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Хэнкок/ Hancock

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 ni?? g maggot would want to be caught dead here. On a shredded s, blotched with urine and cum, we SEE a trenehc -li??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 ,Ira–? 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 3A±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!

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