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         1     FILM OPENS -                                             1

         2     TITLE CARD - PALERMO, ITALY - 1952                       2

         3     EXT. ROOF TOP - DAY                                      3

               A MAN, young, thin, short hair, wearing a black jacket, black
               trousers, dark cap, dark shoes, is looking thru a set of
               binoculars. He places them down. Slowly puts on a pair of
               tinted round sunglasses.                                                                     

         4     EXT. STREET - DAY                                        4

               Below the watching man is A GUY, late 50s, medium build,
               getting out of what looks like an important vehicle. Two men
               also exit the car. They all enter a rather shabby                                                       
               looking motel.

         5     EXT. ROOF TOP - DAY                                      5

               Only now do we see who he fully is. LEON, a hired hit-man. He
               opens what looks like a tool box. Inside we see that it is a
               yet to be made rifle. He takes the pieces out and starts to
               assemble it together. While he does, we hear a voice over of
               himself and another person. They speak in Italian. (Subtitles
               seen on screen)

                                   X
                         It has taken a lot to track you
                         down. I have it on good authority
                         that you are the best. Here's an
                         envelope. In it you'll find all you
                         need to know. All that you need to
                         know is that a phone call                                                                                                         
                         is made. You pick up, listen, and
                         if it's right, you say yes. Do we
                         have a deal, Leon?                               

                                   LEON
                         Yes, but I have one rule, personal.

                                   X
                         It is...?

                                   LEON
                         If I open my envelope and find that it
                         is a female or child, I cannot fulfill
                         the contract.

                                   X
                         I see. And why is this important?

                                   LEON
                         No women or kids. That's the rules.

                                   X
                         I see you're a man of honor, Leon. I
                         can respect that. I have children.
                         Whatever contract is given to you in
                         the future, it wont involve either. I
                         give you my word.

                                   LEON
                         Good.

                                   X
                         We'll be in touch.

               A phone rings and is answered. As voice over continues. Leon has
               now completed his rifle connection and has positioned himself
               overlooking a window directly opposite. After ringing three
               times the phone is answered. We hear Leon's voice only.

                                   LEON
                         Yes?... yes.

               We see the opposite apartment thru the rifle sight as it is
               adjusted from an out of focus shot, to a crystal clear path.
               Closes the sight cover.

         6     EXT. ROOF TOP - DAY                                      6

               We see Leon's view. In the motel window, the man seen earlier on
               the street can be seen. He is now in an old looking shirt and
               trousers. Having looked better on the street earlier. Leon
               adjusts certain things on the rifle, takes out a brand new
               looking bullet. Kisses it, puts it slowly inside the rifle.
               Opens the sight, looks in, aims, fires. The shot is not heard,
               but a small hole is made in the window directly opposite. We pan
               in to see the guy, whoever he really was, laying on the floor,
               face down. Leon, now on his back, slowly disassembles the rifle.
               He takes a moment, then puts everything quickly and neatly away.
               The camera gives us a quick spin. Taking in the roof top. When
               it stops, we see that Leon has gone. Just as if he had never
               been there at all.

                                                       FADE TO BLACK:

               MAIN TITLES - M A T H I L D A : L E O N  II

               TITLE ON SCREEN - 52 years later - NEW YORK CITY

         7     EXT. GARDEN - DAY                                        7

               A women in her mid 20s sits underneath a tree reading a book.
               Her name is called. As she hears her name, we see that it is
               MATHILDA. Now a teacher at the school she had once attended.
               This is her last day here. A young girl calls out to her.

                                   GIRL
                         The headmistress is asking for you,
                         miss.

                                   MATHILDA
                         Thank you, Melissa.

         8     INT. OFFICE - DAY                                        8

               The original principal, now a very old lady, talks with
               Mathilda.

                                   PRINCIPAL
                         Sorry to hear that you will be leaving
                         us. I didn't think I'd ever say those
                         words.

                                   MATHILDA
                         I didn't think I'd ever hear you say
                         them, either.

                                   PRINCIPAL
                         Where are you planning to go? Are you
                         still going to stay with your uncle?

                                   MATHILDA
                             (smiles)
                         Tony? Yes. Well, if I can. We
                         kinda' lost touch a few years back.
                         He stopped answering my letters.                  

                                   PRINCIPAL
                         Sit down, dear. I have something  to
                         say. I Selfishly had hoped to convince
                         you to stay.

