HANCOCK
Written by
Vincent Ngo & Vince Gilligan
FADE IN:
BLACK. It's everywhere. It swallows the screen. And so we stare
into a sea of BLACK.
NARRATOR (V.0.)
I saw a severed head once. Except for the,
paleness, it looked healthy, well-fed.
The end came abruptly you could tell
'cause the mouth froze in mid-sentence.
"Shh. ," the curled lips attempted. Like
it started saying "shucks" or "Shirley"
or... "shit happens." Your eyes don't
forget things like that. Like you don't
forget the sound animals make when
they're humping. Primal.
Raw. They endure
in you forever because the senses have a
brain all their own and they recall long
after you've succumbed to the la-la of
forgetfulness.
(a pregnant beat)
Sometimes when it's dark out,-so dark
it's black, I'll see HIM.
(BEAT)
And it starts all over again.
From this blackness, a streak of LIGHTNING splits the night sky.
EXT. SKY - NIGHT
We are in the eye of a STORM, an angry mass of clo uds raging
o f a howling WIND. across the black sky..It brings RAIN and THUNDER an d the swirl
An ENTITY emerges from this moist darkness.
weather and advances into our scope of visibilityies through the
A FLASH, of lightning erupts and it illuminates the sky. We SEE
the approaching entity as it hovers before us.
It's a man.
It's a man, plus.
It's a SUPERHERO,
garbed in an elastic dark-grey outfit - a faded RED CAPE extends b
ehind him, thrashing against the wind and rain.
This Superhero (30). Unshaven.
Disheveled. Worn. A face
chiselled with mileage.
2.
In the eyes, we can see his soul. Intense. Fierce. An exposed
nerve, snagged in a fish hook.
He hangs in the air, tired, rain-soaked, pissed-off.
He stares down at the earth below and he beholds the saturated
visage of SHEEPSHEAD BAY, a seaside Brooklyn neighborhood.
And from the bowels of his very soul, this Superhero belches a
thunderous ROAR. He pivots in the air and dives toward land.
He slices through the downpour, arms extended, body erect,
engulfed in the dimensions of his cape.
The ground approaches, fast. He accelerates as if to embrace it.
Velocity sucks up all remaining space and there is IMPACT.
An EXPLOSION as he rips through the street surface, penetrating
the asphalt - head first. Debris and concrete spew from the
ruptured orifice as he disappears inside.
There is an expulsion of subterranean pressure and it launches
nearby manhole LIDS from their spots - they bounce and CLANG
down the street like loose change.
The rain continues its onslaught.
INT. APARTMENT - NIGHT
Rain sloshes against a kitchen window. Where the sink is. Not
far from the kitchen table. Where the LONGFELLOW Family sits,
dinner before them.
HORUS (35) leans over his plate, eating his meal. Here idles a
man of diminutive frame, bespectacled, placid - as harmless as
low fat milk.
He sits opposite MARY (30), frenetically appropriating food. A
gentle beauty. entwined in maternal angst she is estrogen with an
attitude.
A meek little AARON (8), slouches between the folks - a BLACK
EYE tattoos the left of his face. Aaron stares at the damn
plate, finding no humor in eggplant.
MARY
The principal did'nothing. Like
schoolyard terrorism is no worse than
being tardy. What's the matter with
education? Back when, you could go to
school and learn about Betsy Ross and...
mollusks and... not get stabbed on the
way home.
4.
INT. SUBWAY TUNNEL - NIGHT
A subway TRAM idles by a passenger ramp. STEAM hisses from its
side and plumes into a wall of white mist.
And from this cloud of angry vapors, a figure appears. He
surfaces from the dark subway tunnel, a cool nonchalance in his
gait.
It is the Superhero, his identity safely concealed under the
collar of a tattered TRENCHCOAT. He traverses the loading deck,
PASSENGERS boarding and disembarking around him.
He wades through them - to a deserted section of the subway. He
strolls over to a CIGARETTE MACHINE, up against the grafetti-
raped subway wall.
On the wall, a line of profanity declares that...
"YOUR MOTHER TAKES IT UP THE ASS."
He surveys the machine. His right arm appears from the coat
pocket. Fingers merge into a tight fist. And casually, he rips
into the metal vendor like it was Jello.
His fist withdraws a handful of bills, coins. He pockets the
loot. He reaches back in and withdraws a carton of LUCKY STRIKE.
Deposits it under his coat.
And with that, he heads for the stairs - to the flooded streets
above.
At the ramp, and on cue, the subway tram closes its doors.
Trembles. Moves. Steams into the deep dark tunnel. White SMOKE
mushrooms from its tail. It lingers in the air as we...
INT. APARTMENT - NIGHT
see STEAM, rising from a faucet of running HOT water.
It rises from a sink of soiled dishes - where Mary deposits
another set of pots. She's clearing the table.
Down a dark hallway, a streak of light escapes from an open
door. Inside and on the bed, the frail posture of Horus changes
out of his clothes.
INT. BEDROOM - NIGHT
Horus disrobes down to his t-shirt and briefs. He stands before
the closet mirror, scrutinizing the emaciated, sand-kicked-in-
the-face body.
5.
Horns strikes
a He-man pose, his
biceps in the
wind.
He removes the Police apparel,
plastic. Proceeds to put it on.
INT. RED
EYE MOTEL - NIGHT
FISH
How the fuck can I help you sir?
SUPERHERO
A room.
6.
His blood-shot eyes mean it.
Fish turns to the back wall. Grabs a random KEY from a nail.
FISH
Top floor, 7F. Fifteen a pop, up front.
(re: the check-in sheet)
And your John Hancock makes it sweet.
The Superhero scrutinizes the CHECK-IN sheet. Scribbles
HANCOCK
on the dotted line.
Fish hands over the key. Then, pulls it back from Hancock's
grab.
FISH (CONT'D)
I don't take messages, I don't do favors,
and I don't know you from Jack. You want
sheets, they're extra. Towel's extra.
Plunger's extra.
HANCOCK
I need quiet. Is it quiet?
FISH
Quiet? Hey pal, we look like a public
library to you? The girls work. Some of
them scream, some of them moan...
(SMILES)
and some of them just kinda lay there
cold. You want quiet, I got cotton balls
you can stick in your ear. They're extra.
Hancock eyes Fish, mentally dissecting the vermin with his bare
hands. He withdraws from his coat the WAD of loot. Pushes it
under the window.
And while Fish collects, he leans into the window and emits a
deep GROWL. Fish recoils. The bills fly.
Hancock takes the key. Exchanges it with a metal ORB - the
strangulated remains of the bell. It rolls out of his palm and
CLINKS off the counter.
Hancock sidles off. Fish - the cat's got his tongue.
INT. BEDROOM - NIGHT
Horus, in full uniform - dark blue pants, shirt.
7.
He dips into a dresser, pulls out a thick black leather belt -
complete with holster.
Horus returns to the dresser for one final item - It's obscured
by his arm but we feel it to be some heavy chunk of metal.
He confronts the mirror, twirls this piece, holsters it. And we
SEE it to be a FLASHLIGHT.
A shoulder patch reads...
U-RENT SECURITY CO.
Their motto: "TO OBSERVE AND RECORD"
Horus tucks a hat under his arms, ready to move.
INT. AARON'S ROOM - NIGHT
A jar of MARBLES rests upon a window ledge. Outside, the story
is rain.
On a bed, sprawled on his back, Aaron gazes up at the empty
ceiling - the black eye squats prominently on his face.
Aaron brings his hand before his eyes. Looks at it. Studies it.
Slowly, his fingers converge into a tight FIST - a boy's
interpretation of a man's weapon.
A gentle KNOCK disperses the knuckles. Horus peers in.
HORUS
How's the eye?
AARON
Black.
Horus enters.
Stands awkwardly before his son.
HORUS
It'll be gone in a week. Mom'11 touch it
up with some make-up and you won't even
know it's there.
AARON
Yeah I will. And I don't want any girly
make-up on my face.
Horus deposits himself on the bed. Hunches over-h13 knees.
B.
HORUS
(almost apologetically)
There'll always be people around
who'll... exert force over those of us
who just want to live in peace.
Aaron listens, observing his father's efforts.
HORUS (CONT' D)
(pain in every word)
The thing to do is... to avoid them.
They're no-wins. Can't-wins. You hold the
anger... and move on. You hold the anger.
(turns to Aaron)
I tell you because I can't take it,
seeing you hurt. You're part of me.
(BEAT)
I've felt what you're feeling now. And if
you've got any of me in you, you're gonna
feel what I felt-when you go up against
one of 'em. Turn away... that's what you
do... the other cheek. You do that for
me. No, you're not the coward. Not you.
No. I'll be the coward, all right? 'Cause
I don't want to see you hurt. I love you.
I ask you to do that for me... your old
man.
And while he utters these words, Mary watches from the dark
hallway - moved b y his affection.
She oversees a father-son embrace.
HORUS (CONT'D)
I'm late for work. Get some sleep.
Tomorrow always feels better...
AARON
.after a good night sleep.
The light FLICKS off and the man's silhouette form exits the
room.
INT. HALLWAY - NIGHT
Horus backs his way out. Shuts the door. Mary's hand greets him
from behind.
It startles the man. He.tries to regroup.
HORUS
Mary.
9.
Mary inches closer - passion oozes from every pore. She nestles
up against her husband.
Horus stands uncoordinated, pressing his hands against her back.
He is gentle, but as effective as an armless masturbator.
Mary caresses his neck. Moves her lips to his ear, enraptured
BY
the moment.
And out of nowhere...
HORUS (CONT'D)
(AWKWARD)
I'm late.
Mary snaps from her trance. Unshackles her hold, like she almost
expected it.
MARY
(DISAPPOINTED)
Right.
(BEAT)
Coffee's by the door.
She marches back into the kitchen. Horus stares at his feet.
S hakes his fists, mentally kicking himself in the face.
He settles for the door, grabs hisjac ke , coffee thermos. A
look at Mary and he's out thedoo rt
CUT TO:
INT. KITCHEN - NIGHT
Mary - against
the kitchen sink.
Her thin cotton
dress clings to a body still'robust with enrgy,
to breasts so ful l they could yread Uncl
pop a boner inoud e
And while the storm rages outside, Mary burns in a feverish
sweat. The swelling steam and running ho t water combine to
saturate her chest and face - she drips.
Mary gazes out at the wet abyss, possessed by some inner
longing.
INT. MOTEL ROOM (7F) - NIGHT
A T.V. SET. It MOANS from the corner of a room. Scant
blinking red neon from the street cannot disguise thecant lighting
torture this r oom has seen.
10.
Torn, mildewed' curtains. Damp carpeting,. et _ d by every form
of bodily discharge. No self-rem n� g maggot would want to be
caught dead here.
On a shredded s, blotched with urine and cum, we SEE a
trenehc -l�n open carton of cigarettes accompanies the
picture.
An open door faces the MOANING TV set. It's the bathroom and
it's occupied by the intensely frazzled image of Hancock.
He squats on the TOILET, pants around the ankles, cape shrouded
around him.
Those unforgiving eyes plant on the TV screen, a cigarette
dangling from the corner of his lip.
We discern the MOANS to be human and we SEE that he is watching
a PORNO flick - flashes of flesh upon flesh in a fucking frenzy.
T.V. SET (O.S.)
(FEMALE)
Ooh yeah, big fella. That's it. Shoot
your load, baby. Let it fly... FLY...!
(male; in ecstasy)
fly. YES! G0000D!
Hancock absorbs the action from the can, a glint of pain on his
face.
He takes a long hard drag on the cigarette - a full stick
deteriorates into ashes before our eyes.
And outside, it rains like there's no tomorrow.
CUT TO:
EXT. SHEEPSHEAD BAY - DAY
Morning brings a cease-fire on precipitation. The streets
glimmer from puddles left behind from the night.
The overcast sky - its precarious rain formation indicates that
the storm is far from over.
INT. KITCHEN - DAY
A SUPERMAN lunchbox perches on the kitchen table. Mother and son
prepare for school.
Aaron adjusts his raincoat, looking disturbed.
11.
Mary parts his hair, Straightens
his shirt.
_the complete morning routine. Her maternal h'ahdf
Stay inside.
AARON
(IRRITATED)
I don't need you walking
me to school.
Mary clasps her ears - deaf.
MARY
not listening
.Lalalala...
AARON
(in disbelief)
I got the only mother
does this. in the world that
I'm not lisMARY g. Lalalala..,
INT. WATANABE'
S SHOPPING EMPORIUM - THI
RD FLOOR - DAY
A light beam.
It dances over the consoles of H
H orns holsters i-fi's televisions
, his flashli ht , stereo
floor. He take and mores ' across the s
s the stairs g - down. howrooms
Horus passes the
second floor.
INT. FIRST FLOOR - DAY
Horus crosses the floor
to the back,. to where
ROHEIM (50)
stoops, on a stool and
in a deep
from his mou th over his saturated ssleeve. A line of SALIVA dangles
The badge and uniform reveal
employee. Roheim another U-Rent Secu Co.
is your uncle lostjck sexuallytdeviant
as threatening as a burnt-outmat and
CHSTICK
Horns stands over Roheim's slumpne ss. Removes a
from his own pocket. handkerchief
HORUS
(GENTLY)
Roheim.
12.
He's done this before.
ROHEIM
(dream state)
Olga...
HORUS
Roheim. Let's go home.
Roheim stirs...
ROHEIM
. bitch.
From the dark recesses of sleep - he wakes. Straightens up.
Slurps back his dignity.
ROHEIM (CONT' D)
(BARELY)
What, already?
Takes the handkerchief. Wipes his mouth.
HORUS
I just made the last run.
He helps the old man to his feet.
ROHEIM
You're a good man.
INT. RED EYE MOTEL (7F) - DAY
An ASHTRAY buried under a mountain of butts.
A bed unslept. The TV is on, commercialing some spring-fresh
vaginal wash. The room sits empty.
But the bathroom door is open. Inside, the supersuit peeled down
to his waist, Hancock shaves.
HANCOCK
(mumbling; rehearsing)
it's about responsibility... with
what is empowered in you... to correct
the ills of man.
No foam. No gel. Just skin and the razor edge of his belt BUCKLE
- it slices through stubble, clearing up a face that has yet to
sleep.
13.
HANCOCK (CONT'D)
(AGAIN)
it's about responsibility...
Hancock reaches into the cabinet below the sink - pulls out a
BOTTLE of 409 all-purpose cleaner...
On the tube, the commercial segues way into...
T.V. (O.S.)
(FAINTLY)
And on the world front, heavy fighting
continues in Angola as rebel forces
storm... regime... under the military
stronghold...
The SOUND of machine guns CRACKLE amidst mortar explosions and
civil destruction.
Hancock listens - it disturbs him. He whirls around, accosts the
TV Rips it from the wall, throws it out the window. And a CRASH
eradicates images of war and chaos.
He returns to the bathroom. To the mirror. Proceeds to spray his
teeth with 409...
EXT. WATANABE'S SHOPPING EMPORIUM - DAY
Behold this imposing, block-long behemoth of commerce and
decadence. A shopper's wet dream, this is WATANABE'S SHOPPING
EMPORIUM.
From the street, notice the display windows - all mannequins
come complete with outfit and ultra-erect nipples.
As EMPLOYEES file into the service entrance, out comes Horus and
Roheim. They head streetward, to the sidewalk.
Roheim unscrews the battery cap from his flashlight. Takes a
swig from its hollow interior.
ROHEIM
I'll just play out the rest of this Eight
Ball...
He laps up the last drop. Reloads it with a couple of batteries
from his jacket.
ROHEIM (CONT' D)
(caps it)
like that.
Horus looks on - silent.
14.
A POLICE VEHICLE enters this urban landscape. It slows in front
of them. The cops: RUTGER and ADAMS, two hairy-knuckled
testosterone cases with nothing to do.
RUTGER.
(passenger seat)
Boys...
The cops smile at one another. A large SHOTGUN rests fully erect
between them. And they drive off.
Horus, watching them go, focuses in on the
"TO SERVE AND PROTECT"
of their vehicle.
Roheim watches him - turning red with drama.
ROHEIM
Bastards... couldn't protect a pitcher of
warm spit... couldn't find their
asshole with common sense and a thumb.
(BEAT)
Like I been saying, it's their.loss. The
jerk-offs, they don't got the heart...
the sensitivity of a man like you.
Horus tries to shrug off these words. No good - they stick like
a thorn in the eye of his soul.
ROHEIM (CONT'.D)
(CONTINUING)
Come on, let's go home.
EXT. ROOFTOP - DAY
On the rooftop; the Red Eye Motel.
A trenchcoated figure - we see him from the back, only. We
recognize the broad of his shoulders and the red of his cape,
peering out from a hole in his coat.
A cloud of smoke lingers above his head, from an unseen
cigarette. He stands before the Sheepshead neighborhood, ever so
still.
Something brews within this superman.
15.
EXT. SHEEPSHEAD BAY - DAY
The streets of Sheepshead: apartments, brownstones speckled with
e DELIS and NEWSSTANDS and BARBER SHOPS and OUTDOOR MARKETS - they
are the "esque" in Bro ly qu
Through this hustle-bustle, we spot Mary and Aaron on their way
TO
BRADLEY ELEMENTARY SCHOOL.
Schoolyard activities abound. Buses, bouncing balls, and hoards
of screaming little anti-christs.
I
Mary leads Aaron along the playground fence, the latter trying
to pull ahead and away.
MARY
Will you slow down.
AARON
I know it. I know it.
MARY
I think I'm... slow down... I'm gaining
weight. Honey, take a look at my waist.
AARON
What?
MARY
Is my dress too tight?
AARON
What? Nothing. It's fine.
MARY
Really, my waist isn't too big?
AARON
What? Not here, mom.
