Leon Zawodowiec - Scenariusz, a właściwie kawałki
http://the-professional.uw.hu/Version_1_Script.html
Version 1 Script
from an original idea by Luc Besson
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 Léon and Mathilda shows no more ambiguities. In this version, Mathilda was to be aged 13 or 14.
* * * * * * * * * *
two on the roof
Léon 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.
LÉON (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 the floor's color and will try to wear dresses of the same color. Never lighter.
Mathilda listens very carefully.
LÉON
OK. Good. Now you can assemble your weapon.
He opens the violin case and assembles a rifle with telescopic sight and silencer.
LÉON
The rifle is the first weapon you learn to use, because you can keep distance 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.
LÉON
No. Never take it off until the last minute, because it reflects light. They'll see you in two seconds.
They get close to roof's edge. Mathilda sits down and gets in position.
LÉON
Relax. You must feel at ease.
Mathilda leans down properly.
MATHILDA
OK, I'm fine.
LÉON
Good.
He removes the telescope's cover.
LÉON
Here, this is the light amplificator for night shooting. There, you fix the client's distance... How much to the bench down there in the park?
MATHILDA
Huh... 500 meters?
LÉON
130... 140...
MATHILDA
How can you say it?
LÉON
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 mean.
MATHILDA
What, for example?
LÉON
Well, if the guy is far, in a car, and I know the weather is going to be bad, rainy 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?
Léon thinks.
LÉON
Rocket launcher.
MATHILDA
Oh really?
(She looks at the road and imagines)
But can you miss the car?
Léon pulls a small box out of the violin.
LÉON (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!
LÉON
Yeah... Come on, have a little training.
Mathilda gets in position.
in position
MATHILDA
Who'll I aim at?
LÉON
Whoever.
Léon pulled out binoculars. Mathilda looks for a victim by telescope. She passes over playing kids.
MATHILDA
No women... No kids....
Léon smiles: she learned the lesson.
LÉON
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 fatman down there, on the bench.
LÉON
Perfect.
Mathilda aims at the fatman. One of the bench's boards explodes. The fatman turns his head. He doesn't understand what happened and resumes reading.
LÉON
Try again. The same.
Second shot. The bench explodes on the opposite side. The man is still curious but doesn't understand.
LÉON (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.
LÉON
Wait...
The fatman softly leans down on his side.
LÉON
Bull's-eye.
Mathilda is happy but, evidently, she expected death to be more spectacular.
LÉON
Come on, now a walking one.
Mathilda aims at a businessman. She really chooses the ugliest one. She shoots. The man's case explodes and he hides behind a tree: he's scared and doesn't move any more.
LÉON
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?
LÉON
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.
LÉON
Now, try a running guy.
Mathilda gets back to telescope and looks for a jogger.
MATHILDA
The yellow and pink.
LÉON
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!
Léon hands her another charger.
LÉON
Don't lose him! Concentrate. There, reload. OK, keep calm. Calm, breathe easy. Watch his movement. Pretend you're running with him. Breathe... Hold your breath... Try to feel his next movement... 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.
LÉON (serious and steady)
Put the tools away.
Mathilda obeys, seriously.
leaving the roof
* * * * * * * * * *
Night over city. The two are on a small building's stairway.
LÉON
Codes!
Mathilda gets by his side for her new lesson.
LÉON
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 the night, you get a box with soot powder and blow a little on the keyboard.
He does it and pulls out a screwdriver.
LÉON
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 were 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.
LÉON (continues)
Second case: you have no time but you mustn't get discovered. Screwdriver.
He disassembles lock's cover.
LÉON
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...?
LÉON
Pardon.
(To Mathilda)
Let him pass.
Léon opens the door by disassembled lock's wires. The man is going to pass, but doesn't. Léon's going to resume his explanation.
MAN
Excuse me, but... What are you doing?
LÉON
I teach the girl.
MAN
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 his pocket, then pulls out an anti-aggression bomblet. He'll have no time to use it: Léon 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. Léon looks around, then resumes.
LÉON
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. Léon smiles.
LÉON
Simple, isn't it?
She nods yes.
LÉON
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 that?
LÉON
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?
LÉON (pause - proud)
...Did you like it?
She pauses and seriously looks at him.
MATHILDA
It was brilliant.
* * * * * * * * * *
Fred Astaire
Léon and Mathilda in the movies. On the screen, Fred Astaire breaks out as usual.
LÉON (talking about Fred Astaire)
Watch his movement... Whatever he says, whatever he does, he never stops. Sad or happy, the movement always goes on.
