[Hitman]

INT. THE HOTEL ROOM- DAY
We hear the Agent’s voice as we see the Hitman going through various rituals in a singlet in his hotel room. Rain starts to fall. CYPRESS HILL’S ‘COCK THE HAMMER’ starts up.

The Hitman stands checking his guns, oiling them and checking their actions. He runs a rat tailfile down the barrel of each of his guns, changing the rifling.
He picks up a silencer and screws it onto his desert eagle. He cocks the hammer and puts a few rounds into a nearby pile of magazines. He nods affirmably.
The Hitman picks up a nearby Walther sniper rifle and raises the sight to his eyes. He takes it away from his eye and uses an awl to scratch a mark in the side of the sight.
He moves over to a man sized dummy in the side of the room and the Hitman goes through various attack exercises, using his feet and hands to attack various pressure points on the dummy’s body.
He goes to a door frame and hooks his feet on a bar that has been installed. He starts doing upside down sit-ups.
Finally he lands and goes through a complex kung fu routine, reminiscent of the Shaolin monks of China. A series of kicks and air punches are executed, putting the Hitman in the correct frame of mind.
The Hitman slams his fists together. He is ready.
EXT. OUTSIDE THE HOTEL- DAY
The Hitman walks out of his hotel donning his customary black suit once more, briefcase in hand. He enters his Turbo and revs the engine.
He drives away.
INT. THE TURBO- DAY
The Hitman speeds along the Chicago streets.
HITMAN
According to the Agency, Schwan is sure no one knows of his activities and will thus walk to Servance’s mansion on the east side from the train station. I’ll meet him there. Someone will make his way into Servance’s place, but it won’t be Schwan.
INT. CHICAGO TRAIN STATION-DAY
A overcrowded train stops and hundreds of people exit, bustling along on their ways. We see Schwan get off the train, dark rings around his eyes from a long ride.

EXT. OUTSIDE THE TRAIN STATION- DAY
Schwan walks along, the crowd surrounding him. He, with the rest of the crowd, attempts to get away from the masses as soon as possible. He is fenced in by people. The CAMERA gives an overhead view of Schwan surrounded. Suddenly, the CAMERA jerks up and QUICK ZOOMS on the Hitman as he walks against the flow of the crowd.
A EXTREME CLOSEUP of his right hand reveals an ice pick, only just recognizable under the Hitman’s grasp.
He moves up to Schwan and doesn’t slow his stride. Using the natural swing of his arms, he plunges the ice pick into Schwan’s kidney. He withdraws it immediately.
Schwan clutches his side in absolute agony. The Hitman doesn’t slow, he continues walking as Schwan falls. No one even looks in the Hitman’s direction.
The Hitman glances back, notes that Schwan is no longer writhing in his death convulsions, and continues walking.
INT. THE TURBO- DAY
The Hitman gets in his Turbo and sits down. Immediately he pulls the ice pick out of his sleeve and wipes the blood off. He then snaps the metal tip of and flings it out the window into a nearby drain.
He is about to start the engine when his mobile rings. He answers.
HITMAN
47.
OPERATOR (FILTERED)
Change of plan. Servance isn’t at his mansion but is in the orphanage. Go over there and leave him a present.
The Hitman is incredulous.
HITMAN
What?
OPERATOR (FILTERED)
Is there a problem 47?
HITMAN
Shouldn’t I just attack Severance?
OPERATOR (FILTERED)
Are you questioning my orders 47?
HITMAN
In part-
OPERATOR (FILTERED)
No questions! Do it.
There is a BEEP as the Operator hangs up. The Hitman SIGHS.
INT. THE CONTROL ROOM- DAY
The bloodstream effect mars the image as we struggle to make out the figures of the Agent and the Operator.
OPERATOR
He questioned my orders.
AGENT
I’m not surprised.
OPERATOR
Should I call in a scratcher?
AGENT
Yes.
OPERATOR
Who should we get?
AGENT
Call in Lobo.
OPERATOR
You think it’s THAT serious?
AGENT
It doesn’t pay to take chances. Get Lobo to watch 47 to make sure he doesn’t back out on us. If he does, scratch him.
FADE OUT
FADE IN:
EXT. THE STREETS- DAY
The Hitman walks solemnly along the streets, briefcase in hand, his face the very picture of conflict. Slowly, as if the beats were the Hitman’s soul, Cypress Hill’S ‘LET IT RAIN’ works its way into the scene.
EXT. ABOVE THE STREETS- DAY
Near a ledge, overlooking the streets, a duffel bag lies open, it’s contents removed. We hear the confidant SNAP of a weapon being pieced together.
In the distant street, we see the Hitman round a corner and make his way up the streets toward a building marked ‘St. Claire Orphanage’. We hear a BOLT BEING RAMMED HOME. Lobo steps into view, his black overcoat obscuring his features. He places one foot on the ledge, a Walther sniper rifle in his hands.
He watches the Hitman enter the orphanage, his eyes never leaving his target. The instant the doors slide shut, Lobo extracts his mobile and quick dials.
LOBO
This is Lobo. Lost visual contact with 47. Taking up sweeping position.
OPERATOR (FILTERED)
Picking up visual contact in the building. Stand by to scratch. Keep an eye out.
LOBO
Lobo out.
Lobo steps back and goes prone, his right eye virtually glued to the scope. Seconds later, he looks up at the glaring sun, squinting in obvious discomfort.
He rummages through his pockets and removes a pair of shades, putting them on and resuming his vigil.
INT. THE ORPHANAGE- DAY (SECURITY CAMERA POV)
We see the Hitman enter through sliding doors.

