigarette.

CONSTANTINE (V.O.) As the saying goes: before alone than in bad company.

He makes his way along the hallway.

PRE-LAP: The sound of an excited CROWD, screaming and reacting.

INT. UNDERGROUND ARENA - MIDNIGHT'S BUILDING - NIGHT A secret area where the wealthiest of New York, and even other cities, meet. Shouting and cheering like fanatics.

On a stage above ground level, two huge figures FIGHT each other like gladiators. They are pale, their movements are heavy and without mood.

We're witnessing the fight of two ZOMBIES. Swapping blows that maybe a normal human could not bear.

Blood sprays on the audience, pieces of skin soil the fighting ring.

ON PAPA MIDNIGHT Among the crowd, watching the combat emotionless.

Having fun?

CONSTANTINE (O.S.)

Midnight glances at Constantine, who stands behind him.

PAPA MIDNIGHT I thought you were in bed.

CONSTANTINE I was not sleepy. Did you happen to be afraid I'd find your... secret club of millionaire gamblers?

38.

PAPA MIDNIGHT Man needs to overflow his animal side somehow. Here they feel alive, pulsing with every punch they see.

CONSTANTINE Do you like it or just do it for fun and money?

PAPA MIDNIGHT Do not you approve? I never imagined John Constantine so... delicate.

CONSTANTINE The appearance can fool sometimes.

BLAM! One of the fighters knocks the other down on the floor. The crowd goes wild.

PAPA MIDNIGHT Violence has become banal, but here, people can feel something different.

They can smell, vibrate, everything.

CONSTANTINE Tell that to the two guys killing themselves over that ring.

PAPA MIDNIGHT They are nothing really, Constantine.

They are zombies, they are already dead. The crowd excites them.

ON THE ZOMBIES As one of them sits on top of the opponent's chest, which lies on the ground, it starts to PUMMEL its face with punches.

With each punch, the sound of bones cracking and blood spattering on the floor.

PAPA MIDNIGHT (O.S.) And they only stop when the fight demands.

After so many hits... ... ... the zombie CRUSHES the other combatant's head with its own fists.

ON CONSTANTINE AND MIDNIGHT -

39.

As zombie blood sprinkles on John's face. The fight had reached its climax, as did the people cheering loud.

John wipes his cheek.

PAPA MIDNIGHT Go to sleep, Constantine. You'll have to wake up from here in... (checks his watch) ... three hours.

CONSTANTINE Now you were promoted to be my nanny?

PAPA MIDNIGHT I just take my business seriously, unlike you.

CONSTANTINE Yeah? Screw you and your freak show.

Constantine turns around and makes his way through the crowd.

Meanwhile, in the ring, the victorious zombie stands next to the fallen, now headless opponent. It stares at the audience with its blank eyes.

EXT. NEW YORK CITY - NIGHT We fly over the city.

Then - a HIVE OF INSECTS (Mnemoth) soars into frame above the buildings. They move like a living black cloud, rippling through the air.

INT. PHARMACY - NIGHT Like Henry, the PHARMACIST desperately seeks something to eat. There are empty bottles of water and candy papers on the floor.

No choice, he advances on the medicine shelf eating the drugs as if it were food.

While he devours the remedies like a starving child, we see INSECTS roaming the shelves and on the floor.

40.

INT. MOTEL ROOM - NIGHT A PROSTITUTE watches HORRIFIED in the corner of the room her client gobbling the bedsheets.

He turns his head to her: the next target.

INT. DANCE FLOOR - NIGHTCLUB - NIGHT A TEENAGE GIRL picks up two drinks at the bar and starts walking toward her friends.

In the middle of the way, a MAN bumps into her knocking her drinks down.

The man drops on his knees amid the spilled drink.

TEENAGE GIRL You idiot! Look where you are! But the man remains on his knees, head down and body But the man remains on his knees, head down and body shivering.

TEENAGE GIRL (CONT'D) You owe me two drinks and I want it now, understand? (low) Hungry...

What?

MAN

TEENAGE GIRL

The girl bends over to hear what the man has to say.

BUT SUDDENLY - THE MAN LEAPS ON THE GIRL BITING HER NECK. He falls on top of her biting and ripping blood out the girl's neck. She SCREAMS painfully.

People turn around terrified. That man is tearing the girl's flesh and chewing it.

In a matter of seconds, the party turns into a mess of people wanting to get out of there as quickly as possible.

41.

INT. NEW YORK CITY - MORNING High angle above the city at the sunrise.

INT. GUEST ROOM - MIDNIGHT'S BUILDING - MORNING One of Midnight's servants opens the bedroom door and finds Constantine still sleeping, ungainly on the bed.

SERVANT Mr. Constantine, Papa Midnight requires your presence.

Constantine sudden wakes up as the servant moves away.

Dizzy, he glances at the clock on the nightstand that displays: 5:05 am.

Bloody hell.

CONSTANTINE

INT. PRISON CORRIDOR - MIDNIGHT'S BUILDING - DAY The elevator door opens. Constantine and Midnight walk out together. John moves like he's hung over.

