Swordfish Page #17
107/108.
170 CONTINUED:
170TORRES:
No, sir.
ROBERTS:
Keep looking. Bodies just don't
f***ing disappear.
Roberts' voice slowly FADES as we PUSH IN ON Stanley,
internal wheels spinning.
STANLEY:
(to himself)
Disappear...
FADE TO:
1910 STOCK FOOTAGE
Houdini's favorite elephant trick going on inside Stan's
head.
INT. BIG TOP - DAY
A large crowd of people surrounds Houdini and pale-suited
assistants in front of a large elephant in the center
ring.
GABRIEL (V.O.)
Houdini made an elephant disappear
in a room full of people.
His assistants pull a curtain all the way around the
elephant.
GABRIEL (V.O.)
You know how he did it?
CUT TO:
INT. CURTAIN - DAY
GABRIEL (V.O.)
Elephant suit. Filled with his
assistants.
We see his assistants jump out of the elephant and hang
the suit inside the curtains.
GABRIEL (V.O.)
Assistants jump out. Blend in
with the others.
(CONTINUED)
A108A.
170
CONTINUED:
(2) 170INT. BIG TOP - DAY
Houdini's assistants pull back the curtain, melding with
the assistants inside, unbeknownst to the audience of
course.
GABRIEL (V.O.)
Voila.
The elephant is gone. Houdini throws up his hands.
GABRIEL (V.O.)
No more elephant.
in black urban assault gear, pushing Stan to the ground.
CUT TO:
172
OMITTED 172
173
CLOSEUP - STANLEY (PRESENT) 173
Realization sinking in.
173A
INT. GABRIEL'S HOUSE - GINGER'S ROOM 173A
Ginger looks at him, holding her Glock, a wire taped
between her breasts.
GINGER:
I'm D.E.A., Stanley.
CLOSEUP - GINGER
GINGER:
Trust me.
108A.
173B CLOSEUP - STANLEY - PRESENT
GABRIEL (V.O.)
-- so advanced nowadays you couldprobably pilot it from yourtrailer.
CUT TO:
173B
174 FLASHBACK - GABRIEL
GABRIEL:
(smiling)
Misdirection...
174
175 INT. GABRIEL'S HOUSE - WINE CELLAR - DAY
Gabriel's "face" smooshed against the glass door.
175
109.
176 BACK TO ROBERTS (PRESENT)
Roberts looks at him inquisitively.
176
ANGLE ON STANLEY
As a wry Indiana Jones smirk slowly crosses his face.
slowly shakes his head.
ROBERTS:
Cheer up, Stan, we got him.
You're a hero.
He
STANLEY:
Yeah that's me. Hero.
They walk to the door and out.
ROBERTS:
I was wrong about you, Stanley. I
wanted you to know that. You
know, you should take yourdaughter on vacation. Relax a
little, you're lucky to be alive.
Stanley slaps Roberts on the arm and walks out.
FADE OUT.
FADE IN:
177 INT. CREDIT SUISSE (MONTE CARLO) - DAY
A WOMAN who looks surprisingly like Ginger with blondehair and dark shades saunters into the Credit Suisse main
bank in Monte Carlo.
177
She walks up to a desk and sits down in front of a youngfemale BANK EXECUTIVE. Both women speak in French withSUBTITLES.
WOMAN:
I would like to transfer moneybetween my employer's accounts.
BANK EXECUTIVE:
Certainly. May I have youremployer's account number andpassword, please?
The Woman slides a piece of paper across the desk as shecasually lights a cigarette.
(CONTINUED)
110.
177 CONTINUED:
177BANK EXECUTIVE:
(looking at the
account number,
realizing who she is
dealing with)
Oh, of course. You realize, how
should I say, there is a
substantial amount of money in
that account.
The sexy Woman smiles.
WOMAN:
That's why I'm here. My employer
doesn't like drawing attention to
himself. He likes to keep a low
profile.
The Bank Executive keys in the account numbers.
BANK EXECUTIVE:
Of course. Would you feel more
comfortable dealing with the bank
president?
WOMAN:
(exhaling)
Would you?
BANK EXECUTIVE:
Yes...
WOMAN:
Get him.
BANK EXECUTIVE:
Right away. A glass of Cristal
while you... Wait a moment...
WOMAN:
What?
BANK EXECUTIVE:
There seems to have been a
series of large withdrawals out of
this account.
WOMAN:
That's impossible.
The Woman spins around the terminal.
The Executive and the Woman look at each other in
astonishment, then both look back at the screen.
(CONTINUED)
110A.
177 CONTINUED:
(2) 177The balance now reads $500.00.
We PUSH INTO A CLOSEUP OF the terminal. Then THROUGH it.
111.
178 TERMINAL 178
We PUSH INTO a CLOSEUP of the terminal. Then THROUGH
it. We SHOOT THROUGH the system of wires and microchips,
DOWN and THROUGH T1 lines, ACROSS the world at light speed,
and EXIT the computer world FROM...
179 INT. DINER - SOMEWHERE IN ARIZONA - DAY 179
The screen of Stanley's laptop.
HOLLY (O.S.)
Everything okay, Dad?
Stanley, sitting at a booth, looks up from his laptop
at Holly who was studying a road map of Arizona.
STANLEY:
Everything's fine. Just making the
last of some charitable donations..
Stanley finishes, shuts down laptop.
STANLEY:
How about you, almost done?
HOLLY:
(folding up road
map)
Yep. Got it all figured out.
STANLEY:
Well, let's do it.
They leave table.
EXT. DINER - SOMEWHERE IN ARIZONA - DAY
They exit diner. Make their way to a new SUV with a
thirty foot tricked out Airstream trailer stretched
out behind it.
STANLEY:
By the way, where exactly are we
going?
HOLLY:
The Petrified Forest.
STANLEY:
The Petrified Forest.
Stanley opens the driver side door of the SUV.
(CONTINUED)
111A.
179 CONTINUED:
179HOLLY:
Right. And I'm driving.
Holly climbs into the vehicle, as if to take the wheel.
Stanley slides in next to her.
STANLEY:
Scoot over, you.
WIDE SHOT:
WE CRANE UP and AWAY as the vehicle pulls out of the
desert truck stop...
HOLLY (V.O.)
Know why they call it the Petrified
Forest?
STANLEY (V.O.)
No. Why?
... and drives off down the road.
FADE TO BLACK.
112.
FADE IN:
180 EXT. CREDIT SUISSE (MONTE CARLO) - DAY 180
A MAN, whom we have not seen before but does maintain a
certain "Gabriel" air about him, hiding behind shades,
leans against a three-hundred-year-old column reading a
newspaper.
She walks toward him and he signals for the valet.
WOMAN FROM BANK:
You're not f***ing gonna believe
this. Stanley -
MAN:
-- How much he leave?
WOMAN FROM BANK:
500 bucks.
He takes the $500 in cash from her hand and hands her the
paper. They walk down to the dock, where a 50-foot offshore
cigarette boat waits, a valet standing next to it.
He hands the valet the $500. Stepping down into the
cigarette boat, he grins up at Ginger.
GINGER (WOMAN)
(steppng in next
to him)
You don't seem that upset.
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Swordfish" Scripts.com. STANDS4 LLC, 2024. Web. 27 Nov. 2024. <https://www.scripts.com/script/swordfish_672>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In