scriptversion1_2

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.

 

 

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 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. Léon sighs.

LÉON (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!

Léon gets a hand under his overcoat and pulls out something.

LÉON (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.

 

 

Léon turns toward Mathilda and shows her the ring in his hand.

LÉON

This is the ring trick.

Mathilda stupidly shakes her head: she’s dismayed.

 

* * * * * * * * * *

 

TONY’S RESTAURANT

About 4pm. Restaurant is deserted, 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 the 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 notes 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 died, five years ago….

TONY (saddened)

Sorry…. You see what this job is, you work, you work. You don’t even care visiting friends now and then….

He takes a blackboard and writes 16,000 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 a long pole in the front, 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.

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 12,000 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

Léon prepares his tools. Mathilda sits on the window silk. Léon wears his overcoat.

 

 

MATHILDA (sulky)

…I preferred the hotel.

LÉON

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.

LÉON

Yeah! … Anyway, I don’t like hotels. Too many people, everyone’s got the key…. I don’t like it.

Mathilda gets even sulkier.

…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 only cared about drugs all day and you couldn’t get one, or they only cared about video games and you couldn’t get one, no more.

LÉON

You’re darkening the picture, aren’t you?

MATHILDA

A little….

LÉON

Is there a normal 13 or 14 year old boy?

MATHILDA

Yeah…there’s a lot on TV.

Léon is slightly annoyed by Mathilda’s lack of cooperation.

LÉON

Well, then watch television!

He switches on.

…I won’t be long, Mathilda, OK?

MATHILDA (kind)

Why don’t you take me with you?

LÉON

It’s too big.

MATHILDA

Yeah…I’m just good for leftovers!

LÉON (kind)

Let me alone for a while, Mathilda, OK? My life has been 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?

LÉON

…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’re 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!

Léon tries to reply, vainly.

LÉON

Mathilda… there’re equally a lot of other things!

MATHILDA

Huh, really? What? Come on, I’m waiting!

Léon searches.

…Nothing, I tell you! Everything else reminds me a big yogurt: warm and rancid.

Léon laughs, she doesn’t.

LÉON

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.

LÉON

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.

Léon sighs. He takes his case and gets out.

LÉON

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 window silk and looks at the the flowing water that will temporarily clean the city.

- She smokes a cigarette.

- She opens the double bass.

- She assembles and disassembles an Uzi, last model.

- She watches television, falls on her head, embedded in her soft chair. She eventually switches off, at this extent the programme 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 she said, that stupid Raphaella?

MATHILDA

No?

JENNY

She told them you wanted her things and she wasn’t surprised that 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 shouts.

JENNY

YEAH! I was sure! Come on, tell me! I know him?

MATHILDA

No.

JENNY

Come on, shit, tell me! Is he handsome?

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.

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 now!

The boys shout with joy. Stansfield now gets in the restaurant with six men. Tony immediately stiffens. Stansfield blows out 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 that this makes me nervous, now. I hope you’ll excuse my temporary bad mood.

TONY

Then….

STANSFIELD (to one of his men)

Take me the pig!

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 $12,000, 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 $12,000 to do nothing isn’t bad, is it?

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 do you a favour. 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 humour.

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

Or else, I’ll have to ruin this birthday.

TONY (surrendering)

…Léon…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.

…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 get in 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 on 5th?

Mathilda nods yes.

THE BOSS

Shall we explain her everything, OK? This will avoid misunderstandings.

Mathilda waits, curious.

(to Mathilda)

You can’t sit here like that.

MATHILDA

Huh? Why?

THE BOSS

Because you have to pay. It’s like parking meters: 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 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 change for 100?

POLY (shrugging his shoulders)

Why do you ask me? You know I don’t have a dollar!

Mathilda saves his face. She hands him the note.

MATHILDA

…It’s not serious…it means I 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 whiskey.

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.

…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.

…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. Léon 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.

LÉON

…I live in here…

He breaks through. At the end of the corridor, near the 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. Léon’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.

LÉON

I live in here.

The cop puts a hand on Léon’s chest to stop him.

COP

When I say no entry, I mean “no entry”.

He said this with a bad tone. Léon 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. Léon gets in. She jumps in his arms. He’s relieved. She cries with joy.

LÉON (sweet)

Come on, it’s over, I’m here.

MATHILDA (in tears)

You mustn’t leave me, Léon…I do stupid things, when you’re not here.

LÉON

I’m here, I’ll never leave you again, Mathilda, never. I swear.

MATHILDA

I love you so much, Léon.

LÉON

I love you too, and I don’t want to lose you.

The cop is really stunned by Léon’s arrival.

