Hancock Page #6

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)

F*** 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:

F***... 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 sh*t! 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)

F*** 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.

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