                                   MATHILDA
                             (puzzled)
                         Just tell me.

                                   PRINCIPAL
                         Your uncle has died. The letter has
                         only just arrived. And I had hoped
                         to tell you some other way. I am
                         sad for your loss, Mathilda.                                                                                                                          

                                   MATHILDA
                         I understand. I'm not a little girl
                         anymore. Besides, how can I be
                         angry at my mom.                                    

                                   PRINCIPAL
                         Now, I never would of thought you
                         would think that.

                                   MATHILDA
                         Well, like you've been teaching me,
                         you learn something new everyday. May
                         I see the letter please?

               She leans across her desk, handing the letter to Mathilda.

                                   PRINCIPAL
                         Take all the time you need. When
                         you're ready, I'll get one of the
                         girls to help you. That's if you still
                         wish on leaving us?

                                   MATHILDA
                         Yes, I have to.

               She looks directly into camera.            FADE TO BLACK:                                                                                                                                                                                                                          

         9     TITLE ON SCREEN - PALERMO, ITALY                         9

        10     INT. RESTAURANT - DAY                                   10

               Leon sits alone at a table. A bowl of bread can be seen on top,
               and a half drank glass of milk. Police cars can be heard outside
               moving fast. One car, then two. He looks at a photo of a man in
               his 60s. Black and white photo shot. This is not the guy Leon
               had hit earlier. He finishes off his milk, goes to get up, but
               feels a hand on his shoulder. We see for the first time the
               voice we had heard earlier in conversation with Leon. (This time
               not talking in Italian)											
               													  				  X
                         I have your next assignment, Leon.
                         If you are interested?

                                   LEON
                         I don't hear any phone ringing. You
                         said you'd always ring first.

                                   X
                         This is true, my friend. You have a
                         good memory. But seeing as this was
                         your first hit for the organization,
                         let's just say I was watching.

                                   LEON
                         I don't like to be treated like I
                         cannot be trusted. Like a child, no?

                                   X
                         If it makes you happy, here's your
                         money.

               X Slams down a rather large envelope. Leon picks it up, puts it
               into his pocket.

                                   X
                         You're very trusting, Leon.

                                   LEON
                         I know where you are if it's wrong.                                                        

                                   X (CONT'D)
                         Like I say, my boss is more than
                         satisfied.

               X shouts over to one of the waiters, looks down at the now empty
               glass.

                                   X
                         Glass of milk for my friend Leon.

                                   LEON
                         So, what do I call you? What's your
                         name?

                                   X
                         It's Tony. Call me Tony.

               X now known to us as Tony will be referred to this from now on.
               They sit face to face.

                                                       FADE TO BLACK:

        11     INT. APARTMENT - NIGHT                                  11

               A very basic looking apartment overlooking a field, is Leon's
               home. Tony, now in more relaxed clothes, enjoys a coffee. Their
               conversation in the restaurant is continued. Tony asks more
               about Leon's past, As Leon cleans a record.

                                   TONY
                         Yes, I've heard of your father. A good
                         man so I was told.

               Leon doesn't answer. He puts on the record he has now dusted.

                                   LEON
                         This tune reminds me of my father.                          

                                   TONY
                         Who is it? What is it?

                                   LEON
                         Listen...

               They both relax, listen and smile.

                                   TONY
                         Gene Kelly?

                                   LEON
                         Yes. What a dancer. That is a real
                         job, no?

                                   TONY
                         You're not wrong, Leon.

                                   LEON
                         I played this the night he died.

        12     EXT. APARTMENT - NIGHT                                  12

               We pan slowly away from Leon's home. Gene Kelly can be heard. As
               we move away, the music fades.

                                                       FADE TO BLACK:

        13     TITLE ON SCREEN - NEW YORK CITY                         13

        14     EXT. THE SCHOOL - DAY                                   14

               We are at the front entrance of the school. Mathilda, now helped
               by a young girl, puts a large suitcase into the back of her
               taxi.

                                   MATHILDA
                         That's just about all there is.

                                   TAXI DRIVER
                         Ok, miss. I'll give you a minute.

                                   MATHILDA
                         Thank you.

               The head Principal walks down the front steps, holds her arms
               out, gives Mathilda a hug. Then talks as she enters the taxi.
               She winds down the window and leans out.

                                   PRINCIPAL
                             (smiles)
                         You know you'll be missed here, don't
                         you? Please say that you will write,
                         let us know how you're getting along.