COP

Can I have a word with you, Mister? Are you her father?

Léon signs him “stop”. The cop is slightly annoyed by such an authority.

LÉON (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.

LÉON

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.

LÉON

Don’t cry, Mathilda, please. Take it.

(hanky)

Prepare your case and we get away for a while, OK? We change neighborhood! Come on, go, I wait, OK?

COP (determined)

Mister? I’d like seeing your papers.

 

 

Léon already pulled out his gun and showed his identity. Thrice.

LÉON

Come on, prepare your stuff, we move in a much calmer place, you’ll see. Near the country.

Léon 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 Léon’s climb was: killed cops on virtually every floor. They get out through the backdoor.
Léon 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 Léon 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

…Léon.

 

* * * * * * * * * *

 

Léon’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. Léon quickly moves in the bathroom. His hand approaches a gun.

LÉON

Mathilda?

Mathilda passes before the bathroom’s door and scratches it without stopping.

MATHILDA

Yes…allright.

She gets in the room and unpacks her things, including cosmetics. She gets close to the window and starts making up herself.

 

 

Léon in a towel, small for his size. He gets in the living room.

LÉON

Mathilda?

MATHILDA (out of scene)

Yes…I’m coming.

Léon gets to the window and looks out. Something changed in Léon. 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 Léon offered her, she is made up. She looks 20-year-old. Léon’s mouth is open. She smiles and heels down before him. He gets off the headphones.

LÉON

What’s going on?

MATHILDA (surprised)

Nothing…. Why?

LÉON

Well…I don’t know, suddenly, the makeup…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?

LÉON (shy)

…Yes.

MATHILDA

So say it!

LÉON (pause)

…I like it….

 

 

Mathilda smiles and stands up. She gets in the kitchen. Léon 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 Léon. She lowers the tents to dim the strong sunlight. Mathilda heels down in front of him. Léon doesn’t dare moving any more.

MATHILDA

…Don’t you drink?

LÉON

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. Léon looks at her, like a child in front of a candy. She returns his milk. Mathilda looks like a calm cat.

MATHILDA (sweetly)

I love you, Léon…. 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.

…I love your hands….

(pause)

Léon…in your hands…I’d like you to be my first lover.

Léon 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 Léon’s lips and gets it in her mouth. Léon is going to cry.

LÉON (feeling bad)

…I can’t, Mathilda…I can’t.

MATHILDA (with a sad smile)

…Have you got a girlfriend?

LÉON

…No….

MATHILDA

…Don’t you like me?

LÉON (sincerely)

…Yes….

(pause)

…You’re the most beautiful, Mathilda.

Mathilda looks relieved by these magic words. She puts her face on Léon’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 safe! Cool, isn’t it?

Léon 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, afterwards…. But that’s because they made it with men they didn’t love. In fact, they just did it to show off, at the beginning. Later, they liked it. … Like cigarettes.

Léon closes his eyes. Kind of pain on his face.

MATHILDA

How many girlfriends did you have?

LÉON

…I don’t know.

MATHILDA

Well…1…2 …10…100…1000? How many, approximately?

LÉON

…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 real pig. He fucked the bitch I’d as mother all around the apartment. Whenever a door was closed, you could be sure they were having sex behind it! And my sister, if you didn’t sleep with her, you’re the building’s exception!

LÉON

Stop, Mathilda! Don’t talk like that!

Mathilda’s going to cry.

MATHILDA

I talk because you don’t talk, Léon. 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.

Léon tries to recover, before speaking.

LÉON

…I had a girlfriend…a long time ago. Before coming here, in my country. I was 14 years old…. We flirted like kids…. Her father didn’t want her to see me. My family was not very respectable.

MATHILDA

Then? You didn’t give a shit about her father, didn’t you? You saw each other anyway?

Léon pauses for a long, then nods yes.

LÉON

…He killed her, a bullet in her head….

Mathilda is stunned.

MATHILDA

…That’s awful. I hope you killed, that asshole?

LÉON

…Yes. The day he got out of jail. I allowed him to make ten steps…not 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. Since then, I’ve never left the city…and never had another girlfriend….

Léon sweetly looks at her.

…You see, I wouldn’t be a good lover, Mathilda.

MATHILDA

Léon, I don’t know life very much…I just know I love you…. And love is stronger than anything else.

Léon is more and more nervous, like a child.

LÉON

Maybe…sure…. But…I’m scared, Mathilda.

Léon cries. Mathilda caresses his face.

MATHILDA

Don’t fear, Léon. You mustn’t fear love, when it’s this beautiful.

She caresses his chest.

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. Léon 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.

LÉON (crying)

Why me, Mathilda, why me?

