Swordfish Page #13

STANLEY:

(realization hitting

him)

You're going into the f***ing bank.

GABRIEL:

That's what I'm telling you,

Stanley. We are at war.

STANLEY:

War? Who are we at war with?

GABRIEL:

Anyone who infringes on America's

freedom. Terrorists' states,

Stanley. Someone must take their

war to them. They bomb a church,

we bomb ten. They hijack a plane,

we take out an airport. They

execute American tourists, we

tactically nuke an entire city.

We must make terrorism so horrific

that it becomes unthinkable to

attack Americans.

STANLEY:

I'm out. I'm not doing this.

You're insane.

GABRIEL:

Maybe. I wanted you to do this

because you wanted to, because we

need men like you, but our

time table's been moved up. Just

relax and it will all be over in

twenty-four hours. You're rich,

Stanley. Pretty soon Holly and

you will be basking in the sun on

the deck of some eighty-foot

scarab, eating bon bons and living

the good life.

He turns to walk off. Stanley looks around. He spots a

generator and moves toward it. Stanley reaches down to

the power board on the generator and gives a large dial a

twist.

(CONTINUED)

79.

105 CONTINUED:
(3) 105

Suddenly, the hundreds of lights in the rack begin to

arc. In a shower of GLASS they start EXPLODING from the

huge amperage shooting through them from the generator.

Gabriel turns to see Stan standing next to the generator.

He moves toward him just as the room goes black.

In a moment the secondary lights come up. No Stanley.

GABRIEL:

(to himself)

Pretty slick.

MARCO:

(walking over)

You want to send a team after him?

GABRIEL:

No. He'll be back. We gotta

move. Load up.

INTERCUT WITH:

106 EXT. STREET (SOMEWHERE IN SANTA MONICA) - MORNING 106

Early morning in Los Angeles. People go peacefully about

their early morning business.

Suddenly, three red, white and blue Hummers crest a hill

and tear TOWARD us down the street.

Halfway down the street, they veer right, jump the curb,

and SMASH through the front PLATE-GLASS WINDOWS of the

World Banc.

107 INT. CAB - MORNING 107

Stanley rides in the back of a cab as the cab hauls ass

to his ex-wife's house.

108 INT. BANK - MORNING 108

As the Hummers roll through the furniture and flying

glass, the side doors fling open and well-dressed men in

Italian suits and sunglasses jump out. Customers scream

and try to flee but are quickly corralled with MACHINE

GUN BURSTS.

80-85.

109 EXT. STREET (SOMEWHERE IN SANTA MONICA) - MORNING 109

A red FERRARI F50 whips around the corner at light speed,

SCREAMS down the street TOWARD us and SCREECHES to a halt

outside the bank. It shifts into reverse and slowly

backs over the curb and into the bank.

A huge armored bus rolls down the street, through two

parked cars, and up onto the sidewalk, effectively

sealing off the front of the glass bank. Mercs begin

welding metal plates around the armored bus. We hear the

approaching SIRENS of a fleet of cop cars.

86.

110 EXT. MALIBU HOUSE - MORNING 110

The cab pulls up in front of Melissa's house. Stanley

jumps out and runs up to the front door.

111 INT. BANK - MORNING 111

Several of the mercs finish putting some sort of collars

on several hostages, including a young, normally good-

looking-but-now-covered-in-mascara, whimpering blonde

girl.

112 INT. MALIBU HOUSE - MORNING 112

Stanley busts into her house. In the living room,

Melissa and the infamous Larry the Porn King are both

face-down in a pool of blood. Stan freaks. He runs from

room to room yelling Holly's name. The house is

deserted. Stanley bursts through the door into Holly's

room. The room is empty and in disarray.

CLOSEUP - STANLEY

As he looks out the window toward LA and pulls out

Roberts' card.

FADE TO BLACK.

BLACK SCREEN:

SUPERIMPOSE:
FRIDAY, OCTOBER 18 8:45:33... 34... 35

FADE IN:

113 INT. BANK 113

THROUGH glass doors, we see the woman slam into the

locked doors. The SWAT guy pulls her into the street.

114 EXT. STREET 114

KABOOM!!!

The EXPLOSION rips the SWAT guy and the girl from the

beginning apart. This time we see it from ANOTHER ANGLE.

BALL BEARINGS RICOCHET against the plate steel of the

bank.

87.

115 EXT. STARBUCKS COFFEE SHOP - LOW SHOT - DAY 115

as the ball bearings bounce across the street and tap

against the coffee shop.

116 INT. STARBUCKS COFFEE SHOP (SLOW MOTION) - DAY 116

Everyone in the coffee shop looks at each other like,

"What the f*** just happened?"

117 EXT. STARBUCKS COFFEE SHOP - DAY 117

As ball bearings roll back into the street.

118 INT. BANK - DAY 118

Stanley is standing in the bank. Three mercs in Donna

Karen suits point modified M-16s at his head. He stares

at the ground, shaking his head. Gabriel tosses his

frappacino against the wall.

GABRIEL:

Get that son-of-a-b*tch on the

phone.

Gabriel walks towards the window, slinging his FN-FAL,

and pulling on his headset. A.D. Joy answers.

GABRIEL:

If you need to test my resolve

then God help you. You have 25

minutes. That plane better be on

the runway.

He clicks off. He turns to Stan.

GABRIEL:

Get my money, Stanley.

STANLEY:

Not until I see my daughter.

Gabriel snaps his fingers and a ballistic cloth duffel

bag is thrown to Gabriel. Gabriel is very unhappy. He

looks at Stanley who is terrified of its contents.

CLOSEUP - DUFFEL BAG

As he unzips it.

(CONTINUED)

88.

118 CONTINUED:
118

BACK TO STANLEY:

Stanley almost can't bear to look.

CLOSEUP - DUFFEL BAG

As Gabriel slowly reaches in and... Pulls out our buddythe giraffe.

WIDER:

Stanley's heart almost stops. He sighs as Gabriel tosseshim the giraffe.

GABRIEL:

Do you really think I wanted it tocome to this. Do you? I am not a

psychopath, Stanley, but I toldyou, I will sacrifice as manylives as it takes to protect ourcountry, including my own.

(beat)

Now get me my money.

STANLEY:

Will you let Holly go once youhave the money?

GABRIEL:

Both of you. You have my word,

Stanley. C'mon.

They walk past a merc sitting at a desk, a laptop open infront of him.

Marco is paying very close attention to Stan.

119 INT. BANK - DAY 119

A merc sits at a desk with three laptops and four tinyextra monitors, all wired into a large bundle of cablesthat run across the floor.

GABRIEL:

We okay?

The merc looks up. On the monitors and laptop screensare present-time shots of all angles of the building andthe surrounding area. The images constantly change asthe merc toggles through the images.

(CONTINUED)

88A.

119 CONTINUED:
(A1) 119

MARCO:

Look at the cover pattern they've

set up. The right hand doesn'tknow what the left's doing.

(MORE)

(CONTINUED)

89.

119 CONTINUED:
119

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