                                   MATHILDA
                         I will. I promise. Thanks for
                         everything. I left you a little
                         something in your office.

                                   PRINCIPAL
                             (smiles)
                         For me? You shouldn't have.

               Mathilda leans back into the taxi. The driver pulls away slowly.
               As he does, Mathilda slowly waves to the Principal and a few
               girls that also said their good-byes to her.(slow motion scene)

                                                       FADE TO BLACK:

        15     EXT. THE PIZZERIA - DAY                                 15

               The taxi pulls up outside Tony's pizzeria. She gets out, walks
               to trunk, opens it, gets her bags out. The cab driver helps.
               While she does this, the door of the shop opens. A GUY, TONY,
               medium build, Italian, white shirt,                               
               apron. Wonders what's going on. Then he recognizes her.

                                   MATHILDA
                             (tired)
                         And that's the last. Thank you. How
                         much, man?

                                   TAXI DRIVER
                         Hey, call it ten, Ok?

               Mathilda smiles and hands over her ten dollars.

                                   TAXI DRIVER
                         You take care now.

                                   MATHILDA
                             (smiles)
                         You too.

               The pizzeria guy, now keen to help, takes hold of one of
               Mathilda's cases.

                                   MATHILDA
                         What are you doing?

                                   TONY
                         Don't you recognize me, Mathilda?

               She looks puzzled, but intrigued by who he is.

                                   TONY
                         You knew my dad..Tony. It's been along
                         time. I worked in the back, making the
                         pizza.

                                   MATHILDA
                         Tony?

                                   TONY
                         Now you got it. I run here now. Hey,
                         where are you staying?

                                   MATHILDA
                         I was hoping to stay here a little
                         while. Until I find a place.

               They enter the pizzeria. Continue there conversation. Tony
               places her luggage at the foot of the stairs.

                                   TONY
                         There's a room ready. Just make
                         yourself at home. I am your family
                         too.

                                                       FADE TO BLACK:

        16     INT. PIZZERIA - NIGHT                                   16

               Mathilda, now relaxed and with a change of clothes, white T
               shirt and jeans, enjoys a slice of pizza.

                                   MATHILDA
                         This is too much. A room, a meal,
                         thank you.

                                   TONY
                         You're very welcome, Mathilda. Can I
                         get you a drink?

                                   MATHILDA
                         Glass of milk.

                                   TONY
                         Just like Leon?

               Tony wipes a table, goes thru to the kitchen thru a door. He is
               heard speaking in Italian. He exits with a glass of milk.

                                   TONY
                         There you go.

               She takes a sip of her milk, talks to herself as Tony serves
               some tables.

                                   MATHILDA
                         Yeah, just like Leon.

                                                       FADE TO BLACK:

        17     INT. BEDROOM - NIGHT                                    17

               We are in Mathilda's room. This may or may not have been old
               Tony's. The room is very basic looking. A bed, a cupboard, a
               dressing table, a small lamp, and side table. Thru a door, we
               see that it leads to a sink and shower. She has recently had a
               shower and is combing back her hair. She is wearing a dressing
               gown. She starts to put things away from her case. Opening draws
               and putting in clothes. She has most things emptied from her
               bags. This is all very relaxed. She notices something on top of
               her wardrobe. A sort of box, with straps, almost falling apart.

                                   MATHILDA
                         No..fucking...way!

               She can't reach, so the assistance of her bedside table is used.
               It seems very heavy, but she managers to get it down, and onto
               her bed. After a min or so of clearing her bed so only this is
               on top, she slowly unbuckles it and opens the lid. Mathilda
               faces us. At this time we don't see what she sees. We see an out
               of focus shot of the box and her hand taking out whatever is an
               interest to her. The first thing she takes out is a gun. She
               walks over to the mirror, points it at her reflection. She moves
               away from it, leaving the mirror blank for a second or two. We
               hear sounds. She returns to the mirror, wearing a black hat cap,
               round, dark, tinted sunglasses and points the gun at herself
               again.

                                   MATHILDA
                         Hey! I'm the only one here! You must
                         be talking to me?

               Suddenly, there's a knock at the door. It's Tony's Voice.

                                   TONY
                         Is everything Ok? I heard voices.

                                   MATHILDA
                         It's fine, Tony. Sorry, good-night.

