Haywire

Synopsis: Freelance covert operative Mallory Kane is hired out by her handler to various global entities to perform jobs which governments can't authorize and heads of state would rather not know about. After a mission to rescue a hostage in Barcelona, Mallory is quickly dispatched on another mission to Dublin. When the operation goes awry and Mallory finds she has been double crossed, she needs to use all of her skills, tricks and abilities to escape an international manhunt, make it back to the United States, protect her family, and exact revenge on those that have betrayed her.
Director(s): Steven Soderbergh
Production: Relativity Media
  7 nominations.
 
IMDB:
5.8
Metacritic:
67
Rotten Tomatoes:
80%
R
Year:
2011
93 min
$18,934,858
Website
1,082 Views


Sh*t.

What the hell are you doing out here?

I had to drive all night.

I'm hungover as sh*t.

And you're really starting

to cut into my vacation time,

so can we go, please?

We'll take my car. Come on.

I don't think so.

Why you making...

Why are you gonna make this difficult?

What's difficult? He turns himself in.

Then it's easy.

Turns himself in. Why would he do that?

What exactly did he say I did?

He didn't. He just said to come pick you up.

Nothing else? Nothing about Barcelona?

No.

Nothing about Dublin? Nothing about Paul?

Hi. Can I get you something?

- Need a minute?

- Y'all have beer?

No, I wish.

Just a coffee. Black.

Okay, if you got something to say, say it.

Aaron...

Have you even seen him?

No.

You're really not getting in the car, are you?

No.

- Thank you.

- Have you got any...

You need to get in the car, Mallory!

- You got a car? You got a car?

- What?

- Which one?

- This one.

No, no, passenger side. Give me your keys.

- Here.

- Keys!

What's happening?

Where are you taking me?

Put your seatbelt on.

Sh*t!

- What's your name?

- Scott.

- I'm Mallory.

- Hi.

You're gonna fix my arm while we drive.

Okay, Scott?

Yeah.

Okay. Here. Ready?

- Okay.

- Now take two of the dry packets,

put them on the one

you already have in place.

- Yeah?

- Now take the tape,

wrap it around the gauze

so it stays on my arm.

- Tight.

- Yeah.

- Sorry.

- Couple times around.

- Watch your arm.

- Yeah.

Okay, now tape... Use the scissors to cut it.

- Okay.

- Okay.

That should be good for now.

Jesus Christ.

- I'm hyperventilating.

- Scott.

Thank you.

Yeah, sure.

So, who...

Who was that guy?

- I mean, honestly.

- Aaron?

Someone I worked with.

- Was he your... You know.

- No.

No.

Where did you work with him?

Barcelona.

I...

I don't mean to, you know, get personal.

- Are you in the drug business?

- No.

Are you with the government?

They contracted a company I work for.

Private company.

Wow. That's actually real?

- Yeah.

- That makes sense.

So what do you do? What's your job?

Barcelona. Separatists?

No, no. It's clean.

Negotiations broke down,

just need somebody to go and get the guy.

Okay, whatever.

In four points,

a better immunity language,

more access to intelligence,

this fee structure is unacceptable.

I ntelligence?

Y eah, I need parity with Rodrigo here

and all his people.

You're with State, right?

Yes.

You like it?

I like the idea of me doing my job

more than the idea

of someone else doing my job.

All right, now the immunity language

is as good as we can do.

Fee structure... A number?

Yeah, we need to adjust the overall payment

in order that we can address things

like hazard bumps.

I'll make a list.

But also how the installments are spaced.

Fewer steps.

Hi.

Hey.

What, am I first?

Yeah, Victor will be here at 4:30,

and Jamie's running late.

There's always a cash flow problem.

This is a short timetable, Kenneth.

Should I be nervous?

If it will make you feel better,

you can get the people

that did the Mexico job, Alex.

Look, I know it's more efficient

if we wait for everybody to get here,

but you want to start going through this?

I've got some ideas.

You're right. It's more efficient

if we wait for everyone to get here.

This should be fun.

- Your kit's under your bed.

- Yours check out?

- Good to go.

- I'll check later then, thank you.

