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FOR EDUCATIONAL PURPOSES ONLY
Notes:
The beginning is identical to the movie, so we considered
useless reporting it here. It's from Mathilda's first rifle
training scene that the original script is totally different
from the movie. This version is much more violent and the
affective relation between Leon and Mathilda shows no more
ambiguities. In this version, Mathilda was to be aged 13 or
14
* * * * * * * * * *
Leon and Mathilda arrive on the roof of a building which
faces Central Park. They get close to a wall and maintain this
position. Sunlight floods the park.
LEON(concentrated)
Firstly, you look. For more than one
minute. Because there are alarm systems
with one minute period. Therefore, you
wait and look. Alarms firstly, the sky
for helicopters, nearby buildings.
Meanwhile, you observe soil's color and
will try to wear dresses of the same
color. Never lighter.
Mathilda listens very carefully.
LEON
OK. Good. Now you can assemble your
weapon.
He opens the violin case and assembles a rifle with
telescopic sight and silencer.
LEON
The rifle is the first weapon you learn
to use, because you can keep far from the
client. The more experience you have, the
closer you get.
He finished assembling the weapon and hands it to Mathilda.
She's going to pull off telescope's cover.
LEON
No. Always take it off at the last
moment, because of light reflexes.
They'll see you in two seconds.
They get close to roof's edge. Mathilda sits down and gets in
position.
LEON
Relax. You must feel at ease.
Mathilda leans down properly.
MATHILDA
OK, I'm fine.
LEON
Good.
He removes telescope's cover.
LEON
Here, this is the light scoop for night
shooting. There, you fix client's
distance... How much to the bench down
there in the park?
MATHILDA
Huh... 500 meters?
LEON
130... 140...
MATHILDA
How can you say it?
LEON
Look. When you can see his fingers, it's
50 meters. When you just see his hands,
it's about 80 meters. When you
distinguish arms from body, it's 120-130.
When you see nothing more than a shape,
you don't shoot. Not very sure. You have
one chance out of five to miss. A
contract means getting all chances on
your side. 5 out of 5. You can't miss a
client. Never... If the task is delicate
or the risk is too big, you double. That
is, you insure yourself by another means.
MATHILDA
What, for example?
LEON
Well, if the guy is far, in a car, and I
know weather is going to be bad, rain for
example, I think I would plastic the car,
with a remote here. I shoot from the
distance and if I miss I plastic.
MATHILDA
What if you can't approach the car or he
changes car?
Leon thinks.
LEON
Rocket launcher.
MATHILDA
Oh really?
(She looks at the
road and imagines)
But can you miss the car?
Leon pulls a small box out of the violin.
LEON(showing a special bullet)
It's a coded bullet... You put it in the
rifle, you glue it to the car, no matter
where. Then you take your rocket
launcher and the rocket will get there
automatically.
MATHILDA
Wow! It's brilliant!
LEON
Yeah... Come on, have a little
training.
Mathilda gets in position.
MATHILDA
Who'll I aim at?
LEON
Whoever.
Leon pulled out binoculars. Mathilda looks for a victim by
telescope. She passes over playing kids.
MATHILDA
No women... No kids....
Leon smiles: she learnt the lesson.
LEON
Begin from a steady target. It's easier.
She stops on a man who's reading a newspaper. The man wears
a suit, Herald Tribune, fat.
MATHILDA
The fat man down there, on the bench.
LEON
Perfect.
Mathilda aims at the fat man. One of bench's boards explodes.
The fat man turns his head. He doesn't understand what
happened and resumes reading.
LEON
Try again. The same.
Second shot. The bench explodes on the opposite side. The
man is still curious but doesn't understand.
LEON(at binoculars)
Too much to the left.
Mathilda concentrates again and shoots: nothing happens.
Mathilda wonders whether she missed again and prepares for a
new shot.
LEON
Wait...
The fat man softly leans down on his side.
LEON
Bull's-eye.
Mathilda is happy but, evidently, she expected death to be
more spectacular.
LEON
Come on, now a walking one.
Mathilda aims at a businessman. She really chooses the
ugliest one. She shoots. Man's case explodes and he hides
behind a tree: he's scared and doesn't move any more.
LEON
Good! First shot!
MATHILDA
Yeah, but I didn't get him, I got his
case and now he's behind the tree. What
can I do?
LEON
It's not serious, it's just training.
You have to learn from the beginning to
hit the target, then, to improve
precision, you'll train, but on
cardboards.
MATHILDA
OK.
LEON
Now, try a running guy.
Mathilda gets back to telescope and looks for a jogger.
MATHILDA
The yellow and pink.
LEON
OK.
The guy is footing, sweaty, with a walkman and headphones.
Mathilda shoots once. Twice. Thrice. The bullets pass around
the jogger, who can't see or hear anything.
MATHILDA
Shit! It's hard when he runs!
Leon hands her another charger.
LEON
Don't lose him! Concentrate. There,
reload. OK, keep calm. Calm, breathe
deeply. Look at his movements. Imagine
you're running with him. Breathe... Hold
your breathe... His movements... Now...
She shots and the guy gets a bullet in a thigh. He's scared,
but doesn't know where to go.
MATHILDA
Did you see? First shot! It's good,
isn't it? Did I learn well?
Mathilda proudly smiles.
LEON(serious and steady)
Put tools away.
Mathilda obeys, seriously.
Night over city. The two are on a small building's stairway.
LEON
Codes!
Mathilda gets by his side for her new lesson.
LEON
For codes, there are two solutions. You
have to choose depending on your needs.
First case: you have time. You need the
code for a later time. So, you wait for
night, you get a box with soot powder and
blow a little on the keyboard. He does
it and pulls out a screwdriver.
LEON
Then you break the little lamp to be
sure the client can't see anything. You
wait for someone who gets inside, so you
have just to see which numbers he
touched. Once you know the four or five
digits, you have to try all combinations;
once per hour and not more than a minute
to do not get found.
LEON(continues)
Second case: you have no time but you
mustn't get discovered. Screwdriver.
He disassembles lock's cover.
LEON
Here, wires need the code. Always four
wires.
An approximately 40-year-old man climbs the stairway. He
evidently lives in the building.
MAN
May I...?
LEON
Pardon.
(To Mathilda)
Let pass.
Leon opens the door by disassembled lock's wires. The man is
going to pass, but doesn't. Leon's going to resume his
explanation.
MAN
Excuse me, but... What are you doing?
LEON
I teach to the girl.
MAN
Do you teach her how to break buildings'
doors, don't you? Don't you give a shit
about me? Get away before I call the
Police! The man is very nervous,
searches in a pocket, then pulls out an
anti-aggression bomblet. He'll have no
time to use it: Leon pulled out his
silenced gun. A shot to the hand and the
bomblet takes off. Shot's energy makes
the man turn around. A second shot in the
back makes the man get over the parapet
and disappear in a decorative bush,
almost without noise. Mathilda is
immobilized. Leon looks around, then
resumes.
LEON
So... the wire which starts from the
bottom of the metal part and then, you
try the other three wires, one by one.
At second wire, the door opens. Leon smiles.
LEON
Simple, isn't it?
She nods yes.
LEON
What's up? I don't feel you're
concentrated.
MATHILDA
Yes, yes...
She gets close to the parapet and looks at the bush.
MATHILDA
It's incredible! How did you do it?
LEON
What?
MATHILDA
There, the guy... How did you do that,
without even touching him? Without noise.
It's like you put him away... How did you
do it?
LEON(pause - proud)
Did you like it?
She pauses and seriously looks at him.
MATHILDA
It was brilliant.
Leon and Mathilda at cinema. On the screen, Fred Astair
breaks out as usual.
LEON(talking about Fred Astaire)
Look at his movements... Whatever he
says, whatever he does, he never stops.
Sad or happy, the movement always goes
on.
Pirouette by Fred Astaire.
LEON
...Look! Even the wall, nothing stops
him. The movement goes on. He uses
everything: soil, wall, his rush, his
weight. Life is movement, death is a
part of it.
Mathilda listens carefully.
LEON
So, you have to let the client finish
the movement he started. It's better, he
thinks about other things and he can't
see death's arrival. He's got no time to
suffer. He isn't surprised. He's got no
time even to think. He departs without
realizing. He departs in the movement he
started.
Mathilda looks at the screen, sparkling eyes.
MATHILDA
...It's brilliant.
* * * * * * * * * *
MUSIC
Series of short sequences.
Morning in the apartment
Television turned on. Mathilda and Leon have some abdominals.
After some bendings, Mathilda collapses and remains on the
floor. Leon goes on, undisturbed. Mathilda tries again.
Weapons assemblage
Leon disassembled a big weapon in front of him. Mathilda
observes, very concerted. Leon reassembles it in record time.
She's stunned. He hands her the weapon. Mathilda doesn't know
where to start from.
Mathilda's room
In the little room, Mathilda started a collection of target
cardboards. The first targets have just two or three off-
center hits.
Living room
Leon's making abdominal flexes, feet always blocked under a
wardrobe. Mathilda is making gym in front of television. Leon
glances at her now and then.
Kitchen
Leon pours a big glass of milk. Mathilda sits in front of
him. She's tired. He hands her the glass. She shakes her head
no, but he clearly shows she can't discuss. She takes the
glass without pleasure.
