Hitman: Operatic Events
Genre: Action
Director: Francis Lawrence
Writer: Dwight Gallo
Based on the video game series
Cast: Ed Skrein, Charlotte Riley, Joseph Mazzello, Chevy Chase, Matt McCoy, Roger Bart, Francois Cluzet, Raoul Bova and David Harewood
Plot: Rick Henderson (Joseph Mazzello) is still sitting in the study of Leland
Alexander (Chevy Chase) for their interview. Henderson notices that it
has gotten dark outside. He looks at his watch and is surprised by how
long they've been talking. Henderson asks if he could come back and
discuss everything with Alexander again. Alexander agrees, saying that
he doesn't get out much since being confined to a wheelchair. Henderson
shakes Alexander's hand and is led out of the house by security.
Agent 47 (Ed Skrein) pulls up to the front of the Paris Opera House in a taxi cab. He surveys the front of the building before walking around to the rear entrance of the building where he sees stage hands loading props into the building for the opera's latest production of Tosca. Agent 47 calls Diana Burnwood (Charlotte Riley) and tells him that he's at the location. She tells him that there are two targets in the building, an opera singer and the US Ambassador to Vatican City. He comments on the odd combination on the contract, and Diana assures 47 that both men certainly deserve the contract put on their heads. Diana further elaborates that both men are involved in a child prostitution ring trafficking in boys and girls from Eastern Europe. She sends 47 pictures of the two men. 47 observes the pictures and continues into the Opera House.
Henderson calls his editor Harold Langston (David Harewood) and tells him about all the information that Leland Alexander has given him. Langston says that it was supposed to be a simple article discussing Alexander's career as the head of the FBI and CIA, not some conspiracy theory about clones and assassins. Henderson asks if he can continue to pursue the angle and interview Alexander some more. Langston, realizing that even if the story ends up being a debacle, it will at least bring attention to the newspaper, so he agrees to allow Henderson to continue with that tangent.
Agent 47 sneaks up to the lighting booth of the opera house. Alvaro D'Alvade (Raoul Bova) is on the stage, yelling at the others involved in the production for not doing their jobs. He storms off the stage mid-song, and goes to sit next to Richard Delahunt (Roger Bart) in the seats in the middle of the auditorium. Delahunt hands Alvaro a tablet, and Alvaro begins swiping through pictures of mostly nude young children. Seeing this, 47 decides not to wait any longer. He leaves the booth and walks right up behind the two men. He then quickly shoots both in the back of the head. 47 then runs out of the Opera House, guns still in hand. A Paris police detective, Albert Fournier (Francois Cluzet), tries to stop 47, having heard the gunshots. 47 runs straight into the traffic, away from the detective. Fournier gives chase, and seeing a possible shot, fires his service weapon at 47. Agent 47 hits the ground, and looks at his side. He is bleeding, with a bullet hole in his side. Fournier knows that he hit the suspect and runs over to the location, but finds only a small amount of blood at the scene. He looks all around him, but Fournier doesn't find any sign of the man, not even a trail of blood leading away.
Agent 47 sits in the back of a car. Diana is in the back of the car. She offers to pay the driver extra if he can get them to the airport as soon as possible, traffic laws be damned. Diana takes 47's shirt off. She tells 47 this will hurt, and uses a pocket knife to pry the detective's bullet out of his side. Diana then stitches up 47's wound with dental floss, while 47 grimaces in pain. Diana is surprised that 47 is showing pain, saying that she didn't think he had any kind of feelings. 47 tells her that bullet holes regardless of any mental conditioning. The driver speeds through traffic and gets them to the airport in record time. Diana hands 47 a clean shirt to put on, and they walk into the airport together.
Alexander Leland watches television as the President of the United States, Thomas Steward (Matt McCoy), as he is in the middle of a debate while running for re-election. The question of cloning is posed to the incumbent presidential candidate. President Steward seems unsure of his stance on the topic, saying that he is all for science making better and longer lives for the American public. If legalizing cloning would benefit that, then he's all for it. Alexander turns off the television in disgust.
Agent 47 (Ed Skrein) pulls up to the front of the Paris Opera House in a taxi cab. He surveys the front of the building before walking around to the rear entrance of the building where he sees stage hands loading props into the building for the opera's latest production of Tosca. Agent 47 calls Diana Burnwood (Charlotte Riley) and tells him that he's at the location. She tells him that there are two targets in the building, an opera singer and the US Ambassador to Vatican City. He comments on the odd combination on the contract, and Diana assures 47 that both men certainly deserve the contract put on their heads. Diana further elaborates that both men are involved in a child prostitution ring trafficking in boys and girls from Eastern Europe. She sends 47 pictures of the two men. 47 observes the pictures and continues into the Opera House.
Henderson calls his editor Harold Langston (David Harewood) and tells him about all the information that Leland Alexander has given him. Langston says that it was supposed to be a simple article discussing Alexander's career as the head of the FBI and CIA, not some conspiracy theory about clones and assassins. Henderson asks if he can continue to pursue the angle and interview Alexander some more. Langston, realizing that even if the story ends up being a debacle, it will at least bring attention to the newspaper, so he agrees to allow Henderson to continue with that tangent.
Agent 47 sneaks up to the lighting booth of the opera house. Alvaro D'Alvade (Raoul Bova) is on the stage, yelling at the others involved in the production for not doing their jobs. He storms off the stage mid-song, and goes to sit next to Richard Delahunt (Roger Bart) in the seats in the middle of the auditorium. Delahunt hands Alvaro a tablet, and Alvaro begins swiping through pictures of mostly nude young children. Seeing this, 47 decides not to wait any longer. He leaves the booth and walks right up behind the two men. He then quickly shoots both in the back of the head. 47 then runs out of the Opera House, guns still in hand. A Paris police detective, Albert Fournier (Francois Cluzet), tries to stop 47, having heard the gunshots. 47 runs straight into the traffic, away from the detective. Fournier gives chase, and seeing a possible shot, fires his service weapon at 47. Agent 47 hits the ground, and looks at his side. He is bleeding, with a bullet hole in his side. Fournier knows that he hit the suspect and runs over to the location, but finds only a small amount of blood at the scene. He looks all around him, but Fournier doesn't find any sign of the man, not even a trail of blood leading away.
Agent 47 sits in the back of a car. Diana is in the back of the car. She offers to pay the driver extra if he can get them to the airport as soon as possible, traffic laws be damned. Diana takes 47's shirt off. She tells 47 this will hurt, and uses a pocket knife to pry the detective's bullet out of his side. Diana then stitches up 47's wound with dental floss, while 47 grimaces in pain. Diana is surprised that 47 is showing pain, saying that she didn't think he had any kind of feelings. 47 tells her that bullet holes regardless of any mental conditioning. The driver speeds through traffic and gets them to the airport in record time. Diana hands 47 a clean shirt to put on, and they walk into the airport together.
Alexander Leland watches television as the President of the United States, Thomas Steward (Matt McCoy), as he is in the middle of a debate while running for re-election. The question of cloning is posed to the incumbent presidential candidate. President Steward seems unsure of his stance on the topic, saying that he is all for science making better and longer lives for the American public. If legalizing cloning would benefit that, then he's all for it. Alexander turns off the television in disgust.
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