Swordfish Page #8

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
1,978 Views


reevaluate the way you look.

(goes back to

her book)

Just a thought.

He looks at her with open mouth amazement. In just 24

hours, she already knows what makes him tick.

She looks up from her book and winks at him, then returns

to her reading.

61 EXT. NEWTON MONTESSORI SCHOOL - DAY 61

A SCHOOL BELL RINGS and three hundred screaming kids of

all ages come running from the doors.

ANGLE ON HOLLY:

Not your average ten-year-old. Even decked out in bell-

bottoms and sandals there is something about the way she

carries herself that is older; wiser; sadder.

She walks into a CLOSEUP and scans the driveway.

Reflected in her tiny, round lavender shades we see the

circular driveway of the school jam-packed with buses and

parental types in their M-series Mercedes and their Lexus

SUVs. She sighs. We CRANE UP, PANNING LEFT.

Holly walks to the edge of the street oblivious to the

mayhem. She looks up and down the street then slowly

drops her backpack and sits down on the curb. She pulls

a well-worn copy of William Gibson's Neuromancer from her

backpack, and turns up the raging ELECTRONICA from her

WALKMAN.

DISSOLVE TO:

62

46.

SAME SCENE - LATER

Now there is much less pandemonium. No more buses. We

CRANE DOWN TO a MEDIUM of Holly still in the exact same

spot. Holly sighs, pulls back her headphones and grabsher StarTac from her backpack. She opens the phone anddials.

62

63 INT. MALIBU HOUSE - DAY

The PHONE RINGS and we PAN AROUND the seemingly emptyhouse, finally COMING TO REST ON the back of the couch.

We JIB UP and TILT DOWN. Melissa is passed out in a poolof her own drool. The PHONE continues to RING.

63

47.

64 EXT. NEWTON MONTESSORI SCHOOL - DAY 64

Holly hits the phone and then presses speed dial. We see

"Yellow Cab" scroll across the phone. She hits "SEND."

MAN (O.S.)

Can I give you a lift?

HOLLY:

Look, creep, I don't think so -

She stands up, ready for a fight. And there, next to her

is her father; transformed. Under his arm is a three-

foot-tall stuffed giraffe wrapped with a big red bow.

HOLLY:

Daddy?

(recognition)

Daddy!

She runs to him and wraps her arms around him.

STANLEY:

Hey, sweetheart.

HOLLY:

Daddy... What are you doing here?

I missed you so much.

STANLEY:

Me too, baby. I brought you

something.

He holds the stuffed giraffe to her.

HOLLY:

Oh, Daddy. If Mom finds out

you're here she's gonna have you

thrown back in jail.

STANLEY:

It's okay, baby. Let me give you

a ride home.

He grabs her stuff.

STANLEY:

C'mon.

He walks toward Ginger's silver Mercedes CLK which he's

borrowing. Holly runs and jumps on his back. They laugh

as he carries her to the car.

48.

65 EXT. MALIBU HOUSE - DAY 65

They sit in the CLK, parked down the street from Holly's

house.

STANLEY:

You believe in me, right?

HOLLY:

Of course, but -

STANLEY:

I've found a way to get you back,

sweetheart. It's my one shot and

I'm taking it. Just give me a

couple of days.

HOLLY:

(crying)

I don't want anything else to

happen to you, Dad.

STANLEY:

Holly, everything's going to be

okay. You just have to trust me.

HOLLY:

(crying)

I love you, Daddy.

Holly quickly kisses him, jumps out and runs, crying,

from the car at full speed, with the giraffe.

Stanley, tears rolling down his face, slaps the steering

wheel, trying to figure out how he screwed up his life so

badly.

Suddenly, the passenger door opens and a man in a DARK

BLUE SUIT and fed-issued shades gets in.

STANLEY:

Who the f*** are you?

DARK SUIT #1

(flipping out

his badge)

Friend of a friend. Let's take a

ride.

He motions toward a black Taurus, now parked across the

street. In the back, he sees a face he recognizes.

(CONTINUED)

49.

65 CONTINUED:
65

CLOSEUP ON ROBERTS

BACK TO STAN:

STANLEY:

Sh*t...

The man kinda smiles at Stan.

DARK SUIT #1

(being a dick)

Gotta suck to be you.

STANLEY:

Yep.

Stanley whacks the fed with his elbow across the bridge

of his nose and jumps out of the car.

INT. TAURUS

Stan runs across the hood of the Taurus and just jumps

over the railing.

66 EXT. SHEER CLIFF - DAY 66

We realize what Stan did probably wasn't the smartest

move in the world. The cliff is just barely on this side

of 90 degrees and drops off about five hundred yards

straight down to the PCH.

Stan falls in SLOW MOTION about thirty feet before the

cliff face angles out enough to break his fall. He begins

a combination of sliding and tumbling down the bluff.

67 EXT. MALIBU HOUSE (STREET) - DAY 67

Roberts runs to the railing and sees Stanley sliding/

falling down the hill.

(CONTINUED)

50.

67 CONTINUED:
67

ROBERTS:

(to his men)

Cut him off at the bottom.

Roberts then hops the railing, as his men scramble forthe car.

68 EXT. SHEER CLIFF - DAY 68

Roberts hangs in mid-air a moment, then he too begins therolling fall down the hill.

ANGLE ON STANLEY

as he tries to keep his balance, is being beaten andbattered by the sharp, rocky ground.

Finally, he shoots off an outcropping and free-falls forfifteen feet. Then it really gets bad.

Clear plastic sheeting has been stretched across the hillto help control the erosion. To Stanley however, it isthe world's largest Slip and Slide.

He is no longer able to control, even badly, his descent.

Now, he is flying down the cliff face, only the rocks andbushes that slam into his body, slows the descent.

Roberts, above him, is doing little better.

LONG SHOT ON CLIFF FACE

As Stan and Roberts slide toward the eight lanes ofblazing afternoon traffic on the PCH.

Finally, Stan bounces onto the black-top road. He runs

headlong into the traffic.

CARS SCREECH, HORNS BLARING, as they slide into eachother. Stanley does not lose the single-minded focus ofescaping.

Roberts, now at the bottom himself, watches as a CAR

SLIDES sideways into Stan, flipping him over it. Stan,

not stopping to feel the pain, runs across the hood of afreshly-stopped car.

51.

69 EXT. BEACH - DAY 69

On the other side, Stan runs down to the beach and runs

down the sand at full-tilt, looking for any escape route.

Roberts has made up some time due to the auto-pedestrian

accident which slowed him down a little. Stan however is

faster.

Stan does his best Jerry Rice, as he runs down the beach

at full speed.

Suddenly, the Taurus comes tearing-ass across the beach

at Stanley. Stan veers, now running through the surf.

The Taurus veers as well, and Stan is forced to slide

across the hood to keep from getting whacked. The Taurus

breaks left, and slides further into the surf.

The FBI driver hits the accelerator and bogs the Taurus

down, tires spinning, throwing sand. Stan continues to

run as Roberts makes it to the Taurus.

ROBERTS:

F*** this.

He pulls his .40 CAL. from his shoulder holster and FIRES

it into the air. Roberts bends over trying to catch his

breath.

Stanley stops, putting his hands up.

DARK SUIT #2

Why didn't you do that earlier,

sir?

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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…

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    "Swordfish" Scripts.com. STANDS4 LLC, 2024. Web. 23 Dec. 2024. <https://www.scripts.com/script/swordfish_672>.

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