Assassination Games

Synopsis: Vincent Brazil and Roland Flint are the two best assassins in the world - but unknown to each other. These two rival assassins form an uneasy alliance to take down a target, which is backed by dirty Interpol Agents.
Genre: Action, Crime, Drama
Director(s): Ernie Barbarash
Production: Samual Goldwyn Films
101 min

I want to propose a toast.

Today is a very special day

for me... I'm nervous,

and I wrote down my speech.

A toast to the kindest, most gentle...

...and most wonderful man

in the world:


Thank you for making my dream

come true.

And now maybe let's dance.


He's okay.

-Hey! What are you doing?

-Sorry. I'm so sorry.

I'll get more towels. Be right back.

Ivan Borisovich?

Ivan Borisovich!

The boss is down!

The hitter's dressed like a waiter!

Cover all exits! Cover all exits!

Sasha! Sasha!

He's heading your way!


Sasha, you hear me?


You told me

there'll be no loose ends.

-We got it down to one.



You have access to the best


...and yet a man with a comatose

wife in tow can elude you for--

For how many years now?

This is what he does best,

and he is the best.

He's also the only one outside

this room who can bury us.

Okay, guys, look, let's think.

Is Flint really that much

of a problem?

I mean, look, if he shows,

we can easily take him out.

You had a good idea to start.

Get rid of the bad guys.

Hire professionals for the job.

Fine. I backed you.

But then you two idiots got greedy

selling weapons back to criminals.

Hey, you got your share.

Shut up.

The U.N. hearings

about this whole mess of yours...

...start at the end of the month.

If there's any fallout,

any problem whatsoever...

...I promise I will land this clusterfuck

squarely on your shoulders.

And you both will spend the rest

of your natural lives behind bars.

Okay. We get it.

For your sake, I hope you do.

Because I hear they just love

cute, dirty cops in prison.


-But he's a smart a**hole.

And he'll waste no time burying us

to protect himself.

-So, what do we do?

-Find Flint.

Take him out.


He was the best on our payroll.

-You said so yourself.

-We use bait.

You mean Polo.

We pay off the Ukrainians,

release Polo, put a price on his head.

What makes you think Flint'll show?

It's personal, he's obsessed.

Let's use that.

It's our only play.

Good morning, Mr. Flint.

I've got the morning shift

at the clinic.

Hang on, Mrs. Pavlescu.

I just wanted to give you this.

Oh, thank you.

You are much too kind.

-As always.

-Please. Anna and l....

We owe you a lot more than that.

Honestly, I don't know

what we'd do without you.

-Have a good day.

-Thank you.

Oh, almost forgot.

I was getting groceries yesterday...

...and Gabi at the store

said there was a man in town.

-What man?

-A foreigner.

He's staying at the motel.

I thought you'd like to know.

Okay, thanks, Mrs. Pavlescu.


How did you find me?

-Good to see you too.

-How did you find me?

I'm not gonna ask you again.

It was just a hunch.

There's no way

I could have been followed.


Anna told me how much you two loved

coming up here when you first met.

I've been driving through every village

between here and the Austrian border.

What do you want?

-There's a job.

-I'm out of the business.

-Ticket's a million.

-I don't need the money.

I see you again...

...I'm sending you home in a box.

Target's Polo.

He's being released.


The Ukrainians are letting him go.

I'm willing to bet he either cut a deal

or snitched on someone. Whatever.

-Or he's bait.

-For you?

New administration.

Maybe lnterpol cleaning house.

They still want their money back.

I mean, you did--

Roland, don't.

Why not?

Because I wasn't followed.

Because I'm not setting you up.

I just thought we could make

a few bucks together, you know?

Turn on the music.


-The radio.


Roland, come on.

Close your eyes.

-You've been in these woods too long.

-Close your eyes now.

Roland, think about

what you're doing, man.

Just think about it, will you?

I mean, I'm not setting you up.

All these years I didn't say nothing.

I mean, come on, man, just think.

We've got a history here.


Welcome, my friend.

The Russian project

went perfectly.

The Bulgarians send their thanks.


-Too fattening.

Very well, but I have goodies

you cannot refuse.

Your usual.

South African, special cut.

Today's value exactly...


The extra 50 is a bonus.

The clients are extremely happy.

I aim to please.

And even better news,

another potential contract.

Double your usual fee.

Who's the mark?

Polo Yakur. A well-connected

gentleman of some reputation.

He's in prison.

-lt will be a difficult job.

-He's being released today.

I'll have more details shortly.

-And the client?

-Wishes to remain anonymous.

I'll take it.

I was hoping you'd say that.

I wonder if one day you'll feel

you've made enough money... move to a better neighborhood.

I like my neighborhood.

People mind their own business.

Of course.

Hey, boys.

Welcome home.

Where's my brother?

-Sorry, boss. He got picked up.


Last week.

Some guy talked too much.

Let's drive.



Roland, help. Roland!


Roland. Roland.

Roland, help!



Bullshit. When I'm back all this sh*t

better be inside, unpacked.

And you'd better be dressed

to go to work, understand?

Do you understand?

Hey, how you doing?

We're your new neighbors.

October and me.

That your place?


See, I'm looking

into expanding my business...

...and I'm thinking

about buying the whole floor.

I'd make it worth your while, huh?

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Aaron Rahsaan Thomas

Aaron Rahsaan Thomas is an American television and film screenwriter and producer, as well as an adjunct professor at the University of Southern California School of Cinematic Arts. Thomas was born and raised in Kansas City, Kansas, and attended the Pembroke Hill School in nearby Kansas City, Missouri. Thereafter, he attended the University of Southern California School of Cinematic Arts in Los Angeles, where he remained afterward and lives today. Thomas began his professional career as a writer's assistant on the TV series Soul Food. Since then, he has written and produced episodes for other TV series, including Friday Night Lights, Numb3rs and CSI:NY. His feature film screenwriting credits include Weapon, starring Jean-Claude Van Damme, and Cover, directed by Bill Duke. In 2006, Thomas was nominated for a Writers Guild of America Award for Best New Series for his work on the first season of Friday Night Lights. The following year, the Writers Guild of America nominated him for its Best Dramatic Series award for his work on the second season of Friday Night Lights. He was nominated for the same award the next year for his work on the third season of Friday Night Lights. Thomas additionally has been nominated for two NAACP Image Awards for his work on Friday Night Lights. more…

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Submitted on August 05, 2018

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