MARY
All right, already. Two-thirty. You do n't
leave the building till then. I'll be
there.
AARON
I know it, mom. Can I go now?
MARY
Give me a kiss, you snot.
16.
AARON
(there is no god)
Geez!
He turns back. Plants a kiss on Mary's smiling cheeks.
MARY
Two-thirty.
AARON
All right, mom.
He leaves, merging into the undulating sea of children.
MARY
(after him; in vain)
You want anything from the store?
He's gone.
EXT. STREET - DAY
This is the Longfellow's street - lower-middle class but
comfortable, quaint, safe. Mr. Longfellow, hustling through the
street, takes us home.
Greeting him at the entrance, at the mailboxes, is CLYDE BANNER
(35). Quite large this tenant is, quite simply a Cro-Magnon Man.
Clyde stands with the morning paper in hand, searching
carelessly through. He finds the SPORTS PAGE. Hides it under his
robe.
CLYDE
(LOUD)
Longfella. Good to see you.
HORUS
Clyde...
Clyde shoves the remains of the paper at Horus - in his face.
CLYDE
Picked this up for you.
(pulls the paper back)
Say thanks.
HORUS
Thanks.
CLYDE
(hands it over)
You're a good man.
17.
He heads inside.
Horus swallowing it. He unshuffles the paper, finding the front
page. The headline reads...
RAINSTORM HITS SHEEPSHEAD. NO END IN SIGHT.
Horus checks the sky - a sinewy mesh of angry clouds. He lumbers
inside.
INT. NICK'S MARKET - DAY
Your average market, mom and pop.
Artichokes! Mary handles an artichoke, contemplating. NICK (30),
the grocer, moves behind her. handsome in a greasy,
grimy, rebuilt carb in uretor He's
That's a lovely dress, Mary.
If he could mount her now, he would.
MARY
You're sweet, Nick.
He cracks a wet smile. Mary, aware, unhands the artichoke. Moves
on.
L
CUT TO:
EXT. STREET - DAY
Mary moves through the street, embracing a grocery bag.
She continues her way, purpose in every step. No window shopping
bullshit for this woman - Mary's strong, beautiful.
She crosses the street, her destination: CENTRAL FIDELITY BANK.
A dark CHEVY eases pass Mary on this street, pulls to a stop.
Mary continues forth, entering the bank.
INT. BANK - DAY
Sheepshead DENIZENS crisscross amok. People queue behind teller
lines, taking care of business.
Mary takes her place. She glances at the bank CLOCK - it's 10
o'clock.
18.
EXT. BANK - DAY
A BEE spirals the air and lands on the sleeve of a nervous ARM.
This arm protrudes from the dark Chevy, parked before the bank.
The engine is running.
The arm fidgets. SHOOS the insect away. With white knuckles, it
grips the wheel.
INT. BANK - DAY
Same bank, same people. Mary awaits service in the same line.
A MAN ambles pass Mary's line, up towards the front. He cuts off
the person in front, an elderly WOMAN.
WOMAN
Hey, what's the idea?
The man turns. Smiles. His smile fades, turning into a maniacal.
grin. This man is TOM (35), as plainly evil as the eye can see.
TOM
You know what, you remind me of my
grandma.
Tom whips out a sawed-off SHOTGUN from his pants...
TOM (CONT'D)
(CONTINUING)
She gave me this when I made parole.
He aims the barrel in her face.
TOM (CONT'D)
(CONTINUING)
Thanks, Granny!
Of course, by now, people have realized the implications of the
situation at hand. They begin to panic.
On cue, two new GUNMEN, JERRY and JERRY (30's), emerge from the
crowded bank, both revealing automatic RIFLES.
Jerry #1 drops the SECURITY GUARD with the butt of his gun.
As planned, they take aim at the surveillance CAMERAS on each
end of the bank. BANG. BANG. They miss, much to Tom's chagrin.
The crowd ducks, Mary among them. Terror grips,the queues.
The Jerrys try again. BANG. BANG. No more cameras. And with
,Ir► that, Tom takes center stage. He leaps on the teller counter.
19.
TOM (CONT'D)
Ladies and gentlemen, this is your
captain speaking. My name is Tom. These
are my assistants, Jerry and Jerry.
Why're we doing what we're doing, you
ask? We got one word to say to you
folks...
(shrugging; smiles)
Recession.
CUT TO:
TNT. BANK - DAY
Order in the bank - employees and patrons are now corralled at
the center of the bank. Their faces all register pain. And we
find out why...
They all squat in the LOTUS position - legs crossed like
pretzels.
TOM
(to Jerry #2)
Thank you, Jerry.
Tom is referring to Jerry's demonstration of the lotus Jerry
does not respond.
TOM (CONT'D)
(CONTINUING)
Thank you, Jerry.
JERRY #2
I'm stuck.
Mary, amongst the crowd, watcheson withinterest.
INT. CLASSROOM - DAY
Bradley Elementary School.
Class.is in session, captained by ravishing MS. MILLIS (28).
Lips, legs, lungs - stuff prepubescent wet dreams are made of.
Aaron, nestled mid-room, tries to keep his eyes straight.
He steals a quick look to the back of the room: there, in the
back, a BLONDE boy (8) sits chewing gum.
This kid, from the slicked-back hair and rolled-up t-shirt
sleeves, is a sub-species of vermin.
20.
He taunts Aaron a smile, opens his mouth, and we realize that
he's gnawing on a plastic DOLL HEAD.
INT. BANK - DAY
Behind the teller window is Tom, assisted by a quite voluptuous
employee - VERONICA, (23), with an IQ to match.
TOM
(to the crowd)
And while I take care of business, my
associates will be making their rounds.
The Jerrys leap into action - guns pointing. They rummage the
helpless patrons for jewelry, cash and collectables.
TOM (CONT'D)
(CONTINUING)
Please be cooperative and more
importantly, charitable. We'd like you to
think of it as donations... for Jerry's
kids.
Jerry #2 weaves through crowd waving his automatic wand. People
dish out valuables into his canvas BAG. He arrives at Mary,
motioning at the bag with the rifle.
MARY
(UNINTIMIDATED)
I have no money.
JERRY #2
(I wasn't born yesterday)
Come on, is. What the hell you doing in
a bank if you.got no money?
MARY
I'm here to withdraw money.
This stumps the brainless beast.
And over by the teller, while he's stuffing her bag...
TOM
Don't hate me 'cause I'm beautiful.
She's too scared for speech.
But back on the bank floor...
JERRY #2
(at her ring)
Give me that.
22.
Jerry #2, testicles in his throat.
INT. BANK - DAY
Tom is out on the floor, gun wielding. Jerry #1 is with him,
loot bags in hand.
TOM
(to the crowd)
No heroes! No heroes!
Jerry #2 returns, bad news on his tongue.
JERRY #2
He flew! Fucking Fred flew!
TOM
Fuck! Fuck!
A wave of SIRENS punctuate their state of "fuck." It crescendoes
around the building.
EXT. BANK - DAY
SQUADS of police cars form a noose around the building. A
S.W.A.T. teem spews from a transport unit, armed for the big
tightening. Guns and ammo abound.
INT. BANK - DAY
Jerry #1 is at the entrance - peering out at doom.
JERRY #1
(IMPRESSED)
Wow, S.W.A.T.
TOM
(muttering; spelling the end)
I'm not going back.
Mary, amongst the crowd, takes a glance at the CLOCK --one
thirty.
CUT TO:
INT. BANK DAY
Time LAPSES. It's 2:30.
Mary turns from the clock, concerned. She studies the situation,
the robbers - an overall glumness tells the story. At the
entrance - Tom. He looks desperate. Irrational. Ready to snap.
23.
The hostages huddle on the floor, tired. They wait.
EXT. BRADLEY ELEMENTARY - DAY
The CLOCK on the building reads 2:30 school is out. Children
file out of classrooms. Scatter. Only Aaron remains, alone to
the elements - waiting.
A ball bounces, rolls to his feet. Aaron looks...
It's not a ball. It's a doll's head.
Aaron's face - dread.
EXT. BANK - DAY
A portly man, oily, thick, bellows out negotiations via his
HORN; Introducing TED, the police captain, BROCK (45) - aspires
to be Warren Beatty, more like Ned Beatty.
TED
(YAWNING)
Time's running out, fellas.
He turns to his sidekick, CHAD (25), a fellow cop. Chad's on the
phone deliberating an important call.
TED (CONT'D)
(tapping his attention)
The pizza here, yet?
CHAD
Negative.
(hands over the phone)
Tami.
TED
Ooh, one sec.
(to the bank)
Time's... all Hell's gonna break loose,
fellas.
(to phone)
My koochie, woochie, oochie ooo...
A BLAST rings out from Central Fidelity.
Glass shatters from the entrance. A body, the security guard,
tumbles out and onto the sidewalk.
Blood and brain exits in OOZES where the bullet had entered -
he's probably dead.
24.
The cops, Ted., Chad. Rutger and Adams - they all REACT, guns
raised.
INT. BANK - DAY
Tom huddles by the entrance, gun smoking. Cool and suave has
succumbed to psychotic. The Jerrys are nearby, nervous. As are
the hostages, clumped together in fright.
TOM
(SNAPPED)
I'm not gonna say it again, Ted!
(re: hostages)
swiss cheese. All of them!
TED (O.S.)
Time's running out, fellas!
The hostages grimace, hell not so far away.
TOM
I want that car, Ted!
EXT. BANK - DAY
Ted punches Chad on the shoulders.
TED
Where's that car, Jesus!
CHAD
It's out getting your pizza.
TOM (O.S.)
. a car and I want it NOW!
And on this cue, the sky answers with a thunderous surprise - a
CAR comes CRASHING down before the bank entrance.
It came from the clouds and it looks familiar - it's the getaway
Chevy, bruised and punctured beyond recognition, its hubcaps
still reeling from the impact.
The sky answers again, this time with the tattered body of FRED,
the getaway driver (alias, the arm.) Fred lands on the hood of
the Chevy, sinking into its metal frame.
SHOCK waves across faces of stone. The cops all look up.
TED
(at the sky)
What the...
25.
There :;n the sky, a taped figure works his magic of flight. He
examines the ground below. And he dives.
Hancock approaches earth and swings lateral. He circumvents the
bank structure, flying around and around.
Everybody ducks. Trash and paper batter about behind his draft.
INT. BANK - DAY
Tom and the Jerrys stand shackled in their spots.
Their eyes wander about, lost in confusion. The WHIR outside
subsides. Stops.
A loaded beat.
Tom, in mid-swallow, watches as a spectacular EXPLOSION of
bricks sprays the air inside. A caped figure bursts into the
scene amidst SCREAMS from clueless hostages.
in the blink of an eye, Hancock has Jerry #2 by the collar. With
a flick of the wrists, Jerry #2 is a human projectile en route
to the windshield of a police vehicle outside.
Jerry #1 opens FIRE on Hancock. Bullets careen off flesh of
steel.
EXT. BANK - DAY
Jerry #1 rides air and glass out and across the street into
another awaiting police windshield.
INT. BANK - DAY
Smoke and debris smother the air. And as they subside, all eyes
fall on the caped figure that is Hancock, erect in the rubble.
Mary can't believe her eyes. She surveys every inch of his
frame, now clean-shaven, combed, comic book perfect.
Hancock scans the crowd of stunned hostages - his eyes pick out
the WOMEN - Veronica's wet smile takes him.
A heartbeat.
HANCOCK
(GOD)
Everybody out, please.
Bodies bang about, all moving for the door.
26.
Mary follows the herd out but her eyes remain on the caped
figure, until real estate ushers her into the street.
EXT. BANK - DAY
PARAMEDICS converge on the hostages .
The cops are at a loss - deers staring down a pair headlights.
They train their guns on the bank, waiting for answers.
INT. BANK - DAY
The bank floor in shambles. No one in sight. But movement jars
us to the back, where the bank SAFE is.
We SEE Hancock wade through rubble towards the open safe, a
thick steel chamber of commerce. Hancock arrives at the safe.
Confronts the object inside - Tom.
INT. BANK SAFE - DAY
There he is, in the corner, a sweaty piece of misery. Tom bears
his revolver, aimed at Hancock. Hancock enters the safe.
TOM
Stay away.
Hancock does not respond.
TOM (CONT'D)
(CONTINUING)
I'm not going back.
Hancock turns, grabs the safe door. Slams it shut with a
resounding THUD. They're locked in.
TOM (CONT'D)
(HYSTERICAL)
What're you doing?
Hancock does not respond.
TOM (CONT'D)
What's going on, here?
Hancock no response. Tom raises his gun, and meaning it.
TOM (CONT'D)
Answer me! Say something!
(FIRES)
Fuck me!
27.
BANG! Tom fires a. shot off Hancock's forehead. The BULLET
ricochets about the steel interior, under great velocity.
It rips Tom's right EAR from his head.
HANCOCK
(catching the renegade slug)
Why'd you go and do that for?
Tom retrieves his ear from the ground. Tries to put it back,
clutching his head. He bleeds.
TOM
Fuck... My shirt.
HANCOCK
(steps forward)
Why don't we call it the day.
TOM
(gun raised)
Don't. I told you... I'm not going back.
HANCOCK
(IRRITATED)
If you're going to tease, cock the damn
gun. Otherwise, spare me the wounded
animal act of desperation. I don't got c,
time for rhetoric and sympathy so. don't
expect... dialogue and "come with me and
you won't be hurt" bullshit. You walk out
of here with me and your life is a
violent storm. You will be hurt, you will
be abused... whatever turns them on.
Either way, your days are shit! Those are
the realities, spelled out.
TOM
What's eating you, man?
HANCOCK
(UPSET)
You got half the precinct out there,
armed, trained to blow the tail off a
sperm from a hundred yards... you're
standing in here, cornered, three bullets
left in that squirter of yours, if you're
lucky, and you got one ear. I don't need
the aggravation. I don't need this.
TOM
Man, you're jaded. I'm not asking for a
rainbow...
(MORE)
28.
TOM (CONT' D)
you don't got to shower me with respect.
Just a little.. tenderness, is all. Have
you no mercy, mister?
HANCOCK
(he's had enough)
I'm all out. Let's go...
And as he utters this, he approaches Tom.
TOM
(HURT)
Fuck you.
Close on his trigger finger. It tightens...
HANCOCK
NO!
INT. BANK - DAY
On the bank floor, where a group of cops now huddle, we hear
THREE SHOTS - from the safe.
EXT. ALLEY - DAY
The schoolyard - it looms in the background, as a reference to
where we are.
Aaron occupies this alley and we see what he sees - trash and
fire-escapes and ominous gray skies. DARK FIGURES move into this
sight - they eclipse the heavens.
And there Aaron is, twisted in a contorted heap of arms and legs
- his body eternally locked within the stranglehold of SPENGLER
and ERLICK (both his age.)
Aaron's face, another BLACK EYE makes it a set. Rage distorts
his mouth out of symmetry. He stares at PERCEVAL, before him -
the blonde kid from class.
We HEAR water, a stream of liquid-something SPLASHING about,
SPRAYING. Perceval - he's taking a leak on Aaron's exposed leg.
EXT. BANK - DAY
The aftermath.
Hancock is swarmed under MEDIA LIGHTS, reporters squeezing
through a wall of people, police, trying to get a piece of this
superman.
29.
We follow Hancock's scope amidst the melee it spots luscious
Veronica again, it spots WOMEN, all who'd die for a chance to
suck on his cape.
CUT TO:
EXT. STREET - DAY
Mary hastens after Aaron, urine-soaked and on the verge of
tears. He rages down the street while his mother pursues.
MARY
Tell me... what happened?
AARON
(about to break)
You were late.
MARY
I was held up...
AARON
The asshole peed on me. I'm dog shit.
MARY
.at the bank. Honey, were they the same
ones? Don't cry.
AARON
Get a grip, mom.
They arrive home, both storming through the entrance and up the
stairs.
EXT. APARTMENT - DAY
The door SLAMS to signify arrival. School books go flying.
Mother and son march down the hallway. They are greeted by
Horus, sleep still on his face.
HORUS
How was your day?
Mother and son - if eyes could disembowel.
CUT TO:
EXT. BUILDING - DAY
Just your average professional building, several stories of
brick and cement.
30.
But all is not well with this typically normal picture. On the
top floor, outside and on the ledge - a JUMPER stands poised
before blood and concrete. His TIE flaps in the wind.
From an adjacent window, a SECRETARY, a FIREMAN attempt to get
him down.
JUMPER'
(SELF-PITY)
People ignore me.
From his vantage - a congregation of PEOPLE swarm below in his
honor. A woman cradling a BABY watches from a building window
across the street.
FIREMAN
Mr. Fisher.
SECRETARY
(through her teeth)
You're not unattractive.
FIREMAN
Baldness is not fatal.
JUMPER
My wife ignores me.
FIREMAN
Your wife's a cunt, Mr. Fisher.
SECRETARY
We like you, Mr. Fisher. The girls
acknowledge you, we all do.
JUMPER
No.
SECRETARY
Yes.
JUMPER
Really?
The secretary SCREAMS. All attention shifts to the BUILDING
across the street. The secretary points...
EXT. OPPOSITE BUILDING - DAY
There...
31.
on the top floor, outside and on the ledge - the baby seen
earlier, diaper-clad, crawls precariously on the rim of doom.
His mother's FREAKING from the window.
Below, the crowd makes its way across the street. They point and
gasp at the infant's every movement - leaving the jumper by his
lonesome.
The baby teeters along the edge. It heads for a FLAG pole,
dazzled by the red-white-and-blue. It reaches out at fabric.
Almost. Not quite. The baby DROPS from the precipice.
On the street, people CHOKE on their tongues as gravity pulls
the infant down.
But wait... Hancock swoops out of the thin blue, swift and
silent. He cradles the baby from utter concrete.