PAPA MIDNIGHT What happened to you?

CONSTANTINE Trouble sleeping.

They stop in front of Gary's cell, who is still sleeping.

Constantine takes a step closer and kicks the door twice, waking Gary.

CONSTANTINE (CONT'D) Wake up, Gary, it's show time.

EXT. BALCONY - MIDNIGHT'S PENTHOUSE - DAY Plants around. Papa Midnight makes the preparations at a TABLE, where resides a knife, a bowl and some ritual artifacts.

Constantine joins him, still looking as if he has not recovered from sleep. He lights a cigarette and tries to relax.

42.

PAPA MIDNIGHT You know this thing gives you twenty years less life, does not it?

CONSTANTINE And you know that only I should take care of my life, right?

PAPA MIDNIGHT Yes, but it's not what it's looking like to me.

He ignores Midnight and continues to smoke. Then John realizes something of his interest.

CONSTANTINE Where did you get this thing?

REVEAL: AN ELECTRIC CHAIR. Heavy wooden monstrosity with straps and cuffs and the wear of many who sat in it for the last time. John walks over to the chair, admiring it.

PAPA MIDNIGHT Private auction. From Sing Sing.

CONSTANTINE It's a bit over the top.

PAPA MIDNIGHT It is a powerful magic, I like to be forewarned.

CONSTANTINE That's why you're the witcher.

Two servants come in the balcony dragging a nervous Gary.

Constantine walks up to him.

GARY John -- I can't go through with it. I want to give up now!

CONSTANTINE Don't be a daft, pal. It'll be a doddle, trust me.

GARY No... I... I...

CONSTANTINE We need you and your connection to Mnemoth, Gary. Only you can bring it to us.

43.

John nods to the servants. Then, they take Gary toward the chair and begin to truss him there.

A third servant arrives toting a CHICKEN and gives it to Midnight.

Let's begin.

PAPA MIDNIGHT

The two servants firmly hold Gary with those leather straps and pull away. Holding the chicken by the feet, Midnight begins to recite the ritual in Latin.

Meanwhile, Constantine becomes just a spectator of that show.

Gary shivers in the chair, trying to loosen himself but in vain, and getting more and more nervous.

GARY John! Stop with this, I'm scared!

CONSTANTINE Relax, Gaz, everything is under control.

With his other hand, Midnight grabs the knife on the table and tears the chicken's throat by shedding its blood in the bowl.

TIGHT ON Gary, trying to break loose from those straps but still unsuccessful. Panic flaring up.

His eyes spot something beyond the camera that makes him FREEZE. So does Constantine.

THEIR POV: A little distant on the horizon - MNEMOTH appears in its MASSIVE SWARM OF INSECTS form, heading to us.

GARY Oh my God -- Oh God, it's coming, John! Do something!

The cloud is every second closest, and it's largest and densest since the last time we saw it.

GARY (CONT'D) It is bigger and stronger! This way it will never fit in the bottle. (turns to John) Please tell me you a bigger bottle there because it's time to use it.

44.

CONSTANTINE (sighs) I'm sorry, Gaz. GARY What...? How do you plan to get it without a bottle?

Constantine gives a sad and guilty look to his friend. Gary takes a few seconds to finally realize the truth.

GARY (CONT'D) You liar... YOU FUCKING LIAR!!

Gary goes BERSERK. He tries to break those leather straps but it's impossible for him.

Midnight circulates him spilling blood from the bowl, forming a ring of blood around Gary.

GARY (CONT'D) I trusted you! I believed you and that's what you do to me!

Constantine speaks under Gary's nervous yelling, which ignores him completely: CONSTANTINE At this stage, we would never be able to arrest it wherever it does not want to go. But for you, it wants to. (beat) I hope you'll forgive me someday.

And finally... ... Mnemoth arrives on the balcony hovering above our gang like a black stain in mid-air.

Gary stares at it, transfixed by terror. Constantine and Midnight are speechless.

GARY No... please...

The swarm spirals and then descends right on Gary, rushing down his throat.

Gary spits and gags but they are unstoppable.

Hundreds swarm over his face and enter through other orifices - his nostrils, his ears.

45.

As all that insects shelter inside Gary, we see his chest HEAVING UP a little.

When all the swarm is finally inside Gary's body, he seems to faint subtly, hanging his head.

Silence.

Papa Midnight turns to John.

PAPA MIDNIGHT Now it's your turn.

Midnight holds an ink canister and a pin. John picks them up and approaches Gary.

He wets the tip of the pin in the ink and begins to scratch out some marks - the same ones that were on the Arabian boy - into Gary's skin as he remains fainted.

Do it quick.

I know.

PAPA MIDNIGHT (CONT'D) CONSTANTINE

John's about to finish his work, tattooing Gary's chest and arms with those symbols. But then he hears MURMURS. Apparently, coming from Gary. Hesitantly, Constantine leans closer to his friend.

Gaz...?

