Hancock Page #9

38.

A COUGH stops him - it's Hancock and he discourages further

violence.

Up and out of the alley, the John flees - tail, between his

legs.

A long stare ensues - Hancock and the Whore, looking into each

other's eyes for answers.

The Whore approaches him. Touches his face - studies it. Moves

it into the light.

WHORE:

(the sage)

You've been to Hell, it looks. And you're

tired...

(BEAT)

and in need.

Hancock - his eyes agree.

The Whore lifts her skirt, reaching into her panties. She takes

out a MATCHBOOK.

Hands it to him.

WHORE (CONY' D)

My business card.

(to the phone booth)

My office.

Hancock inspects the matchbook - 555-GINA, etched inside.

HANCOCK:

(GEENA)

Gina.

WHORE:

(correcting; vaGINA)

Gina.

CUT TO:

INT. BEDROOM - NIGHT

Aaron's room, his nightlight the only source of light. Mary sits

on the bed, by her son.

AARON:

Don't.

MARY:

Just a quick one.

39.

'AARON

Don't 3±119.

MARY:

I want to.

AARON:

Mom.

EXT. SKY - NIGHT

From the black night - a dark figure plummets, caroms off the

side of a building, strikes the metal fire-escapes, crashing

into the trash cans below.

Hancock stumbles from the wreckage, the garbage. Falls. He leans

against the building, glazed over with drunkenness.

He turns to the only source of light that of a building across

the street:
KILLYBEGS TEXTILES, looming above the rest. Boarded-

up windows indicate abandonment - an urban relic.

He stares at the building - perhaps sparing more attention than

we think it deserves.

INT. BEDROOM - NIGHT

Mary swallows. Starts in on the tune.

MARY:

"Once there was a way, to get back

homeward. Once there was a way, to get

back home."

AARON:

Oh, mom.

MARY:

Shut up.

EXT. ALLEY - NIGHT

There, on his ass, his head a raging inferno - Hancock listens,

as if he can hear.

INT. BEDROOM - NIGHT

Aaron, succumbing to his mother's song - his lids flutter.

MARY:

"Sleep pretty darling, do not cry. And I

will sing a lullaby..."

40.

Mary as her voice carries...

EXT. ALLEY - NIGHT

Something overcomes this fevered superman. He begins to unravel.

A calm consumes him. Tames him. It could be Mary's voice - maybe

he can hear it, and then maybe not.

MARY (V.O.)

"Golden slumber fills your eyes. Smiles

awake you when you rise."

Hancock wavers on consciousness - quite unlike him.

MARY (V.O.) (CONT'D)

(CONTINUING)

"Sleep pretty darling, do not cry. And I

will sing a lullaby..."

And like that, a seamless fade into peace - he sleeps.

CUT TO:

EXT. STREET - DAY

Erratic traces of an urban landscape JAG about.

Aaron's distorted view of his neighborhood comes sharp and in

flashes as he is pursued by his tormentors.

Spengler. Erlick. Perceval. They chase him from behind, HOOTING,

taunting poor Aaron - they're out for blood.

Aaron cuts into an alley, lungs pumping...

EXT. ALLEY - DAY

.. but a brick wall stares him down, providing no exit. He

swallows hard.

FOOTSTEPS approach, just seconds away. Close on Aaron, as blood

drains from his face. His eyes dash for a garbage CAN - but is

there time?

Spengler. Erlick. Perceval. They can smell their prey.

ERLICK:

He's not going anywhere.

SPENGLER:

'Less he can walk through wall.

41.

ERLICK:

F***... squeeze through brick.

PERCEVAL:

(just arriving)

Let's rock it up.

They turn the corner, attack mode. Aaron, nowhere in sight. Just

the brick wall and a trash can.

They converge, baffled. Erlick inspects the solid wall. Spengler

scratches his head. But'Perceval's no fool. He spots the trash

can.

He motions the fellas over. They circle the can. A beat. They

ATTACK... an empty can. No one inside. Nothing.

That's because above them, no strings and no cables, Aaron

hovers - under Hancock's capable arm.

In mid-air, they hang for a second. Then, Hancock takes them

away.

EXT. SCHOOLYARD - DAY

Mary stands at the designated pick-up spot, pacing like her

bladder's going to break.

MARY:

(checking watch)

No... no... no!

EXT. ROOFTOP - DAY

A secluded view of the city, high above. Hancock, Aaron under

his arms, rides a light breeze - and then lands.

Aaron scampers away. Turns and faces the man.

Hancock examines the boy's face, the black eyes. He shakes his

head. Disappointed.

He reaches for his belt. Pulls out a cigarette. Lights it.

HANCOCK:

You smoke?

AARON:

What?

42.

HANCOCK:

Of course you don't. Nothing but a kid.

(beat; takes a puff)

Smoke no evil.

Hancock moves over to Aaron, now backed in a corner.

HANCOCK (CONT'D)

(re:
cigarette)

Ever curious... .what it's like?

Aaron shakes his head.

HANCOCK (CONT'D)

(hands it to.him)

Go on... give it a try. One time. Won't

kill you. Once.

Aaron under pressure, acquiesces. He takes the stick. Sucks on

it. Doubles over, coughing.

HANCOCK (CONT'D)

Good, huh? Tastes like compost... your

first stick. Then, after a few more... it

starts getting this. flavor. A little

nicotine buzz. A while passes and all of

a sudden, it's as sweet as candy. Only

now, it takes a whole pack to get

there.., and you won't settle till your,

mouth's as sweet.

Hancock takes another cool drag - Mr. Wisdom waxing

philosophical.

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