Pirouette by Fred Astaire.
LÉON
...Look! Even the wall, nothing stops him. The movement goes on. He uses everything: the floor, the wall, his rush, his weight. Life is movement, death is a part of it.
Mathilda listens carefully.
LÉON
So, you have to let the client finish the movement he started. It's better, if he thinks about other things and he can't see the 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 it. 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 Léon are doing sit ups. After some bendings, Mathilda collapses and remains on the floor. Léon goes on, undisturbed. Mathilda tries again.
Weapons assemblage
Léon disassembled a big weapon in front of him. Mathilda observes, very concentrated. Léon 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
Léon's doing sit ups, feet always blocked under a wardrobe. Mathilda is doing exercises in front of the television. Léon glances at her now and then.
Kitchen
Léon 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
Weapons assemblage
Mathilda's much quicker now, but makes an error. Léon 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 Léon to do his workout in front of the 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 Léon: he drinks then they have a race. Mathilda does everything to be fast. Léon 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
Léon sits in front of Tony. From his position, he can see the window on the street.
TONY
It's been a long time, Léon. You missed two nice contracts, you know.
LÉON (badly lying)
...been training.
He looks at the street: Mathilda is pirouetting in front of the restaurant.
TONY
...You also moved, didn't you?
LÉON
Yeah.
TONY
Huh!? Because of the slaughter at your same floor?
LÉON
...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?
LÉON
Yes.
Mathilda, outside, sends a "cuckoo" to Léon, who slightly leans down to reply. Tony didn't see anything.
TONY
At a certain moment I thought: maybe Léon would like to work on his own? So he makes some little extras?
LÉON
Dirty work, and I kill no women and no kids.
TONY
That's what I later told myself! No, Tony, forget Léon! It can't be him, he likes too much his job to make such a slaughter!
Léon can't avoid looking at Mathilda, who's looking up to breathe better. This little woman, only survivor of a massacre.
Tony
LÉON
Tell me... The money I make and you keep for me...
TONY
Do you need money?
LÉON
No... Just to know... Because I've been working a long time... And I haven't done anything with my money... I should do something.
Tony is a little bit surprised by Léon's naivety.
TONY
It's true, you're right... Did you meet a woman?
Léon smiles.
LÉON
No, no.
TONY
You gotta be careful with women, Léon. They are dangerous, you know?
LÉON
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 here 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.
Léon nods.
LÉON
Why can't I have a bank account?
TONY
I'll explain you, Léon: they'll ask you to fill out 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 restaurant's menu". That's why you can't have a bank account!
Léon thinks. Outside, Mathilda lets a young man approach her. They start talking. Léon gets nervous.
TONY
But your money is here, Léon. Whenever you want it, you ask me. Take it...
He hands one thousand dollars to Léon.
TONY
Take it...
LÉON
Well, I don't need it...
TONY
Take it, you never know... If you want to have some fun. Take, it's a gift.
Tony puts the money in Léon's hand, who takes it.
LÉON
Thanks.
TONY (smiling)
Good. Now let's talk business. 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 Léon!
Tony stands up and disappears. Léon looks out. Mathilda accepts a cigarette from the young man. They laugh. Léon can't resist any more. He stands up and exits. He kindly pushes Mathilda aside. The quite nice young man waits.
on the street
LÉON (low voice)
Listen, 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)
Léon, don't worry. I'm on the street since I've born. I was just smoking a cigarette while waiting for you.
Léon pauses and looks at the young man, who smiles at him.
LÉON
Stay away from him. He looks suspicious. A bad guy, OK?
MATHILDA (smiling)
OK.
LÉON
Five minutes. Stand in front of the window.
MATHILDA
OK.
INSIDE THE RESTAURANT
Léon 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 Léon, who observes it.
TONY
Not easy. Armoured car, isolated home, bodyguards all the 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 Léon. Good deal, isn't it?
Outside, Mathilda has disappeared. Léon 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 leave the city at the end of the week. With the contracts on his head, I don't think we'll see him again.
Léon is too nervous. He takes the photo and stands up.
LÉON
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.
LÉON
Come on, get down!
MATHILDA
You were scared, weren't you?
LÉON
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!
Léon suddenly realizes Tony is behind the window. He shyly smiles, slightly embarrassed. Mathilda makes a big smile to him and heels Léon.
MATHILDA
Let's go home!!!