Weapons assemblage
Mathilda's much quicker now, but makes an error. Leon stops
her and takes over to explain her mistake. Mathilda
understands and restarts.
Mathilda's room
Cardboard collection expands. More and more impacts on
targets.
Living room
Mathilda was able to convince Leon to make his gym in front
of television and with music. She teaches him, since he's not
used to this and is quite embarrassed.
Kitchen
Mathilda pours two glasses of milk. She gives one to Leon: he
drinks then they have a race. Mathilda does everything to be
fast. Leon is too used: he wins. The two laugh because
Mathilda spread milk everywhere. Two kids.
Mathilda's room
Mathilda adds a cardboard to her collection. Five impacts,
all virtually on target.
MUSIC ENDS
END of short sequences
* * * * * * * * * *
TONY'S RESTAURANT
Leon sits in front of Tony. From his position, he can see the
window on the street.
TONY
It's a long time, Leon. You missed two
nice contracts, you know.
LEON(badly lying)
...I was training.
He looks at the street: Mathilda is pirouetting in front of
the restaurant.
TONY
...You moved too, didn't you?
LEON
Yeah.
TONY
Huh!? Because of the slaughter at your
same floor?
LEON
...Not at all.
TONY
It's better... You see, it's my turf,
so I don't want contracts I'm not
informed about, on my turf. I'm not
opposing, but the least they can do is
informing me, isn't it?
LEON
Yes.
Mathilda, outside, sends a "cuckoo" to Leon, who slightly
leans down to reply. Tony didn't see anything.
TONY
At a certain moment I thought: maybe
Leon would like working on his own? So he
makes some little extras?
LEON
Dirty work, and I kill no women and no
kids.
TONY
That's what I later told myself! No,
Tony, forget Leon! It can't be him, he
likes too much his job to make such a
slaughter!
Leon can't avoid looking at Mathilda, who's looking up to
breathe better. This little woman, only survivor of a
massacre.
LEON
Tell me... The money I earn and you keep
for me...
TONY
Do you need money?
LEON
No... Just to know... Because it's a
long time I work... And I never did
anything with my money... I should do
something.
Tony is a little surprised by Leon's naivete.
TONY
It's true, you're right... Did you meet
a woman?
Leon smiles.
LEON
No, no.
TONY
Pay attention to women, Leon. They are
dangerous, you know?
LEON
Yeah... Well... I don't know.. I don't
know any.
TONY
Listen, think about what you want to do,
but don't worry, your money is there and
it's safer than in a bank... Banks are
robbed every five minutes!
Tony makes an effort to laugh.
TONY
Anyway, you can't have a bank account,
so the discussion is finished.
Leon nods.
LEON
Why can't I have a bank account?
TONY
I'll explain you, Leon: they'll ask you
to fill in a lot of forms and you can't
write and they'll ask you your job, your
employer's name and you can't tell them:
My job, I'm a hitman and my employer is
Tony, his record is longer than his
resturant's menu. That's why you can't
have a bank account!
Leon thinks. Outside, Mathilda lets a young man approach her.
They start talking. Leon gets nervous.
TONY
But your money is there, Leon. When you
want, you ask me. Take...
He hands one thousand dollars to Leon.
TONY
Take...
LEON
Well, I don't need them...
TONY
Take them, you never know... If you want
to have some fun. Take, it's a gift.
Tony puts the money in Leon's hand, who takes it.
LEON
Thanks.
TONY (smiling)
Good. Let's talk business, now?
LEON
I've got a hit perfect for you. I kept
it for you. To be made alone. That's what
you like. Don't move, I get the file.
Manolo! A glass of milk for Leon!
Tony stands up and disappears. Leon looks out. Mathilda
accepts a cigarette from the young man. They laugh. Leon can't
resist any more. He stands up and exits. He kindly pushes
Mathilda aside. The quite nice young man waits.
LEON(low voice)
Pay attention, Mathilda. You can't let
people approach you like that. People are
kind and very fast, they offer you drugs
or other things.
MATHILDA (smiling)
Leon, don't worry. I'm on the street
since I've born. I was just smoking a
cigarette while waiting for you.
Leon pauses and looks at the young man, who smiles at him.
LEON
Keep away. He looks suspicious. A bad
guy, OK?
MATHILDA (smiling)
OK.
LEON
Five minutes. Keep in front of the
window.
MATHILDA
OK.
INSIDE THE RESTAURANT
Leon sits in front of his milk. Tony comes back and sits
down.
TONY
I have to put on my glasses... My sight
is worse and worse... I'm getting old...
Here it is.
Tony hands a photo to Leon, who observes it.
TONY
Not easy. Armored car, isolated home,
bodyguards all time. I don't know what
he trades, but it's a good hit because
I've got three contracts on him... Three
times eight thousand for Leon. Good
deal, isn't it?
Outside, Mathilda has disappeared. Leon gets upset. Tony
takes the photo back.
TONY
I write client's data on the back. You
have to be quick, he's going to quit the
city at the end of the week. With the
contracts on his head, I don't think
we'll see him again.
Leon is too nervous. He takes the photo and stands up.
LEON
I come back later for details. I've got
something to do and... I'm late.
He gets out, looks left and right. You've never seen anyone
as nervous as him. Mathilda, crouched down behind the door,
jumps on his back. He's relieved and slightly smiles. She
hangs on him like a little monkey.
LEON
Come on, get down!
MATHILDA
You were scared, weren't you?
LEON
I was nervous, that's all! Where is the
guy?
MATHILDA
I killed him... and cut him and ate all
of him... I left nothing for you!
Leo suddenly realizes Tony is behind the window. He shyly
smiles, slightly embarrassed. Mathilda makes a big smile to
him and heels Leon.
MATHILDA
Let's go home!!!
* * * * * * * * * *
Leon arrives to the hotel, Mathilda still on his back. The
receptionist smiles at Leon, who doesn't return. Mathilda gets
the key with a big smile.
MATHILDA
We'd a nice walk!
RECEPTIONIST (smiling)
Good, Miss.
Mathilda cackles and leads her mount upstairs. In the room,
she jumps on the bed.
MATHILDA
Leon? I think I'm falling in love with
you.
Leon's milk goes the wrong way. She calmly said it, laying on
the bed, spread arms. Like a simple truth. Leon got milk
everywhere.
MATHILDA
...Anyway, this impressed you!
He dries himself, but doesn't reply.
MATHILDA
It's strange, being in love... It's the
first time for me...
LEON
How do you know it's love, if you've
never been in love before?... It may be
friendship... or the love you can have
with a brother or a father... How can you
know?
MATHILDA
...Because I feel it.
LEON(upset)
Huh? Where?
Mathilda puts a hand on her stomach.
MATHILDA
Here... in my stomach... it's hot.
She turns, takes his hand and puts it on her stomach.
MATHILDA
I always had a knot... No longer...
Leon pulls off his hand. He stands up and nervously walks.
LEON
Mathilda, I'm... I'm very happy you've
got no more stomach ache, but... this
doesn't mean anything. I'm late for work
and I don't like being late for work.
Mathilda smiles. She's calm. She rolls herself into the
blanket. Leon gets out of the room. He puts various weapons
into his case and in his violin. He's nervous. This
conversation upset him. He hears a noise, flowing water:
Mathilda sings. She's having a bath. He finished preparing
his gear. He knocks bathroom's door.
LEON
Mathilda? May I come in?
MATHILDA
Yes.
Leon opens the door. Mathilda is naked and is brushing her
hair. Leon closes back the door without entering.
LEON(embarrassed)
Sorry. I heard "yes", so I got in...
Mathilda opens the door. She's still combing her hair. She's
still naked.
MATHILDA
Yes... You can come in.
Leon is rigid. He takes a towel and deploys it in front of
her.
LEON
Take it, please.
She rolls herself into the towel, without speaking. Leon's
relieved.
LEON
I... I've got a contract... I've got to
go now. It's urgent. ...So, you stay
here. You don't move. About telephone, I
let it ring once then I call you back,
else you don't answer, OK?
Mathilda is sulky.
MATHILDA
Why don't you take me with you?... I'm
ready, now. You said I learn very
quickly.
LEON
Quick doesn't mean "ready". And you
can't discuss, we said. Right?
Mathilda has to surrender.
LEON
Go on learning like this... Then we'll
see.
He gets in the living room and she follows him.
MATHILDA
May I go to the cinema?
LEON
No.
MATHILDA
For musicals? That's part of the job!
LEON
No, you can't go out.
MATHILDA (resigned)
OK... you come back tonight, don't you?
He takes his violin and his case.
LEON
During my absence, you have to work on a
very important thing you badly lack:
patience.
He slightly smiles. She's sulky.
LEON
You see, five minutes ago you said you
loved me and now you hate me... but I
prefer this!
MATHILDA
I hate you because you depart without
kissing me. That's all.
She sweetly closes the door in face of him. For a moment,
he's blocked behind the door. The receptionist is walking
along the hall and notices Leon prostrated in front of the
door.
RECEPTIONIST
Did you lose your key, Mister?
Leon recovers from his shock.
LEON
No... I just thought if I'd lost
anything...
RECEPTIONIST
And did you forget anything?
LEON
Yeah... But "forgotten" doesn't mean
lost
He passes in front of the perplexed receptionist, leaving the
hotel.