He deposits the youngster with.the ecstatic crowd - they, of
mostly the FEMALE persuasion, all form around the savior.
We SEE in the background and across the street, the Jumper nose-
diving into the sidewalk - without much fanfare.
CUT TO:
EXT. STREET - DAY
An apartment building engulfed in FLAMES. FIRE TRUCKS don't even
bother with the hoses - it's too late. Around them, TENANTS
bemoan the loss of...
Like a wrecking ball, Hancock BURSTS through the burning rubble
and surfaces clean on the other side of the building.
Blanketed under his cape are two little TODDLERS, and a young
WOMAN in bra and panties. He lowers them to safety.
CUT TO:
INT. APARTMENT - NIGHT
We're in the hallway. Where Horus kneels. He's bent listening
into Aaron's bedroom, in his security clothes. By the TV and in
her apron, Mary watches the news...
NEWS
. paramedics have taken the rescued
tenants to County General for smoke
inhalation but no serious injuries
reported thanks to the superheroics of
this mystery man...
32.
We see FOOTAGE of the dramatic fire rescue: Hancock recovering
tenants from the pyre - plebs and dwellers cheer in exaggerated
astonishment.
HORUS
(to Mary)
Mary?
Mary blinks back her attention.
HORUS (CONY' D)
(CONTINUING)
Why is he mad at me?
MARY
He's looking for answers. He's Upset.
HORUS
(tapping the door)
Let me see your eye...
(to Mary)
I told him about the other cheek. Avoid
confrontations... to turn the other
cheek.
MARY
.He did. He turned the other cheek and
they punched it.
HORUS
(PLEADING)
Aaron.
MARY
You're late. I'll try again later.
Horus finds his hat on the table. His eyes fall on Mary, her
back to him. She's glued to the set.
HORUS '
How... what about you?
MARY
(ALOOF)
What?
Horus turns his focus to the TV - more Hancock FOOTAGE. He
watches Mary.
HORUS
Mary?
33.
MARY
Yes.
.HORUS
I... had no idea.
MARY
(on the TV)
What could you do?
Horns - hat in hand, goes to the door. He wants to stay.
HORUS
(opens door)
Good thing he was there. I don't know
what I'd do... if you...
Mary does not hear him... until the door SHUTS behind her. She
turns to face an empty room.
MARY
Coffee's by the... door.
(GUILTY)
Horus?
INT. BROWNSTONE - NIGHT
A room, a place we don't know. It's dark save the street light
outside. A rhythmic POUNDING reverberates through this darkness.
More intense it becomes.
And then a high-pitch GASP. Two individuals, man and woman,
stumble into view - their silhouettes obscure the window.
They're locked at the hips, pumping away like high-revving
pistons.
For a second, light dances off the woman's aroused face: it's
Veronica.
VERONICA
(a her voice trembles)
Oh god.
The man surfaces from her cleavage for air, his face wet with
sweat and saliva. He brushes his cape away from his arm.
Veronica uncoils yet another orgasm, her back arched, her
breasts beckoning at ceiling.
Quite abruptly, he lets her go. Rights his pants. Unlatches the
window. She paws after him.
34.
VERONICA (CONT'D)
What'd I do?
HANCOCK
(DEJECTED)
'Nothing. I'm sorry.
And with that, he floats out into the night.
VERONICA
(dazed; after him)
Hancock.
EXT. STREET - NIGHT
Horus. His walk. Unaware of everything but the storm inside his
head.
He crosses an alley. A band of THUGS, neighborhood kids of
malcontent, surprises him. And. versa. They recoil at his
uniform, his gun.
They quickly realize that he's rent-a-security.
The leader speaks first - he's SCARPO (25), as tough as a steel-
belted radial. The others regroup their DRUGS.
SCARPO
Nutri-cop.
Horus keeps walking.
SCARPO (CONT'D)
(CONTINUING)
Look like the Man. Walk like the Man.
Shit, ain't half the Man.
OTHERS
Ain't half the Man.
Horus simply walks away.
CUT TO:
EXT. ALLEY - NIGHT
A streetlight HUMS. Blinks - revealing a deserted alley in'
sporadic intervals. Garbage, etc.
A slight drizzle shimmers pass the streetlight. Pelts a soulful
Hancock below - he moves through the gray dreariness in
solitude.
35.
He reaches behind his e. withdraws a box of cigarettes.
Taps himself a stick.
VOICE (O.S.)
How about spreading some of that joy?
Hancock turns and faces a young HOODLUM, scraggly in his own
slimy kind of way.
In a huff, he shoves Hancock up against the building. Presses a
gun to Hancock's temple.
HOODLUM
(PSYCHOTIC)
Better yet, why don't I just take it...
Hancock - enraged. In a caffeinated blink, he has the Hoodlum by
the throat via one arm, the gun with the other.
HANCOCK
(SUPER-PSYCHOTIC)
What are you thinking?
The Hoodlum notices that he's dangling a foot off the ground -
one of his SNEAKERS remains in its spot from the swift jolt.
The other sneaker teeters on his one foot... and falls to the
pavement.
HOODLUM
(fuck me)
Shit...
HANCOCK
What are you thinking?!
Hancock wrests the gun from his hand. Places it into his own
mouth. FIRES two slugs inside. The Hoodlum FREAKS.
HANCOCK (CONT' D )
Huh?!
Takes the smoking gun out of his mouth. Shoves it up the-
Hoodlum's nose.
HANCOCK (CONY' D)
Want to see brain? Huh?!
Sticks the gun back into his mouth. FIRES another shot inside.
Takes it out and this time - jams it into the Hoodlums mouth.
The Hoodlum proceeds to urinate in his pants.
36.
HOODLUM
(with his mouth full)
Please, mister. I got a baby coming.., a
wife. I got student loans...
Hancock - intense.
Is this getting through?
HOODLUM (CONT'D)
(CONTINUING)
please. Have a heart, mister.
Hancock - the fire inside subsides. Cools to a rational state.
He lowers the. Hoodlum.
He spits the three SLUGS into his hand. Deposits them in the
Hoodlum's breast pocket. Walks away.
INT. WATANABE'S SHOPPING EMPORIUM - NIGHT
In the closing hours of business, employees pell-mell about in
preparation for departure.
A group of LADIES form around a display T.V., taking in with
frothy wetness every inch of Hancock's footage. They gasp
amongst themselves.
Horus enters the picture, jacket and thermos. He notices the TV -
it's like he can't escape the good news.
INT. APARTMENT - NIGHT
The TV set.
More news on the day's activities. Mary sits mesmerized on the
sofa, holding a dish she had planned to dry.
Aaron surfaces from the hallway, lured out by the TV He comes up
behind Mary - his black eyes on the news.
MARY
(SURPRISED)
You're still up.
AARON
Can't sleep.
He rolls over the sofa, next to his mother.
They watch VIDEO clips of the foiled bank heist: the crashing
Chevy, the aerial maneuvers, the sheer invincibility of this
man.
37.
AARON (CONT' D)
(IMPRESSED)
That's him?
MARY
There's something about him... I don't
know.
A female REPORTER concludes the footage...
REPORTER
(FAINTLY)
And so we ask... who is this man?
Speculation abounds - government super-
experiment, an aberration of nature, or
extraterrestrial renegade? Who are you?
Where are you now, superguy? Call me.
(SMILES)
We'll get together. Have a drink.
INT. BAR - NIGHT
HADES - a smoky bar in the armpit of town.
NEON beer signs. POOL tables. CIGARETTE machines. This is home
to mean people, tough guys - children of a fucked-up god.
We cut through the nicotine air to find the bar. A figure
hunches on the far end, smoking. Popping vodka like mountain
water in Dixie cups.
It's Hancock and his trenchcoat. The long day wears heavy on his
face - those perpetually red eyes, the horror they've seen.
HANCOCK
(MUTTERING)
What he's got to do... a man's got to do
it.
EXT. BAR - NIGHT
Hancock stumbles out, incognito, frazzled under his guise. Up
above, the sky - so dark under the storm clouds.
We HEAR commotion in the side alley. And so does Hancock. He
peers into the alley.
There, by a lighted PHONE BOOTH, a WHORE is fending off a horny
JOHN. Hancock simply watches she drives her knee between his
legs. He drops. SQUEALS like a little girl.
The John finds a two-by-four in the dirt. He reaches for it...
38.
A COUGH stops him - it's Hancock and he discourages further
violence.
Up and out of the alley, the John flees - tail, between his
legs.
A long stare ensues - Hancock and the Whore, looking into each
other's eyes for answers.
The Whore approaches him. Touches his face - studies it. Moves
it into the light.
WHORE
(the sage)
You've been to Hell, it looks. And you're
tired...
(BEAT)
and in need.
Hancock - his eyes agree.
The Whore lifts her skirt, reaching into her panties. She takes
out a MATCHBOOK.
Hands it to him.
WHORE (CONY' D)
My business card.
(to the phone booth)
My office.
Hancock inspects the matchbook - 555-GINA, etched inside.
HANCOCK
(GEENA)
Gina.
WHORE
(correcting; vaGINA)
Gina.
CUT TO:
INT. BEDROOM - NIGHT
Aaron's room, his nightlight the only source of light. Mary sits
on the bed, by her son.
AARON
Don't.
MARY
Just a quick one.
39.
'AARON
Don't 3±119.
MARY
I want to.
AARON
Mom.
EXT. SKY - NIGHT
From the black night - a dark figure plummets, caroms off the
side of a building, strikes the metal fire-escapes, crashing
into the trash cans below.
Hancock stumbles from the wreckage, the garbage. Falls. He leans
against the building, glazed over with drunkenness.
He turns to the only source of light that of a building across
the street: KILLYBEGS TEXTILES, looming above the rest. Boarded-
up windows indicate abandonment - an urban relic.
He stares at the building - perhaps sparing more attention than
we think it deserves.
INT. BEDROOM - NIGHT
Mary swallows. Starts in on the tune.
MARY
"Once there was a way, to get back
homeward. Once there was a way, to get
back home."
AARON
Oh, mom.
MARY
Shut up.
EXT. ALLEY - NIGHT
There, on his ass, his head a raging inferno - Hancock listens,
as if he can hear.
INT. BEDROOM - NIGHT
Aaron, succumbing to his mother's song - his lids flutter.
MARY
"Sleep pretty darling, do not cry. And I
will sing a lullaby..."
40.
Mary as her voice carries...
EXT. ALLEY - NIGHT
Something overcomes this fevered superman. He begins to unravel.
A calm consumes him. Tames him. It could be Mary's voice - maybe
he can hear it, and then maybe not.
MARY (V.O.)
"Golden slumber fills your eyes. Smiles
awake you when you rise."
Hancock wavers on consciousness - quite unlike him.
MARY (V.O.) (CONT'D)
(CONTINUING)
"Sleep pretty darling, do not cry. And I
will sing a lullaby..."
And like that, a seamless fade into peace - he sleeps.
CUT TO:
EXT. STREET - DAY
Erratic traces of an urban landscape JAG about.
Aaron's distorted view of his neighborhood comes sharp and in
flashes as he is pursued by his tormentors.
Spengler. Erlick. Perceval. They chase him from behind, HOOTING,
taunting poor Aaron - they're out for blood.
Aaron cuts into an alley, lungs pumping...
EXT. ALLEY - DAY
.. but a brick wall stares him down, providing no exit. He
swallows hard.
FOOTSTEPS approach, just seconds away. Close on Aaron, as blood
drains from his face. His eyes dash for a garbage CAN - but is
there time?
Spengler. Erlick. Perceval. They can smell their prey.
ERLICK
He's not going anywhere.
SPENGLER
'Less he can walk through wall.
41.
ERLICK
Fuck... squeeze through brick.
PERCEVAL
(just arriving)
Let's rock it up.
They turn the corner, attack mode. Aaron, nowhere in sight. Just
the brick wall and a trash can.
They converge, baffled. Erlick inspects the solid wall. Spengler
scratches his head. But'Perceval's no fool. He spots the trash
can.
He motions the fellas over. They circle the can. A beat. They
ATTACK... an empty can. No one inside. Nothing.
That's because above them, no strings and no cables, Aaron
hovers - under Hancock's capable arm.
In mid-air, they hang for a second. Then, Hancock takes them
away.
EXT. SCHOOLYARD - DAY
Mary stands at the designated pick-up spot, pacing like her
bladder's going to break.
MARY
(checking watch)
No... no... no!
EXT. ROOFTOP - DAY
A secluded view of the city, high above. Hancock, Aaron under
his arms, rides a light breeze - and then lands.
Aaron scampers away. Turns and faces the man.
Hancock examines the boy's face, the black eyes. He shakes his
head. Disappointed.
He reaches for his belt. Pulls out a cigarette. Lights it.
HANCOCK
You smoke?
AARON
What?
42.
HANCOCK
Of course you don't. Nothing but a kid.
(beat; takes a puff)
Smoke no evil.
Hancock moves over to Aaron, now backed in a corner.
HANCOCK (CONT'D)
(re: cigarette)
Ever curious... .what it's like?
Aaron shakes his head.
HANCOCK (CONT'D)
(hands it to.him)
Go on... give it a try. One time. Won't
kill you. Once.
Aaron under pressure, acquiesces. He takes the stick. Sucks on
it. Doubles over, coughing.
HANCOCK (CONT'D)
Good, huh? Tastes like compost... your
first stick. Then, after a few more... it
starts getting this. flavor. A little
nicotine buzz. A while passes and all of
a sudden, it's as sweet as candy. Only
now, it takes a whole pack to get
there.., and you won't settle till your,
mouth's as sweet.
Hancock takes another cool drag - Mr. Wisdom waxing
philosophical.
HANCOCK (CONT'D)
(CONTINUING)
From manure to pure cane sugar. That's
change. Today... you're a boy. Tomorrow,
Mr. Penis comes knocking. Shakes your
hand. Takes you for a walk... and tells
you about life's simple pleasures. You're
a man. And you don't look back..
(BEAT)
You see... things evolve. Nothing is
wholly inert. A step in any direction...
you're walking into pockets of evolution.
That is living... taking those steps. And
change. Can start by changing some
principles.
Blank best describes Aaron's face.
43.
AARON
Principles?
HANCOCK
Principles. Here's one; very simple. Just
about all you need to know: a man's got
to do what a man's got to do.
(beat; smokes)
I look at your face, the shiners. You
took a shove and you let it go clean. Not
good. That's a formula for future
abuse... an invitation to the loser's
dance. Letting it go. Walking away.
,(shakes head)
Bad policy. Won't be long 'fore you're
running, looking for a place to hide.
AARON
What am I suppose to do?
HANCOCK
You do what is necessary.
AARON
I wanted... there were three of them.
HANCOCK
What is necessary.
(HEAT)
Let me tell you something, kid. There was
this infantry unit, you see... badly
outnumbered.
(thinks about it)
Wait, let me put it in kid terms. So you
relate, OK? There's a fox, you relate? A
fox and he's walking through what, the
woods, the forests, right? Next thing the
fox knows, he's staring down a pack of...
hounds. Bloodhounds. And there's this
chase, the fox's running his ass off,
over boulders and through streams and,
but the damn hounds are still on his
tail. Finally the fox comes to this
cliff, a precipice... and it's what, a
seven hundred foot drop onto jagged
rocks. He's in trouble 'cause the hounds
are closing in and they're going to tear
him to pieces. So what does he think...
"I jump and I die for sure. I stay,
confront them and I'll get my ass
butchered." Decision time. He thinks,
"stay and least I'd have something, a
chance.
(MORE)
44.
HANCOCK (CONT'D)
To slip away, maybe." The fox decides to
go down fighting, make a stand. Right?
(BEAT)
The hounds come. What do you think
happens?
AARON
(thinking about it)
He gets away.
Hancock inhales what's left of his cigarette. Blows smoke.
HANCOCK
No. The fox gets his ass kicked and
some... I mean ripped apart by the dogs,
like cheap fabric.
AARON
What're you saying?
HANCOCK
But you know, when the last hound was
through with him,-and he's walking away,
he hears this noise. It's the fox and
he's muttering something under his
breath... words. The dog goes over. Gets
up close. To hear what he's saying. You
know what the fox's saying... just before
he keels off?
Aaron - negative.
HANCOCK (CONT'D)
(CONTINUING)
Now he's gurgling, choking on his own
blood, right? A massacre. The fox's lying
next to his entrails, you know... and you
know what he says?
(raises his fist in the air)
"No regrets."
AARON
What?
HANCOCK
No regrets. You make a decision and you
stick to it. Like a man's got to do. And
"no regrets."
Aaron - submitting it to memory.
AARON
Why're you telling me all this?
45.
HANCOCK
(a beat to think)
Look at it this way... I got to do what I
got to do.
CUT TO:
EXT. STREET - DAY
Through the street darts Mary, eyes berserk in search for herher
son. She looks at her watch. And up... up ahead, by steps
apartment - Aaron, levitating in air.
Hancock explains this defiance of gravity. He gently lowers
Aaron on the sidewalk, before his mother.
She beckons him. Like a shield, she envelops him with her arms.
She stares up at Hancock - her eyes, stricken with fear. Or
possibly, they were awestruck.
.CUT TO:
INT. BEDROOM - NIGHT
Horus, in his bed - smothered in slumber.
He begins to stir, wrestling some unseen dream. He wakes, in
defeat.
INT. LIVING ROOM - DAY
Close on a TV set, featuring a COMMERCIAL - in mid-hype. A
portly man states his purpose.
His name tag reads - DR. HOLE.
DR. HOLE
at the Hole Institute, our
experienced staff and cutting-edge
technology means you need not spend
another day in discomfort from
hemorrhoidal flare-ups. Also, for anal
fissures, warts, and secondary yeast
infections, the institute is your
complete rectal service clinic.
(BEAT)
And remember, I'm not just the Hole
Institute spokesperson. I'm also a
client.
