Hudson Hawk Page #8

Synopsis: Thief extraordinaire Hudson Hawk (Bruce Willis) has just been released from prison and all he wants is a nice cappuccino. However, before he can savor his favorite beverage, the highly eccentric and wealthy Darwin Mayflower (Richard E. Grant) and his equally odd wife, Minerva (Sandra Bernhard), rope Hawk into an ambitious series of heists. Soon Hawk is stealing no less than major works by Leonardo Da Vinci, priceless pieces that the Mayflowers plan to use in an exceedingly nefarious way.
Production: TriStar Pictures
  3 wins & 5 nominations.
 
IMDB:
5.8
Metacritic:
17
Rotten Tomatoes:
26%
R
Year:
1991
100 min
711 Views


Gone!

The gavel comes down in super slow-motion.

Anna's leg pokes out of the aisle, tripping the guard.

Hawk brakes at the end of the Mayflower's row and smiles

in relief, casually turning to Darwin and Minerva.

The gavel continues to come down in super slow-motion.

Both Darwin and Minerva Mayflower suddenly DUCK DOWN.

Smile vanishing, Hawk spins toward the stage.

(CONTINUED)

36.

51 CONTINUED:
(3) 51

The Gavel hits.

Breaking out of slow-motion into wide-angle, the entire

podium explodes sending debris, equestrian pieces, and

eccentric bald pieces searing into the screaming,

battered crowd.

Knocked off his feet, Hawk gropes into a standing

position. He sees the Mayflowers make a smooth exit.

He starts to give chase until he sees a battered Anna

rising from the ground.

A hanging unicorn cracks from the damaged ceiling and

swooshes down towards Anna.

Hawk bolts upon some auction chairs and makes a flying

leap. He slams Anna out of the unicorn's pulverizing

Path. They weary up off the ground and move down the

aisle, calm in a storm of panicked art patrons.

ANNA:

My God, that was bold of you,

you didn't have to do that...

HAWK:

It was nothing--anybody would

have done the same thing-

It's an impulse...

ANNA:

No, I meant you didn't have to

tackle me and rip my dress.

HAWK:

Oh.

Anna touches Hawk's lips and laughs.

ANNA:

I was just kidding. Thanks for

saving my life, tough guy. Why

was that guard chasing you?

HAWK:

Because Danger, Doc, is my middle...

(CONTINUED)

37.

51 CONTINUED:
(4) 51

Before Hawk can finish, a hanging white tri-star Pegasus

out of nowhere hammers him into the ground and the viewer

into darkness.

52

&

53

OMITTED 52

&

53

FADE IN:

54 INT. VAN-TYPE AMBULANCE--NIGHT 54

Hawk stirs into consciousness strapped on an elevated

gurney.

Am I in hell?

HAWK:

CESAR:

Not quite, but close.

Hawk's eyes focus. The Mario Brothers hover over him.

ANTONY:

30 seconds and counting.

CESAR:

If you know what we mean.

ANTONY:

Couldn't just play along, could

you, Eddie.

55 EXT. THE BROOKLYN BRIDGE--NIGHT 55

The ambulance careens onto the Brooklyn Bridge.

56 INT. INSIDE THE AMBULANCE 56

Antony raises up a mammoth gun.

CESAR:

Pretty classy way of covering our

tracks.

ANTONY:

That auctioneer should be landing

at LaGuardia any minute now.

CESAR:

Subtlety's not one of our strong

points.

HAWK:

Neither's flossing.

(CONTINUED)

37A.

56 CONTINUED:
(A1) 56

ANTONY:

What?

Hawk escapes from one of his straps and launches a nearby

trayful of syringes into Antony's face where they

ghoulishly quiver.

(CONTINUED)

HUDSON HAWK -Rev. 8/8/90 38.

56 CONTINUED:
56

Falling Antony fires wild shot, shattering the partition.

57 FRONT SEAT OF THE AMBULANCE 57

The Scarfaced Bodyguard/Driver, now in paramedic white,

freaks at the starred windshield.

58 THE BROOKLYN BRIDGE 58

The ambulance bumper-pools off some innocent cars.

59 INSIDE THE AMBULANCE 59

Hawk frantically tries to undo his other strap but a

howling Cesar, side-stepping his vibrating-on-the-floor

brother, latches onto the back of the gurney and wrenches

it backward.

CESAR:

Get the f... out of here!

60 OUTSIDE BACK OF AMBULANCE 60

The elevated gurney blasts out the back with a now

unstrapped but terrified Hawk whoa-a-ing atop it.

The gurney wheels hit the road, sparking.

