Hancock Page #13

56.

MARY:

No.

They're lying through their collective teeth.

AARON:

Me neither. I was thinking.., about

tomorrow.

MARY:

Go to sleep. You know what dad says.

Tomorrow always feels better...

AARON:

I know, mom... after a good night sleep.

He says that but he's the one working

every night. Does that mean he never

feels better? He's always feeling

terrible?

MARY:

(AMUSED)

Go to bed, anyway.

She tucks him-in.. Turns off the lamp. And as she's out the

door...

AARON:

Mom?

She turns.

AARON (CONT'D)

(CONTINUING)

Who is Mr. Penis?

CUT TO:

EXT. SHEEPSHEAD - NIGHT

Time lapses into the late hours. This town experiences a serene

moment - a peacefulness which says that this as night as a night

will be.

INT. WATANABE'S SHOPPING EMPORIUM - NIGHT

Looking down aisles of merchandise - not a trace of life and not

unlike a cemetery.

All is dead, with the exception of FOOTSTEPS - shoes pacing

linoleum. It's Horus, on duty. His flashlight leads the way...

57.

Outside, the SIRENS of police vehicles charge by - real men en

route to real work.

Horus watches them from the window - like a kid who can't come

out to play.

He turns to look across the floor - Roheim, against a chair,

watching the NEWS on a big-screen TV

NEWS:

(re:
Hancock)

.the trains seemed imminently bound for

a catastrophic collision when this...

this superguy...

ROHEIM:

(IMPRESSED)

Man. I bet he gets laid.

Horus - he looks terrible.

EXT. ROOFTOP - NIGHT

It's dark out here in the night. On the roof. Overlooking the

community, the Longfellow's apartment building... and Mary's

bedroom.

From here, we can SEE her - entering from the hallway. She

disrobes down to bare back...

And from this darkness, the RED tip of a burning cigarette GLOWS

into view. Hancock watches from here, the cigarette BLAZES back

towards his face intense.

CUT TO:

EXT. SOMEWHERE - NIGHT - DREAM SEQUENCE

A foreign TERRAIN of trees, of lakes so clear and blue.

They pass below us as we soar through air and mist...

the mist clears, thrusting us into the dense foliage of a

JUNGLE. We penetrate the silence

the silence, it fades into SONG - the silk, mellifluous

voice of a woman (not unlike Mary's). Her siren call beckons

us... takes us deeper into unknown greenery...

but the sound of crackling GUNSHOTS punctuate the end to

song. SCREAMS and CRIES rise from the smoke, women and children

in hysterics...

58.

we quicken to a frantic pace, slicing through the growth.

Rocket and mortar shells EXPLODE in our path, splitting trees

and earth...

. we remain undaunted... but the WAILS of suffering

continues...

until we get there, there in a clearing as smoke and debris

settle... and we see the remains of a lake, a,lake full of

BLOOD... of mangled BODIES floating like flotsam... WOMEN and

CHILDREN... DEAD...

. we SCREAM!

INT. RED EYE MOTEL - NIGHT

Hancock bolts from his bed - horrified, eyes cracked with red

veins. He is soaked.

The orgasmic SCREAMS of a prostitute seeps through from the

adjacent motel room -.the wall behind Hancock's bed trembles to

the rhythm of each pelvic thrust...

He clasps.-his ears - tormented.

CUT TO:

INT. WATANABE'S SHOPPING EMPORIUM -DAY

Roheim in his usual state of sleep. His lips mutter dialogue

from an unseen dream.

ROHEIM:

Olga...

He snaps out of it...

ROHEIM (CONT'D)

(CONTINUING)

.b*tch.

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)

B*tch.

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

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