INT. THE ORPHANAGE- DAY
The Hitman walks to the reception desk. A cheery woman receives him.
RECEPTIONIST #2
Hello and welcome to St. Claire Orphanage. My name is Sharon and I’d be willing to show you some of our facilities and-
HITMAN
No thank you. I’d like to look around the facilities by myself if that’s all right.
SHARON (as she now is) looks marginally disappointed.
SHARON
Fine by me. Can I have your name please… for the pager you see.
HITMAN
Tobias Rieper.
She writes it down. The Hitman moves off.
Sharon watches the Hitman make his way down the hall. After he gets out of sight, she picks up the phone and dials.
SHARON
He’s here.
We can only just hear Servance say:
SERVANCE (FILTERED)
Thank you.
She hangs up and looks around, worried. She obviously hasn’t got a clue what’s going on.
INT. THE DORM- DAY (POV OF SECURITY CAMERA)
The Hitman walks determinedly down the corridor. Children scamper about, glancing at him as they pass by.
INT. THE DORM- DAY
The dorm lies in front of him, as beds upon beds can be seen. But the Hitman sees his objective- a service room at the very end of the hall.
He walks toward it.
INT. SERVICE ROOM- DAY
An oil furnace BUBBLES away in the center of the room. The Hitman crouches next to it, opening his briefcase.
INT. SERVICE ROOM- DAY (POV OF SECURITY CAMERA)
We see the Hitman remove plastic explosives and jam it under the furnace.
SLOW ZOOM to the remote detonator as the Hitman enters the code ‘313’ before pressing ‘confirm’.
EXT. ABOVE THE STREETS- DAY
CLOSE UP of Lobo’s mobile as a text message is seen:
SCREEN
313.
Lobo extracts a remote detonator of his own and enters the code.

INT. SERVICE ROOM- DAY
The Hitman is about to put the remote back in his pocket before he hears CHILDREN’S LAUGHTER.
He stops…
CLOSE ZOOM to the Hitman’s eyes as he looks to the side and out the door to see children playing in blissful ignorance of the danger they are in.
WORM’S EYE VIEW as the remote hits the ground before being crushed under foot.
INT. THE CONTROL ROOM- DAY
The BLOOD STREAM effect fills the screen. The Agent watches as the Hitman picks up his case and walks out, leaving the explosives behind him.
AGENT
I’d like to say I’m disappointed.
OPERATOR
Scratch him?
AGENT
Scratch him.
EXT. ABOVE THE STREETS- DAY
ETREME CLOSE UP on Lobo’s mobile:
SCREEN
Scratch 47.
INT. SERVICE ROOM- DAY
The Hitman exits the room.
INT. THE DORM- DAY
The Hitman heads for some stairs at the side of the dorm room. He single-mindedly walks up the stairs.
INT. SECOND FLOOR- DAY
The floor has an array of offices. The Hitman walks along checking the frosted glass doors for Severance’s name. At the end of the hall, the door has ‘GREGORY SEVERANCE- PROPRIETOR’. The Hitman enters.
INT. SEVERANCE- DAY
Severance waves the Hitman in. The Hitman enters brazenly and stands facing Servance, who sits behind his desk.
SERVANCE
Good day. I’ve been expecting you.
The Hitman is silent. Servance motions for the Hitman to sit. The Hitman does so, sitting opposite Servance.
SERVANCE
I heard that Albert couldn’t make it.
The Hitman can’t help but look slightly surprised.
How did he know?
HITMAN
Yeah. He had an prior appointment.
The CAMERA slowly PANS around the desk to REVEAL Severance training a revolver at the Hitman.
SERVANCE
It’s a shame... We need to talk, 47…
The Hitman immediately goes for his gun, but Servance lifts up his revolver and aims directly at the Hitman’s head.
SERVANCE
We’re not finished 47.
The Hitman slowly lowers his hand.
SERVANCE
What did they say I am? Gunrunner? Drugs?
The Hitman is silent.
SERVANCE
It doesn’t matter. It’s all been done. I’ve heard it all before. Can’t have you thinking you’re killing innocents, can we?
Servance sits back, revolver still trained on the Hitman’s head.
SERVANCE
Your Agency is a rival of my own organization. Albert was my best hitman. Well…
He looks at the Hitman meaningfully.
SERVANCE
…second best now.
The Hitman frowns.
SERVANCE
Your Agency has been playing you like a cheap hired hand… feeding you select bullshit when you needed ‘facts’. What a sucker you’ve been played for.
The Hitman is still silent.