Hancock Page #7

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 a**hole peed on me. I'm dog sh*t.

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 c*nt, 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.

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