Hancock Page #22

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 sh*t's made of. I went w

through it...,I was there when the hurt

came, when the academy said no. I

there. And when you felt like hiding...

from me and your ownforward. taking

Rent job, I stepped

It was you, Horus Longfellow. otile. I

didn't take the love away.

here.

the closet,

Horus stands there - tears, almost. He takes to his security

retrieving his U-Rent Security Jacket. He grabs

hat. Straightens his hair. Puts it on.

MARY (CONT' D)

Horns, what are you doing?

Inserts the flashlight into his holster.

HORUS:

All that I can do.

the frontdoor.

And with that, stumbles out of

MARY:

Horus!

INT. BROWNSTONE - NIGHT

A dark room somewhere. Close on the top of aBdr dresser - a framed The e

picture of a happy Ted "the police captain"

begins to RATTLE.

AND:

It comes from a BED g twrithingNintherrposit onI over

obscured from view, iearidin

s 1 he can.

a Hancock. She's doing the best

GIRL:

Come on, baby. What's... wrong?

The picture of Ted "the police captain" Brock succumbs to the

rattle. It DROPS off

102.

DREAM SEQUENCE - SOMEWHERE

EXPLODES into the rage and fury of an apartment fire.

Casualties come in the form of CRIES, women and children on the v erge of incineration.

Hancock's POV:
a burning hallway, flames spewing from every

crevice - we're walking through Hell.

We see a BOY, huddled under a table. Hancock wraps his cape

around him. Bolts through the inferno... as glass SHATTERS...

and gas pipes ERUPT.

He takes the boy to safety. Unwraps the cape... only to see the

CHARRED remains of a human BODY...

the-CRIES, they continue...

INT. BEDROOM - NIGHT

The room is dark, of course. A BED - as the SQUEAKING of springs

suddenly stops.

A woman's VOICE says...

VOICE:

What's the matter?

HAN000K

I need a cigarette.

VOICE:

You what? But you haven't...

HANCOCK:

(losing it)

I need a cigarette, goddamn it!

He storms from the bed. Heads for the bathroom.

VOICE:

I don't smoke. What's wrong with you?

She rises after him and into view - it's no other than the TV

reporter, in the flesh. She bounces over to the bathroom, as the

door SLAMS shut.

REPORTER:

What're you doing?

103.

INT. BATHROOM - NIGHT

Hancock stares into the mirror - a face in the latter stages of

deterioration.

And in disgust, he swipes EVERYTHING off the sink.

REPORTER (O.S.)

What're you doing, in there! I'm calli ng

the police.

Hancock drops his pants.

Straight-arms the wall with his left. And with his right,

latches on to his magnanimous member.

Outside and beyond the door, the reporter has her ear pressed

against wood - listening.

So there our superhero stands, bent over a bit, yanking up a

storm. His body convulses under said stimulation. He GROWLS...

Cue for the reporter to back away.

REPORTER (CONT'D)

Jesus...

Hancock stiffens, in full throttle. Full. Throttle...

up and into a fevered pitch... and BOOM, we hear a He GROWLS... P

baby explosion. The reporter leaps back.

Beat.

The bathroom door flies open. Hancock emerges, buttoning his

pants. He brushes pass her. Finds the window... and he's off

with a gush of wind.

The reporter turns back to Looks ins

everywhere, in shambles.. nwke . b nd in the ceiling,�da.9apings

HOLE - seething still fro S m the l A aunch.

REPORTER (CONT'D)

Sh*t.

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..,

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