Swordfish Page #3

Synopsis: There exists a world within our world. A world beneath what we call cyberspace. A world protected by firewalls, passwords and the most advanced security systems. In this world we hide our deepest secrets, our most incriminating information, and of course, a whole lot of money. This is the world of "Swordfish." The world's most dangerous spy is hired by the CIA to coerce a computer hacker recently released from prison to help steal $6 billion in unused government funds.
Production: Warner Bros. Pictures
  5 wins & 8 nominations.
 
IMDB:
6.5
Metacritic:
32
Rotten Tomatoes:
26%
R
Year:
2001
99 min
Website
1,869 Views


Kaplan. I pay you to keep me

informed. I know the Vortex.

That's why I voted against using

him on American soil.

(MORE)

12.

(CONTINUED)

13.

25 CONTINUED:
(2)

SENATOR REISMAN (CONT'D)

It's like using the Ebola virus tocure a cancer patient. Son, what

do you think's going to happen ifhe starts tying up loose ends.

They look at each other.

KAPLAN:

Yessir. I understand.

25

CUT TO:

26 EXT. MIDDLE OF NOWHERE - DAY 26

We are indeed in the middle of nowhere, no nothing as far

as you can see. We CONTINUE TO CRANE UP, a $140,000

Ferrari Modena flies down the road in a cloud of

suspended gravel toward Stanley's dilapidated, piece-o'crap

trailer.

27 EXT. TRAILER - ROOF - DAY 27

Stan stands on the roof of his trailer, which was a

dilapidated shack in the 1950s and now is a lot worse.

chained but scruffy-looking Rottweiler runs around infront of the trailer.

A:

Stan looks completely different than he did in theopening sequence. He hasn't taken very good care ofhimself. His hair is long, and right now standing onend. He is wearing nothing but a dirty towel, and isslicing golf balls off the roof. Whack.

As the Ferrari drives up he begins hitting golf balls atit, but he just isn't very good. Nevertheless, after a

dozen bad hits, a lucky shot ricochets off the aluminumhood.

CLOSEUP - FERRARI HOOD

CLANG!

BACK TO SCENE:

Stan smiles as the car slides to a halt in the graveldriveway, and turns back to his "work."

(CONTINUED)

14.

27 CONTINUED:
27

ANGLE ON STANLEY

As we hear the DOOR SHUT and SOMEONE COMES UP the

aluminum extension ladder.

A few moments later, in SLOW MOTION, GINGER appears at

the top of the ladder and steps onto the trailer's roof.

Stan turns around.

She is what the hack writers of the Thirties would call a

vision. Thesauruses could be exhausted searching for

adjectives that do her justice.

In the low-rent light of Stanley's white trash haven, she

is, by definition, a goddess.

STANLEY:

Who are you supposed to be?

WHACK (slice).

She lights a cigarette, inhales deeply, then exhales.

GINGER:

Hello, Stanley.

She knows his name.

GINGER:

I'm Ginger.

STANLEY:

Is that right?

WHACK (slice).

GINGER:

For someone the N.S.A. has listed

as the most dangerous hacker in

America, you sure don't look like

much.

WHACK (slice).

GINGER:

Don't look so surprised. I know

everything there is to know about

you, Stan. From your mom's maiden

name to how big your...

She glances downward then back up.

(CONTINUED)

15.

27 CONTINUED:
(2) 27

GINGER:

Bank account is.

STANLEY:

How'd you get past my dog?

GINGER:

(cute)

Boys like me.

STANLEY:

Great.

again?

What are you selling

WHACK (slice).

GINGER:

Did I say I was selling something?

I'm here to help you, Stan. Look

at you, you're a mess.

WHACK (slice).

GINGER:

My employer wants to meet you.

WHACK (slice).

GINGER:

You're not very good at this, are

you?

STANLEY:

You're f***ing up my chi.

GINGER:

Can I see that?

Begrudgingly he hands her the club. She tees up a ball,

pulls up her skirt far enough to reveal thong, and whack,

hits a ball that Tiger Woods would envy. CLANG.

She smiles, hands him the club back and pulls down her

skirt.

GINGER:

You need to straighten your left

arm. You're bending it.

He looks at her.

GINGER:

Trust me.

(CONTINUED)

16.

27 CONTINUED:
(3)

He does and the ball goes flying 200 yards, perfect,

whacking a fridge with "200 YARDS" painted on it. CLANG!