CONSTANTINE (CONT'D)

No answer. But - Gary swiftly JOLTS out the chair, snapping the straps on his hands and feet.

Growling like a beast, he grabs Constantine's throat and tugs him across the balcony with a strength we've never seen before in Gary.

CONSTANTINE (CONT'D) (almost breathless) Mate -- Gary!

Gary slams Constantine against the breastwork at the edge of the building, tipping John out of the building making him see the street miles below.

46.

CONSTANTINE (CONT'D) It's me, John!

Papa Midnight nods to his two servants. They move immediately to Lester.

Gary's anger is fading away. Constantine tries to contain the situation.

CONSTANTINE (CONT'D) It's okay, everything is fine now.

Gary is slowly returning to his normal state. Then the two servants take him by the arm, pulling away from John.

GARY Do not let it control me, John.

Before John could say another word... ... Papa Midnight comes from behind Gary and injects a SYRINGE into his neck.

It does not take many seconds until the content of the syringe take effect. Gary becomes unconscious, being supported only by the two servants.

Is he...

CONSTANTINE

PAPA MIDNIGHT He did not feel anything, I promise. (to the servants) Take him downstairs.

The two men haul Gary's motionless body and lead him out.

Constantine sits down staring at the floor, broken inside, angry with himself.

You okay?

PAPA MIDNIGHT (CONT'D)

CONSTANTINE I just condemned my friend the worst death sentence ever.

PAPA MIDNIGHT There are less friendly ways to go to the other world.

47.

CONSTANTINE "Friendly". Do not give me your reflective speech now.

I won't.

PAPA MIDNIGHT

Midnight turns around and heads off.

Off Constantine, looking for another cigarette in his pocket...

DISSOLVE TO: INT. PRISON CORRIDOR - MIDNIGHT'S BUILDING - LATER PANNING ACROSS some bottles of drinks lying on the ground, some empty and others half full. Remains of used cigarettes also near the bottle.

There we FIND - Constantine, propped up against the wall next to the cell that once belonged to Gary, looking like a beggar.

A beat.

Down the hallway, the elevator door opens. Papa Midnight walks toward him.

PAPA MIDNIGHT I hope you're still alive, John. I do not have the patience to get rid of another body today.

Shut up.

CONSTANTINE

Midnight stops beside John and stares at him in that deplorable state.

PAPA MIDNIGHT For a man of power, you leave yourself very vulnerable.

CONSTANTINE Well, you know what they say: work hard, play hard.

Groggy, John climbs on his feet.

48.

PAPA MIDNIGHT We buried him inside the cement. He shouted until the last moment.

CONSTANTINE I know. I heard.

PAPA MIDNIGHT Now Mnemoth only has your friend to feed, consequently itself. It's over.

CONSTANTINE (sarcastically) Yay, nice work. Now everyone leaves happily holding hands.

PAPA MIDNIGHT Grief is a luxury, Constantine. A magus must separate himself from his humanity.

CONSTANTINE So is this your great secret to fighting the forces of evil?

PAPA MIDNIGHT No, it's the secret that keeps me alive.

CONSTANTINE Y' know something, Midnight? You get right up my bloody nose.

Staggering like a drunk, Constantine walks past Midnight toward the elevator. Midnight just watches him go.

INT. ELEVATOR - MIDNIGHT'S BUILDING - DAY As the elevator descends, Constantine puts a cigarette in his mouth and then grabs his lighter. He tries to light it up but it's difficult.

CONSTANTINE (V.O.) Finally the screams stopped. But it does not mean things have gotten better unfortunately.

He manages to make the lighter work and lights his cigarette.

49.

CONSTANTINE (V.O.) (CONT'D) Why can not things work out at least once?

The elevator stops. The door opens and Constantine steps out.

Just once.

CONSTANTINE (V.O.) (CONT'D)

EXT. MIDNIGHT'S BUILDING - DAY Constantine leaves the building and stands on the sidewalk, looking around the busy urban world around.

Then starts to walk.

EXT. NEWSSTAND - DAY Halfway, Constantine picks up one of the papers and pays the NEWS VENDOR. Then he backs on his way.

EXT. NEW YORK STREETS - DAY Scrolling through that newspaper, John finds an interesting headline: "Epidemic? People die of starvation in New York."

CONSTANTINE (V.O.) I saved your asses, you bastards. But nobody will know.

He kneads the newspaper and throws it in the trash. John turns to cross the street, but as he sets foot off the sidewalk... ... A HORN startles him in time.

John JUMPS back to the sidewalk as a pick-up whooshes past him right where he stood. When vehicle pulls away, it reveals - that three ghosts across the street, staring John at the sidewalk.

However, GARY LESTER is with them now.

50.

CONSTANTINE (V.O.) (CONT'D) Great. One more to judge me with the others. See you around, Lester.

John turns and continues walking down on the sidewalk avoiding looking at the ghosts.

We STAY as Constantine mingles in the crowd, vanishing from our sight.

FADE OUT.

THE END