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Ãëàâíàÿ>Êèíîñöåíàðèè>Õýíêîê/ Hancock Ñöåíàðèé ôèëüìà Õýíêîê/ Hancock íà àíãëèéñêîì ÿçûêå áåñïëàòíî (÷àñòü 2)
Çäåñü âû ìîæåòå íàéòè ïðîäîëæåíèå ñöåíàðèÿ ê ôèëüìó: Õýíêîê/ Hancock. Õýíêîê/ Hancock 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. i??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,i??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. i??/ 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 strikei?? 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:
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