Hancock Page #8

Synopsis: A scruffy superhero named Hancock (Will Smith) protects the citizens of Los Angeles but leaves horrendous collateral damage in the wake of every well-intentioned feat. That's OK with Hancock; he doesn't care what people think and is just as likely to be found dozing on a park bench as saving a damsel in distress. However, after saving the life of a PR executive (Jason Bateman) and meeting the man's beautiful wife (Charlize Theron), he realizes that he may have a sensitive side after all.
Genre: Action, Crime, Drama
Production: Columbia Pictures
  4 wins & 11 nominations.
 
IMDB:
6.4
Metacritic:
49
Rotten Tomatoes:
41%
PG-13
Year:
2008
92 min
$227,946,274
Website
2,548 Views


VERONICA:

(a her voice trembles)

Oh god.

The man surfaces from her cleavage for air, his face wet with

sweat and saliva. He brushes his cape away from his arm.

Veronica uncoils yet another orgasm, her back arched, her

breasts beckoning at ceiling.

Quite abruptly, he lets her go. Rights his pants. Unlatches the

window. She paws after him.

34.

VERONICA (CONT'D)

What'd I do?

HANCOCK:

(DEJECTED)

'Nothing. I'm sorry.

And with that, he floats out into the night.

VERONICA:

(dazed; after him)

Hancock.

EXT. STREET - NIGHT

Horus. His walk. Unaware of everything but the storm inside his

head.

He crosses an alley. A band of THUGS, neighborhood kids of

malcontent, surprises him. And. versa. They recoil at his

uniform, his gun.

They quickly realize that he's rent-a-security.

The leader speaks first - he's SCARPO (25), as tough as a steel-

belted radial. The others regroup their DRUGS.

SCARPO:

Nutri-cop.

Horus keeps walking.

SCARPO (CONT'D)

(CONTINUING)

Look like the Man. Walk like the Man.

Sh*t, ain't half the Man.

OTHERS:

Ain't half the Man.

Horus simply walks away.

CUT TO:

EXT. ALLEY - NIGHT

A streetlight HUMS. Blinks - revealing a deserted alley in'

sporadic intervals. Garbage, etc.

A slight drizzle shimmers pass the streetlight. Pelts a soulful

Hancock below - he moves through the gray dreariness in

solitude.

35.

He reaches behind his e. withdraws a box of cigarettes.

Taps himself a stick.

VOICE (O.S.)

How about spreading some of that joy?

Hancock turns and faces a young HOODLUM, scraggly in his own

slimy kind of way.

In a huff, he shoves Hancock up against the building. Presses a

gun to Hancock's temple.

HOODLUM:

(PSYCHOTIC)

Better yet, why don't I just take it...

Hancock - enraged. In a caffeinated blink, he has the Hoodlum by

the throat via one arm, the gun with the other.

HANCOCK:

(SUPER-PSYCHOTIC)

What are you thinking?

The Hoodlum notices that he's dangling a foot off the ground -

one of his SNEAKERS remains in its spot from the swift jolt.

The other sneaker teeters on his one foot... and falls to the

pavement.

HOODLUM:

(f*** me)

Sh*t...

HANCOCK:

What are you thinking?!

Hancock wrests the gun from his hand. Places it into his own

mouth. FIRES two slugs inside. The Hoodlum FREAKS.

HANCOCK (CONT' D )

Huh?!

Takes the smoking gun out of his mouth. Shoves it up the-

Hoodlum's nose.

HANCOCK (CONY' D)

Want to see brain? Huh?!

Sticks the gun back into his mouth. FIRES another shot inside.

Takes it out and this time - jams it into the Hoodlums mouth.

The Hoodlum proceeds to urinate in his pants.

36.

HOODLUM:

(with his mouth full)

Please, mister. I got a baby coming.., a

wife. I got student loans...

Hancock - intense.

Is this getting through?

HOODLUM (CONT'D)

(CONTINUING)

please. Have a heart, mister.

Hancock - the fire inside subsides. Cools to a rational state.

He lowers the. Hoodlum.

He spits the three SLUGS into his hand. Deposits them in the

Hoodlum's breast pocket. Walks away.

INT. WATANABE'S SHOPPING EMPORIUM - NIGHT

In the closing hours of business, employees pell-mell about in

preparation for departure.

A group of LADIES form around a display T.V., taking in with

frothy wetness every inch of Hancock's footage. They gasp

amongst themselves.

Horus enters the picture, jacket and thermos. He notices the TV -

it's like he can't escape the good news.

INT. APARTMENT - NIGHT

The TV set.

More news on the day's activities. Mary sits mesmerized on the

sofa, holding a dish she had planned to dry.

Aaron surfaces from the hallway, lured out by the TV He comes up

behind Mary - his black eyes on the news.

MARY:

(SURPRISED)

You're still up.

AARON:

Can't sleep.

He rolls over the sofa, next to his mother.

They watch VIDEO clips of the foiled bank heist: the crashing

Chevy, the aerial maneuvers, the sheer invincibility of this

man.

37.

AARON (CONT' D)

(IMPRESSED)

That's him?

MARY:

There's something about him... I don't

know.

A female REPORTER concludes the footage...

REPORTER:

(FAINTLY)

And so we ask... who is this man?

Speculation abounds - government super-

experiment, an aberration of nature, or

extraterrestrial renegade? Who are you?

Where are you now, superguy? Call me.

(SMILES)

We'll get together. Have a drink.

INT. BAR - NIGHT

HADES - a smoky bar in the armpit of town.

NEON beer signs. POOL tables. CIGARETTE machines. This is home

to mean people, tough guys - children of a f***ed-up god.

We cut through the nicotine air to find the bar. A figure

hunches on the far end, smoking. Popping vodka like mountain

water in Dixie cups.

It's Hancock and his trenchcoat. The long day wears heavy on his

face - those perpetually red eyes, the horror they've seen.

HANCOCK:

(MUTTERING)

What he's got to do... a man's got to do

it.

EXT. BAR - NIGHT

Hancock stumbles out, incognito, frazzled under his guise. Up

above, the sky - so dark under the storm clouds.

We HEAR commotion in the side alley. And so does Hancock. He

peers into the alley.

There, by a lighted PHONE BOOTH, a WHORE is fending off a horny

JOHN. Hancock simply watches she drives her knee between his

legs. He drops. SQUEALS like a little girl.

The John finds a two-by-four in the dirt. He reaches for it...

Rate this script:4.3 / 4 votes

Vince Gilligan

George Vincent "Vince" Gilligan, Jr. (born February 10, 1967) is an American writer, producer, and director. He is known for his television work, specifically as creator, head writer, executive producer, and a director of Breaking Bad and its spin-off Better Call Saul. He was a writer and producer for The X-Files and was the co-creator of its spin-off The Lone Gunmen. more…

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