Leon zawodowiec (z cyklu: to lubię)

anonim, September 20, 2010 18:45 Skomentuj komentarz

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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