               He says good night. We hear him walk off and a door being opened
               then shut. Mathilda looks at herself in the mirror, takes off
               her sunglasses, speaks - 

                                   MATHILDA
                         I hear you, Leon. I hear you, my love.
                                              FADE TO BLACK:

        18     INT. KITCHEN - DAY                                      18

               It seems as though Mathilda has fitted into her new home. She
               is busy at work in the kitchen, Cutting and preparing                                                 
               the pizza dishes. Tony enters.

                                   TONY
                         You don't have to do that.

                                   MATHILDA
                             (smiles)
                         It's Ok, I want to. Besides,
                         I quite like to cook.

                                   TONY
                         Well, in that case, I'll see you
                         later.

                                   MATHILDA
                         Where are you going? You got a
                         date?

                                   TONY
                         Yeah, but not in that way.

                                   MATHILDA
                         I see. I get you.

               Tony takes hold of Mathilda's arm and guides her into the dining
               area. He talks quietly to her.

                                   TONY
                         It's just it's Mr. Walker, you know.
                         My father worked for his father. He
                         now owns this place. So, I pretty much
                         work for him now.

                                   MATHILDA
                         I see. You get information passed
                         to you. So, you're like an
                         important middle man?

                                   TONY
                         Exactly. This place runs itself. So,
                         any extra cash to help my mother is a
                         bonus.

                                   MATHILDA
                         And it's not as if you've ever been
                         asked to kill anyone has it?

                                   TONY
                             (nods)
                         That's true. But it's handled in a
                         professional manner.

                                   MATHILDA
                         Yeah, I know this.

                                   TONY
                             (laughs)
                         Yes, I remember now. I heard you
                         were coming along pretty good.

                                   MATHILDA
                         I could be pretty good again, given
                         the chance. Do you think that Mr.
                         Walker would see me?
                         Say who I was, who I knew etc...
                         I'd like you to set things up if
                         it's possible. Tell him I'm
                         available.

                                   TONY
                         I don't know about this. This is
                         serious what you're asking me to
                         do.

               Tony picks up a set of keys, kisses Mathilda, Then picks up a
               suitcase that was sitting on one of the chairs.

                                   MATHILDA
                             (nods)
                         I understand. But you will, right?

                                   TONY
                         I will. I gotta run, Mathilda.
                         We'll talk later, Ok?

                                   MATHILDA
                         Cool.

               Mathilda takes off the apron that she had been working in. Sits
               down on one of the restaurant chairs.

                                                       FADE TO BLACK:

        19     INT. PIZZERIA - NIGHT                                   19

               The day is over and Tony says good night to one of his staff as
               they exit the restaurant. Mathilda sits in one of the corner
               tables. We can see by her demeanor, that she awaits Tony's news.
               He walks over to her, sits down. Tired.

                                   TONY
                         There's one day I didn't think would
                         end.

                                   MATHILDA
                             (looks at watch)
                         Yeah, I know what you mean.

                                   TONY
                         So, I bet you're wondering how I got
                         on?

                                   MATHILDA
                             (smiles)
                         It had crossed my mind.

                                   TONY
                         A meeting will take place Friday,
                         8.00pm, sharp. One of the  things that
                         Mr. Walker relies on is
                         that you are punctual. Yourself and
                         Anyone. You dress smart, that's
                         another thing he makes known. And that
                         you come fully understanding that you
                         are not there to waste his time. 

                                   MATHILDA
                         I understand. Being a hit-man is a
                         precise business. Thank you, Tony.

                                   TONY
                         Just as long as you understand.

                                   MATHILDA
                         I do.

                                   TONY
                         Good. Now, can I get you a milk?

                                   MATHILDA
                             (smiles)
                         Why not.

               Tony gets up, nips thru to the back. Mathilda leans back into
               her chair and smiles. Mathilda talks, Tony answers from the
               kitchen.

                                   MATHILDA
                         Can I ask you a question?

                                   TONY
                         Sure.

                                   MATHILDA
                         Is there anyone in your family
                         that isn't called Tony?

                                   TONY
                             (laughs)
                         Hey, it seems to me, that if you're
                         the first born..

               Tony comes thru from the back, holding a glass of milk. Places
               it down in front of Mathilda. Continues his answer.

                                   TONY
                         Italian, you have to be named Tony.

                                   MATHILDA
                             (smiles)
                         Yep, that's the way it seemed to me.

               They take a minute, look at each other, Tony smiles.

                                   TONY
                         You wanna' see something?

                                   MATHILDA
                             (curious)
                         Depends what it is.