* * * * * * * * * *
Léon arrives to the hotel, Mathilda still on his back. The receptionist smiles at Léon, 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.
on the bed, spread arms
MATHILDA
Léon? I think I'm falling in love with you.
Léon's milk goes the wrong way. She calmly said it, laying on the bed, spread arms. Like a simple truth. Léon 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...
LÉON
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.
LÉON (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 there... No longer...
Léon pulls off his hand. He stands up and nervously walks.
LÉON
Mathilda, I'm... I'm very happy you've got no stomachache any more, 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. Léon 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.
LÉON
Mathilda? May I get in?
MATHILDA
Yes.
Léon opens the door. Mathilda is naked and is brushing her hair. Léon closes back the door without entering.
LÉON (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 get in.
Léon is rigid. He takes a towel and deploys it in front of her.
LÉON
Take it, please.
She rolls herself into the towel, without speaking. Léon's relieved.
LÉON
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 again, 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.
LÉON
"Quick" doesn't mean "ready". And you can't discuss, we said. Right?
Mathilda has to surrender.
LÉON
Go on learning like this... Then we'll see.
He gets in the living room and she follows him.
MATHILDA
May I get to the cinema?
LÉON
No.
MATHILDA
For musicals? That's part of the job!
LÉON
No, you can't get out.
MATHILDA (resigned)
OK... you come back tonight, don't you?
He takes his violin and his case.
LÉON
During my absence, you have to work on a very important thing you badly lack: patience.
He slightly smiles. She's sulky.
LÉON
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 Léon prostrate in front of the door.
Leon at the wall
RECEPTIONIST
Did you lose your key, Mister?
Léon recovers from his shock.
LÉON
No... I just thought if I'd lost anything...
RECEPTIONIST
And did you forget anything?
LÉON
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...
at the reception
She puts her elbows on the desk.
MATHILDA
I'm sick of practising, that's it...
RECEPTIONIST
I see. You're doing all right, because I didn't hear anything.
MATHILDA
Yeah. I put a cloth over the strings, to lessen the 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
Huh?
Mathilda sighs and glances at the hall.
MATHILDA
I'm going to have a walk... I'll come back.
Receptionist's tense smile.
* * * * * * * * * *
at her old building
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 distractly 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.
On the corridor, she raises one of parquet's boards. A big roll of $100 bills is hidden beneath. There is a small checkbook 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.
in the apartment
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 of heroin in the apartment, and you are bothering me?
MAN
The fact that you're a public officer doesn't give you the right to do whatever you want! The narcotics 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 that they asked for an inquiry.
STANSFIELD
I don't 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 in my office... #2702.
MAN
It's routine, why are you doing this to us?
Stanfield doesn't listen. He got out. Mathilda slides behind him. She follows him downstairs.
* * * * * * * * * *
IN THE STREET
Stansfield gets in 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 checkpoint 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 him saying... That's all... Thanks.
Mathilda gets away. The cop looks at her, smiling.
* * * * * * * * * *
Mathilda on the couch
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 the television on: anime. Léon gets in, gets off his stuff. He's got a parcel. He puts it on the table. Léon is stunned by her lack of interest for the parcel.
LÉON
...It's for you... It's a gift.
No reaction. No reply.
LÉON
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!
Léon doesn't understand. He takes the dress and checks it out for defects. She sighs and gets in the kitchen. Léon gives up. He sweetly lays the dress down on the table and switches the television off. Mathilda comes back with a lot of popcorn. She switches the television on again, sits on the couch and turns the volume up. Léon is perplexed, he doesn't speak. He gets in the bathroom for a shower. Mathilda turns the volume down. She stands up, glances at the dress, touches it by fingertips. Her face is tense. Water flows in the bathroom, but Léon is at the door's small opening and observes Mathilda. She eventually leaves the dress, switches the television off and gets to the window to look at the sunset. Léon feels bad. He silently closes the door.
* * * * * * * * * *
Mathilda sits in front of him, like in an arena.
MATHILDA (cold)
I'm sick of this, Léon.
LÉON
...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!
Léon is still cleaning his weapons.
LÉON
Do you think you learned patience today?!
MATHILDA (getting nervous)
Well, I'm a poor pupil about patience?! OK?
Léon slightly smiles.
LÉON
...You stayed home, not bad. A good start.
She smiles at him and he returns.
MATHILDA
I've been out all the time, stupid!
Léon's smile disappears.
MATHILDA
I got home to get my stuff.
She pulls out a bunch of dollars and puts them on the desk.