* * * * * * * * * *
The receptionist is at his desk. The hall is empty. Mathilda
walks down the stairs, slowly, like a kid who's got nothing to
do.
RECEPTIONIST
How are you, Miss?
MATHILDA
Fine...
She puts her elbows on the desk.
MATHILDA
I'm sick with practicing, that's it...
RECEPTIONIST
I see. You're good, because I didn't
hear anything.
MATHILDA
Yeah. I put a rag on the strings, to
lessen noise.
RECEPTIONIST
Huh? That's smart!
MATHILDA
I'm used to it. Not everyone likes
music.
RECEPTIONIST
Yeah, true. But what does your father
exactly do for living?
MATHILDA
...Composer.
RECEPTIONIST
Huh, that's good!
MATHILDA
Yeah, but he's not exactly my father...
RECEPTIONIST
Huh?
MATHILDA
...No... he's my lover...
RECEPTIONIST (pale)
Huh?
Mathilda sighs and glances at the hall.
MATHILDA
I'm going to have a walk... I'll come
back.
Receptionist's tense smile.
* * * * * * * * * *
MATHILDA'S OLD BUILDING
Mathilda slowly gets to her floor. In front of the door, a
thin yellow "no entry" police strip. A cop is distractedly
guarding the hall; he's talking with a young black girl.
Mathilda gets in her apartment unnoticed. She gets in her
room, recovers her teddy bear and her Polaroid. Then, she
gets in the devastated living room. There's dry blood almost
everywhere. In the corridor, she raises one of parquet's
boards. A big roll of 100$ bills is hidden beneath. There is a
small check-book too. She carelessly puts everything away.
Noise in the apartment. Mathilda crouches down. Stansfield
gets in together with two more guys. Mathilda can see them
without being seen. Stansfield is evidently not at ease, he's
justifying his actions in front of upper-rank officers.
STANSFIELD
So, the guy was there, he'd hidden a
shotgun behind the tent, here. His woman
was armed too.
MAN
Where were the kids during first shots?
STANSFIELD
I don't know... that was very fast. I
didn't see him pulling out his weapon.
The man writes some notes. The second man observes the
cracked entry door.
SECOND MAN
Did you follow the procedure? Who got
to the door?
STANSFIELD (getting nervous)
What are you looking for, guys? This guy
was shit, we found five kilos heroin in
the apartment, and you bother me?
MAN
The fact you're a public officer doesn't
give you the right to do whatever you
want! The narcotic had been following
this guy for two years. They had a lot of
information about him. Your quick lonely
action upset them. It's normal they
asked for an inquiry.
STANSFIELD
I give a shit about the narcotic
department! And if you'll go on
searching in this shit, you'll fall in
it. You can find me at my office... 2702.
MAN
It's routine, why are you doing this to
us?
Stansfield didn't listen. He got out. Mathilda slides behind
him. She follows him downstairs.
* * * * * * * * * *
IN THE STREET
Stansfield gets on a car and departs. Mathilda stops a cab
and gets on board.
MATHILDA
May you follow that blue car, please?
The driver smiles.
DRIVER
Do you also want music and skids at
every turn?
She hands him 100$.
MATHILDA
No, I want you to drive smoothly, get
your 100$ and tell me what the last
question was.
The driver takes the bill and starts moving. He understood
everything.
Stansfield's car stops in front of a building. Mathilda gets
out of the cab and follows Stansfield. She gets stopped at
the first check-point in the large hall.
COP (amused)
Where are you going, little girl?
MATHILDA
What's that man's name?
COP
Why do you want to know?
MATHILDA
He forgot his money... My mother's got
a pub, behind the corner, and he forgot
his money, about 100$.
COP
Huh? I see, but this is the FBI, little
girl, and I can't let you in. But if you
leave me his money, I'll give him it
myself.
Mathilda thinks.
COP (smiling)
You don't trust me.
Mathilda shakes her head no. The cop laughs.
MATHILDA
Give me his name, I will mail him.
COP
OK. Mister Stansfield, Norman
STANSFIELD.
MATHILDA
...Office 2702.
COP
Yeah... How do you know it?
MATHILDA
...I heard he said... That's all...
Thanks.
Mathilda gets away. The cop looks at her, smiling.
* * * * * * * * * *
Mathilda gets back in the hotel room. She sits on the couch,
in front of the switched off television. One has never seen,
nor heard her that concentrated, and determined. Her face
looks thirty-year-old. Noise from the lock; she switches
television on: anime. Leon gets in, gets off his stuff. He's
got a parcel. He puts it on the table. Leon is stunned by her
lack of interest for the parcel.
LEON
...It's for you... It's a gift.
No reactions. No replies.
LEON
Would you like me to open it?
(He's too excited.)
...I open it!
(He pulls out a
small dress, flowers
motif. He's very
happy.)
...Do you like it?
MATHILDA (harsh)
...You'd better directly buy the doll to
fit in it, that would be clearer! Leon
doesn't understand. He takes the dress
and checks it out for defects.
She sighs and gets in the kitchen. Leon gives up. He sweetly
lays the dress down on the table and switches television off.
Mathilda comes back with a lot of pop corn. She switches
television on again, sits on the couch and turns volume up.
Leon is perplexed, he doesn't speak. He gets in the bathroom
for a shower. Mathilda turns volume down. She stands up,
glances at the dress, touches it by fingertips. Her face is
tense. Water flows in the bathroom, but Leon is at door's
small opening and observes Mathilda. She eventually leaves the
dress, switches television off and gets to the window to look
at the sunset. Leon feels bad. He silently closes the door.
* * * * * * * * * *
Mathilda sits in front of him, like in an arena.
MATHILDA (cold)
I'm sick of this, Leon.
LEON
...You can leave whenever you want. I
don't refrain you.
MATHILDA
...This is what I don't like, you see:
you don't refrain me, but at the same
time I can't get out!
Leon is still cleaning his weapons.
LEON
Do you think you learnt patience today?!
MATHILDA (getting nervous)
Well, I'm a poor pupil about patience?!
OK?
Leon slightly smiles.
LEON
...You stayed home, not bad. A good
start.
She smiles at him and he returns.
MATHILDA
I've been out all the time, stupid!
Leon's smile disappears.
MATHILDA
I got home to get my stuff.
She pulls out some dollars and puts them on the desk.
MATHILDA
Here. Not 8000. They're 6800. I hope you
will credit me for the missing 1200.
Furthermore, I'm going to make your work
easier: the guy is Norman Stansfield.
Office 2702 at FBI, 5th Avenue, 68th
Street.
Leon is pale. Open mouth.
LEON
And... How do you know all this?
MATHILDA (as if it's evident)
The above Norman was in my home when I
was there, and I followed him, that's
all.
Leon tries to keep calm.
LEON
Are you calmly telling me you spent the
day at FBI?
She shrugs her shoulders.
MATHILDA
No! I can't come in! I remained
outside! And why do you mind this?
You've got client's name, money's on the
table: it's a good contract, isn't it?
Leon looks at her, then looks at the money.
LEON
Not taken.
MATHILDA
Why?
LEON
Too heavy.
Mathilda thinks fast.
MATHILDA
Well... Then may you rent me your gear
for the day?
LEON
I never rent my gear.
Blocked on every front, she sweetly starts crying.
MATHILDA
Why are you doing this to me, Leon? Why
don't you take me with you for contracts?
If you teach me, we'll can do mine
together! That would be good, wouldn't
it?
Leon intensely look at her, neither severe, nor badly. Just
cold, like an iceberg.
LEON
Mathilda, nothing is the same, after you
kill someone. Your life changes forever.
You'll can never cancel it, neither from
your memory, nor from your criminal
record... You'll never sleep again like
before, Mathilda.
Mathilda dries up her tears. She's abandoned, exhausted.
MATHILDA
If you knew, Leon...! I killed one
thousand in my head... And this never
disturbed my sleep.
LEON
OK... And if it's you who gets killed?
(Mathilda doesn't
reply.)
...Then? Talking about other people's
death is easy, but what about yours?
She's here! She moves around you, and
can get you in a thousandth of second.
Because it was your day, your hour, your
second...
Mathilda looks at him. Leon gets confused.
LEON (con't)
It's written in the sky, from the
beginning, just you don't know! Then
someone announces you like this!
Suddenly! "Did you ask yourself what time
you will die?" Well, it's now! And it's
too late already, you've got a bullet in
your lungs already! There!
He pushes her by his index finger, enough to hurt her.
LEON
Painful, isn't it?
(He pushes again.)
You don't like talking about death
because you're like everyone: you fear
it...
LEON
...Well, it's this fear that makes you
live. It's because you fear death that
you live with so much tenacity. It's
because of it that you bear what's
unbearable. You can live in a hovel, on
lots of trash, everything is better than
death and the fear you have of it.
(Pause)
But me... Leon... I don't fear it any
more... They look at each other for a
moment. It takes a long to lose it, this
fear, but once you lost it... You are
free... And just then you can start
working properly... Because you can work
on other people's fear, play with it...
Because "kill or get killed" have become
just words... Do you understand?
Mathilda slightly nods yes.
LEON
...You can't pretend to make this job,
until you get beyond this stage. The day
you get free of this fear... Not
before...