As Dr. Hole proceeds to exhibit an enlarged PHOTOGRAPH of his
hemorrhoidal tissues, the TV channel changes. A NEWS program, in
progress.
46.
On the living room sofa squats. Hancock, remote in hand.
REPORTER (O.S.)
. more.on the neighborhood robberies in
our next hour.
(BEAT)
World news, today. Hundreds are believed
dead when an explosion ripped through a
crowded market place in...
Hancock staring into footages of bedlam, bloodshed. From the TV
set, maternal CRIES spew forth grief and anguish.
Hancock grabs the remote. Fumbles around for the power button.
He pumps the volume instead - the WAILS intensify his state of
panic, pain.
CLICK. Mary - by the tube, switches off the mayhem. She studies
his reaction, now marked with relief.
MARY
(SAVIOR)
Are you OK?
HANCOCK
I'm sorry.
MARY
(NERVOUS)
I came in to... hope you like chicken.
Hancock nods, watching Mary as she retreats into the kitchen. He
continues to stare - at Mrs. Longfellow, in frenetics, prepping
for dinner.
She catches him looking... looking surreal, this superman, there
on her sofa.
A calm, while they stare. And then...
AARON (O:S.)
Table's done.
Mary turns to Aaron, offscreen.
MARY
Glasses.
AARON (O.S.)
Geez.
Horus enters from the hallway, disheveled from sleep. He does
not see the superman on his sofa. He continues into the kitchen.
47.
Mary stares at him. Aaron appears, also staring at him. Horus
does a "what?" with his shoulders. Mother and son gesture behind
him.
He turns and beholds: Hancock,' rising in full garb, arm
extended. All eyes on Horus - befuddled.
MARY
You know Hancock?
AARON
He comes for dinner.
Close on Hancock. Close on Horus.
HANCOCK
Man of the house?
INT. KITCHEN - NIGHT
Dinner is served. All the key players, present. Horus sits
facing his son - dethroned by the distinguished visitor. Mary
serves.
MARY
(to Hancock)
Which piece would you like?
HANCOCK
Breasts, please.
Horus, watching everything - Mary and her every blush.
AARON
You want milk?
HANCOCK
No. It gives me gas. Thank you.
A beat - as everyone visualizes a superFART.
AARON
It makes mom fart, too.
Mary CHOKES on her food.
Drops her fork. She maneuvers, in the allotted space, for the
utensil - and finding difficulty.
Hancock grabs the table, one arm. Lifts it off the carpet and
above everyone's head. Mary, startled, impressed, all of the
above. She picks up the fork.
48.
Horus - a chicken leg dangling from his lips, in mid-chew,.
looking impotent.
AARON (CONT'D)
Good arm.
INT. KITCHEN - NIGHT
Later.
HANCOCK
not about the labor... or the love of
it.
(beat; we've heard this before)
.It's about responsibility... with what is
empowered in you. The gift of might.
Might to.do what? Exploitation, because
you can? Or a different path. To purvey
justice. To correct the ills of man...
because I can.
Faces of profound confusion - Mary and Aaron. But they are
charmed, his words secondary to his charisma.
Horus, the quiet observer, observes.
HANCOCK (CONY' D)
(CONTINUING)
so, a job? Yes. And no. It's about...
essence. The essence of the man... not
his clothes. It's the job. Take away the
arm,. the leg..., his bodily possessions
but not his trade, his profession. That
case, you strip him of what he is... a
man.
Horus a firm grasp of the concept.
HANCOCK (CONY' D)
What line of work are you in, Mr.
Longfellow?
HORUS
(clearing throat)
Oh, it's not like you... what you do or
anything. A department store over on
Third.
MARY
Horus is in the securities business.
HORUS
I'm a security guard. I'm just...
49.
Aaron rises from the table. Goes over to the fridge.
MARY
It's a large department store, over a
couple million in merchandise... stereos,
jewelry. On three floors.
HORUS
It's a night job. I sit around.
HANCOCK
You're a security guard. You keep the
state of things. It's a job. You do it.
(PAUSE)
We're in the same business.
Aaron returns with the ketchup bottle.
A frozen moment while Horus ponders the implications. He stares
at the BOTTLE.
HANCOCK (CONT'D)
Aaron, could you show me the restroom?
Aaron points first door in the hall.
AARON
On the right.
He leaves to find bladder relief - leaving Horus to his family.
AARON (CONT' D)
What do you think, mom?
MARY
(in a whisper)
Horus, what do I do?
HORUS
(at his watch)
I need to get ready.
AARON
mom?
MARY
(to Horus)
What do I do with him... when you're
gone? I have to entertain this super...
She doesn't finish her... A NOISE interrupts her - seizes the
participants.
50.
It comes from the bathroom - the sound of PISS, urine versus the
surface tension.of water.
LOUD. WET. A turgid firehose at full blast. The force of
urination grips the room - as powerful as the penile mechanism
from which it is generated.
The toilet FLUSHES. Hancock returns to a'room of astonished
faces - mouths agape.
INT. KITCHEN - NIGHT
Later,. by a few minutes.
HANCOCK
(lost; sombre)
and you could see the flames, through
the storm... I get there, the vessel's
all over, spread across three miles of
South Pacific. Bodies floating in the
water, shoes, kids who'd thought it some
routine reconnaissance joyride. Turns
out, the only one alive was the captain,
up against a buoy... crying 'cause he
didn't go down with his men... and he's
got to live with it.
(BEAT)
Sprayed his brain all over the dashboard
in a parking lot a couple months after. A
good man...
(at Aaron)
. did what he had to do.
A brief moment while the graphics sink in. No one talks. Aaron's
smitten. Mary, a mixture of repulsion and fascination.
INT. APARTMENT - NIGHT
In the kitchen, in the sink, stacks of plates indicate that
dinner is through.
Company has moved into the living room, with the exception of
Horus. Aaron kneels besides Hancock. Mary, across from him.
AARON
(making a fist)
I wanted to kill him.
MARY
Aaron.
51.
AARON
I want to deck him, just once. So bad I
tense up... like I can't even move.
MARY
(to Hancock)
He comes home crying.
AARON
Did not. Not crying. It was pissed-off.
HANCOCK
(REACTS)
No... there's no shame in it. The crying.
It's relief...
(to Mary)
we're older and we don't remember
when... we go, "God, when was the last
time?" Maybe it's me. It's more an
effort, now. Takes more pain... more
blood. Like it's, do you have the time
anymore? Even to look back and recall a
moving experience. To be moved.
(AARON)
By rage. Hurt.
(MARY)
By love.
(BEAT)
But if you have to remember the last time
something touched you... you've missed it
- you've forgotten how to cry.
Horus enters the room, Mr. Security Guard. He observes this
magic Hancock works over his wife and kid - a talent whose
nature he has yet to comprehend.
Horus opts to not disturb their trance. He makes for the door.
Hancock - holds him accountable.
HANCOCK (CONT'D)
(AWARE)
Mr. Longfellow. I'll be leaving, too.
HORUS
Oh, I... you don't have to leave. I don't
want to interfere. I have work.
MARY
(the original sin)
Oh, I forgot to make coffee.
She rushes into the kitchen. Horus stops her.
52.
HORUS
It's all right, Mary. I'm late.
MARY
No, I'll make it right now.
HORUS
I don't have time. I'll grab some on the
way. Thanks.
Mary accepts it - not entirely guilt-free.
HORUS (CONT' D)
(CONTINUING)
I don't want to interrupt. Please don't
let me stop you.
HANCOCK
No, I need to go.
(at' Mary and only Mary)
The last time I had a meal... an evening
like this, I was... it was too long ago.
I appreciate your kindness.
MARY
(AWKWARD)
Please... you're welcome, here. Anytime.
Horus watches everything - watching her chest heave under
Hancock's every word, watching his wife slip away.
HANCOCK
Aaron. Tomorrow. After the bell. I'll
drop by after school. See how you're
doing.
AARON
(SMILES)
Yeah.
Horus watches this - his son slipping away.
The two men leave, Hancock ushering Horus out first.
Mary closes the door behind them. Leans against the door and
EXHALES - a sign of relief, of despair, or, of a heart raging
wild.
We just .don't know.
53.
EXT. APARTMENT - NIGHT
The two men appear from the entrance, shoulder to shoulder -
sort of. They enter the street.
HORUS
(POINTING)
I'm this way.
Hancock points the opposite way.
HANCOCK
Need a lift?
HORUS
It's a short walk.
Acknowledged.
An awkward beat while they stare at each other...
. until finally, they go their separate ways - Horus via walk
and Hancock, with effortless grace,, via flight.
From the sidewalk and awe-stricken - Horus watches Hancock merge
into the blackness. A look of dread squats on his face.
CUT TO:
INT. DONUT SHOP - NIGHT
The white fluorescent of the neighborhood donut shop. Donuts.
Coffee. Yellow formica. Etc..
A frazzled Korean woman, SOON-YI (60) watches over HOLLY (19),
the trainee behind the cash register.
Officer Rutger and Adams sip Joe in the corner booth.
ADAMS
(MID-CONFESSION)
bleeding heart dyke, I know not what.
Fuck martyrdom. Bottom line, Sheila won't
put out...
RUTGER
No.
ADAMS
. won't blow me...
RUTGER
Shit stinks.
54.
ADAMS
says I'm keeping poontang on the
side.
RUTGER
D'fuck she know? Shit smears, man.
ADAMS
Games. I don't need it.
RUTGER
Fuck games, fuck dames.
ADAMS
I got a'wife, I don't need the
aggravation...
RUTGER
Take a donut hole.
The entrance. Horus wanders in, lost in this environment. He
finds the front counter. The cops watch him.
HORUS
A cup of coffee, please.
Holly takes the order. Leaves to fetch it.
ADAMS (O.S.)
Longfellow.
HORUS
(turns; with dread)
How are you, John?
(RUTGER)
Frank?
ADAMS
(god, I'm funny)
Observe anything worth recording, lately?
HORUS
You know... things are slow.
RUTGER
Not for Samsone Electronics on fifth. Got
hit on Thursday.
ADAMS
The guard, he was cut-up like a piece of
meat.
55.
RUTGER
Anything go wrong, you make sure you
notify us, the authorities. No heroics
without a license. You know the
procedure.
Horus - he knows the procedure.
ADAMS
Of course he does.
RUTGER
Of course.
Holly returns with the coffee. Hands it to Horus - free of
charge. From the back, Soon-yi intervenes...
SOON-YI
He no have gun. Not copper.
HOLLY
Oh, I thought...
SOON-YI
He regular guy. Sixty-five cents for
regular.guy.
Horus - somebody shoot him.
INT. AARON'S BEDROOM - NIGHT
Mary's folding clothes by the dresser, busy with thought. Aaron
squats on the bed, his brain going a mile a minute. He plops
back against the bed. Brings his hand up to his face. Makes a
fist. Thinking. Wondering.
MARY
What're you doing?
She's taken by this scene.
AARON
(releases fist)
Thinking.
Mary goes over to the bed. Sits.
MARY
About him?
AARON
No. Not really. Are you?
56.
MARY
No.
They're lying through their collective teeth.
AARON
Me neither. I was thinking.., about
tomorrow.
MARY
Go to sleep. You know what dad says.
Tomorrow always feels better...
AARON
I know, mom... after a good night sleep.
He says that but he's the one working
every night. Does that mean he never
feels better? He's always feeling
terrible?
MARY
(AMUSED)
Go to bed, anyway.
She tucks him-in.. Turns off the lamp. And as she's out the
door...
AARON
Mom?
She turns.
AARON (CONT'D)
(CONTINUING)
Who is Mr. Penis?
CUT TO:
EXT. SHEEPSHEAD - NIGHT
Time lapses into the late hours. This town experiences a serene
moment - a peacefulness which says that this as night as a night
will be.
INT. WATANABE'S SHOPPING EMPORIUM - NIGHT
Looking down aisles of merchandise - not a trace of life and not
unlike a cemetery.
All is dead, with the exception of FOOTSTEPS - shoes pacing
linoleum. It's Horus, on duty. His flashlight leads the way...
57.
Outside, the SIRENS of police vehicles charge by - real men en
route to real work.
Horus watches them from the window - like a kid who can't come
out to play.
He turns to look across the floor - Roheim, against a chair,
watching the NEWS on a big-screen TV
NEWS
(re: Hancock)
.the trains seemed imminently bound for
a catastrophic collision when this...
this superguy...
ROHEIM
(IMPRESSED)
Man. I bet he gets laid.
Horus - he looks terrible.
EXT. ROOFTOP - NIGHT
It's dark out here in the night. On the roof. Overlooking the
community, the Longfellow's apartment building... and Mary's
bedroom.
From here, we can SEE her - entering from the hallway. She
disrobes down to bare back...
And from this darkness, the RED tip of a burning cigarette GLOWS
into view. Hancock watches from here, the cigarette BLAZES back
towards his face intense.
CUT TO:
EXT. SOMEWHERE - NIGHT - DREAM SEQUENCE
A foreign TERRAIN of trees, of lakes so clear and blue.
They pass below us as we soar through air and mist...
the mist clears, thrusting us into the dense foliage of a
JUNGLE. We penetrate the silence
the silence, it fades into SONG - the silk, mellifluous
voice of a woman (not unlike Mary's). Her siren call beckons
us... takes us deeper into unknown greenery...
but the sound of crackling GUNSHOTS punctuate the end to
song. SCREAMS and CRIES rise from the smoke, women and children
in hysterics...
58.
we quicken to a frantic pace, slicing through the growth.
Rocket and mortar shells EXPLODE in our path, splitting trees
and earth...
. we remain undaunted... but the WAILS of suffering
continues...
until we get there, there in a clearing as smoke and debris
settle... and we see the remains of a lake, a,lake full of
BLOOD... of mangled BODIES floating like flotsam... WOMEN and
CHILDREN... DEAD...
. we SCREAM!
INT. RED EYE MOTEL - NIGHT
Hancock bolts from his bed - horrified, eyes cracked with red
veins. He is soaked.
The orgasmic SCREAMS of a prostitute seeps through from the
adjacent motel room -.the wall behind Hancock's bed trembles to
the rhythm of each pelvic thrust...
He clasps.-his ears - tormented.
CUT TO:
INT. WATANABE'S SHOPPING EMPORIUM -DAY
Roheim in his usual state of sleep. His lips mutter dialogue
from an unseen dream.
ROHEIM
Olga...
He snaps out of it...
ROHEIM (CONT'D)
(CONTINUING)
.bitch.
Consciousness slowly sinks in. He checks his watch, then the
area around him. He spots Horus - slumped in a chair, in a
thinking posture.
Horns seems lost in his own blank stare.
HORUS
(without looking)
Another dream?'
ROHEIM
I was talking again, huh?
59.
No response.
EXT. WATANABE'S SHOPPING EMPORIUM - DAY
A deserted street at this early hour. On the curb and by
themselves - Horus and Roheim, ruminating.
ROHEIM
. that look on her face, you know the
look, when she's almost there... makes
you feel like a man.
(BEAT)
Then everything gets blurry and all of a
sudden, it's not my arm that's around her
and it's not my hand that's touching her
and it's not even me, my body. Some guy,
this good-looking guy... he looks like
the Marlboro Man, only shirtless. And
so... the Marlboro Man's running his
fingers through her hair. And he's...
banging her... and her knees... by her
ears, you know?
(beat; cringing)
And that look on her face. That look.
HORUS
Roheim.
ROHEIM
(CONTINUING)
Bitch.
HORUS
Come on.
ROHEIM
(gets up)
Walk with me.
CUT TO:
EXT. APARTMENT - DAY
The Longfellow's apartment.- seem from above.
Clyde exits the building in his morning robe., Takes hold of the
newspaper. Digs through it...
Mary and Aaron - they exit, surprising Clyde.
Mary gestures at Clyde, pointing an accusing finger. She seizes
the paper from him, sending him cowering inside.
61.
EXT. SCHOOLYARD DAY
Mary and Aaron - by the perimeter fence.
MARY
Have a good one.
AARON
I got to do what I got to do.
She watches him go -curious.
EXT. SKY - DAY
The sky's POV - the schoolyard. Aaron - sauntering to class.
Mary - turning, walking away.
We soar through air and mist. Circle a street below. Hover over
an alley. Descend from the clouds - into the depths of buildings
and fire escapes.
EXT. STREET - DAY
Mary, among other pedestrians, head homeward. Her pace say
she's in no hurry to get there.
Out of an alley and into the street - Hancock, trenchcoated,
inconspicuous, and in pursuit. J
EXT. LIQUOR STORE - DAY
Horus waits outside - hands in his pockets. He paces
uncomfortably.
Roheim exits the liquor store, already imbibing from a brown
paper BAG.
Not a word from Horus.
ROHEIM
(POST-GULP)
This stuff's going to kill me.
He gives Horus a glance. Takes another swig.
ROHEIM (CONT' D)
(CONTINUING)
You disapprove, I know.
HORUS
No.
J
62.
ROHEIM
Sure you do. You disapprove and yet you
allow me to drink... to poison myself.
Your friend. Without a word of caution.
Not a word. Just take it... you take
everything.
HORUS
No.
ROHEIM
You're afraid to offend. You don't want
to be abrasive. Provocative.
(beat; as'Horus squirms)
So you suppress. Do nothing. Take it.
Roheim takes another gulp.
HORUS
(pulling teeth)
You shouldn't drink.
ROHEIM
My wife. She left a bad taste in my
mouth. I drink to kill-the taste.
Horus has no response to this.
ROHEIM (CONT'D)
(SMILES)
You're a good man, Horus...
(BEAT)
And you're right. This stuff's no good.
It's a coward's way out and I know it.
He gives the bottle a guilty stare. Tosses the bottle into a
nearby garbage can.