MATHILDA
Here. Not $8,000. It is $6,800. I hope you will credit me for the missing $1,200. Furthermore, I'm going to make your work easier: the guy is Norman Stansfield. Office #2702 in the FBI building, 5th Avenue and 68th Street.
Léon is pale. Open mouth.
LÉON
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.
Léon tries to keep calm.
LÉON
Are you calmly telling me you spent the day at the FBI?
She shrugs her shoulders.
MATHILDA
No! I couldn't get 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?
Léon looks at her, then looks at the money.
LÉON
Not taken.
MATHILDA
Why?
LÉON
Too heavy.
Mathilda thinks fast.
MATHILDA
Well... Then may you rent me your gear for the day?
LÉON
I never lend out my gear.
Blocked on every front, she sweetly starts crying.
MATHILDA
Why are you doing this to me, Léon? Why don't you take me with you for the contracts? If you teach me, we can do mine together! That would be good, wouldn't it?
Léon intensely looks at her, neither severe, nor badly. Just cold, like an iceberg.
LÉON
Mathilda, nothing is the same, after you've killed someone. Your life is changed forever. You 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, Léon...! I killed one thousand in my head... And this never disturbed my sleep.
LÉON
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 a second. Because it was your day, your hour, your second...
Mathilda looks at him. Léon gets confused.
It's written in the sky, from the beginning, you just 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, you've already got a bullet in your lungs! There!
He pushes her by his index finger, enough to hurt her.
LÉON
Painful, isn't it?
He pushes again.
You don't like talking about death because you're like everyone: you fear it...
LÉON
...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)
MATHILDA
But me... Léon... I don't fear it any more...
They look at each other for a moment.
LÉON
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.
LÉON
...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
Léon... I have no fear... It's so.
Léon stares at her. He tries to ascertain truth in Mathilda's eyes. A long pause.
LÉON
OK...
He takes a weapon, empties the cylinder, then loads just one bullet.
...Do you know this game?
Mathilda nods yes. He turns the cylinder.
LÉON
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 Léon 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.
love or death
MATHILDA
...Love or death.
She gets the barrel in her mouth and looks at Léon. A sweat drop on Léon's front. She pulls the trigger. Nothing. She puts down the gun. Léon stands up, turns around the table and embraces her. He holds her tight. She's surprised. She kindly pushes Léon back, to look at his eyes.
MATHILDA
Am I ready?
Léon pauses, slightly smiles and nods yes. Mathilda closes her eyes, happy and relieved. She takes his hand and embraces him for a long. Léon lets her do.
* * * * * * * * * *
MORNING - A FEW DAYS LATER
Léon and Mathilda in a '50s building. Slightly luxury. Léon checks emergency exits, then gets in front of a door. He moves his hand along the door's border.
MATHILDA
What are you doing?
LÉON
I'm looking for the 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.
LÉON
I ring and you make him open, OK?
He rings.
MATHILDA (caught slightly off-balance)
What shall I say?
LÉON
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 Léon and he mimics "mean".
MATHILDA
Mister... I'm scared.
Léon thumbs up.
MAN
Huh? Don't move, baby.
Noise: the man is engaging the safety chain. Léon prepares his shears at the correct height. The man opens the door. The chain explodes. Léon already pulled out his silenced gun. The man is pressed against the wall. Mathilda looks around, takes the gum off the peephole, gets in the apartment and closes the door. Léon catches the man's throat.
LÉON
Open your mouth.
The man obeys. Léon puts the silencer in his mouth.
silencer in his mouth
...If you let the gun... I pull the trigger, OK?
The man, sweaty, nods yes. Léon checks out the apartment and the man follows him like his shadow. Léon 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. Léon finished checking, everything OK. They get in the bathroom.
LÉON (to Mathilda)
We get there, good.
(to the man)
Let it go.
The man is so scared he doesn't want.
...You can let it go, I said!
At last, he lets go.
...Get to the end.
The man obeys. Léon hands the gun to Mathilda.
LÉON (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 the floor.
LÉON
Good... Safety, now. The second shot.
Mathilda approaches the man and shoots again. Maybe too low: a squirt of blood on her dress.
LÉON
Here it is! Look at your dress, now! How can you walk in the street, now?
He recovers his gun.
...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.
...Can you see? Look: not a drop! Come on, try.
He gives her the gun again. Mathilda moves on a side and shoots. Perfect.
LÉON
Good.
Mathilda returns the weapon. She looks for a little sign of gratitude, maybe a compliment, but Léon is hermetic.
LÉON
...Let's go.