Mathilda looks at his eyes, without challenge.
MATHILDA
Leon... I have no fear... It's so.
Leon stares at her. He tries to ascertain truth in Mathilda's
eyes. A long pause.
LEON
OK...
He takes a weapon, empties the cylinder, then loads just one
bullet.
LEON (con't)
...Do you know this game?
Mathilda nods yes. He turns the cylinder.
LEON
One shot ahead... I start.
He gets the barrel to his temple so that, if the bullet
explodes, blood will get out with a downward angle. He's ready.
He pulls the trigger. Nothing happens. He puts the gun in
front of her.
Mathilda takes it. She looks at him with so much love he
almost gets upset.
She's not scared. She'd just like things to be different;
maybe she'd like Leon to open his heart to her. She sighs,
looks at the gun. She takes it, lifts the cock and aims the
weapon at her face. She's resigned.
MATHILDA
...Love or death.
She gets the barrel in her mouth and looks at Leon. A tear
drop on Leon's front. She pulls the trigger. Nothing. She
puts down the gun. Leon stands up, turns around the table and
embraces her. He holds her tight. She's surprised. She kindly
pushes Leon back, to look at his eyes.
MATHILDA
Am I ready?
Leon pauses, slightly smiles and nods yes. Mathilda closes
her eyes, happy and relieved. She takes his hand and embraces
him for a long. Leon lets her do.
* * * * * * * * * *
MORNING - A FEW DAYS LATER
Leon and Mathilda in a '50s building. Slightly luxury. Leon
checks emergency exits, then gets in front of a door. He moves
his hand along door's border.
MATHILDA
What are you doing?
LEON
I'm looking for chain's position.
Sometimes you can't see it, but you can
feel it... Here.
He opens his overcoat and pulls out large shears. He pulls a
chewing-gum out of his mouth and squeezes it on the peephole.
LEON
I ring and you make him open, OK?
He rings.
MATHILDA (caught slightly off-balance)
What shall I say?
LEON
Whatever you want.
Mathilda thinks. The guy arrives behind the door.
MAN
Yes?
MATHILDA
Good morning, Mister... It's Danielle!
MAN
Huh! You made an error, baby. I don't
know any Danielle.
MATHILDA
...I got lost, Mister.
MAN
Huh? Move back, baby, I can't see
anything.
MATHILDA
It's not me, it's dark here... and I
can't find the switch.
She looks at Leon and he mimics "mean".
MATHILDA
Mister... I'm scared.
Leon thumbs up.
MAN
Huh? Don't move, baby.
Noise: the man is engaging the safety chain. Leon prepares
his shears at the correct height. The man opens the door. The
chain explodes. Leon already pulled out his silenced gun. The
man is pressed against a wall. Mathilda looks around, takes
the gum off the peephole, gets in the apartment and closes the
door. Leon catches man's throat.
LEON
Open your mouth.
The man obeys. Leon puts the silencer in his mouth.
LEON (con't)
...If you let go of the gun... I pull
the trigger, OK?
The man, sweaty, nods yes. Leon checks out the apartment and
the man follows him like his shadow. Leon moves without paying
attention to him, forgetting the man is totally concentrated
to do not let the gun out of his mouth. In the living room, on
the desk, syringes and the stuff for them. Leon finished
checking, everything OK. They go into the bathroom.
LEON(to Mathilda)
We go there, good.
(to the man)
Lets go.
The man is so scared he doesn't want to let go.
LEON (con't)
...You can let go, I said!
At last, he lets go.
LEON (con't)
...Get to the end.
The man obeys. Leon hands the gun to Mathilda.
LEON(to Mathilda)
Go... It's your time.
She aims at him, concentrated. She signs to the man to move
left. He obeys. She pulls the trigger. A dull noise. The man
collapses to the floor.
LEON
Good... Safety, now. The second shot.
Mathilda approaches the man and shoots again. Maybe too low:
a squirt of blood on her dresses.
LEON
Here it is! Look at your dresses, now!
How can you walk in the street, now?
He recovers his gun.
LEON (con't)
...Not a good work, this. When you shoot
from this angle, you always get blood
everywhere. You have to move aside and
shoot with a little more angle...
There... This way.
He shoots. It makes no difference to the man.
LEON (con't)
...Can you see? Look: not a drop! Come
on, try.
He gives her the gun again. Mathilda moves on a side and
shoots. Perfect.
LEON
Good.
Mathilda returns the weapon. She looks for a little sign of
gratitude, maybe a compliment, but Leon is hermetic.
LEON
...Let's go.
* * * * * * * * * *
They are in a luxury restaurant. Leon pours some champagne.
Mathilda is happy. They drink. Mathilda drinks everything in
one gulp, like she's used to with milk.
MATHILDA (slightly inebriated)
I thought we can't drink?
LEON
It's true... But a first contract, it's
an exception.
MATHILDA
And... May I kiss you, like in the
movies, may this be an exception?
Leon's champagne goes the wrong way.
LEON(serious)
...No.
Mathilda smiles.
MATHILDA
...Yes.
She stands up and sweetly turns around the table.
LEON(not at ease)
Mathilda, what are you doing?
MATHILDA
...I'm going to kiss you.
LEON
Mathilda, stop, please!
She heels on the bench, close to him.
MATHILDA
Come on, let me do. Just a kiss.
She tries to kiss him. He avoids her.
LEON
Stop. Everyone is looking.
MATHILDA
Of course, so kiss me quickly, or
they'll notice us.
Leon gives up, at last. She sweetly kisses him.
MATHILDA
Tongue, please.
Leon pushes her away, irritated.
LEON
No, that's enough! Sit down, now.
Mathilda smiles and gets back to her seat. Good timing, the
waiter arrives with their dishes. Mathilda exploits his
presence to fill up again her glasses with champagne. The
waiter gets away. Leon grabs the champagne bottle and voids it
in the ice cup.
MATHILDA
...You don't believe me, don't you?
LEON
What?
MATHILDA
When I say I love you.
LEON
Mathilda, don't resume, please.
....Change subject, OK?
MATHILDA
...OK.
(pause)
I love you anyway.
LEON
Mathilda?!
MATHILDA
OK, OK! Excuse me! How old were you when
you had your first contract?
LEON
...17.
Mathilda smiles and lifts the glass.
MATHILDA
Beat you!
* * * * * * * * * *
ANOTHER DAY - ANOTHER APARTMENT - RAIN OUTSIDE
The building is a little more modern. They arrive in front of
a door. Peephole. Chewing-gum. Shears. Ring. Routine. But
today nobody replies. Leon nods. Mathilda rings again. Again
nothing.
LEON(thinking at high voice)
I left him half-an-hour, after he got
in... He couldn't get out from the back.
Mathilda waits. Leon puts down his shears and pulls out a
crowbar.
LEON
Stairways cover.
Mathilda pulls a gun out of her jeans and gets in position
near stairways. Leon pulls out a metal plate and slides it
beneath the door, breaks the lock by the crowbar. The door is
virtually intact. Leon gets in, weapon at hand. Leon moves in
along the corridor. Mathilda is at the entry, now.
LEON(low voice)
Interior cover.
Mathilda gets in and closes the door behind her, by the way
she pulls in the shears Leon left outside. Leon is still
moving, the living room is empty. Open windows, still rain.
Leon sighs.
LEON
...Shit!! We'd found him. We waited for
him to get upstairs and he got out of the
window.
MATHILDA
What shall we do?
LEON
I think.
Mathilda turns back and walks toward the corridor.
LEON
Where are you going?
MATHILDA
Piddle.
She smiles and looks for the bathroom. She finds it and is
going to go in when she sees the head of a man in the bath,
walkman on. She withholds a shout and gets against the wall,
without moving. She doesn't dare passing before the open door
again to join Leon. In the living room, Leon still thinks.
LEON
...Why didn't he close the window?
He looks around and sees man's overcoat, still wet. His wet
shoes are on the radiator.
LEON
...Because he didn't get out!
Leon stands up, pulls out his gun and runs toward the
corridor. Mathilda, against the wall, looks up, to make him
understand "it's not too soon"!
Leon advances. Mathilda mimics to make him understand the
bath, the walkman. Leon pulls out his personal periscope and
looks into the bathroom. The man is still there, music at full
blast. Leon puts away his periscope.
LEON
He's sleeping.
He silently gets in the bathroom, followed by Mathilda. They
sit down and look at the man, sleeping in the mid of his warm
bath. Leon pulls out his silencer and screws it on the gun.
MATHILDA
It's cool departing this way... warm...
music...
LEON
There are better things. You see the
importance of the "moment". Ten minutes
early or late, he'd have seen death. He'd
have suffered it. This way, he already
departed. Without knowing.
MATHILDA
...I'd like knowing what he's listening
to...
LEON
...Later.
Leon lifts his gun's cock and puts the weapon in front of the
man.
- Close-up: a finger pushes a lift's button.
- Close-up: red light on, lift's coming.
- Close-up: Leon's hands open a packet of chewing-gums.
* * * * * * * * * *
ANOTHER BUILDING - ANOTHER DAY
Mathilda and Leon in the corridor of a banal building. Leon
offers a chewing-gum to Mathilda, who accepts it. She's
listening to a walkman. Leon sweetly pulls the headphones off
her head.