There's no smoking in here.

Okay.

It's a phone.

Tell me about Kenneth.

What about him?

How long have you worked together?

Three years.

Not so long.

It is in this business.

You said four points.

You have Mallory Kane

as an essential element.

Is that a problem?

Not a good precedent for me,

for my business.

Well, it doesn't work for us

if she's not involved.

She's not available.

You mind if I call and check on that?

I didn't realize

your interest extended to personnel.

No, no. No, when somebody's good,

it comes to my attention.

It's come to my attention

you're spreading yourself a little thin.

Kenneth, I don't want your B-team.

She's value-added.

Only reason we came to you.

All right, I'll free her up.

And I'll forego the hazard bumps

if you remove the essential element clause.

- That important, huh?

- Do you want her in Barcelona or not?

Explain it to me then.

So I can understand it.

How are we not light?

So we have a man in the car,

we got a man at the door.

Leaves you two to breach with.

You're going hot on a hostage rescue.

There's two rooms inside.

So, the way I read it,

you're either two men short in one room,

or you're one man short in each room.

Anyone else think we're light?

Us?

No way.

Good to go.

Good to go.

You tracking me with the names?

Repeat them.

Mallory. Kenneth. Aaron.

Jamie. Victor. Rodrigo.

Barcelona.

Hostage name.

- Yang.

- Jiang.

Sh*t. Jiang. Jiang.

Don't speak. Walk in front of me.

If I touch you, drop to your knees.

Do you understand?

Done.

They all gone?

Yeah.

When that guy took off,

why'd you chase him?

We already had Jiang in the backseat.

I don't like loose ends.

Is this your idea of relaxing?

Wine and gun maintenance?

There's another glass in the kitchen.

You gonna leave your name

and number afterwards?

Why? You want it?

You're gonna leave Kenneth?

I left Kenneth six months ago.

I meant the company.

You're gonna leave the company?

Company, I left an hour ago.

How come?

'Cause I'm not going down with the ship.

Are you?

If he's paying, yeah, I'm staying.

If you stay...

I don't know, maybe...

Hi.

What are you doing here?

Gate key still worked.

I didn't change everyone's locks, just mine.

Hey, I came by

'cause you weren't picking up.

- I just landed.

- Yeah, two hours ago.

I've been away for nine weeks.

That was my third job in a row.

Give me a break.

You wouldn't know what to do with a break.

You think you know me?

I know you.

I bet he's just like his books.

- What?

- Your father.

I bet he's just like the characters

in his books.

How would you know?

You've never read one of his books

and you've never met him.

I'm just going off his photograph.

What do you want?

The usual. I have an assignment.

Well, your timing sucks.

I haven't even unpacked yet.

This'll take no time at all.

It's like a paid holiday.

This will take no time at all starting when?

Well, tonight.

I mean, you would have to leave tonight.

Well, if it is a paid holiday,

then it doesn't have to be me.

I'm overqualified.

The client has asked for you.

Mallory, it's Ml6.

It's a new in for me. I can expand.

Yeah, sounds great. For you.

Let me turn the volume up a little here.

You probably heard me

mention the name Paul.

Paul. Never, not once.

Well, Paul, he's one of us,

but he's freelance.

Actually, I was hoping

you might convince him to come aboard,

but that's secondary.

Paul has managed to get close

to a curious character named Studer,

and our client

wants to take advantage of this.

Studer is a French national

Rate this script:0.0 / 0 votes

Lem Dobbs

Lem Dobbs was born on December 24, 1958 in Oxford, Oxfordshire, England as Anton Lemuel Kitaj. He is a writer and producer, known for Dark City (1998), The Limey (1999) and Haywire (2011). He has been married to Dana Kraft since 1991. more…

All Lem Dobbs scripts | Lem Dobbs Scripts

1 fan

Submitted on August 05, 2018

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

    "Haywire" Scripts.com. STANDS4 LLC, 2024. Web. 21 Dec. 2024. <https://www.scripts.com/script/haywire_9722>.

    We need you!

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

    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 physical description of a character
    B The transformation or inner journey of a character
    C The dialogue of a character
    D The backstory of a character