ROHEIM (CONY' D)
(sick of himself)
What the hell. I can learn to love
beverage.
EXT. STREET - DAY
Mary. Walking.
Hancock. Following. From across the street. Mesmerized and in a
world to himself.
He crosses. the street, failing to look both ways... BAH! A UPS
truck STRIKES the clueless superhero, sending him across air -
towards Mary.
63.
200 lbs. of superflesh EXPLODES into a JEWELRY display window -
just ahead of Mary's path. Glass showers the scene. People
SCREAM.
Hancock warbles out from the debris - his trenchcoat reduced to
mere tatters. He pulls a severed SLEEVE from the rubble. Looks
at Mary, reposed before him.
HANCOCK
(nothing happened)
How are you?
In unison, they turn to the UPS vehicle - a .mangled heap of
steel, STEAM billowing from its ruptured radiator.
Hancock shrugs a smiles.
EXT. STREET - DAY
Mr. Longfellow rounds the corner and ambles home. He is tired
and his face shows it.
There to make it worse - Clyde. He's back, getting at the sports
page on the front steps.
A sudden burst of outrage consumes Horus. He approaches the
steps with fire and...
HORUS
(burning...)
Clyde. Can I talk to you for just a brief
moment?
CLYDE
(YAWNING)
Not now, Longfella. I'm all blocked up.
Clyde heads inside - with the sports page.. He FARTS as he goes
in.
HORUS
(EXTINGUISHED)
Sure.
EXT. STREET - DAY
Along a street somewhere who cares - Hancock and Mary - in a
cool stroll. Mary holds his trenchcoat, surveying the damage.
MARY
What were you doing in the street?
(the trenchcoat)
You ripped it pretty good.
64.
Hancock - he's lost.
MARY (CONT'D)
(CONTINUING)
What're you:.. how old's this thing?
HANCOCK
didn't see it coming... left myself
open.
MARY
It'll be all right.
HANCOCK
All right?
MARY
It's just the seams. I can sew it back.
HANCOCK
What?
MARY
(the trenchcoat)
This. It's just the seams.'I'll take good
care of it.
HANCOCK
You'll sew -it?
MARY
Yes. Me. I can. And I'll re-button it for
you, all right?
Hancock acknowledges with a smile - a slight one.
MARY (CONT' D)
(CONTINUING}
Are you okay?
No reply. He stares at her - simply.
CUT TO:
EXT. STREET - DAY.
Mary stands alone on the sidewalk, looking up at heaven. Her
eyes search the gray sky for signs of life.-
There, overhead - a DOT. It grows in size, getting closer and
arriving fast... and gradually, it shapes into Hancock.
65.
He swoops into view, straight downward. Pulls on the air brakes
and eases into a soft landing - by Mary's side.
He is wet from his flight and his hands, 'we notice, are cupped
together tightly.
MARY
(like a little girl)
Let's see.
HANCOCK
You have to be quick.
MARY
Come on, I want to see.
HANCOCK
If you blink, you'll miss it.
Hancock uncups his hands, releasing a billowy MASS of white
something - it hangs in the air, and then dissipates into
moisture. It showers into his open hands.
Mary reaches for it. Too late.
MARY
I saw it, right? A little cloud.
She peers into his hands - where only a pool of wetness remains.
And with her fingers, Mary reaches inside to feel the rain.
Hancock watches this - the innocence in her face, as her hand
touches his.
He stares down at her hand... at the wedding ring. Mary-pulls
her hand away.
MARY (CONY' D)
The water is dirty.
HANCOCK
MARY
HANCOCK
I'm sorry.
MARY
(into his eyes)
It's not your fault.
66.
Hancock looks away.
MARY (CONT'D)
(CONTINUING)
You're tense.
HANCOCK
I've been tired, lately.
MARY
You should slow down. Rest.
HANCOCK
-So people tell me.
MARY
(heat; upon some thought)
It must be hard.
HANCOCK
Hard?
MARY
To always do right... do good when all
you want to do is rest.
HANCOCK
It's harder to not do anything. What am
I? It's not for me. It's for... it is
about people. Rest? When there is
despair? I cannot. I bring relief. I am
relief. You know that instant, that split
instant of time when you realize that the
nightmare... the totality of fear
itself... that it's all been a bad dream?
That it's safe? That is relief. The
infant in my arms... to the hysterical
mother. When you can see her face, what's
rest? It is self-indulgence.
Mary - in some advance stage of "wow."
MARY
Where... who are you?
HANCOCK
It's not important who I am, Mary. Or
what... where I'm from. It doesn't
matter. I'm a man. I am every man.
67.
MARY
(sizing up his words)
You probably get a lot of practice
explaining yourself, on account of who
you are and what you do.
HANCOCK
Why... do you say that?
MARY
It's like, everything you say sounds...
so perfect. Like you rehearse them so
they'll be that way. I mean, not to say
that it's insincere...
(BEAT)
I mean, maybe it's something about you
but... it must be hard on you sometimes.
Hancock stares at his feet, perhaps reluctant to answer.
MARY (CONT' D)
(APOLOGETIC)
But probably not... probably..
HANCOCK
Yes...
(pulling teeth)
sometimes.
Mary allows the moment to sink in.
MARY
So, you never answered. Back there...
what were you doing in the middle of the
street?
HANCOCK
(THINKS)
I was lost...
(EXHALES)
. but I think I'm ok, now.
CUT TO:
EXT. ALLEY - DAY
Trash cans fly. Paper, swept up and sent aflutter. We've seen
this before - Aaron, running for his life and the bullies in
pell-mell pursuit.
He cuts into an alley. Looses them momentarily. Finds a DUMPSTER
to his liking.
68.
Erlick. Spengler. They zoom by and with great eagerness.
Perceval strolls after them, too cool to sweat.
From the dumpster, little Aaron watches them... looks
relieved... until conscience kicks in. A moment to reflect, he
takes.
AARON
(HANCOCK)
" before long, you're running, looking
for a place to hide."
EXT. ALLEY - DAY
Erlick and Spengler - at a dead end. Their trail leads them to a
metal FENCE, the alley continuing beyond it. No time wasted
they scale it.
Perceval arrives - in time to see Erlick, landing on the other
side. Spengler pulls himself over. Joins Erlick on the ground.
PERCEVAL
Shit, I'm not climbing this. Just combed
my hair.
Erlick and Spengler turn to him, through the metal bars. Their
eyes are of disbelief.
PERCEVAL (CONT'D)
What's up?
(checks his hair)
What?
Perceval follows their gaze behind him to Aaron, shivering
with clenched fists.
PERCEVAL (CONT'D)
(rolls up sleeves)
I just combed my hair.
Erlick and Spengler make for the fence, to join the fray.
PERCEVAL (CONT'D)
Don't bother. He's mine.
(to Aaron)
No biting. I hate biting.
SPENGLER
Kick his ass, Percy.
ERLICK
(OVERLAPPING)
Do him, Percy. He's your woman.
69.
PERCEVAL
Let's go. Let's have it. While we're
still kids.
Nothing from Aaron - just a lot of balls.
PERCEVAL (CONT'D)
Dick wad, let's go. Come on, you impotent
little gonad.
(BEAT)
Your mother chokes on big, hard, veiny,
purple-headed shlongs the size of...
All Aaron needs to hear. He charges - comatose.
And the pummeling begins. Perceval dictates the assault, landing
BLOWS to the face and body.
Aaron - doing an impression of a punching bag. He wafts at air,
left and right...
ERLICK
He's yours.
SPENGLER
Save some for us.
Someone blinks - and Aaron finds himself on the dirt, supine.
Perceval looms over him, silhouetted against the sky.
He reaches for his zipper, doing that Perceval-thing. A look of
recognition in Aaron's eyes - it's going to rain soon.
He reacts with knee-jerk reflects, administering a swift kick
into Perceval's peeing apparatus. A faint SQUEAL eructs from the
fellow's mouth. He drops like a wet tea bag.
Erlick. Spengler. Shock. Disbelief. Aaron gets to his feet,
ready to book... but he doesn't. He stays.
ERLICK
What's he doing?
SPENGLER
Kick his ass, Percy.
Aaron stares at them, behind the fence. Then down at Perceval
fetal position, mouth agape. Aaron reaches for his zipper ZIP,
revenge presents itself.
ERLICK
That's cold.
?0.
SPENGLER
Kill him, Percy.
Aaron cranes himself over Perceval's face, over his open oral
orifice. Contemplates his target.
Aaron - to pee or not to pee...
ZIP. He closes his fly. Steps away.
AARON
(to the boys)
Don't mess with me.
He struts out of the alley. Shifts into a mad sprint, adrenaline
taking him away.
CUT TO:
INT. BEDROOM - DAY
Horus sleeps. Mary enters from the hallway, hush-hush. She moves
to the closet. Changes out of her clothes.
Not a stir from Horus - exercising stealth in his efforts to
watch her, watching her sweater fall to the carpet.
Mary stands before the closet mirror. Does a profile check. She
reaches for her bra... and from the mirror, catches Horus
staring,.
MARY
You're still up?
She moves behind the bathroom door. Self-conscious.
HORUS
Just get in?
Mary steps out of the bathroom, buttoning up her domestic
attire. She nods affirmatively.
MARY
Nick's market. Are you sick?
HORUS
I can't sleep.
She goes to the bed. Palms his forehead with her right. Palms
her own with the left, as reference.
Horus tilts his head away from her hand.
71.
HORUS (CONT'D)
Please, Mary.
MARY
You want some milk? I'll heat it up for
you, how about that?
HORUS
No thank you.
(BEAT)
Aaron, today? This Hancock 's picking up
MARY
Yes, he is.
He sits there in bed, struggling with the words. Mary continues
dressing - oblivious.
HORUS
He'll take him home?
MARY
Yes.
HORUS
What do we know about this man? The
papers... they don't have all the facts
about him.
MARY
What facts? He's not a hero.
HORUS
Yes. A hero. I know that...
MARY
Aaron likes him.
HORUS
(TIMID)
I know that maybe, I've been
neglectful... that I haven't been
there...
Mary does not hear him. She's at the mirror, fixing her hair.
HORUS (CONT' D)
(SERIOUSLY)
I'm trying... you have to know... I'd
like to be more... involved. Like it used
to be. Before we moved here.
(MORE)
72.
HORUS (CONT' D)
(notices Mary, applying
LIPSTICK)
Are you going somewhere?
MARY
No. I have to start on dinner. So how
about that glass of milk?
Horus - shakes his head, annoyed.
MARY (CONT' D)
All right. Try to get some sleep.
With that, she's out the door.
Horns alone in bed, staring into the vanity mirror at his
wretched face.
He spots a brown paper BAG on the chair. Goes to inspect. Inside
- Hancock's tattered trenchcoat. Oy, what does it mean?
Horus returns to bed, distraught. He buries himself under the
cover.
EXT. STREET - DAY
Aaron races down the. last leg of his street. On the steps of his
apartment building - Hancock, making himself at home. Yes, a
cigarette smolders from his lips..
Hancock looks at the boy. They share a second of silence.
And finally, Hancock-puts out his hand - he approves. Aaron,
triumphant, SMACKS it for five.
CUT TO:
INT. APARTMENT - NIGHT
The dinner table. Post meal. Mid-digestion. Aaron is running off
at the mouth.
AARON
.o his mouth was. open and he just stared
up at me, it hurt that bad.
And while he narrates, Mary runs her fingers through his hair -
a mother grooming her child. Meanwhile, Horus listens concerned.
AARON (CONTD.)
(CONTINUING)
I said, "don't mess with me." Just like
that.
(MORE)
73.
AARON (CONT'D)
"Don't mess with me." Mom, remember that
guy in the cop movie... he said that?
MARY
All right, already. How's your mouth?
AARON
It doesn't hurt, I told you.
(CONTINUING)
He saw everything from the roof. Said I
did what I had to do.
HORUS
(FINALLY)
Aaron, tomorrow...
AARON
(to Mary; oblivious)
He said tomorrow, he'd pi ck me up
again...
HORUS
I thought maybe you'd like it -- if I
pick you.
AARON
God, my friends will freak.
Horus freezes - fades back to his meal, unheard.
0
INT. BEDROOM - NIGHT
Through the dim of light - Horus, alone, prepares for work.
A framed PHOTOGRAPH of a distinguished MAN (50's) sits on the
shelf inside the closet - he poses in full police regalia, stern
and proud.
Horus pauses to acknowledge the photograph. He closes the closet
door.
INT. APARTMENT - NIGHT
On the kitchen floor and under the light - Mary and Aaron,
mother giving son a HAIRCUT.
MARY
Hold still.
AARON
I like it long.
MARY
Shut up.
74.
Horus walks into the living room,. in the dark. He looks at his
wife, then at his son - doing their own thing. They don't
realize he's there.
Horus leaves, the door'CLICKS shut behind him.
MARY (CONT'D)
Horus?
AARON
it's almost eight. Dad's late.
MARY
Horus?
She brushes hair off her apron. Moves into the living room, the
bedroom - no husband. She goes to the front door. Opens it into
the stairway outside.
There on the stairs and down below, Hancock stands - on his way
up. Mary sees him... and they look at each other.
INT. APARTMENT - NIGHT
In the kitchen and under the light, Mary. Hancock. Aaron. Mary
is finishing up on Aaron, applying the last SNIP.
AARON
like this?
(holds up hand)
How do you make a fist?
MARY
(grabs his head)
Aaron, hold it.
Hancock shoves his fist up close, almost between the boy's eyes.
So there it is, the fist - this petrified mass of knuckles and
bones. It SNARLS at Aaron.
Hancock holds it there, fingers locked together - like he can't
let go of them.
Aaron swallows - in awe. Mary watches her guest, the change in
him.
MARY (CONT'D)
Hancock?
The sound of her voice takes him. He snaps out of it.
15.
MARY (CONY' D)
(CONTINUING
) turn. Hancock, it's yo ur
HANCOCK
What?
MARY
Your hair. Come on, have a seat.
AARON
Mom's going butcher your hair.
MARY
Shut up, kid. Hit the showers. And the n
homework.
AARON
Oh, mom. I want to talk to him. Tell her,
Hancock.
Hancock shrugs a "what can I do."
AARON (CONT' D)
Yeah, right. I know. I got to do what I
got to do.
INT. APARTMENT - NIGHT
The Big Haircut. Mary and Hancock - up close. Mary runs her
fingers through his hair, testing his length. She leans into
him. SNIP, goes her scissor.
Hancock - in his seat, as hard as marble. He seems a bit lost in
her presence. Baffled.
From his position, the view consists of Mary - blossoming in her
sweater.
And that's it. Not a word during this process - just the SOUND
of their breaths.
INT. APARTMENT - NIGHT
Hancock.
Erected before us, the immediate product of a mediocre haircut -
he looks plain and un-super. He looks... goofy.
MARY
There... my hero.
He inspects himself via a hand MIRROR. Smiles. Politely.
76.
MARY (CONT'D)
(CONTINUING)
How do you like it?
HANCOCK
Nice. Thank you.
Mary - peripatetic, putting away things...
MARY
I started out just trimming for Horus.
Here and there. He had to look just right
for the academy, says his father, a
police captain there... in Philly. When
we moved here, I pretty much took over as
the resident barber. You know, to save
some money.
HANCOCK
He was in the-police academy?
A pause.
MARY
His father's idea. Not his. He went
through it anyway, like he had something
to prove... the validation of his
manhood.
(BEAT)
It tpok everything out of him. He didn't
talk for days after he was cut. He took
it real hard. I mean, still, he's not...
I mean,, he's still...
(edits herself)
.it was a difficult time for hi.. Me. I
understand that I'm not intolerant of it,
the working-through process. It's just
that, sometimes...
(at Hancock)
sometimes, I need his strength. I
miss. the strength.
HANCOCK
Is that what you want?
MARY
Want?
HANCOCK
What you need?
MARY
The hair... I need to...
77.
She kneels to sweep up hair. Hancock follows her down.
HANCOCK
Mary?
MARY
Yes?
HANCOCK
(BEAT)
You ever been down the boardwalk, at
night?
MARY
Why... what for?
They're eye to eye. Close.
AARON (O.S.)
Mom?
Mary bursts from her perch - regroups, awkwardly. Aaron stands
in the hallway, his hair still wet from the shower.
MARY
Yes.
Inside Aaron's head: My mother + Hancock? Nah!
AARON
my mouth. It's starting to swell. I
think he loosened a tooth.
Mary - maternal duty calls.
MARY
All right. Go to your room. I'll get the
ice pack.
Aaron exits. Mary exits.
Hancock - alone and on his knees. He finally rises. Heads for
the front door.
Mary returns with the ice pack. Catches him...
MARY (CONT' D)
You're leaving?
HANCOCK
It's getting late.
78.
MARY
I'm sorry.
HANCOCK
I'm going to take a walk.
MARY
Really? On the boardwalk?
HANCOCK
Maybe.
Pause.
AARON (O.S.)
Mom.'
MARY
I'm sorry.
She goes to him, without words to say. In this silence, he
stares at her his eyes, glazed with thought.
HANCOCK
(FINALLY)
Good night, Mary.
MARY
Good night.
INT. WATANABE'S SHOPPING EMPORIUM - NIGHT
The clock - 9:45 pm.
The store rests in afterhour stillness. Horus paces by the side
door, his ears pressed to the phone receiver - no answer.
He hangs up. Checks his watch. Goes to the front entrance and
peers out at the street - no Roheim.
INT. BAR - NIGHT
The bar. The smoke. The scums of humanity. Gina - over there,
marketing her cleavage to anything with a pulse and a penis.
She mingles with a BAR FLY.
Her eyes locate Hancock - entering, finding a seat.
From an adjacent stool, A MAN places his hand on Hancock's lap.
Whispers to him.
79.
MAN
I wear dresses. How about you?