LEON(kindly)
Mathilda, we're at work! No music, OK!
She smiles.
MATHILDA
OK... I like it. It gives me the rhythm.
He smiles. Mathilda finds the door, places her chewing-gum on
the peephole and gets in position for her "chat". True
routine. Leon in position. Mathilda rings the doorbell.
MAN
...Yes?
MATHILDA
Excuse me, Mister... I'm looking for
Mister Rubens' apartment, but it's dark
out here and I got lost...
MAN
...One second.
She thumbs up, alright. Leon keeps concentrated. He hears a
noise he knows. He searches in his memory. FLASH: Leon loads
a kalashnikov. Same noise. Leon catches Mathilda and literally
throws her to the soil. Behind her, the door explodes with
numberless impacts. The man inside empties his charger on the
door. Leon threw away his shears and pulled out his shotgun.
He's furious, to this extent he fears for Mathilda. He gets
concentrated as he's never been. The man inside shouldn't have
become that nervous. Furthermore, he goes on.
MAN
Come on, little stupid? Is it enough or
want some more! Then? Come on, show me
your face! Come!
MAN
Did you think you could get me by such
an old trick?! The gum trick, I played
it before your birth, idiot! Come on,
show me your little fucking face! The gum
trick! Huh! I go.
Mathilda's recovering. Leon sighs.
LEON(to Mathilda)
When it starts this way, it's bad. You
have to make it quickly, or he'll keep us
here for hours with his bullshit!
Leon gets a hand under his overcoat and pulls out something.
LEON(to the man)
Hey!... What about the ring trick... Do
you know it?
MAN
The ring trick? ...Come on, little
idiot! Show me your famous trick. Come
on, I'm waiting! Come!
From the inside, you see a grenade rolling in the apartment.
MAN
...Shit.
The apartment explodes. Nothing more.
Leon turns toward Mathilda and shows her the ring in his
hand.
LEON
This is the ring trick.
Mathilda stupidly shakes her head: she's dismayed.
* * * * * * * * * *
TONY'S RESTAURANT
About 4pm. Restaurant is desert, apart from Dino, who's
keeping books at his usual table. An elegantly dressed man
gets inside. He's forced to put away his sunglasses because of
the feeble interior light. He looks nervous. He sits in front
of Tony. He's a little surprised.
TONY
Tell me, there's nobody in the
restaurant: you're not forced to sit at
my table?
MAN (still not at ease)
...I need company.
The man pulls out his badge and hands it to Tony. He works
for FBI.
TONY
Rinaldi... Rinaldi... What region do
you come from?
RINALDI
Messina.
TONY
Emilio? Due grappe!
(to Rinaldi)
...Why the hell did you come here?
He returns his badge.
RINALDI
Rightly... I came here to recover.
Rinaldi hands him a small photograph. Tony looks at it and
turns it to read the note on the back.
TONY
But... He works for your same employer?
RINALDI
Yeah, but I don't give a shit about. I
trade at left, at right and that's
dangerous in there...
TONY
It's a little out of the world coming to
visit me this way, on mid afternoon. It
really isn't the usual procedure...
RINALDI
I know... But I'm a little pressed.
Tony is perplexed.
TONY
...Who sent you?
RINALDI
Giancarlo... Rinaldi.
Tony smiles.
TONY
Is he still alive?
RINALDI
Yeah... And still in Messina. He's my
uncle.
TONY
Huh? Are you Alfredo's son, then?
RINALDI
No... Dino's.
The kid didn't fall in the trap.
TONY (smiling)
...It's true... How is he, the old
Dino?
RINALDI
He's dead, five years ago...
TONY (saddened)
Sorry... You see what's this job, you
work, you work. You even don't care
visiting friends now and then...
He takes a blackboard and writes 16000 ahead. He gives it to
Rinaldi. Rinaldi reads, then writes "Is it double". Tony
smiles.
TONY
Have you ever been in Messina, son?
RINALDI
Yes... Twice.
TONY
Did you fish in Messina? The "pesce
spada"?
RINALDI
No...
TONY
It's a specialty down there. It's a
fishing boat with, in front, a long pole
near the surface. Then, near the cabin, a
very tall mast with a little cabin for
the lookout.
TONY
A lookout above, one below, two fishers
and a captain. A lot of people, for such
a small boat like that. They depart to
the sea, sometimes for days, never sure
they'll get something.
Rinaldi listens. Tony speaks and writes at the same time.
TONY (con't)
Sometimes, it's a lot of work for
nothing. ...And then you must know that,
the bigger the fish is, the older it is,
the more expert it is... ...Therefore,
the more difficult he is to get. You
understand what I mean, son?
Rinaldi nods his head yes. Tony writes 12000 on the
blackboard.
RINALDI
I think I will get back in Messina this
summer... It's too long I haven't been
there.
TONY
You're right, son. You must care the
links with your family, always. It's the
only important thing in the world.
RINALDI
...Yeah.
He says "yes" to the phrase and to the deal. Emilio delivers
two grappas. Tony gives him the photo and the blackboard. The
two drink.
TONY
Salute.
RINALDI
Salute.
* * * * * * * * * *
NEW APARTMENT - DECREPIT
Leon prepares his tools. Mathilda sits on the windowsill.
Leon wears his overcoat.
MATHILDA (sulky)
...I preferred the hotel.
LEON
Mathilda, hadn't you told that bullshit
to the receptionist, we'd still be in the
hotel, I make you notice.
MATHILDA
That wasn't bullshit, I said we love
each other.
LEON
Yeah!... Anyway, I don't like hotels.
Too much people, everyone's got the
key... I don't like it.
Mathilda gets even sulkier.
LEON
...I prefer apartments... Furthermore,
there are always kids in a building.
What about getting some friends?
MATHILDA
Friends? You're crazy! In my building,
before, they just cared drugs all day and
you couldn't get one, or they just cared
video games and you couldn't get one, no
more.
LEON
You're darkening the picture, aren't
you?
MATHILDA
A little...
LEON
Is there a normal 13 or 14 year old boy?
MATHILDA
Yeah... There's a lot on TV.
Leon is slightly annoyed by Mathilda's lack of cooperation.
LEON
Well, then watch television!
He switches on.
LEON
...I won't be long, Mathilda, OK?
MATHILDA (kind)
Why don't you take me with you?
LEON
It's too big.
MATHILDA
Yeah... I'm just good for left-overs!
LEON(kind)
Let me alone for a while, Mathilda, OK?
My life changed since I met you, you
know? ...I have to find back myself a
little... And, last time, you really
didn't pass... And I wouldn't enjoy
seeing you explode against a wall...
MATHILDA
Risky business, isn't it?
LEON
...You're young, Mathilda... You still
have a chance to get out. You can't give
up this chance. You have to protect it.
There's a lot of things to do in life, a
lot of other jobs...
MATHILDA
There are just two things I'm interested
in: love and death. For the moment, I
have none of the two!
Leon tries to reply, vainly.
LEON
Mathilda... There's equally a lot of
other things!
MATHILDA
Huh, really? What? Come on, I'm waiting!
Leon searches.
LEON
...Nothing, I tell you! Everything else
reminds me a big yogurt: warm and rancid.
Leon laughs, she doesn't.
LEON
No, excuse me... It's the yogurt that
made me laugh.
MATHILDA
You've just to love me and I'll be the
happiest woman around.
LEON
Yeah, I know! But for the moment you're
not yet a woman. So, be patient... I need
time... And you too. You have to grow up.
MATHILDA
I don't grow up any more. I just get
older.
Leon sighs. He takes his case and gets out.
LEON
I won't be long. Two days at most,
promised.
He closes the door. Mathilda remains sad, at her window.
* * * * * * * * * *
RAIN ON THE CITY -
MATHILDA'S BORED
SERIES OF SHORT SEQUENCES
- She's on the windowsill and looks at the flowing water that
will temporarily clean the city.
She smokes a cigarette.
She opens the double bass.
She assembles and disassembles a Uzi, last model.
She watches television, falls on her head, embedded in her
soft chair. She eventually switches off, at this extent the
program bored her.
She finishes her syrup peaches, while listening to music.
She shoots some self-portraits by her Polaroid, mandatory
grimace.
* * * * * * * * * *
NO MORE RAIN - SUN RAYS OVER THE CITY
Mathilda is at a public phone.
MATHILDA
...Good day, Madam, may I talk with
Jenny, please?
JENNY
Yes?
MATHILDA (smiling)
...It's Mathilda.
JENNY
HEY!! But what did you do?! What
happened?? It's months you've
disappeared. Everyone thinks you got
killed, at school, above all since some
FBI guys got to school and asked a lot of
questions about you!
MATHILDA (surprised and proud)
Huh?... Did they ask you any questions?
JENNY
Yeah, pal! And I didn't say anything, I
said I don't know you. But do you know
what did she say, that stupid Raphaella?
MATHILDA
No?
JENNY
She told them you wanted her things and
that she wasn't surprised police looked
for you! Can you believe it?!
MATHILDA
Asshole. But she won't miss anything,
that. You'll see.
JENNY
Good, what are you going to do? Do you
come back?
MATHILDA
No... I can't... I got tired. I want to
live my way.
JENNY (surprised)
...Did you leave alone?
MATHILDA (smiling)
...No.
