Treatment

By Tom Hall


 

Treatment – ‘Working Title’

Logline – ‘An experienced hitman working for a sleazy mob boss has endured enough violence and bloodshed and now wants out. In order to achieve this, the hitman must eliminate one last target to earn his freedom; his own son’.

The main protagonist in the opening sequence is a an ‘Hitman-esque’ figure. Based on the original assassin from the film and video-game, The Hitman is a cold-blooded, subtle character working under the orders of an esteemed mob boss. He is a very pale character, sporting a shaven haircut and stubble complementing his no-nonsense, get the job done attitude.  A black suit and red tie is often his normal attire, often trying to stay professional and in a working manner. However he differentiates from the original Hitman by the fact that he has certain ‘loose ties’ and is now trying to get out of the dirty business which once made him who he is.

The Hitman’s superior, the established mob boss, is a dark figure associated with the Underworld and shady characters alike. An ex-army sergeant, the 47-year old battle-hardened soldier is now a sole founder of his own criminal gang. His involvement in criminal activity has begun to take its toll: His short, cropped hair is beginning to show a few strands of grey as well as the hairs on his well-defined jaw. He wears a black overcoat over an expensive suit, signalling his status. A sly character, the Boss is a quiet man until he turns his attentions to business. He demands the utmost respect from his counterparts and his opinion is held in high regard.

The opening scene begins with the hitman perched on a stool in a dark, grimy bar. He appears to be quite calm, relaxed at his table drinking from a pint of bitter. Outside, the Mob boss appears from the car park and stares in through the large-front window. He spots the Hitman drinking his pint, almost stopping in his tracks. As the Hitman stands and makes his way to the toilets, the Boss slips in through the double doors and sits down at the table, seemingly on edge. Shortly afterwards, the Hitman re-emerges from the toilets and spots the boss seated at the table. He freezes immediately. Once he’s composed, he makes his way over to the table to greet his boss. The boss pulls out a brown envelope from his suit simultaneously as the hitman sits down. He pushes the envelope across the table and the hitman reaches inside pulling out three pictures of a young teenager leaving school. A blank expression erupts across his face and he slides the pictures and envelope back with a firm: “No”. The boss reiterates the fact that if he completes this final task, the hitman will be released from his grasp and left to live the rest of his life without looking over his shoulder. With a firm reluctance, the hitman picks up the envelope and places it in the inside of his suit. The boss makes eye-contact with the hitman in an attempt to say goodbye, and begins to make his way for the double-doors of the pub. Meanwhile the Hitman is left at the table. He stares blankly into space as he contemplates his decision. He takes a small sip of his pint and slides down into his chair, wondering what the future holds…

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