Mathilda leans over to speak in his ear.

MATHILDA

…Because you deserve it, Léon….

Léon 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. Léon 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. Léon 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?

LÉON

…I never really sleep.

Mathilda smiles.

MATHILDA

Huh, yes? I forgot! … When you fake sleeping, you’d better not snore!

LÉON (trapped)

…I snore?

MATHILDA

Like a baby!

She stands up and wears jeans.

MATHILDA

I go get some milk for breakfast…I come back.

She kisses him.

…I love you, Léon.

Léon is shy.

LÉON

You… You knock the code, when you come back, OK?

MATHILDA

Yes.

LÉON

Three times, then two times.

She nods her head yes. She tenderly looks at him.

MATHILDA

May I ask you a personal question?

LÉON

…Yes.

MATHILDA

What do you do, with the money you make?

LÉON

Nothing, for the moment.

MATHILDA

Maybe it’s the time to do something, isn’t it?

LÉON

Yeah, what?

MATHILDA

I don’t know… Getting far away, the two of us, for example…and forgetting all this….

LÉON (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. Léon 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 here on out, you don’t make a sound and reply by nodding yes or shaking your head no, you got it?

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 the apartment’s keys?

“Yes” from Mathilda. She hands him the keys.

THE BOSS

Is there a code, a way of knocking on 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 the door’s side, a small reflection. It’s Léon’s periscope, checking the other three cops’ progression. Two of them progress behind armoured shields. Suddenly, Léon’s voice breaks the silence.

LÉON (shouting)

Mathilda? … Now.

Léon 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.

LÉON (loud)

Mathilda?!

She appears in the corridor, her hostage before her, still her milk with her. Léon is relieved.

LÉON

Don’t expose your back! Turn!

Mathilda obeys and walks backwards. She needs her hostage for protection and he remains in front of her. Léon covers her from the apartment. A group of cops, a dozen, gets upstairs.
Léon 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. Léon shoots. Reply is immediate. Fortunately, Mathilda is behind her hostage, his bullet-proof jacket is insufficient. Léon and Mathilda get back in the apartment and close the door, leaving the hostage crucified on it.
Mathilda is nervous. Léon is concentrated.

MATHILDA

Why did you unleash the pipe, I don’t know?

LÉON

It will take them five minutes! How long ago did they arrive?

MATHILDA

I don’t know…five minutes.

LÉON

Good! Snipers can’t be in position.

Léon gets close to the wall and gets rid of the tents, allowing light to explode. Window explodes too: they shoot like never before.

LÉON

…Ten minutes at least…not five.

In the corridor, cops eventually catch the pressurized pipe and close the water. On all fours, Léon and Mathilda get in the kitchen. He gets the axe and the violin case by the way. Mathilda is more and more nervous. Léon is more and more concentrated.

MATHILDA

How shall we get out now, Léon?

LÉON

Let me work. We’ll get out, I’m telling you!

He shoots at the dustbin duct and makes it explode. He enlarges the hole by axe. Léon 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, armoured shields and cops multiply. A cop gets in position with a rocket-launcher and shoots. The door explodes and smoke floods the interior.
Léon helps Mathilda to get into the duct. She’s half in when she seems to realize something.

MATHILDA

But…Léon? You’ll never get in it! It’s barely big enough for me!?

LÉON (smiling)

I know, my love!

Mathilda starts crying.

MATHILDA

No! I don’t want to leave you!!

LÉON

Mathilda, listen!

MATHILDA

No, no! I don’t want to go! I don’t want!

He rudely takes her face in his hands.

LÉON

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 down!

LÉON

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.

LÉON

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. Léon pushes his back against the hall and dries up his tears. He shouts: terrifying.
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 Léon.

DOCTOR

It’s deep. You’d better get down to the ambulance, they’ll take care of you properly.

A cop chief doesn’t recognize Léon.

CHIEF

3rd precinct? … A mess up there, isn’t it.

Léon nods yes.

DOCTOR

Let him breathe five minutes!!

(to Léon)

Would you like me to take you down?

Léon shakes his head no.

LÉON

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?

LÉON

OK.

The chief gets away. Everything seems to work properly. There’s just one thing Léon 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, Léon 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 Léon’s back of the neck.

 

 

Léon advances and can see just the lightful 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. Léon’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 Léon, 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 Léon’s large overcoat. A silenced gun at hand. Her face is harsh and immobile like never before. In front of the 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. Léon’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 Léon’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 less and less.
Mathilda opens her overcoat: inside, a dozen of grenades everywhere. One lacks its ring.
STANSFIELD UNDERSTANDS EVERYTHING.

 

COMPLETE, ENORMOUS, 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