JENNY
(shouting)
YEAH! I was sure! Come on, tell me! I
know him?
MATHILDA
No.
JENNY
Come on, shit, tell me! Is he beautiful?
MATHILDA (moved)
...Yes, I think.
JENNY
I can't believe it! "Yes I think"...
How she kids me! I can't believe it! And
did he pass your threshold or not?
MATHILDA
...What?
JENNY
Well... Did you sleep with him or not?
MATHILDA
No... Not yet. He's very shy... and
very sensitive.
JENNY
...Good... But what's special in him?
MATHILDA
...I don't know... It's true he touches
me. I love him.
Tears slide down along Mathilda's cheeks.
MATHILDA
I'll miss you, Jenny.
She softly puts down the receiver. Sun recovers. City is
yellow.
* * * * * * * * * *
TONY'S RESTAURANT
The old Tony at his usual table. Three little boys in front
of him. Their hands on their eyes.
TONY
Don't peep, OK? Attention...
Emilio arrives and puts down a chocolate cake with five
candles on it.
TONY
You can look!
The boys shout with joy. Stansfield now gets in the
restaurant with six men. Tony immediately stiffens.
Stansfield blows on the candles and leans toward the children
with a stupid smile.
STANSFIELD
Happy birthday!
Without smiling, he signs one of his men to regroup the kids
with Emilio. The children obey. As if they feel it's not the
moment to bother. Tony doesn't oppose.
TONY
You'd better talk good, son, because,
for the moment, I've got a quite bad
opinion about you. Norman smiles.
STANSFIELD
I respect your business, Mister Tony.
Every time we asked your help, we were
very happy with the result. It's right
this that makes me nervous, now. I hope
you'll excuse my temporary bad mood?
TONY
Then...
STANSFIELD (to one of his men)
Take me the pork!
One takes in the young Rinaldi who had visited Tony. His face
is made swell, unrecognizable.
STANSFIELD
Do you recognize him?
TONY
...Even his mother wouldn't.
Stansfield looks at Rinaldi.
STANSFIELD
You're right.
He pulls out his gun and kills him. Like one kills an insect.
Tony strongly stiffens. Emilio looks after the children.
STANSFIELD
I've got an offer for you: you keep your
12000$, you call back your shitful
cleaner and you tell him the contract is
cancelled. You see, the man to be killed
is my boss, and I'd be really sorry with
losing him because he's a good boss. He
lets me work like I wish... It's fine.
And 12000$ to do nothing aren't bad,
aren't they?
Tony is really disturbed.
TONY
Listen, son, you know as well as me this
kind of hitmen: they come from nowhere,
get the contract and disappear. They're
lonely, worse than wolves.
STANSFIELD
May we have this wolf's name and
address?
TONY
These guys have no place. They change
virtually everyday. And his name... It's
a surname.
Stansfield pauses. He stares at Tony.
STANSFIELD (to his right hand)
Take me the children...
Tony closes his eyes. Stansfield puts his gun on the table.
Children make a row in front of the table.
STANSFIELD
...Come on, I make you a favor. Tell me
which is the one you love least. I'll
kill him first.
Tony slightly sighs.
TONY
You know, boy, I know their parents very
well; I think they won't appreciate your
sense of humor.
STANSFIELD (falsely naive)
Huh, really?
TONY (serious)
If you touch them, you'll have all the
hitmen of the city on your ass!
STANSFIELD (pause)
...You're right. It's a little risky.
Stansfield takes his gun and kills Emilio.
STANSFIELD
It's good he had no family. Come on,
speak, now!
Tony is petrified. Children shout and get under the table.
STANSFIELD
Else, I'll have to ruin this birthday.
TONY (surrendering)
...Leon... Leone MONTANA. I know he's in
a small hotel in Noho... But I don't know
where... Houston Street, I think... I
can't tell you more... Even if you kill
all the neighborhood.
Stansfield puts away his gun and stands up.
STANSFIELD
Thanks Tony. Justice will be grateful
for your precious collaboration.
He points at Emilio's corpse.
STANSFIELD
...Would you like me to call the police,
for this little incident?
Tony looks down, then shakes his head no. Stansfield smiles.
STANSFIELD
Good!
The group gets out. Children run into Tony's arms.
* * * * * * * * * *
NEW BUILDING
Mathilda sits at stairways' end, in front of a long corridor
and a small court.
Five kids, about 13-year-old, play baseball in the corridor.
THE BOSS
You're the new one at 5th?
Mathilda nods yes.
THE BOSS
Shall we explain her everything, ok?
This will avoid misunderstandings.
Mathilda waits, curious.
THE BOSS
(to Mathilda)
You can't sit here like that.
MATHILDA
Huh? Why?
THE BOSS
Because you have to pay. It's like a
parking meter: if you stay, you pay. It's
the rule...
MATHILDA
...And how much is it?
THE BOSS
Ten dollars... A month.
Mathilda looks at them and pulls out a roll of 100$ notes.
MATHILDA
Got the change for 100?
The kid is impressed but tries not to show.
THE BOSS (playing serious)
...Wait, Poly's the treasurer.
(to Poly)
Poly, have you got the change for 100?
POLY (shrugging his shoulders)
Why do you ask me? You know I haven't a
dollar!
Mathilda saves his face. She hands him the note.
MATHILDA
...It's not serious... It means I'll
pay ten months in advance.
The kid takes the money, perplexed.
THE BOSS
...OK... Good.
MATHILDA
Can I sit on the stairways now?
THE BOSS
Huh... Yeah, yeah... Of course.
Everyone is surprised by Mathilda's calm.
A KID
...Would you like a cigarette?
MATHILDA
Yes... Thanks.
Another kid lights it. The last one pulls out a bottle of
whisky.
THE KID
A little draught?
MATHILDA
No thanks... Never alcohol.
* * * * * * * * * *
LATER - IN THE COURT
The kids and Mathilda play baseball. The ball gets to
Mathilda. A little too fast: she avoids it.
THE BOSS (shouting)
Huh! Mathilda, bitch! Run! Run!
Mathilda runs, gets the ball and launches it very awkwardly.
The boss is furious.
THE BOSS
...Bitch! You're really nil! Come on,
get away! Get back to your stairways!
Mathilda abandons the game, oppressed.
THE BOSS
You fear a ball?! I can't believe it!!
Gals!... Come on, let's play, not a game
for gals!
Mathilda stands up, this time she's really annoyed. She gets
upstairs. She opens the violin and takes a gun. Downstairs,
kids have a pause.
THE BOSS
Good, let's have a break, five minutes.
Poly? Cigarettes.
Mathilda joins back the kids downstairs.
MATHILDA
Look, the fearful's got a game for you.
She pulls out the gun, opens the cylinder.
MATHILDA
...You can show me your balls! Russian
roulette, you know?
* * * * * * * * * *
IN FRONT OF MATHILDA'S BUILDING
Police line. Two cops guard. Open ambulance waiting for its
load. Leon arrives by cab. He immediately realizes something
happened. Mathilda. He's worried about her.
He gets off the cab. He stammers something to the first cop.
LEON
...I live in here...
He breaks through. At the end of the corridor, near
stairways, a little corpse, covered by a white sheet. Blood at
one end. Two male nurses easily lift the corpse and lay it
down on the stretcher. Leon's scared by that sheet, that
little corpse. He lifts one end. Big sport shoes. Far from
Mathilda's small feet. He's going to climb upstairs, but a cop
blocks him.
COP
No entry for the moment.
LEON
I live in here.
The cop puts a hand on Leon's chest to stop him
COP
When I say no entry, I mean "no entry".
He said this with a bad tone. Leon stares at him.
IN THE APARTMENT
A plain clothes detective sits in front of Mathilda, who's
crying on her couch. Evidently, the cop's waiting for her to
stop crying, for interrogation. He looks at his wristwatch.
Another two cops calmly, sweetly check out the apartment.
Routine. They pass by the double bass without opening it. Leon
gets in. She jumps in his arms. He's relieved. She cries with
joy.
LEON(sweet)
Come on, it's over, I'm here.
MATHILDA (in tears)
You mustn't leave me, Leon... I do
stupid things, when you're not here.
LEON
I'm here, I'll never leave you again,
Mathilda, never. I swear.
MATHILDA
I love you so much, Leon.
LEON
I love you too, and I don't want to lose
you.
The cop is really stunned by Leon's arrival.
COP
Can I have a word with you, Mister? Are
you her father?
Leon signs him "stop". The cop is slightly annoyed by such an
authority.
LEON(to Mathilda, sweetly)
What did you do? What happened? Tell
me.
He caresses her hair. She's calming down.
MATHILDA
...Well... The kids. They didn't want me
to play baseball. They said I'm a fearful
gal.
The cop listens, interested.
LEON
Poor darling, and then?
MATHILDA
Well... I proposed them to play
roulette... Like we played...
(She resumes
crying.)
...And I lost.
He takes her in his arms. The cop is stunned.
LEON
Don't cry, Mathilda, please. Take.
(hanky)
Prepare your case and we get away for a
while, OK? We change neighborhoods! Come
on, go, I wait, OK?
COP (determined)
Mister? I'd like seeing your papers.
Leon already pulled out his gun and showed his identity.
Thrice.
LEON
Come on, prepare your stuff, we move in
a much calmer place, you'll see. Near the
country.