                                   TONY
                         I have no doubt you'll like it.

                                   MATHILDA
                         Well, how can I say no to an offer
                         like that.

               Tony gets up, so does Mathilda.

                                   TONY
                         Follow me!

               Mathilda follows Tony as he unlocks a door that sits next to the
               kitchen. He opens the door, it's dark inside. There is a set of
               steps that lead down into what we can see now is a cellar.

                                   MATHILDA
                         This where you bump off your non
                         paying customers?

                                   TONY
                         Ha ha. I'd show you if I can find a
                         freaking light in this joint. Must be
                         below. We'll have to go down.

                                   MATHILDA
                         This better be good. Ya know I'd get
                         scared on a ghost train.

        20     INT. CELLAR - NIGHT                                     20

               Tony finds the light, pulls the cord. As the camera pans around
               the room, it gives us the view Mathilda sees. We see that it is
               a gun range. Complete with targets, guns on the wall, and
               protective goggles and ear shields.

                                   MATHILDA
                         Cool.

                                   TONY
                         Told you you'd like it, didn't I?

                                   MATHILDA
                             (smiles)
                         Like isn't the word.

                                   TONY
                         Well, get used to it, familiarize
                         yourself. Cos if Mr. Walker should
                         accept your proposal, then this will
                         be your home for the next month.

                                   MATHILDA
                             (smiles)
                         I can't wait to get started.

                                   TONY
                         I know, but we'll wait till Friday.
                         Ok? Until then..

                                   MATHILDA
                         Until then.

               Tony's hand reaches up onto the string which clicks the light
               on. He gives it a pull. The screen goes black.

        21     INT. BATHROOM - DAY                                     21

               We are now back in 1952 Italy, as a blank screen is lit by leon,
               as he pulls a cord which lights up the bathroom he is standing
               in. A title over lay fades in.. ITALY. Leon looks at himself in
               the mirror, unlids a shaving foam tin, takes some out, puts it
               on his face.

                                                       CUT TO:

               Tony sits at the table finishing off his coffee. Looks at the
               front of the news paper and frowns. Leon, looking smart, shaved
               and in dark clothes. He enters from a doorway.

                                   TONY
                         You look good, Leon.

                                   LEON
                         I dunno.

                                   TONY
                         Well, I think you do.

                                   LEON
                         Thank you, Tony.

               Tony gets his jacket on, getting himself ready to leave.

                                   TONY
                         Like I said last night, Leon, I work,
                         as you know For an organization that
                         needs good men like you, Leon.

                                   LEON
                         Yes I remember you say.

                                   TONY
                         I meant it. Somehow, somewhere, I
                         dunno are paths were meant to
                         cross.

                                   LEON
                         Well, let me drive you to the
                         airport. What time is your flight?

                                   TONY
                         Should get into New York by nine.

               They exit Leon's apartment, walk to the car. Leon puts the case
               in the back.

                                   LEON
                         You don't have to go back for anything
                         do you?

                                   TONY
                         No. Where I was stopping the
                         organization takes care of that.
                         I just thank you for letting me stay
                         here my final night.

                                   LEON
                         You're very welcome.

               They both enter the car. Leon starts up, drives off down the
               lane.

        22     INT. CAR - DAY                                          22

               Leon and Tony continue their talk.

                                   TONY
                         You have my number. It's good pay,
                         and Mr. Walker always takes care of
                         his own.

                                   LEON
                         I'll give it a little thought.

                                   TONY
                         I totally understand. We never met
                         properly till just last night.

                                   LEON
                         Yes. ..... Here we are.

               The car pulls up outside a small building. Small carrier planes
               can be seen in the distance.

                                   LEON
                         Private plane, no?

                                   TONY
                         All the way, Leon.
                         All the way.

               Leon hands Tony his case and smiles.

                                   TONY
                             (smiles)
                         I hope we meet again, Leon.

                                   LEON
                         I hope so too, Tony.

                                   TONY
                         Take care, my friend.

               Tony puts out his hand. Leon shakes it.

                                   LEON
                         And you.

               Leon waves good-bye as another guy comes up to them, takes
               Tony's case, and escorts him thru a door in wire fencing.

                                   LEON
                         (To himself)					
                         Take care, my friend.

               He drives off slowly down the road. We see a small plane taking
               off overhead.