HANCOCK
(considers; nah)
Get lost.
The warning comes across quite well - the man exits.
Gina saunters over - takes the vacancy. At the other end, the
bar fly rises. Pays. Heads pass them, for the door.
GINA
(to bar fly)
Meet you outside. The El Camino, right?
The bar fly nods. Exits. Gina turns to Hancock. Takes his face
in her hands, studies him.
GINA (CONT'D)
Your eyes are calm. It's good.
She withdraws her hands.
HANCOCK
What?
GINA
But you're still here.
She rises. And as she makes for the exit...
GINA (CONT'D)
Nice haircut.
Hancock watches as the night swallows her whole. He inhales the
rest of his cigarette - pensive.
CUT TO:
INT. WATANABE'S SHOPPING EMPORIUM - NIGHT
The clock, it reads 1:05 am.
Horns, his flashlight, they're making their rounds. His routine
takes him outside - via an EXIT door.
EXT. WATANABE'S SHOPPING EMPORIUM - NIGHT
A dark alley. Dumpsters. Boxes.
Horus peruses the premises. Heads around the building and to the
street.:.
80.
. as a ragged FIGURE collapses onto.him. It's Roheim and he's
been drinking, right?
HORUS
Dear God.
Horus catches him.
INT. WATANABE'S - NIGHT
They find a chair in the back, Horus Positioning Roheim in the
light. The old man isn't drunk - his mouth agape, his face
bruised with wounds from a serious pummeling.
A chunk of lip dangles, bleeds.
HORUS
Jesus.
Goes to the bathroom sink for some paper towels. Comes back to
nurse' the wounds.
ROHEIM
Figured I can get you by the front... but
you weren't there.
HORUS
(dabbing the torn lip)
Who... what happened?
ROHEIM
They-jumped me. That bastard Scarpo and
his boys. They were waiting on me.
Returns to get more clean towels. And comes back.
HORUS
Why didn't you come through the back...
standing out there in the dark?
ROHEIM
-Couldn't find my keys. Must've dropped
them'in the fight.
(feels his lip)
Shit...
He works himself off the chair. Heads inside the bathroom.
HORUS
What're you doing?
81.
ROHEIM
(into the mirror)
the old man
Look at what they did.. gave
a fat lip to match his big mouth. I'm for
shit.
HORUS
(FRUSTRATION)
Sit down
Could you knock it off, please.
so I can clean the cuts.
He leads the old wretch back to the chair.
ROHEIM
I'm a waste of time...
HORUS
Stop.
ROHEIM
I'm too old for this.
HORUS
You're not old.
ROHEIM
What am I... I'm biologically challenged.
Any way you look, I'm a waste of effort.
(BEAT)
I
Use to be, I blame the job. The job.
think, bullshit job. Not right for a man.
"To observe and record..." I say, what a t's for
the hell is DIo nly
dogs. They got a d o o gs in t g g hisn
reason we're he d re, we don't shit on the
carpet.
Horus looks away. Doesn't want to hear it.
ROHEIM (CONT'D)
(CONTINUING)
But you know what, Horus. That's all
wrong. It ain't the job. The job don't
make the man. It's me. Not the uniform.
It starts right here... 'cause I can't do
anything right. Fuck up my ABC's.
(a beat; at Horus)
But you. Why do you put up with this
crap? A wife. A kid. There... waiting for
you at home.
Horus - he just doesn't know anymore.
82.
EXT. KILLYBEGS TEXTILES - NIGHT
On the rooftop of this building - Hancock, on another end of a
Marlboro. Eyes red. Hair in wet dishevelment. He's a mess.
HANCOCK
got to do what you got to do.
He paces with nervous energy, pounding his fist into the other
hand. We sense a decision brewing...
INT. THE LONGFELLOW BEDROOM - NIGHT
A desk clock points to 2:30 am.
Mary - awake undercover. She twists, turns...
A shadow engulfs the side of her wall, smothering the light in
the room. Mary catches it. Rises above her blanket.
What she sees - outside the window, Hancock hanging there in non-
gravity. He stares directly at her.
HANCOCK
I know you're up, Mary. I know you can
hear me. Please meet me on the boardwalk
tomorrow morning. Nine o'clock. It's
important that I talk to y ou, then.
(GRAVELY)
Please, Mary.
And with that, he's off and away. Mary.- stunned.
CUT TO:
INT. ROHEIM'S APARTMENT - DAY
We're in the staircase - where Horus is, supporting Roheim up
the stairs.
ROHEIM
They're going to can me.
HORUS
No one's canning anyone. No one saw us...
watch your step... leave.
ROHEIM
Should be an extra key over the door.
83.
INT. KITCHEN - DAY
In the kitchen, Mary and Aaron - the morning routine. Something
is off this morning, like someone threw a wrench into the
machinery.
Mary appears a bit frazzled, handing her son toasts. She rushes
back to the stove - her eggs beckoning.
AARON
The toast's burnt.
MARY
What?
Aaron inspects his Superman lunchbox.
AARON
We're late... you forgot the corn chips.
Mary serves up-the eggs - sunny side up. 1. and down... and all
over the place.
MARY
Eat... and we'll go.
(checks her watch)
Where's your father?
She grabs a comb and proceeds to part Aaron's hair.
AARON
You forgot the corn...
(the comb snags)
. ouch!
MARY
I'm'sorry, honey. I was hoping daddy'll
be home before we leave. I'm sorry.
AARON
You having your period, mom?
She responds with a brisk slap to the head... SMACK.
INT. ROHEIM'S APARTMENT - DAY
We enter an anal-retentively neat and manicured living room.
Horus ushers Roheim in...
ROHEIM
Shoes.
The two pause. Remove their shoes. Proceed into bedroom.
84.
INT. BEDROOM - DAY
Horus sets Roheim down on the bed. Tucks him under.
HORUS
You're going to be okay?
ROHEIM
I don't know. You might have solo act
tomorrow night.
HORUS
Get some sleep.
ROHEIM
You're a good man, Horus.
HORUS
(washing over it)
I have to get home, now. I'll call.
Roheim grabs on to his sleeve.
ROHEIM
You know what Olga said before she walked
out on me? Her last words to me. She
turned at the front door. Looked around
the room and she says, "keep it clean."
That's it, can you believe it? Then out
the door.
(BEAT)
But like a.shmuck,.I keep the place
spotless... in case she walks through
that door one day.
(at Horus; with pain)
I don't think she's coming back.
EXT. STREET - DAY
Horus struggles homeward - his mind in a headlock with anger,
despair, a combination thereof.
He moves down his street. Looks ahead - where Clyde stands,
pillaging his morning paper. Clyde Spots Horus on the approach.
Smiles at him, with impunity. Goes back in.
On Horus - you can boil an egg in his seething mouth.
INT. APARTMENT - DAY
Fist clenched, the morning paper under his arm - Horus. steadies
down the hallway. His eyes target the door at the end of the hall, seeing red.
85.
He gets there, the door. He swallows. Wipes sweat off his hand.
KNOCK. And again, KNOCK.
�ow
He fidgets in his spot - courage evaporating with every elapsed
second. Until finally, Horus is a pile of dung.
The door opens.
And Clyde emerges, tall and ugly. He's holding up his pants with
one and the SPORTS PAGE with the other.
Caughtin mid-defecation, he is none too happy.
CLYDE
The box scores are waiting and I got an
inch of meat sticking out of my ass. Make
it snappy.
HORUS
(loosing his voice)
I'd like my sports page, please.
CLYDE
You what?
HORUS
I want you to stop taking my sports page.
CLYDE
All right.
Clyde closes the door. Horus - thunderstruck.
He stutter-steps... KNOCKS...
CLYDE (CONT' D)
(AGITATED)
What's the matter, you deaf? I'll stop
taking your sports page. Now get out of
here and let me...
HORUS
(INTERRUPTS)
I want today's sports page.
CLYDE
You what?
HORUS
That there... my sports page.
86.
CLYDE
What's gotten in to you? All of a sudden?
You don't even like football.
Horus does.not budge.
CLYDE (CONT'D)
(CONTINUING)
You'll get it back... after I take my
dump.
Clyde proceeds to close the door... but Horus interjects, his
foot in the door.
HORUS
No.
CLYDE
What?
HORUS
No. I would like my sports page now.
Please.
CLYDE
After I finish.
HORUS
I'd prefer it now.
CLYDE
What's eating you, Longfella? You crazy?
Without warning, Horus wrests the sports page from Clyde's arm
a kamikaze move, indeed.
CLYDE (CONT'D)
(SHOCKED)
Give that back.
Horns lunges at his hulking opponent, lands a punch into Clyde's
midsection. Harmless - it tickles him, maybe.
CLYDE (CONT'D)
Why'd you go and do that for?
Clyde belts up has pants. Roles up his sleeves.., and the
massacre commences.
He simply tears into Horus... SLOWS to the stomach... RIGHTS
across the face. It ends quickly and without resistance - as if
Horns accepted it as fate.
87.
Clyde 'kneels over. Picks up the sports page. And as if yawning,
returns to his room.
KAW/
CUT TO:
EXT. SCHOOLYARD - DAY
By the fence - Mary and Aaron.
Mary, with a brown paper BAG, seems.distant, preoccupied in a
far away place.
AARON
Are you all right, mom?
MARY
(DISTRACTED)
Yeah... why?
AARON
You're acting weird.
MARY
(didn't hear)
What?
AARON
I'm late for class. Go home, mom. I think
it's time for your nap.
Aaron leaves.
Pensive, Mary begins her walk... to the boardwalk.
INT. APARTMENT - DAY
The door swings open to admit Horus - battered, enraged,
disoriented. He confronts an empty apartment.
HORUS
Mary!
A deaf ear. No one's there to console him. He storms out of the
apartment.
EXT. BOARDWALK - DAY
The ocean RAGES against the shore, in the distance and at some
muffled volume.
Up against the railing leans Hancock, and the remains of a
cigarette. His hair drips of salt water - he's been here a
while, one would suspect.
88.
COP (O.S.)
Come back here! Stop him!
In the background, a COP commences pursuit on a THIEF.
The thief dashes by - pass an indifferent Hancock. The cop
follows suit, passing by.
COP (CONT'D)
Stop him!
Hancock - his gaze wavers not from the distant waters.
EXT..STREET - DAY
Horus stumbles. Keeps his balance. Trudges down the street to a
corner BAR.
INT. BAR - DAY
The bar is empty at this hour. The chairs are up, the floor
swept. A husky BARTENDER unloads liquor in the back.
Horus enters. Finds a stool.
HORUS
Drink.
The bartender comes out, considers this man's appearance.
HORUS (CONT' D)
(CONTINUING)
Is this a bar... or what? Drink.
(uncomfortable with his own
RUDENESS)
Please.
EXT. BOARDWALK - DAY
Mary stands there on the boardwalk, the bag in her arms.
It's cold this morning. A little wind has picked up. And the
clouds - they're alive, restless.
She finds Hancock, staring at her, waiting for. her.
HANCOCK
Hi.
(EMBARRASSED)
Thank you for being here.
MARY
Is everything all right?
89.
Hancock has no response.
U
MARY (CONT' D)
(CONCERNED)
What's wrong?
HANCOCK
(constipated; following some
THOUGHT)
It's cold.
Mary and Hancock - we notice, they look good together.
HANCOCK (CONT'D)
(at the clouds)
They're moving. The turbulence has
started.
MARY
Tell me what's wrong.
He points to the distant ocean - where the horizon curves into
darkness.
HANCOCK
Look out there and what do you see, Mary?
MARY
(PERPLEXED)
Nothing. I don't know... I don't see
anything.
HANCOCK
see it,can
It's out there. But you can't
Y nu?
(beat; holding on to a thread)
And that's good, not seeing. But for me,
I've seen it. It's where I'm from... out
there.
MARY
Please, Hancock. What are you talking
about? What's out there?
HANCOCK
Duty.
(beat; at Mary)
You ask a man, Mary, and he'll tell you.
He'll say: "you do what you have to do."
Or what? You let the next guy do it for
you, if you don't... if you can't.
(losing it)
And... but. If I can't, then who?
(MORE)
90.
HANCOCK (CONT'D)
The next guy? No. There is no "I can't."
Just "I must."
Mary - watching a grown superman unravel.
HANCOCK (CONT'D)
(CONTINUING)
But I don't ask, "why me?" I don't
question it. This is me. I'm it. I do
what I have to do. I get in there.., all
the killing... the blood... and I deal
with it. I clean up. I make things right.
(BEAT)
And. But when.., where does it end?
(re: his cape)
Can't stop the hemorrhage... it's
everywhere. And it stays. All that I can
do, Mary. The things I am capable of
doing, I can't blink away the hell I've
seen. It's in me...
(points to his head)
in here and I can't not think about
it. It's in me. It's me.
MARY
Hancock... what...
HANCOCK
I just want to let go, Mary. Or I'll
break. I need to get away. Get away to
where? I don't know.
(at Mary)
I need your help.
MARY
Me? What can I do?
(she's helpless)
What do you want me to do?
HANCOCK
I want you to save me.
MARY
How?
Hancock leans forward. Towards Mary. And kisses her.
Their lips lock, twisted and entwined... until Mary, composing
her senses, pulls away.
MARY (CONT'D)
Don ' t.
91.
HANCOCK
(DESPERATE)
Save me.
MARY
I can't.
HANCOCK
You can.
(the hard sell)
AND
Mary,-I'll take you away. And Aaron.
what... I'll quit. Get a real job. An
apartment. I'll flip burgers. I don't
know what I'm doing... what I'm saying
anymore.
MARY
(OVERLAPPING)
I'm married.
A pause.
HANCOCK
To whom?
MARY
I love him.
The death blow.
HANCOCK
No.
(turns from her)
Unacceptable.
MARY
I love him. I'm sorry.
One can almost hear life's precious air seeping out of this
superman - he'd slump over if not for the muscles of steel.
Mary wants to console... but what can she do?
HANCOCK
I'm cold.
Mary hands him the contents of the bag - the trenchcoat.
MARY
I'm sorry.
92.
She leaves.
CUT TO:
INT. BRADLEY ELEMENTARY SCHOOL - DAY
Aaron. The school hallway. He holds a wooden hall PASS,
indicating that class is in session.
He swings into the BOYS ROOM.
INT. BOYS ROOM - DAY
A large restroom - empty. Little Aaron passes up on the urinals.
Selects a private STALL. ZIP - urination begins.
Splash segues into drip. DRIP. Aaron shakes off the last drop...
PLOP.
And that's the cue for the adjacent stalls - arms like tentacles
surface from below, shackling Aaron in his spot. He can't see
but, from behind, the stall door opens...
Guess who?
Perceval - possessed. He grabs the back of Aaron's head.
Introduces it to the yellowed waters below.
SPLASH - the head goes in, submerged. What Aaron sees for the
next several seconds: yellow, the thrashing of.bubbles, the
shine.-of white porcelain at.intimate range.
What he hears: the GASPING of his own breath, GURGLE, and wicked
laughter.
The ambush ends. Perceval. Erlick. Spengler. One of them says...
THEM
(MOCKINGLY)
"Don't mess with me."
They leave - laughing.
THEM (CONT'D)
(in the distant)
Little shit.
Left there and in the stall - Aaron, slumped against the bowl.
On the tile floor. A wet rag of piss.
93.
INT. APARTMENT - DAY
Mary hurries into the room - flustered, adrenaline coursing
wild.
She runs down the hallway to her bedroom, seeking solace in
Horns. The cold, empty bed says he hasn't been home.
MARY
Horus...
CUT TO:
EXT. SCHOOLYARD - DAY
The school front. KIDS swarm into the streets, freshly released
from captivity. And there amidst bedlam - Aaron, roughed-up and
soiled in disgrace.
He moves to the curb, waiting for someone to take him away. No
Hancock, anywhere.
Aaron waits, hopeful.
EXT. STREET - DAY
Hancock walks an aimless walk - in oblivion, a WHISKEY BOTTLE in
his hand. He's been drinking. L"i
in his path and up ahead, a little girl SUE (8) beckons at the
upper branches of a tree.
SUE
(so innocent, her voice)
Hymie. Come down, Hymie.
She catches Hancock, Mr..Superhero who can fly, stumbling by.
SUE (CONT' D)
(CONTINUING)
Mister? My Hymie won't come down from the
tree.
Hancock's reaction - "what?"
SUE (CONT'D)
(CONTINUING)
My pussycat. She won't come down.
She stares up at him with big, blue, sad, helpless, innocent
eyes.
94.
So cool, Hancock reaches down for a PEBBLE - takes it in his
palm. Finds the little pussy named Hymie. And with a simple
flick of the wrist... shoots it down.
A sharp MEOW. punctuates the task. Hymie drops from the branch,
limp and lifeless. A THUD we hear on impact.
SUE (CONT'D)
(so innocent, her voice)
Holy fuck.
Hancock resumes his course, taking off and into the wet sky.
EXT. SKY - DAY
Hancock's drunken flight - erratic and dangerously close to...
BAM... buildings. He strikes the corner of a brick tower,
plummeting downward with the dislocated debris.
He bounces off the concrete -.in an alley.
INT. APARTMENT - DAY
Mary is on the sofa - wondering where Horus might be. She checks
h er watch.
EXT. SCHOOLYARD - DAY
The place is empty. Deserted.
Aaron. On the curb. Some trash flutters by his feet. On his face
- the abandonment of all hope. Nobody's coming, this is clear.
EXT. ALLEY - DAY
Hancock - on his back and amidst the rubble.
He braces the building to get up. Drops. Gets to his feet, only
to be confronted by the police officer from the boardwalk.
We'll call this one officer REED - a beat cop with something
stiff up his ass.
REED
What do we have here? A piece of shit.
A slow look of recognition seizes his face - this is that
superguy.