Leon doesn't care he just killed three cops.
Mathilda puts her Polaroid and her teddy bear in her sack. A
photo falls on the ground. They leave the apartment. No more
double bass. Just violin and sack.
While going downstairs, one realizes how difficult Leon's
climb was: killed cops at virtually every floor.
They get out of the backdoor. Leon and Mathilda, holding
each other's hand, walk across the city. Sun's tired. City's
orange.
* * * * * * * * * *
It's almost night when Stansfield and his men arrive in front
of Leon and Mathilda's building. In the apartment, three
corpses covered by white sheets.
Police commander on place. STANSFIELD gets in.
COMMANDER (nervous)
...What are you doing in here?
Stansfield checks out the apartment.
STANSFIELD
...I've been following the guy for a
while.
STANSFIELD finds the forgotten Polaroid photo.
STANSFIELD is perplexed, then recognizes the girl.
COMMANDER
May I know this typhoon's name?
STANSFIELD
...Leon.
* * * * * * * * * *
Leon's having a shower. Face in his hands. Evidently, he's
trying to recover. New apartment's door opens, after a few
knocks that look like a code. Mathilda gets in. Leon quickly
moves in the bathroom. His hand approaches a gun.
LEON
Mathilda?
Mathilda passes before bathroom's door and scratches it
without stopping.
MATHILDA
Yes... Alright.
She gets in the room and unpacks her things, including
cosmetics. She gets close to the window and starts making up
herself.
Leon in a towel, small for his size. He gets in the living
room.
LEON
Mathilda?
MATHILDA (out of scene)
Yes.... I'm coming
Leon gets to the window and looks out. Something changed in
Leon. He's tired by all this, maybe. He sits on the chair.
Mathilda's walkman is on. He hesitates, then eventually puts
on the headphones. It's a sweet, almost classical music. Very
beautiful, like the arriving Mathilda. She wears the dress
Leon offered her, she's made up. She looks 20-year-old.
Leon's mouth is open. She smiles and heels down before him.
He gets off the headphones.
LEON
What's going on?
MATHILDA (surprised)
Nothing... Why?
LEON
Well... I don't know, suddenly, the make
up... All this... How are you? Are you
OK?
MATHILDA
Of course! I'm fine! I put on your
beautiful dress, I slightly made up... I
tried to get beautiful! Don't you like
it?
LEON(shy)
...Yes.
MATHILDA
So say it!
LEON(pause)
...I like it...
Mathilda smiles and stands up. She gets in the kitchen.
Leon feels weird, like he was falling in a trap, without being
able to do anything. Mathilda comes back with a glass of milk
she hands to Leon. She lowers the tents to dim the strong
sunlight. Mathilda heels down in front of him. Leon doesn't
dare move any more.
MATHILDA
...Don't you drink?
LEON
I prefer waiting for a while... I feel
it would go the wrong way.
Mathilda takes the glass from his hands and drinks half. She
passes her tongue along her lips to dry up the milk. Leon
looks at her, like a child in front of a sweet shop. She
returns his milk. Mathilda looks like a calm cat.
MATHILDA (sweetly)
I love you, Leon... Totally. It's the
first time I feel it that strong. It's
also the first time I trust a man. I
trust you.
She caresses his hand.
MATHILDA (con't)
...I love your hands...
(pause)
Leon... in your hands... I'd like you to
be my first lover.
Leon retracts his hand and finishes the milk.
He looks at Mathilda with as much sadness as happiness. By a
fingertip, Mathilda takes the milkdrop on Leon's lips and gets
it in her mouth. Leon is going to cry.
LEON(feeling bad)
...I can't, Mathilda... I can't.
MATHILDA (with a sad smile)
...Have you got a girlfriend?
LEON
...No...
MATHILDA
...Don't you like me?
LEON(sincerely)
...Yes...
(pause)
...You're the most beautiful, Mathilda.
Mathilda looks relieved by these magic words. She puts her
face on Leon's lap, who caresses her hair.
MATHILDA
You know, girls think about their first
boyfriend for a long time... I imagined
him with grizzled hair, elegant... A
little like Georgia's father. Georgia is
a classmate of mine... Kinda guy makes
you feel sure! Cool, isn't it? Leon nods
yes, without really knowing what he's
saying "yes" to. My mates told me the
first time they made love was awful.
They had pain everywhere, afterward...
But that's because they made it with men
they didn't love. In fact, they did it
just to show off, at the beginning.
Later, they liked it. ...Like
cigarettes.
Leon closes his eyes. Kind of pain on his face.
MATHILDA
How many girlfriends did you have?
LEON
...I don't know.
MATHILDA
Well... 1... 2... 10... 100... 1000? How
many, approximately?
LEON
...Mathilda, I don't feel like talking
about this.
MATHILDA
Why? Did you have too many and you fear
it may shock me? I won't get shocked.
I'm used to this! My father was a true
pig. He fucked the bitch I'd as mother
all around the apartment. Whenever a door
was closed, you could be sure they were
making sex behind it! And my sister, if
you didn't sleep with her, you're
building's exception!
LEON
Stop, Mathilda! Don't talk like that!
Mathilda's going to cry.
MATHILDA
I talk because you don't talk, Leon. I
declare my love and you say nothing.
That's why I'm nervous and I can't stop
talking. Tell me you love me, or you
don't love me, or you love someone else.
....But tell me something.
Leon tries to recover, before speaking.
LEON
...I had a girlfriend... A long time
ago. Before coming here, in my country.
I was 14-year-old... We flirted like
kids... Her father didn't want her to
meet me. My family was not very
respectable.
MATHILDA
Then? You didn't give a shit about her
father, didn't you? You met anyway?
Leon pauses for a long, then nods yes.
LEON
...He killed her, a bullet in her
head...
Mathilda is stunned.
MATHILDA
...That's awful. I hope you killed,
that asshole?
LEON
...Yes. The day he got out of jail. I
allowed him to make ten steps... No more.
And bang. Two hundred meters. By
telescope. That night, I left my country
and came here, to join my father, who
worked for Tony. ...I was 17. Then, I
never left the city... And never had
another girlfriend...
Leon sweetly looks at her.
LEON (con't)
...You see, I wouldn't be a good lover,
Mathilda.
MATHILDA
Leon, I don't know life very much... I
just know I love you... And love is
stronger than anything else.
Leon is more and more nervous, like a child.
LEON
Maybe... Sure... But... I'm scared,
Mathilda.
Leon cries. Mathilda caresses his face.
MATHILDA
Don't fear, Leon. You mustn't fear
love, when it's this beautiful.
She caresses his chest.
MATHILDA (con't)
I want you to be the first to touch
me... The first to make love with me.
Nobody before you.
She stands up and modestly gets off her briefs without taking
off her dress. Leon cries, unable to oppose her. Mathilda is
too young, but she's also too beautiful and lovely and sweet
and tender... She sweetly, very sweetly, gets on him.
LEON(crying)
Why me, Mathilda, why me?
Mathilda leans over to speak in his ear.
MATHILDA
...Because you deserve it, Leon...
Leon embraces her. He's full of happiness, shame, so many
emotions, he can't control very well. But, hell, how
beautiful it is seeing them sweetly making love.
* * * * * * * * * *
MORNING
A beautiful morning, like one wishes everyone to be. Leon in
the bed. It's the first time one sees him in a bed and,
furthermore, he sleeps. By his side, on a small table, a gun.
You never know. On the other side, Mathilda looks at him,
smiling, because he's almost nice while he sleeps. She starts
moving to stand up. Leon abruptly wakes up. His hand reaches
for the gun. He sees Mathilda and the room. Mathilda puts a
hand on his chest and kindly forces him to lay down.
MATHILDA
Did you sleep well?
LEON
...I never really sleep.
Mathilda smiles.
MATHILDA
Huh, yes? I forgot! ...When you fake
sleeping, you'd better not snore!
LEON(trapped)
...I snore?
MATHILDA
Like a baby!
She stands up and wears jeans.
MATHILDA
I go looking for some milk for
breakfast... I come back.
(She kisses him.)
...I love you, Leon.
Leon is shy.
LEON
You... You knock the code, when you come
back, OK?
MATHILDA
Yes.
LEON
Three times, then two times.
She nods her head yes. She tenderly looks at him.
MATHILDA
May I ask you a personal question?
LEON
...Yes.
MATHILDA
What do you do, with the money you earn?
LEON
Nothing, for the moment.
MATHILDA
Maybe it's the time to do something,
isn't it?
LEON
Yeah, what?
MATHILDA
I don't know... Getting far away, the
two of us, for example... And forgetting
all this...
LEON(pause)
...Far... Where?
Mathilda smiles.
MATHILDA
I'm gonna buy a globe, you'll see. Bronx
isn't even marked, so much the rest is
big.
(She walks toward
the door.)
...Think...
Mathilda gets out. Leon relaxes himself in the bed. He shyly
opens his arms and learns how to exploit a bed.
* * * * * * * * * *
INSIDE THE BUILDING
Mathilda comes back with her milk. She gets out of the lift
and a hand covers her mouth.
The man is member of a SWAT team: bullet-proof jacket,
gloves, and Uzi at hand. He's not alone. They're seven.
