by: Anson Fehross | November 8, 2001
Note: If you are new to the screenplay, or would simply like a memory refresher, be
sure to check out Part One first.
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.
This is Lobo. Lost visual contact with 47. Taking up sweeping position.
Picking up visual contact in the building. Stand by to scratch. Keep an eye 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.
Hello and welcome to St. Claire Orphanage. My name is Sharon and I'd be willing to show you some of our facilities and-
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.
Fine by me. Can I have your name please... for the pager you see.
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.
We can only just hear Servance say:
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.