Hancock stares at him.
95.
HANCOCK
(HUMORLESS)
Fuck off.
He pushes past Reed, who acquieces willingly.
EXT. STREET - DAY
A
Aaron. Walking home. Dejected. His eyes catch a glimpse of
particular pedestrian down the street - Hancock. He gives
chase... and confronts him, out of breath.
AARON
(a slight smile)
Hi.
HANCOCK
(turning; drunk)
What're you doing here?
AARON
(the smile fades)
I saw you walking. Where were you today?
You said you'd... be there.
Hancock - looking over Aaron's abused frame.
HANCOCK
I don't know what you're talking about.
AARON
Where are you going? Can I go?
HANCOCK
You don't want to go where I'm going.
AARON
Those assholes got me in the bathroom,
today...
(trying to hold on)
and you said you'd pick me up at
school.
Hancock turns. He's upset now.
HANCOCK
Listen.
Aaron recoils.
HANCOCK (CONY' D)
(CONTINUING)
Listen. I'm not here to save you.
(MORE)
1
96.
HANCOCK (CONT'D)
No, not my job. Don't put that on me.
(pounds his chest)
Not my problem. Not on my shoulders. Deal
with it, kid. You are what you are and...
what I say, it won't do you any change.
You'll grow up to be just like-your old
man. A coward. Not a damn thing you can
do about it... 'cept grab both ankles,
hope by the grace of God the reaming's
gentle.
Aaron backs away from his angry wrath.
HANCOCK (CONT' D)
(CONTINUING)
That's right. Walk away. Me... I'm not
here to save you.
He watches Aaron break 1into a run - another youngster dashed
against the rocks.
In Hancock's eyes - a .glint of regret. But only a glint.
INT. BAR - DAY
This empty bar.
With the exception of Horus and the bartender - while he's
drying some mugs, let's call him JOEY (30).
HORUS
(BOOZED)
One.more.
Joey studies him. He takes a mug and begins to fill it...
HORUS (CONT'D)
No... nevermind.
(going to blow)
Where's your bathroom?
JOEY
(not in my place)
Bathroom's closed.
Horus politely stands'- teeters a bit.
HORUS
How much.
JOEY
(SARCASM)
Let's see... that's one beer. Tell you
what. I'll take care of this one.
97.
HORUS
Thank you.
JOEY
The register ain't open yet, anyhow.
Horus doesn't hear him. He's already on the move, making a dash
for the door. But too late - he VOMITS at the front entrance.
JOEY (CONT'D)
Shit.
EXT. HADES - DAY
In the armpit of town - Hancock. He lights a cigarette with the
matchbook Gina had given him earlier.
At attention before him - Gina, gnawing on gum, heaving in all
her glory.
GINA
I've been waiting.
They stare for one horny beat.
Hancock moves into her. Buries his head into her bosoms, looking
for solace. She takes him in, very maternal this Gina.
\./
INT. APARTMENT - DAY
The front door opens, but slowly. Aaron steps inside.
From the kitchen, Mary spots him in his violated condition. He
sees her reaction, that of shock - and like that, he runs
s obbing into her arms.
CUT TO:
EXT. HADES - DAY
A phone booth - Gina's office.
There in the back alley and in this glass booth - Hancock and
Gina, their organs ensnared. They're pumping away. Up. Down.
A surreal sight, indeed - the red of his cape and the black of
her leather.
GINA
Come on, baby. Relax.
HANCOCK
I can't.
98.
GINA
You can.
The phone begins to RING - but they're busy.
HANCOCK
I can't.
GINA
Let it go, baby. Just let it...
RING...
HANCOCK
(in tears)
I can't.
His arm rips through the glass...
GINA
. go.
(ORGASMS)
Oh god.
HANCOCK
I can't!
RING...
He DRILLS a hole into the phone - killing it.'
GINA
Don't give up, now.
He lets her down. Tears out of the booth. Finds the sky.
EXT. SHEEPSHEAD BAY - NIGHT
There is movement in the sky above - aggressive formations and
grooves in clouds once coy and demure. The wind HUMS its
presence, toys with fallen leaves.
'INT. APARTMENT - NIGHT
It's dinner - but all is not well. Mary and Aaron and an empty
chair. '
They sit without talking.. They eat without making a sound.
Between them - a ketchup bottle.
The door bursts wide, coughing up Horus. He locates his chair
and plops on it... misses... kisses the carpet.
99.
HORUS
(on the ground; prone)
Son. Go to your room.
Struggles to his knees.
MARY
What happened toyou?
AARON
Dad, are you wasted?
MARY
Where... Aaron, he's not wasted. Go to
your room.
AARON
He is wasted.
Horus rises, under great difficulty. Feels his way to the sofa.
When Mary tries to assist, he waves her away.
HORUS
Aaron. Go to your room.
AARON
But dad...
MARY
(AUTHORITY)
Go!
Aaron obliges, at reluctant pace.
MARY (CONT' D)
What do you think you're doing, Horus
Longfellow?
Horus gauges her.
HORUS
Don't "Horus Longfellow" me, Mary. I'm
not your child. I'm your husband.
MARY
Horus, what're you talking about?
(re: bruises)
Who did this to your face?
Horus rises from his seat with mustered strength.
100.
HORUS
(OBLIVIOUS)
But you didn't know-about me...
Mary knows where this is headed.
HORUS (CONT' D)
(CONTINUING)
You didn't know I was going to do this to
you.
(a half-chuckle)
I guess I should've known. We were
married and I knew... at the reception. I
couldn't dance. so I sat in the back and
watched. You were with Stuart Olmsted and
I watched you dance. In your white dress.
And I remember zoning out... for a
second, just watching you. God, Mary...
the little girl next door who used to get
into fist fights with her brothers in
those patched-up Toughskins. We met only
'cause the tallest tree in the
neighborhood was in my backyard and you
needed to climb it.
(BEAT)
But that night. God, you looked so
beautiful I.had to realize it... how much
I loved you... one more time.
(BEAT)
You and Stuart danced. Laughed. And I
remember I'm watching you there, with
him... together like that. You looked
good with him, I thought all of a sudden.
Like you belong... better. And as I
stared across the floor, it was the same
story with all the guys there, that they
were more right for you.
(SWALLOWS)
More right because that night, you walked
in with the wrong man.
MARY
Why do you say that?
HORUS
Because I let you down.
(BEAT)
I'm a coward. I can't do anything about
it. Look at me, I'm breaking up in front
of you. And God, I fear the day when I'd
have to defend you and Aaron. What do I
do, then? What am I if I can't do that...
my own wife, family? Not a man.
101.
MARY
(ballistic) L
are. Did
You're a fool, that's what you
you think I was completely blind when I
married you? Something cuts at your
masculine ego and it's the pressure...
the standard's unreasonable. The woman,
she wants me to part oceans. That's the
kind of bull shit's made of. I went w
through it...,I was there when the hurt
came, when the academy said no. I
there. And when you felt like hiding...
from me and your ownforward. taking
Rent job, I stepped
It was you, Horus Longfellow. otile. I
didn't take the love away.
here.
the closet,
Horus stands there - tears, almost. He takes to his security
retrieving his U-Rent Security Jacket. He grabs
hat. Straightens his hair. Puts it on.
MARY (CONT' D)
Horns, what are you doing?
Inserts the flashlight into his holster.
HORUS
All that I can do.
the frontdoor.
And with that, stumbles out of
MARY
Horus!
INT. BROWNSTONE - NIGHT
A dark room somewhere. Close on the top of aBdr dresser - a framed The e
picture of a happy Ted "the police captain"
begins to RATTLE.
AND
It comes from a BED g twrithingNintherrposit onI over
obscured from view, iearidin
s 1 he can.
a Hancock. She's doing the best
GIRL
Come on, baby. What's... wrong?
The picture of Ted "the police captain" Brock succumbs to the
rattle. It DROPS off
102.
DREAM SEQUENCE - SOMEWHERE
EXPLODES into the rage and fury of an apartment fire.
Casualties come in the form of CRIES, women and children on the v erge of incineration.
Hancock's POV: a burning hallway, flames spewing from every
crevice - we're walking through Hell.
We see a BOY, huddled under a table. Hancock wraps his cape
around him. Bolts through the inferno... as glass SHATTERS...
and gas pipes ERUPT.
He takes the boy to safety. Unwraps the cape... only to see the
CHARRED remains of a human BODY...
the-CRIES, they continue...
INT. BEDROOM - NIGHT
The room is dark, of course. A BED - as the SQUEAKING of springs
suddenly stops.
A woman's VOICE says...
VOICE
What's the matter?
HAN000K
I need a cigarette.
VOICE
You what? But you haven't...
HANCOCK
(losing it)
I need a cigarette, goddamn it!
He storms from the bed. Heads for the bathroom.
VOICE
I don't smoke. What's wrong with you?
She rises after him and into view - it's no other than the TV
reporter, in the flesh. She bounces over to the bathroom, as the
door SLAMS shut.
REPORTER
What're you doing?
103.
INT. BATHROOM - NIGHT
Hancock stares into the mirror - a face in the latter stages of
deterioration.
And in disgust, he swipes EVERYTHING off the sink.
REPORTER (O.S.)
What're you doing, in there! I'm calli ng
the police.
Hancock drops his pants.
Straight-arms the wall with his left. And with his right,
latches on to his magnanimous member.
Outside and beyond the door, the reporter has her ear pressed
against wood - listening.
So there our superhero stands, bent over a bit, yanking up a
storm. His body convulses under said stimulation. He GROWLS...
Cue for the reporter to back away.
REPORTER (CONT'D)
Jesus...
Hancock stiffens, in full throttle. Full. Throttle...
up and into a fevered pitch... and BOOM, we hear a He GROWLS... P
baby explosion. The reporter leaps back.
Beat.
The bathroom door flies open. Hancock emerges, buttoning his
pants. He brushes pass her. Finds the window... and he's off
with a gush of wind.
The reporter turns back to Looks ins
everywhere, in shambles.. nwke . b nd in the ceiling,�da.9apings
HOLE - seething still fro S m the l A aunch.
REPORTER (CONT'D)
Shit.
EXT. WATANABE'S SHOPPING EMPORIUM - NIGHT
The store bathroom.
Horus - his reflection in the mirror. He stares at himself.
Disgust.
R
He washes his face.
104.
EXT. ALLEY - NIGHT
Hancock's P.O.V. - a blurred, wobbly image of an alley. He-takes
a swig from a fresh bottle of whiskey.
He turns a corner... a dark FIGURE jumps him.,, knocks him
against the wall... GUN pointed.
it is the Hoodlum - from before..,
HOODLUM
Scream and I blow...
(not you again!)
oh shit.
Hancock in a foul mood. He brushes the Hoodlum away, sending
flesh and bone against the opposite wall. SNAP goes the landing.
The Hoodlum. Dead.
Hancock - realization. He hastens to the body... limp... broken.
HANCOCK
No... don't. No.
(LOUDER)
No!
He moves away. Angry. Tired. Drunk. Hancock drops against the
wall, beaten...
INT. BEDROOM - NIGHT
Aaron's bedroom. Mary -.on the bed, rocking Aaron to sleep as
she finishes off a familiar melody...
MARY
(stroking his hair)
"Once there was a way, to get back
homeward..."
EXT. ALLEY - NIGHT
Hancock listens.
MARY (V.O.)
once there was a way, to get back
home..."
Her voice grips him. Torments him...
INT. BEDROOM - NIGHT
Mary. Aaron.
105.
MARY
"Sleep pretty darling, do no t cry. And I
will sing a lullaby..."
(WHISPERING)
Good night, darling.
Kisses him.
AARON
Thanks, mom.
MARY
Sleep tight.
She leaves.
Aaron stops her by the door.
AARON
Mom. Tomorrow always feel bette r.
MARY
(SMILES)
Really?
AARON
Probably.
�/
INT. WATANABE'S SHOPPING EMPORIUM - NIGHT
Horus - on a chair, his face buried in his two hands. He sits
alone, concealed in the darkness.
INT. KITCHEN - NIGHT
In the kitchen - Mary, trying to sift through pieces of the
evening. She finds no comfort.
She moves to the sinks L1oks night. The wind is
alive. And dark cloud ut at the
HANCOCK (O.S.)
(deep; demonic)
Mary.
Mary launches back, cold. Outside the window and in frontrof her
- Hancock, suspended in air. The blood-red of his eyes p
nothing but bad news.
And being so, he EXPLODES through the glass. Glass rains through
trance. n the kitchen, amplifying his e
106.
HANCOCK (CONT'D)
(maniacal; drunk)
Amway, anyone?
The pursuit commences - Hancock steadies after Mary, in retreat
around the living room.
MARY
(she's white)
What're you doing?
Hancock closes in. Corners her.
HANCOCK
It's the haircut, Mary.
(strikes his head)
I'm pissed!
Out of nowhere - Aaron charges the caped psychotic. He
trampolines on Hancock's back, trying to saddle him.
AARON
Don't you fucking touch her!
Mary SCREAMS. Hancock cringes, says...
HANCOCK
Shut your mouth.
He swats the kid off his back.
AARON
Don't touch her you bastard!
HANCOCK
You're getting on my nerves.
MARY
Hancock, please.
He reaches down and untangles Mary from her son - she concedes
out of fear for Aaron.
AARON
No! Mom!
MARY
Stay back, Aaron!
Hancock takes her away - like booty. Aaron dangles from his
cape, trying to save his mother.. In vain.
The superhero springs into the night - with his woman.
101.
AARON
(through heavy sobs)
DAD!
INT. WATANABE'S SHOPPING EMPORIUM - NIGHT
From the depths of defeat - rises, his
attention focused on the bac k Horus responds. Hee
Roheim? Roehim lost his keys...
The back door creeps open. Several under
stealth. They move through enitrs Scarpogand his
thugs.
Horus takes refuge behind the locker, allows them to pass.
THUG #1
(WHISPERING)
Stop grabbing my ass, man.
Horus slides out the back, into the alley. He crosses the street
to a phone. Jabs in 911.
HORUS
Police?
EXT. KILLYBEGS TEXTILE (ROOF) - NIGHT
This dilapidated structure serves as landing pad for Hancock,
easing Mary down with him.
A swift kick and the oor is no more. He drags her down
into the bowels of da roof d rkness.
MARY
What're you doing?
HANCOCK
What I got to do.
CUT TO:
EXT. WATANABE'S SHOPPING EMPORIUM - NIGHT
The SOUND of distant SIRENS are heard. They arrive binlthe form
of three POLICE CARS - pulling up
From one of the cars - Officer Rutger and Officer Adams, in
control of the situation.
108.
INT. WATANABE'S SHOPPING EMPORIUM - NIGHT
Scarpo and the thugs are at the front door - looking out at
about... five to ten for armed robbery. They're in hysterics.
They observe as Horus emerges from the building across, trying
to assist the authorities.
Scarpo recognizes this one security guard.
SCARPO
Nutri-cop.
THUG #1
He got out.
SCARPO
He's dead, man.
THUG #2
Fuck, we're dead! What, now?
EXT. WATANABE'S DEPARTMENT STORE - NIGHT
Rutgers and Adams - cops with Dirty Harry delusions. They greet
Horus as one would Rodney Dangerfield.
RUTGERS
You did the right thing, Longfellow.
HORUS
(COP)
I saw four. Presumably armed. Only other
way out is through the back.
The cops trade laughs.
RUTGERS
Take a hike, Longfella. Get back in your
hole and watch the law kick some ass.
Horus, reluctant, returns inside his building.
Rutgers moves to work the speakers - his action preempted by the
other COPS.
COP #1
We got something big going down.
(LISTENS)
Shit, all units. What the bell's going
on?
109.
ADAMS
(at the computer)
Killybegs Textiles. The Cap sounds like
he's chewing the rag.
RUTGERS
Fuck, what do we do with this?
COP #1
This is a wrap. Come on, lets roll! All
units.
ADAMS
I don't like the smell of this shit.
INT. WATANABE'S DEPARTMENT STORE - NIGHT
Scarpo. Thugs. They watcherheasqua d cars move out and away.
Disbelief would be an adt
THUG #1
What the...
SCARPO
They're taking off...
THUG #1
Fucking no way.
EXT. ACROSS THE STREET - NIGHT
Horus, watching the red and blue light fade into the night. His
complexion is the color of liquid paper.
INT. WATANABE'S DEPARTMENT STORE - NIGHT
The display TV - tuned to the showdown at Killybegs.
THUG #2
(re: TV)
Check this-out, fellas.
Scarpo. Thug #1, #3. They gather around - watching the woman
reporter do her thing, at the scene.
REPORTER
blocked off the streets. Already,
orders for more substantial fire power
have been requested by the commissioner's
office as police surround the condemned
textile building in an all-out
confrontation with Hancock, superhero-
turned-renegade...
110.
SCARPO
Fuck, you guys know what this means?
THUG #2
We're off the hook, man.
SCARPO
The store's ours.
THUG #3
What about that security guy?
SCARPO
He ain't coming back?
In unison - their FLASHLIGHTS flick on.
EXT. STREET - NIGHT
On Horus - as he swallows, backing away and down the street. See
coward run. See coward hide. He disappears around the corner...
. but something pulls him back. He reappears, thinking,
staring at his feet. Destiny awaits him.
CUT TO:
EXT. KILLYBEGS TEXTILE - NIGHT
POLICE UNITS flood this once quiet and forgotten block. S.W.A.T.
teams ooze from vans. COPS kneel behind their cars, guns cocked.
We SEE Ted Brock - he's on the radio, hammering out orders. He
looks pissed.
Rutgers and Adams arrive. They take position next to fellow
COPS.
ADAMS
What's with the Cap? Looks like someone
just fucked his wife, or something.
Nervous smiles from the fellas.
