Assassination Games Page #2

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
 
IMDB:
6.2
R
Year:
2011
101 min
Website
267 Views


Shooter in the van.

The motherf***er shot my brother.

Please settle down.

What the f*** you mean

"settle down"?

F***.

Danzo. Careful. Watch his head.

Come on. Where's the ambulance?

Come on. Come on.

Gun.

Go, go, go.

Stop. Hey you, freeze.

-Stop, stop, stop.

-Stop, stop.

Move, move, move.

-We're dead.

-No, we're not.

It's working. We drew Flint out.

-You don't think we spooked him?

-You see his face?

We've got him hooked.

He won't quit till Polo's dead.

We need more guns, hardware.

-We can't do this alone.

-Good point. Time to call Herrod.

I talked to the doctor.

It was poison-tipped.

Very fast-acting.

He said whoever did this

knows his toxins.

Keep it safe...

...so when I find the animal

that killed my brother...

...I can use it to carve out his eyes.

I don't believe in fairy tales.

The minute they told me

I was being released...

...I smelled something rotten.

I don't think either

the sniper that missed...

...or Robin Hood

was there by coincidence.

Maybe you should lay low.

We could be on a boat tonight.

I'm not going anywhere

until I find who killed Danzo.

Come on, we have work to do.

Now we know it was a setup.

I'll make calls,

have you out of the country by tonight.

-I'll handle it.

-No.

Find out if Polo's cousin

still owns those factories by the docks.

You sure about that?

-Yeah.

-All right. I'll make some calls.

Nobody talks sh*t to me.

You always got something to say.

Talk some more sh*t to me.

Stupid b*tch.

-Stop it.

-That's enough.

You still got something to say?

You're disturbing me.

Go and cool off.

Go.

You okay?

No.

Excuse me.

I'm trying to practice.

I'm locked out.

Sit.

Put this on. It will help.

-Hello?

-Despite your unforeseen difficulties...

-...the contract remains open.

-Wait.

Don't move. Stay there. Okay?

There was another shooter.

I thought it was exclusive.

It is. The client has confirmed

that a third party may be involved.

A third party with personal issues.

I also have a possible location

for our polo-playing friend.

You need to leave now.

I'm locked out.

You can wait in the hallway.

Please.

Come on, you have to go now.

Please, can I stay here

just for tonight?

Come on, out.

It'll take him till tomorrow

to calm down.

He sees me now,

he'll put me in the hospital again.

You need to be gone

in the morning, okay?

And don't touch anything.

The Polo contract is mine.

Exclusive.

I don't care about the money.

It's personal.

You lose me my fee,

it's personal to me.

Sure those antiques still work?

-One way to find out.

-You're the guy from the courthouse.

-Blocked my shot.

-You made me miss.

Touch?.

Look, we're both professionals.

Sure we can come to some sort

of understanding.

What I understand

is you're getting in my way.

Exactly my point.

We keep chasing the same target...

...we'll keep getting

in each other's way.

Then stay out of it.

After that mess at the courthouse,

Polo's gonna be on full guard.

The best way for us to get him

is if we work together.

You get the money

either way, pal. All right?

The whole million.

And a free pair of hands.

Nothing in life is for free.

What's in it for you?

I got history with Polo.

Oh, great. A partner with a vendetta.

Just what I need.

You'll never find him. I will.

I've been doing this

for a long time, my friend.

Oh, you'll find him eventually.

I'll find him tonight.

Like I said, I got history with Polo.

I spent two years of my life

infiltrating his crew.

He's never gonna come back here.

He will sever all his usual contacts

except for one.

-Who?

-We got a deal?

If your intel's for real.

Who's your lead?

The guy who makes his hardware.

Polo loves his toys.

I read about these things.

Very cool.

Careful.

Careful, that's a half-a-million-dollar

piece of equipment.

Spoken like a true businessman.

But the question

you should be asking...

...is whether the weapon is loaded.

Wait, wait, wait. No, don't.

God, okay. Hey. Okay.

What do you want?

Holy sh*t.

Roland Flint.

You remember me, that's good.

And you know what I want.

You're the one who called.

-So there's no job?

-Quit stalling.

I have no idea where he is.

You know, I read these things

can even memorize a pattern.

No, no, stop. Hey, stop.

No, hey. Stop.

All right, all right. Calm down.

I'm not gonna kill you.

Just gonna blow you apart

limb by limb.

Please, I have a family.

I had a family too, you piece of sh*t.

Okay, okay, hey. I'll tell you.

Talk fast.

I'll tell you.

He knows he's got a price

on his head.

He's moving around hotels

he once used as a front.

-Give me an address.

-I don't know where he is right now.

But Thursday and Friday

he'll be at the Royal Grand.

If you're lying to me....

I understand. I know what you do.

Please.

Good.

What the hell was that?

What the hell was what?

Why did you kill him?

I wanted the guy alive.

I had a plan.

I was gonna introduce you.

He was gonna run off to Polo...

...with a line on the guy

that killed his brother...

...and I was gonna use that

to lure him in.

You didn't tell me that.

Because it was a new idea,

all right?

I was thinking on the fly.

If you want a partner...

...you've got to learn

how to communicate better.

You know, you're lucky

we have a lead.

-You trust him?

-As much as I trust you.

I'll get my people

to confirm his info, okay?

Yeah, you do that. I'll get

the layout for the Royal Grand.

We'll meet, figure it out.

Half a million for this?

You know, we should just take that.

Probably better to make it look

like a break-in anyway.

Can we take something lighter?

What?

I reached out to a guy

at the courthouse.

Got this off a security camera.

Get this out to everybody.

I mean everybody.

Let's find this f***er and bury him.

Wake up.

-Come on. Get out.

-Sorry.

You left the door open.

I saw the fruit.

I got hungry.

Okay, you ate, you slept.

Now you're going out. Come on.

Come on. Get out.

-Get out.

-Fine.

What are you doing?

Have a good life, turtle.

How did you do that?

-Do what?

-How did you get him to come out?

Come here. I'll show you.

You just have to pet him right here.

Amazing.

Wait.

You should put something

on your back.

It hurt?

What?

Go get Anna.

Get out of the country.

Better yet, go to the States.

I gotta see this through.

You gotta see it through?

Or you wanna be the one

who pulls the trigger?

I mean, you said this other

guy's good, right? Good.

He's got the contract.

He's a pro, he's motivated.

Let him take care of Polo.

It's not just Polo though, is it?

It's those dirty lnterpol cops that set

me up. They want my head on a stick.

They want their money back. They're

gonna keep coming till they get it.

So, what are you gonna do?

You take them all on?

You're insane.

You can sit there

insulting me or you can help.

What's it gonna be?

All right. What?

I'm going to bed. You coming up?

In a minute.

I know you like

to keep your hands clean.

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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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