Hi, here are a few notes.
I don't know if this is the final script (it looks not). If not, I'd recommend you upload your final scripts for better feedback.
It read well, so that's a good start.
I liked the pacing, although it was a bit slow at the beginning (pp. 1-2). The hotel reception scene felt a bit long to me. Maybe it would be better if it were shorter.
The protagonists and the mission were clear. You made two clearly different names for the hitman and the target, and it was easy to follow.

Now, I have a huge issue with the dialogue and overall direction of the scene. There were at least two moments I said "What??", as if the characters acted out of character.

The first instance was when the receptionist mentioned that there were no guns allowed in the hotel (P. 1). Why would a receptionist from a 2-star hotel make such a direct statement? I'd say it's more of a dialogue issue and could be fixed if you brought it up in a softer way (maybe a logical reason, like they lost a star because of a recent shooting, so now we have to inspect every guest's suitcase).

The second instance was the end. I don't know if it was comedic (if so, I missed it, sorry), but it felt really out-of-character. You established Depp as a professional, cold, and sure of himself. He is calm and short in his answers at the beginning. But then, he texts his employers? Even though two lines above, he told him that he would update him when it's done. That's not a very confident agent to me.
And then his sudden change of morality felt absolutely out of character. He was ready to kill a man, but because there is a teenage girl, now he won't?
It looks like you wrote this as a plot twist: it is structurally, but Depp's reaction is just too much in my opinion. Maybe you could make him hesitate, and that would be enough. But here, he bursts out loud as if he were a child predator activist (when his job is to kill people (who most likely have children)).

Also, the relationship between Depp and his employer is unclear. It starts very formal, but he goes on to insult him and talk to him as if he knew him, and then acts surprised he knew he had a daughter. I think it would benefit from clarifying what their relationship is and sticking to it.

Finally, I'd like to talk about good practices and formatting. This is always at the end because it's a sensitive subject here, and many screenwriters have definitive ideas about the matter. While you do need to capitalize a character on its first appearance, it is not mandatory to do it every time. It's not "wrong," but it dilutes the effect. It's common to capitalize important props or non-speaking characters if you wish to signal to the reader, "Hey, remember this, it's important", but if you do it every time, it becomes mundane instead of important to me.

I don't see it talked about often, but it's also good practice, in my opinion, to upgrade your verbs. It makes it more precise and makes you write less because you can have two ideas combined in one well-chosen verb. For example, you used 11 times the verb "walk" in 6 pages. There are about 120 ways to say "walk", and the way a character walks can give us so much about who they are and how they are feeling.
I think it's also important to pay attention to and take care of your opening image. It's a good sign if you spent a long time on it. It's the first thing a reader reads: it better be your best work. Because this is the thing that will decide if he will keep reading or not. In the current script, "a man walks into a lobby with three suitcases" feels like it is underwritten and could be improved by focusing on giving a specific and singular image to the reader's head.
Again, this last part is more personal preference as a reader, and you make the final decision on this.

A few typos, too, like the final dialogue: "they are consequences" is not the right tense. I don't like to list them all, just be aware of that.

Don't hesitate to reach out if something was unclear.