THE BOSS (low voice)
From now, you don't make a noise and
reply by nodding yes or shaking your head
no, OK?
Mathilda nods yes. She learns quickly.
THE BOSS
Is he alone?
Yes from Mathilda.
THE BOSS
Does he expect you?
Yes from Mathilda.
THE BOSS
Have you got apartment's keys?
Yes from Mathilda. She hands him the keys.
THE BOSS
Is there a code, a way to knock the door
or something?
Yes from Mathilda.
She approaches her hand to the wall: two knocks, three
knocks, two knocks. Wrong code.
The boss is satisfied anyway. He signs the group, they get in
position. Mathilda in a corner, a man remains with her.
MAN
Don't fear.
MATHILDA
I have no fear.
The first three cops are in position. The leader is nervous.
Everyone is ready. He knocks the code on the door. Reply
isn't late. Inside, a classical music starts. Cops get in, one
by one, commando style. From the corridor, one clearly sees
apartment's open door, and one clearly sees also the hand
above the door, that sweetly closes.
In the corridor, the other cops have no time. They hear the
slaughter in progress: shouts and shots, for twenty seconds.
Then door opens again. Three corpses in the apartment's
corridor. The man with Mathilda uses his walkie-talkie.
MAN
Shit! We need reinforcements! Maximum!
Come on!
Mathilda puts a hand in her parcel and pulls out a gun she
keeps along her body. On door's side, a small reflex. It's
Leon's periscope, checking the other three cops' progression.
Two of them progress behind armored shields. Suddenly,
Leon's voice breaks the silence.
LEON(shouting)
Mathilda?... Now.
Leon appears from nowhere and empties his kalashnikov in the
corridor. The three cops don't shoot for a long. Mathilda
lifts her arm, kills the cop at lower landing and aims at the
cop who kept her.
LEON(loud)
Mathilda?!
She appears in the corridor, her hostage before her, still
her milk with her. Leon is relieved.
LEON
Don't expose your back! Turn!
Mathilda obeys and walks backward.
She needs her hostage for protection and he remains in front
of her. Leon covers her from the apartment.
A group of cops, a dozen, gets upstairs. Leon breaks the
fire equipment niche's glass, unrolls the pipe in the
corridor, throws the axe into the apartment and opens the
water at full pressure. The pipe twists and beats all around
the corridor.
Leon shoots. Reply is immediate. Fortunately, Mathilda is
behind her hostage, his bullet-proof jacket is insufficient.
Leon and Mathilda get back in the apartment and close the
door, leaving the hostage crucified on it.
Mathilda is nervous. Leon is concentrated.
MATHILDA
Why did you unleash the pipe, I don't
know?
LEON
It will take them five minutes! How
long ago did they arrive?
MATHILDA
I don't know... Five minutes.
LEON
Good! Snipers can't be in position.
Leon gets close to the wall and gets rid of the tents,
allowing light to explode.
Window explodes too: they shoot like never before.
LEON
...Ten minutes at least... Not five.
In the corridor, cops eventually catch the pressurized pipe
and close the water. On all fours, Leon and Mathilda get in
the kitchen. He gets the axe and the violin case by the way.
Mathilda is more and more nervous. Leon is more and more
concentrated.
MATHILDA
How shall we get out now, Leon?
LEON
Let me work. We'll get out, I tell you!
He shoots at the dustbin duct and makes it explode. He
enlarges the hole by axe. Leon throws in the duct his
overcoat, his sack's content, and his violin (grenades,
weapons, etc...). Mathilda then throws in her teddy bear and
Polaroid.
In the corridor, sand bags are becoming a wall, armored
shields and cops multiply. A cop gets in position with a
rocket-launcher and shoots. The door explodes and smoke floods
the interior.
Leon helps Mathilda to get into the duct. She's half in when
she seems to realize something.
MATHILDA
But... Leon? You'll never get in it!
It's nearly too small for me!?
LEON(smiling)
I know, my love!
Mathilda starts crying.
MATHILDA
No! I don't want to leave you!!
LEON
Mathilda, listen!
MATHILDA
No, no! I don't want to go! I don't
want!
He rudely takes her face in his hands.
LEON
Listen to me, shit! We've got no chance
to get out together! Alone, I will get
out! Trust me! I'm in perfect shape,
Mathilda, now! I slept well! I love you!
I'm happy! And I thought! I'll get all
the money Tony keeps for me and we'll
leave, OK? Together! We'll leave
tomorrow.
MATHILDA
You say it just to calm me!
LEON
Not at all, Mathilda! I tell you because
it's true! You'll buy the globe you told
me about and you will choose, OK? We'll
go where you want! I swear, you'll see,
Mathilda!!
He kisses all over her face. Mathilda is a little confused.
LEON
Come on, go! Don't let them find you! I
finish this work and we meet at Tony's,
OK? Spread your arms to do not fall too
fast. So, good. At Tony's! One hour or
two, OK? I love you, Mathilda!
He kisses her again.
MATHILDA
I love you too, my darling.
He pushes her. She disappears in the duct.
Leon pushes his back against the hall and dries up his tears.
He shouts: terrifyingly. In the corridor, three first line
cops progress with gas masks; they decide to get in through
the destroyed door.
Mathilda gets in the trash bin. She carefully looks out:
nobody around. She gets out and recovers some weapons.
APARTMENT
A wounded cop, mask on his face, gets out of the apartment
and out of the smoke cloud.
He's therefore protected and taken over
by another cop. He accompanies him a
little farther.
A BOSS
Get downstairs, guy, get down!
He slaps him on his shoulder. The wounded cop obeys and gets
to the lower floor. He's someway surprised when he realizes
the stairs are literally full of cops everywhere.
The wounded cop passes by his colleagues and gets down. Cops
everywhere, sandbags. It looks like a trench warfare. He
didn't yet pull his mask off. One makes him sit on a bench
and starts pulling off his mask. A doctor comes in and checks
out cop's arm. He pulls off his mask. It's Leon.
DOCTOR
It's deep. You'd better get down to the
ambulance, they'll care you properly. A
cop chief doesn't recognize Leon.
CHIEF
3rd district? ...A mess up there, isn't
it.
Leon nods yes.
DOCTOR
Let him breathe five minutes!!
(to Leon)
Would you like me to take you down?
Leon shakes his head no.
LEON
Let me put my mask on. I breathe better
with it.
DOCTOR
Yeah, right. Get down and wait for ten
minutes. I'll get to check you, OK?
LEON
OK.
The chief gets away. Everything seems to work properly.
There's just one thing Leon didn't notice: it's STANSFIELD's
right hand, climbing upstairs, who identifies him and gets
back down. Mathilda got out.
She observes, from a corner, the movements in the street.
Police cars and ambulances all around.
IN THE APARTMENT
A cop's checking out the apartment, he pushes kitchen's door
and a grenade falls to his feet. The explosion shakes the
whole corridor. Cops crowd it. Below, Leon exploits the
moment to stand up and discreetly walk downstairs. Floor after
floor without problems.
SLOW MOTION
Behind him, unheard and unseen, STANSFIELD follows him.
STANSFIELD rises his arm. A gun at hand. The gun aims at
LEON'S back of the neck.
Leon advances and can see just the light filled exit, synonym
of freedom. But his vision gradually gets paler and the image
tilts, without noise. The image is now completely inclined
and gets paler and paler. Overexposed image, then suddenly:
BLACK.
Leon's died. Without even realizing it. Mathilda is still
observing. Stansfield's right hand gets out of the building
and lifts an arm to the sky. He wants everyone's attention.
RIGHT HAND
It's alright! We got him! It's over!
Some cops clap, others whistle. Mathilda leans on the wall
and cries. Stansfield is in the corridor, near Leon, officers
are congratulating him.
CHIEF
Shit! Never seen anything like this
before!
ANOTHER
He almost fucked me, furthermore!
STANSFIELD
He killed Richmond, my boss, two days
ago... And Rinaldi too! We've been on
him for months.
A chief slaps on his shoulder, but he's embittered, he lost
many men too.
CHIEF
Nice shot.
SLOW MOTION
Mathilda appears. She wears Leon's large overcoat. A silenced
gun at hand. Her face is harsh and immobile like never before.
In front of building's entry, two cops look at her, stunned.
This will be their last expression.
She gets in the corridor. At the end, STANSFIELD laughs
together with his colleagues. Mathilda advances until the
white sheet on the ground. She crouches down, lifts one end.
Leon's got blood everywhere, but his expression is sweet and
relaxed. Mathilda caresses his cheeks.
A man tips on STANSFIELD's back. The group turns and sees the
little girl crouched near the corpse. Mathilda kisses Leon's
mouth and stands up. She leaves her gun on the floor.
She looks at STANSFIELD, straight in his eyes, with a big
smile. STANSFIELD doesn't understand. Mathilda pulls her hand
out of a pocket and launches something to him. STANSFIELD
catches the object. It's a metal ring. STANSFIELD understands
lesser and lesser.
Mathilda opens her overcoat: inside, a dozen of grenades
everywhere. One lacks its ring.
STANSFIELD UNDERSTANDS EVERYTHING.
COMPLETE, GENERAL, ABSOLUTE EXPLOSION
The shockwave shakes everyone in the street. Still in slow
motion, thousands of debris fall on the street. A rain which
is even sadder than usual.
THE END