Hancock Page #2

FISH (CONT'D)

I don't take messages, I don't do favors,

and I don't know you from Jack. You want

sheets, they're extra. Towel's extra.

Plunger's extra.

HANCOCK:

I need quiet. Is it quiet?

FISH:

Quiet? Hey pal, we look like a public

library to you? The girls work. Some of

them scream, some of them moan...

(SMILES)

and some of them just kinda lay there

cold. You want quiet, I got cotton balls

you can stick in your ear. They're extra.

Hancock eyes Fish, mentally dissecting the vermin with his bare

hands. He withdraws from his coat the WAD of loot. Pushes it

under the window.

And while Fish collects, he leans into the window and emits a

deep GROWL. Fish recoils. The bills fly.

Hancock takes the key. Exchanges it with a metal ORB - the

strangulated remains of the bell. It rolls out of his palm and

CLINKS off the counter.

Hancock sidles off. Fish - the cat's got his tongue.

INT. BEDROOM - NIGHT

Horus, in full uniform - dark blue pants, shirt.

7.

He dips into a dresser, pulls out a thick black leather belt -

complete with holster.

Horus returns to the dresser for one final item - It's obscured

by his arm but we feel it to be some heavy chunk of metal.

He confronts the mirror, twirls this piece, holsters it. And we

SEE it to be a FLASHLIGHT.

A shoulder patch reads...

U-RENT SECURITY CO.

Their motto:
"TO OBSERVE AND RECORD"

Horus tucks a hat under his arms, ready to move.

INT. AARON'S ROOM - NIGHT

A jar of MARBLES rests upon a window ledge. Outside, the story

is rain.

On a bed, sprawled on his back, Aaron gazes up at the empty

ceiling - the black eye squats prominently on his face.

Aaron brings his hand before his eyes. Looks at it. Studies it.

Slowly, his fingers converge into a tight FIST - a boy's

interpretation of a man's weapon.

A gentle KNOCK disperses the knuckles. Horus peers in.

HORUS:

How's the eye?

AARON:

Black.

Horus enters.

Stands awkwardly before his son.

HORUS:

It'll be gone in a week. Mom'11 touch it

up with some make-up and you won't even

know it's there.

AARON:

Yeah I will. And I don't want any girly

make-up on my face.

Horus deposits himself on the bed. Hunches over-h13 knees.

B.

HORUS:

(almost apologetically)

There'll always be people around

who'll... exert force over those of us

who just want to live in peace.

Aaron listens, observing his father's efforts.

HORUS (CONT' D)

(pain in every word)

The thing to do is... to avoid them.

They're no-wins. Can't-wins. You hold the

anger... and move on. You hold the anger.

(turns to Aaron)

I tell you because I can't take it,

seeing you hurt. You're part of me.

(BEAT)

I've felt what you're feeling now. And if

you've got any of me in you, you're gonna

feel what I felt-when you go up against

one of 'em. Turn away... that's what you

do... the other cheek. You do that for

me. No, you're not the coward. Not you.

No. I'll be the coward, all right? 'Cause

I don't want to see you hurt. I love you.

I ask you to do that for me... your old

man.

And while he utters these words, Mary watches from the dark

hallway - moved b y his affection.

She oversees a father-son embrace.

HORUS (CONT'D)

I'm late for work. Get some sleep.

Tomorrow always feels better...

AARON:

.after a good night sleep.

The light FLICKS off and the man's silhouette form exits the

room.

INT. HALLWAY - NIGHT

Horus backs his way out. Shuts the door. Mary's hand greets him

from behind.

It startles the man. He.tries to regroup.

HORUS:

Mary.

9.

Mary inches closer - passion oozes from every pore. She nestles

up against her husband.

Horus stands uncoordinated, pressing his hands against her back.

He is gentle, but as effective as an armless masturbator.

Mary caresses his neck. Moves her lips to his ear, enraptured

BY:

the moment.

And out of nowhere...

HORUS (CONT'D)

(AWKWARD)

I'm late.

Mary snaps from her trance. Unshackles her hold, like she almost

expected it.

MARY:

(DISAPPOINTED)

Right.

(BEAT)

Coffee's by the door.

She marches back into the kitchen. Horus stares at his feet.

S hakes his fists, mentally kicking himself in the face.

He settles for the door, grabs hisjac ke , coffee thermos. A

look at Mary and he's out thedoo rt

CUT TO:

INT. KITCHEN - NIGHT

Mary - against

the kitchen sink.

Her thin cotton

dress clings to a body still'robust with enrgy,

to breasts so ful l they could yread Uncl

pop a boner inoud e

And while the storm rages outside, Mary burns in a feverish

sweat. The swelling steam and running ho t water combine to

saturate her chest and face - she drips.

Mary gazes out at the wet abyss, possessed by some inner

longing.

INT. MOTEL ROOM (7F) - NIGHT

A T.V. SET. It MOANS from the corner of a room. Scant

blinking red neon from the street cannot disguise thecant lighting

torture this r oom has seen.

10.

Torn, mildewed' curtains. Damp carpeting,. et _ d by every form

of bodily discharge. No self-rem n� g maggot would want to be

caught dead here.

On a shredded s, blotched with urine and cum, we SEE a

trenehc -l�n open carton of cigarettes accompanies the

picture.

An open door faces the MOANING TV set. It's the bathroom and

it's occupied by the intensely frazzled image of Hancock.

He squats on the TOILET, pants around the ankles, cape shrouded

around him.

Those unforgiving eyes plant on the TV screen, a cigarette

dangling from the corner of his lip.

We discern the MOANS to be human and we SEE that he is watching

a PORNO flick - flashes of flesh upon flesh in a f***ing frenzy.

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