Stan looks at the club, then tosses it to the ground,

climbing back down an aluminum extension ladder thatleads up through a makeshift hatch on the roof.

27

28 INT. KITCHEN 28

She follows but Stan ignores her and walks into hisbedroom.

She walks over, opens, and reaches into the fridge -GINGER

This is not a nice place you havehere, Stanley.

-- and pulls out a beer -GINGER

I've only been here a few minutesand I'm already starting to feelsorry for myself.

She walks into:

29 INT. LIVING ROOM - DAY 29

Stan walks back in, looking for semi-clean clothes.

STANLEY:

You're wasting your time. I even

touch a computer, I go straight toLeavenworth, do not pass go, donot collect 200 dollars. Whatever

I was...

Stanley, pulling on his pants, lets the sentence hang,

unfinished.

He's putting on his shoes. She squats down in front ofhim, resting her hand on his leg.

GINGER:

Stanley, think about it, theystill teach your techniques atM.I.T.

She smiles up at him, then takes a long drink of herbeer. Stan stares at her a moment, then...

(CONTINUED)

17.

29 CONTINUED:
29

GINGER:

I'm not here to suck your dick,

Stanley, you can sit around doingthe martyr thing as long as youlike. He'll pay you just to meet

you.

STANLEY:

(smiles)

I gotta go to work.

GINGER:

Oh that's right, and fine work itis, too.

(beat)

Stanley...

(beat)

Have you spoken to Holly lately?

She just dropped a 20 megaton thermonuclear warhead intoStanley's universe.

30 EXT. STANLEY'S TRAILER - DAY 30

Stanley practically pitches her down the steps of histrailer and slams the door.

Sh*t...

GINGER:

31 INT. MALIBU HOUSE - DAY 31

A TELEPHONE RINGS in a multi-zillion dollar Malibu beach

house. A WOMAN, late twenties, grabs the receiver. Her

voice is of perfect timbre and accentless.

Hello.

MELISSA (WOMAN)

(CONTINUED)

18.

31 CONTINUED:
31

Melissa...

(beat)

Holly home?

STANLEY (V.O.)

MELISSA:

(New York starts toinvade her accentless

accent)

Stanley. Why are you callinghere?

32 INT. STANLEY'S TRAILER - ANGLE - STANLEY 32

on phone. He stands in front of his now closed fridge.

It is covered with pictures of his daughter, Holly.

STANLEY:

I want to talk with Holly.

INTERCUT BETWEEN the two.

Melissa's accent continues to travel eastward from

Midwest flat to full tilt Long Island.

MELISSA:

It's...

(looks at her watch)

It's twelve-thirty, Stanley.

She's in school. You know it's

illegal for you to talk to her.

STANLEY:

Don't do this, Mel. It's not goodfor Holly -MELISSA

How the hell would you know whatis or isn't good for my daughter?

You've spent the last two years inprison.

Mel -STANLEY

MELISSA:

Stop calling me that, Stanley.

STANLEY:

I just want to see my baby.

(CONTINUED)

19.

32 CONTINUED:
32

MELISSA:

Well, she doesn't want to see you,

Stanley, and I swear to f***ing

God, if you contact her, I'll have

Larry's attorney throw you into a

hole so deep and dark it'll make

Leavenworth seem like two weeks in

Vegas; during which I'll

personally pay two ball-busting

skin-heads to -

STANLEY:

Wow, Mel, you can take the girl

out of the trailer park, but you

can't take the trailer park out of

the girl.

She regains control. Her voice is accentless once again.

MELISSA:

(exhaling)

I will not let myself be

manipulated by you, Stanley.

Larry's her father now.

STANLEY:

Larry's the porn king -

MELISSA:

Larry's a film financier, a good

husband, and an astute

businessman. What films he's

involved in are a function of

profitability and none of your

business.

Rate this script:0.0 / 0 votes

Skip Woods

John Skipper "Skip" Woods is an American screenwriter, producer and film director. He is best known for writing the screenplay for Swordfish and the film adaptation of the Hitman video game series. more…

All Skip Woods scripts | Skip Woods Scripts

0 fans

Submitted by aviv on November 17, 2016

Discuss this script with the community:

0 Comments

    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. 26 Jul 2024. <https://www.scripts.com/script/swordfish_672>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Swordfish

    Browse Scripts.com

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is a "character arc"?
    A The dialogue of a character
    B The transformation or inner journey of a character
    C The backstory of a character
    D The physical description of a character