INT. KILLYBEGS TEXTILE - NIGHT
In the wide expanse of this top floor - Hancock and Mary. He
squats before her, calm - unperturbed by the activities outside.
Mary huddles in her spot, occasionally stealing glances outside.
Hancock simply stares at her. At the curves of her gentle frame.
The alcohol's wearing off.
INT. WATANABE'S DEPARTMENT STORE - NIGHT
Scarpo. The Thugs. They sack the emporium, unimpeded.
INT. BACK DOOR - NIGHT
The silhouette figure of Horus - it enters the back room,
bracing the wall for silence. He moves into the store.
From his vantage, several beams of light slice the darkness they
indicate the positions of the thugs.
Horus sneaks in, heads for the second floor.
INT. SPORTING GOODS SECTION - SECOND FLOOR - NIGHT
Thug #3 peruses this department.
Moving across the floor on bent knee - Horus, concocting some
desperate strategy. He moves to the GUN counter. Slips his hand
underneath and withdraws a hidden KEY.
LST FLOOR - NIGHT INT. FIP
Scarpo - stuffing his bag with merchandise. He waves Thug #2
over.
SCARPO
Take the show upstairs.
INT. SECOND FLOOR - NIGHT
The gun counter. Horus loads a .45 - it's foreign to his hand.
He rolls out in search for Thug #3, who is by the BASEBALL
aisle. Horus cocks the .45 in pursuit. Sidles up behind him.
THUG #2 (O. S . )
(from behind)
Behind you!
Thug #3 swings around with a Louisville Slugger - it swipes the
45 from Horus's hand. Horus "I'm screwed."
Thug #3 promptly knocks Horus against the BAT rack. Bats roll,
spray the floor. Thug #3 slips hard on his approach, landing
heavy on his head.
Thug #2 comes running, gun raised.fa rusCdives for r a goes oose bat,
his swing greeting Thug #2 in the
the count.
Horus stands over the two bodies - as surprised as we are.
112.
INT. FIRST FLOOR - NIGHT
Scarpo - in full alert. He's heard the commotion upstairs.
SCARPO
Guys?
(no answer)
Fuck me.
He drops his loot. Heads for the second floor, cocking his gun.
INT. ELECTRONICS SECTION - THIRD FLOOR - NIGHT,
Thug #1, he's writhing to music under the privacy of headphones -
unaware of Horus behind him... Thug #1 whirls around with a gun,
catching Horus off guard.
Horus responds with a FLASH he had acquired from the camera
section - the burst of light momentarily blinds the thug.
And a quick SNAP of the bat takes out Thug #1. Horus dispenses
of the camera, his adrenaline raging. He commandeers the free
gun, heads downstairs.
But the TV stops him... it displays the siege at Killybegs
Textiles.
REPORTER
again, we believe that this is a
hostage situation. Officials refuse to
comment but we believe Hancock has
abducted a woman, the identity of whom we
do not yet know...
Horus - a look of horror on his face.
HORUS
Mary.
He's off, slowing to a ginger descent at the stairs. Makes his
way down to the second floor... where he is greeted by a gun
NOZZLE, pressed against his temple.
SCARPO
You're starting to piss me off.
He pushes Horus down the remaining steps.
INT. SECOND FLOOR - NIGHT
Horus rolls to a halt. Scarpo greets him there...
pulling him-up by the hair...
,knees him in the gut. r
osition. Scarpo stands over
him s drops to the floor in a fetal p
Cocks his gun...
him menacingly.
SCARPO
Your move...
Horus uncoils an accurate kick to Scarpo's groin.
Scarpo - a dumbfounded look entwined in pain. He drops.
Horus goes for the gun. A struggle ensues, Scarpo finding Horus to the side.
strength from god knows where. g
Takes dead aim with a tremblin
BANG... Horus grimaces...
Scarpo drops.
.45 (knocked from
Roheim steps forward from the darkness, the
Horus, earlier) smoking in his hand.
Did I get him?
Horus. Roheim. They look at Scarpo.
ROHEIM (CONT'D)
(CONTINUING)
of him.
Holy shit. I think I g
Roheim notices the unconscious thugs on the floor. Turns to
Horus, measuring him.
HORUS
What're you doing here.
ROHEIM ed
Mary called earlier. She was worri
about you.
HORUS
Mary...
EXT. SHEEPSHEAD BAY - NIGHT
with gloom.
Those clouds that shroud the sky
a CRACKLE of lightning echoes through the
They begin to surge
neighborhood. And the rain begins to pour.
114.
EXT. KILLYBEGS TEXTILES - NIGHT
All right, so this block is squared off - surrounded. The local
police force and your cousins are here, ready to pounce on cue.
Ted "the pissed-off police captain" Brock stands by his vehicle,
screaming out orders - a BULL HORN in his hand.
TED
Let the lady go, Hancock. Or all hell's
going to break loose.
RUTGERS
(to Adams)
Does he know anything else?
INT. KILLYBEGS TEXTILE - NIGHT
Hancock. Mary. She's slumped against the wall, exhausted.
TED (O.S.)
(bull horn)
Come on out!
Hancock seizes his ears the bull horn testing his nerves.
He bolts upright, turns to Mary. He seeks a special kind of
healing.
Hancock closes in - corners her.
MARY
Please.
But there's no denying this superman - he grabs her, running his
hand down her back and between her buttocks.
MARY (CONT' D)
(in tears)
No...
HANCOCK
Please...
A sudden burst of anger seizes Mary. She SCREAMS... STRIKES
Hancock across the face.
MARY
NO!
He tears himself away. Disgusted. Tortured.
115.
HANCOCK
(a desperate child)
Help me.
TED (O.S.)
(bull horn)
All HELL'S going to break loose!
Hancock recoils from this noise - in veritable pain. Clutches
his ear.
HANCOCK
Make it go away, Mary.
Mary huddles against the wall..She watches on, watching him
struggle.
TED (0. S)
You are surrounded. There's no way out of
this one... NO WAY OUT!
Hancock on his knees, tears bubbling inside. He shakes it off.
HANCOCK
No... do what I got to do.
He unloads a PUNCH. PUNCTURES brick. Clear through...
C
EXT. KILLYBEGS TEXTILE - NIGHT
the other side. The authorities react. They right their
guns.
Ted Brock - a picture of grim impatience, breathing hard.
TED
I want his balls in a jar...
Chad. The others. They take a good look at him.
TED (CONT' D)
in a fucking vice...
(into horn)
this is the END of the line.
INT. KILLYBEGS TEXTILE - NIGHT
Hancock - pacing the floor, trying to marshal some emotional
order.
He drops to a squat, searching for calm.
116.
MARY
I'm cold..
Hancock does not respond.
MARY (CONT'D)
(CONTINUING)
You're fighting a lot, right now. I know
that.
(BEAT)
They're out there waiting for you. It's
like... sometimes.., you feel like the
world's waiting for you. Expecting.
What's your next move, they want to
know...
TED (O.S.)
there's NO ESCAPE!
MARY
(CONTINUING)
and the responsibility. The duty. You
can't shrug it off.
(BEAT)
I know that. And I'm sorry.
Hancock - a committed stare into space. Can he hear her?
MARY (CONT' D)
(CONTINUING)
Maybe... if you knew that, that I know.
And. That I won't expect anything from
you. And... there doesn't have to be a
next move.
Hancock turns on this. Stares at her. He rises from the crouch.
Mary - back to wall, on the defensive.
He approaches. Stands before her.
He reaches back... and removes his CAPE. He covers Mary, gently
shielding her. from the cold.
There is no eye contact.
EXT. KILLYBEGS TEXTILE - NIGHT
Ted. Out of patience. He signals to a RIFLEMAN atop an adjacent
building.
Signal acknowledged. The Rifleman loads his piece...
in.
TED
Where the fuck is Chopper Three?
CHAD
(CONCERNED)
This is a hostage situation, Cap. We've
got a woman in there.
TED
Fuck the woman, this is Armageddon. I
want that bastard in a body bag.
Ted waves a "go-when-ready" sign. The Rifleman steadies his high-
powered weapon... FIRES...
INT. KILLYBEGS TEXTILE - NIGHT
Bullets EXPLODE against walls... bricks... Mary SCREAMS, ducking
to the floor.
Hancock REACTS, the chaos throbbing inside his head. And like
that something snaps.
He BURSTS out of the building - eyes lit with the Hell inside.
He lands on the wet surface below. ROARS before the police force
- possessed.
HANCOCK
Go away! Go. Away.
The authorities - they pause, startled. They open FIRE. Cops.
S.W.A.T. teams. Their cousins.
Bullets ZIP through the air and with dead accuracy. Hundreds of
shells strike Hancock - the target. They PING off his armor of
superFLESH.
He stares at them all, invincible.
EXT. APARTMENT - NIGHT
Through this downpour hobbles Horus - pass police CARS
SCREECHING by, en route to Killybegs. A police car sits in front
of his apartment, lights blaring.
INT. APARTMENT - NIGHT
Horus storms into the room... in time to greet a police OFFICER,
trying to pry Aaron from the bathroom sink.
AARON
Let me go you bastard.
118.
OFFICER
Let go, you little asabite.
Aaron spots Horus in the hallway...
AARON
Dad!
He breaks loose - running into his father's arms, crying.
AARON (CONT' D)
I'm sorry dad. I didn't know what to
do...
OFFICER
Mr. Longfellow...
AARON.
He's got mom, dad. He came and took her
away. What do we do, now?
Horus - he hasn't a clue.
On the TV - a graphic depiction of war at Killybegs.
OFFICER
There's not much you can do. We've got
every man out there, already. I suggest
you take your son some place safe. Let us
do our jobs.
HORUS
(on the TV)
Mary...
AARON
I'm sorry, dad. I'm sorry.
OFFICER
(dreading it)
I have to go... they need me.
He exits.
Roheim enters, out of breath. He notices the nasty, gaping hole
in the kitchen.
HORUS
He's got Mary, Roheim.
(blank; uncertain)
I got to get her.
11
119.
ROHEIM
What do you mean, you got to get her?
HORUS
I got to do what I got to do.
Aaron stares up at his father - "did he just say that?"
AARON
Damn right, dad. We got to get her.
Horus at the screen - oblivious. "What can I do?"
ROHEIM
Brain damage runs in this family or
something?
Aaron senses his father's state of overwhelmness.
AARON
Dad. You ever hear about the fox and the
bloodhounds?
EXT. KILLYBEGS TEXTILES - NIGHT
A HELICOPTER (Chopper Three) has since joined the picture of
CHAOS. A strobe light cuts through the darkness and rain, zeroed
in on Hancock.
A machine GUN mounted inside opens FIRE - a wave of bullets
ricochet off the superhero with no effect.
Cops and S.W.A.T. teams continue their assault - it's the only
thing they can do, and it's worthless.
And on that note, Hancock retaliates - with a vengeance.
First to go is the helicopter. He slices through the air and
RIPS the vehicle in half.
An EXPLOSION punctuates its demise - sending the spinning
PROPELLER into wild trajectory. It crashes into a cluster of
Cops - heads are severed, sent flying.
EXT. STREET - NIGHT
Horus sprints through the downpour, following the SOUNDS of
destruction. At the scene, he arrives in time to witness the
dismantling of future law enforcement.
120.
EXT. KILLYBEGS TEXTILES - NIGHT
Hancock swoops down toward a patrol car. Scares the Cops away.
Hoists the vehicle over. his head. Throws it at a band of Cops.
He ROARS...
HANCOCK
Go away!
EXT. STREET - NIGHT
Aaron and Roheim arrive, finding their places behind Horus. They
startle him.
HORUS
Jesus, Aaron. I don't want you to be
here.
ROHEIM
(at the mayhem)
I need a drink.
Aaron, staring at the massacre - a HEAD rolls pass him.
It looks pale but well-fed, healthy. It Ted's.
Aaron ducks into his father's chest.
EXT. KILLYBEGS TEXTILES - NIGHT
In the blink of an eye, the police department is no more. The
entire block - a panorama of bedlam, overturned vehicles, and
mangled bodies.
Satisfied - Hancock returns inside the building.
From the street, we can SEE Horus - fumbling through the rubble,
heading towards the confrontation. He'passes a mutilated body -
belonging to Adams.
A revolver dangles from his fingers. Horus reaches for the gun
and stops. He looks around at the vast destruction and realizes
that no revolver will do. He continues forth.
INT. KILLYBEGS TEXTILES - NIGHT
Mary is on the floor, wrapped in cape.
Hancock returns. He's pumped, deranged, and he's lost that
loving feeling.
121.
MARY
What have you dome?
HANCOCK
I made them go away.
HORUS (O.S.)
Mary!
Mary responds to her name like a body to sugar.
MARY
(HORROR)
Horus!
HANCOCK
(holding his head)
The noise...
HORUS (O.S.)
Mary!
MARY
Horus!
HANCOCK
Why?!
MARY
Please, Hancock. Don't hurt him.
(grabs him)
It'll never go away.
Hancock responds to "it."
MARY (CONT' D)
(CONTINUING)
If you've got anything left... inside...
(hand over heart)
and you do, I know you do... whatever
it was that you felt for me... inside...
then you won't go out there.
He just looks at her.
MARY (CONT'D)
(CONTINUING)
Just let go... and it'll go away. Please,
just let go.
HANCOCK
(DESPAIR)
I can't.
122.
EXT. KILLYBEGS TEXTILES - NIGHT
Horns stands there in the rain - a feeble frame of a man. He
wants a fight.
And he gets it... as Hancock, once again, emerges from the
building - fire in his eyes.
HANCOCK
You ready to rock it up?
Horus runs - he runs for an overturned S.W.A.T. VAN. Hancock
follows, toying with the man.
Horus disappears inside.
HANCOCK (CONT' D)
Come out, you little shit.
A pause in action - no reply from Horus.
HANCOCK (CONT'D)
Are you a man?!
Horus answers...
He storms out with a ROCKET LAUNCHER.
He FIRES it at the unsuspecting Hancock. It's a hit and it BLOWS
Hancock against Killybegs Textile. It lodges him inside the
brick structure.
HORUS
Fuck you.
Hancock pries himself loose - enraged beyond imaginable. He
GROWLS - looking to retaliate. But there's no Horus.
Hancock explores the rubble - by the building. A sudden
EXPLOSION rips the base of a nearby wall - it jars the wall
loose, sending it crashing down.., on Hancock.
CRUNCH, the concrete rips right pass Hancock - stuns but does
not subdue him. He shakes off the dirt. Finds Horus down the
street.
Like a rocket, Hancock heads that way. He gets there, over Horus
- grabbing him by the collar.
With a swift flick, he sends the family man flying.
THUD as his body careens off the Killybegs wall. He drops to the
asphalt below. Horus - in pain, something broken possibly.
123.
He gets up. Tries to walk. Can't.
Hancock - on the app roach, maintaining a cruel but steady pace
towards his wounded game.
Horns tries to crawl. Can't. Too much pain. He peddles back
against the curb, nowhere left to go.
Hancock arrives, looking afully steamed. He stands over Horus -
not unlike Scarpo much
The situation presents itself - he reacts.
A kick into Hancock's groin muscle - CHINK, sliikeyt a soundWofshrugs.
bone off metal. Absolutely harmless. Horus
else can he do?
Hancock tears a YIELD street SIGN it backs Ready to strike� es
this piece of jagged metal.
(CONT' D)
(DEFIANT)
No regrets.
HANCOCK
(COOL)
No mercy.
He takes aim...
AARON (O.S.)
NO!
Mary SCREAMS in the background...
Horns. Hancock. They turn to witness the de-physicalization of
Killybegs Textile.
they begin to crumble, weakened by the wear Bricks... beams...
and tear of recent artillery.
Mary braces herself as the floor beneath begins to give. It
slips... she SCREAMS... and collapses, taking the rest of the
building with it.
A CRASH, followed by a cloud of billowing smoke.
Mary is no more.
HORUS
MARY!
Aaron. Roheim. In disbelief.
124.
AARON
(BLANKLY)
Mom...
Horus, he struggles to his feet. Pushes past Hancock, limping
over to the building that once was.
HORUS
MARY!
Hancock - not a word. He stands in comatose silence, looking
pale.
Horus charges the building in possessed hysterics, trying to
excavate his wife - one brick at a time.
Roheim meets him there, in an effort to console.
ROHEIM (O.S.)
(you're wasting your time)
Come on, Horus.
Horus - lost in the pain. He won't listen.
Slowly and with a sense of duty, Roheim joins the excavation. He
r olls up his sleeve and gets to work.
Hancock drops the yield,sign. Turns to the battlefield in his
midst... surveys the carnage...
A loaded beat.
Hancock ROARS - a cry of desperation. He grimaces with defeat.
Staggers off. SCREAMS, because what else can he do. Falls to his
knees... by a fallen police GUN.
He picks it up...
points it at his head...
FIRES the remaining rounds against his temple. Bullets carom
off skull.
Hancock discards the gun. Breaks into TEARS. Long SOBBING wet
tears. He CRIES. He WEEPS. Into his cupped hands. Indeed, a
surreal sight.
Horus. Roheim. Engaged to the task, brick by brick. Horus works
his way down... to a lifeless ARM, protruding from its tomb.
He stops.
126.
INT. APARTMENT - NIGHT
Aaron - in his pajamas, creeping down a dark hallway. He
approaches a DOOR.
NARRATOR (V.0.)
sometimes when it's dark out, so dark
it's black, I'll see HIM.
Aaron peers through the open door. His eyes wander inside ever
so gently.
On the bed there - HIM... Horns.
NARRATOR (V.0.) (CONT'D)
(CONTINUING)
and it starts allover again.
And Mary. They are in some latter state of coital bliss.
Horus THRUSTS.
Mary GASPS...
NARRATOR (V.O.) (CONT'D)
Some things... you just never forget.
FADE OUT:
THE END
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