* * * * * * * * * *
in a luxury restaurant
They are in a luxury restaurant.
Léon 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?
LÉON
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?
Léon's champagne goes the wrong way.
LÉON (serious)
...No.
just a kiss
Mathilda smiles.
MATHILDA
...Yes.
She stands up and sweetly turns around the table.
LÉON (not at ease)
Mathilda, what are you doing?
MATHILDA
...I'm going to kiss you.
LÉON
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.
LÉON
Stop. Everyone is looking.
MATHILDA
Of course, so kiss me quickly, or they'll notice us.
Léon gives up, at last. She sweetly kisses him.
MATHILDA
Tongue, please.
Léon pushes her away, irritated.
LÉON
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 glass with champagne. The waiter gets away. Léon grabs the champagne bottle and voids it in the ice cup.
MATHILDA
...You don't believe me, do you?
LÉON
How's that?
MATHILDA
When I say I love you.
LÉON
Mathilda, don't resume, please. ...Change subject, OK?
MATHILDA
...OK.
(pause)
I love you anyway.
LÉON
Mathilda?!
MATHILDA
OK, OK! Excuse me! How old were you when you had your first contract?
LÉON
...17.
Mathilda smiles and lifts up 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. Léon nods. Mathilda rings again. Again nothing.
LÉON (thinking at high voice)
I left him half-an-hour, after he got in... He couldn't get out from the back.
Mathilda waits. Léon puts down his shears and pulls out a crowbar.
LÉON
Stairways cover.
Mathilda pulls a gun out of her jeans and gets in position near stairways. Léon pulls out a metal plate and slides it beneath the door, breaks the lock by the crowbar. The door is virtually intact. Léon gets in, weapon at hand. Léon moves in along the corridor. Mathilda is at the entry, now.
LÉON (low voice)
Interior cover.
Mathilda gets in and closes the door behind her, by the way she pulls in the shears Léon left outside. Léon is still moving, the living room is empty. Open windows, still rain. Léon sighs.
LÉON
...Shit!! We'd found him. We waited for him to get upstairs and he got out of the window.
MATHILDA
What shall we do?
LÉON
I think.
Mathilda turns back and walks toward the corridor.
LÉON
Where are you going?
MATHILDA
Piddle.
She smiles and looks for the bathroom. She finds it and is going to get 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 Léon. In the living room, Léon still thinks.
LÉON
...Why didn't he close the window?
He looks around and sees man's overcoat, still wet. His wet shoes are on the radiator.
LÉON
...Because he didn't get out!
Léon 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"! Léon advances. Mathilda mimics to make him understand the bath, the walkman. Léon pulls out his personal periscope and looks into the bathroom. The man is still there, music at full blast. Léon puts away his periscope.
LÉON
He's sleeping.
He silently gets in the bathroom, followed by Mathilda. They sit down and look at the man, sleeping in the middle of his warm bath. Léon pulls out his silencer and screws it on the gun.
MATHILDA
It's cool departing this way... warm... music...
LÉON
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 it.
MATHILDA
...I'd like to know what he's listening to...
LÉON
...Later.
Léon 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: Léon's hands open a packet of chewing gums.
* * * * * * * * * *
ANOTHER BUILDING - ANOTHER DAY
Mathilda and Léon in the corridor of a banal building. Léon offers a chewing gum to Mathilda, who accepts it. She's listening to a walkman. Léon sweetly pulls the headphones off her head.
LÉON (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. Léon 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. Léon keeps concentrated. He hears a noise he knows. He searches in his memory. FLASH: Léon loads a Kalashnikov. Same noise. Léon catches Mathilda and literally throws her on the floor. Behind her, the door explodes with numberless impacts. The man inside empties his charger on the door. Léon 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 hav
Znalazłem, opracowałem. Od dawna chciałem to zrobić, bo wydaje mi się to ważne. A co to jest? Końcowy dialog z filmu "Adwokat diabła". Scena gdy Milton tłumaczy Lomaxowi o co tu szło.
"Być Cezarem albo być nikim. Imperator Świata." 
Groteska? Pewnie tak. Film nakręcono w 1940, gdy już było wiadomo co dzieje się w Europie ale można było jeszcze próbować zamienić to w śmiech. Wiadomości jakie zaczęły napływać od początku 1942 r. powodowały, że sceny w getcie nabierały innego wymiaru. Po 1942 Chaplin pewnie zaniechałby nakręcenia tego filmu, po 1942 nie było już do śmiechu.
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