A sheet from the gurney, caught on the door, yanks TAUGHT

--Hawk is "water skiing" on his stomach atop the elevated

gurney!

Screeching cars are weirded out by the new vehicle on the

road.

61 THE GURNEY 61

Battered by wind and fear, Hawk clutches to the gurney

and the sheet with a grit teeth stoneface.

The sheet is torn from the gurney sending it rocketing

off to the side on its own crazed volition.

Hawk skis toward a TOLL BOOTH WITH A LARGE GATE-ARM.

HAWK:

Life don't get much better than

this.

He then sees he's heading toward an EXACT CHANGE lane.

(CONTINUED)

38A.

60 OUTSIDE BACK OF THE AMBULANCE 60

THE GURNEY FLIES OUT OF THE BACK OF THE AMBULANCE, POPS

UP.

THE SHEET PULLS TAUT.

SWERVING AMBULANCE DRAGS GURNEY.

PASSES TAXI.

HAWK CATCHES CIGARETTE TOSSED OUT BY FAT LADY.

HAWK PASSES GIRLS IN CONVERTIBLE.

AMBULANCE SWERVES.

CESAR AIMS, FIRES, HITS GURNEY IV BAG.

SHEET BEGINS TO TEAR.

WEAVING IN AND OUT OF TRAFFIC.

SHEET RIPS. GURNEY ROLLS FREE. AMBULANCE GETS WAY

AHEAD.

HAWK PASSES TAXIS.

HAWK STEERS THROUGH TRAFFIC, PASSES UNDERNEATH "TOLL

PLAZA AHEAD SIGN".

RIDES OUT OF BROOKLYN BRIDGE AREA.

EXT. TOLL BOOTH PLAZA

HAWK REACTS, "TOLL PLAZA!"

HAWK:

Toll Plaza!

Exact change!

F*** you, Cesar!

You know, life doesn't get much

better than this.

GURNEY CATCHES UP TO, PASSES AMBULANCE.

Insert page 1 for Sc.

Slate 60, Take 1.

Ho, ho.

Has this ever happened to

you?

Take 2, 3, 4.

I hate when this happens.

Slate 60A, Take 1.

Hey, how fast are we going?

There's no place like home.

There's no place like home.

There's no place like jail.

Hey, is this the way to JFK?

Hey, the front right tire is

a little low.

Has this ever happened to

you?

If this...

Jail starts to look really

good.

Take 2.

Ooh, menthol.

This is bad...This

Girls, hey! Hey, yo!

How fast are we going?

It's ok, I'm in pre-med.

who--oo!

Slow down, whoa!

Wonder how my hairs looks?

Little breezy out here.

Whoa.

Hey, how do you make a left

turn signal?

Oooh, menthol.

Take 4.

Just let me get at you Cesar.

Oooh.

Taxi! Taxi!

Oh, that was

Just let me get my hands on

you Cesar.

Taxi!

You dago wop...I can say

this, my ancestors were

Italian.

Slate 60B

Never get a cab when you

want one.

Hey girls, my name is Eddie

Hawkins.

I feel like a pontiac hood

ornament.

Girls, girls.

My name is Eddie Hawkins.

No, I'm not a Doctor.

Insert page 2 for Scene 60

Slate 60C

No, no, I don't think that

I'm going to be out here

all night.

What's your name?

This is a brand new tuxedo!

Now my pants are all wet.

No, no.

Really, this is just not...

Slate 60D

Oh, this is becoming a very

special night.

Slate 60E

Hi.

This is the third time this

has happened to me today.

I know, I know, it looks

pretty dangerous, but it's

environmentally sound and

it gets great gas mileage.

It's ok, I'm a qualified

medical technician.

Do you take last requests?

Yeah, don't you hate these

renta cars.

Great tits.

Slate 60E, Take 3.

Uh, oh.

Hi.

Girls, girls, can I ask you

a question?

How do I look?

Whoa!

Nice wheels, huh?

I know, I know, it looks

pretty dangerous but it's

environmentally sound and

it gets great gas mileage.

??

Slate 60F

Uh oh. Oh my god

Oh my god, no

Slate 60H, Take 1.

Hey, hey, can you just like

...come here

Taxi!

Listen, just slow down...

just slow down

Listen, Hi, How ya doing?

Hey, got change for a dollar?

Oh, no, oh no...

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Steven E. de Souza

Steven Edward de Souza (born November 17, 1947) is an American producer, director and screenwriter. He is among a handful of screenwriters whose films have earned over US$2 billion at the worldwide box office. more…

All Steven E. de Souza scripts | Steven E. de Souza Scripts

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