                                                       FADE TO BLACK:

        23     EXT. VILLAGE - DAY                                      23

               It is a very hot and sunny day in Palermo. We are in the
               local village, as Leon makes his way around various market
               stalls. Each have fruits, vegetables and clothes. Women of
               various age and a few men mingle together. Going from stall
               to stall. A general feel of a busy market. Leon stops near a
               fruit stall, picks up a tomato. The young girl serving is
               FRANCESCA. Very pretty, thin, dark hair, dark eyes, about
               twenty years of age.

                                   LEON
                         Are these good?

                                   FRANCESCA
                             (smiles)
                         Everything is fresh today, Leon.

               Leon is surprised that she knows who he is.

                                   LEON
                         You know me?

                                   FRANCESCA
                         Yes. You live at the house near the
                         top of the hill, right?

                                   LEON
                         I do, yes.

               She smiles and takes the bow out of her hair.

                                   LEON
                         Can I have four please.

                                   FRANCESCA
                         Tomatoes?

                                   LEON
                         Yes. Thank you..., miss?

                                   FRANCESCA
                         One lire. And it's Francesca.

                                   LEON
                         Francesca, that's beautiful.

               She puts four tomatoes into a paper bag and hands it to Leon.

                                   FRANCESCA
                         Enjoy!

                                   LEON
                             (shy)
                         Thank you, Fran...

                                   FRANCESCA
                         Cesca. You're welcome.

               He backs away slowly from the stall and turns around. Picks up
               the basket he had put onto the floor, walks away. As he does he
               turns around slightly and sees Francesca half looking at the now
               women she is serving and half looking at Leon.

                                   LEON
                         Francesca.

                                                       FADE TO BLACK:

        24     EXT. APARTMENT  - DAY                                   24

               Leon, wearing a white T shirt, dark trousers. Has lined up empty
               bottles on top of a small wall, just outside his garden. He
               screws a silencer barrel onto the end of his pistol, Takes aim,
               fires. He repeats the process. Walks over collects some large
               pieces of glass and puts them into a nearby bin. All the bottles
               are hit. He opens the box, seen earlier on the roof top. Takes
               out three knifes. Each vary in size. A nearby tree used before
               can be seen. It has the markings of something being thrown into
               it at a previous time. He looks at each of the knifes. With his
               back to the tree, Leon swings around fast and buries all three
               knifes one after each other. They are lined up precise. He takes
               a towel and pats his head, leans over to a small table and picks
               up a glass with some red wine inside. Takes a sip of it. 
               We hear the sound of a telephone ringing. Leon puts his glass
               down and walks into his apartment.

        25     INT. APARTMENT - DAY                                    25

               A voice only Leon hears. He answers -

                                   LEON
                         Ok. One hour.

               He puts the phone down, looks at his watch. We see now, various
               scenes of Leon as he gets ready to see the person he was talking
               with. We see him getting dressed, we see him lighting a few
               candles in his living room . He gives the room a once around
               look and exits his apartment.

        26     EXT. THE STREET - NIGHT                                 26

               The car starts up it's engine, with Leon now inside. It takes
               off along the dusty road.

                                                       FADE TO BLACK:

        27     TITLE CARD - FRIDAY                                     27

        28     INT. BEDROOM - DAY                                      28

               Mathilda, looking very beautiful in her summer dress, is ready
               for her Friday appointment. Looks into mirror.

                                   MATHILDA
                         You can do this. Just stay cool.
                         You'll be fine.

               Tony's head pops into her room

                                   TONY
                         It's time, Mathilda.

               She takes a final look into her mirror, smiles and nods.

        29     INT. CAR - EVENING                                      29

               Mathilda sits inside the car. Inside is all you could ever need.
               Television, phone, drinks, ice. The door is opened by it's
               driver. Tony enters the car, smiles at Mathilda. Door is closed.
               He thanks the driver.

                                   TONY
                         Nervous?

                                   MATHILDA
                         Should I be?

                                   TONY
                             (smiles)
                         Nope, just askin'.

                                   MATHILDA
                         Y'know, you could actually live in
                         here.

                                   TONY
                         I know. How do I get one of these,
                         Frank?

                                   FRANK (V.O.)
                         You need to do fifteen years good
                         service, then if you're lucky, he
                         might get you a new ride.

                                   TONY
                         Yeah, he's never one to part with his
                         money. Thanks, Frank.

               Tony presses a button and the glass that separates driver from
               passenger is lifted up.

                                   TONY
                         You Ok?

                                   MATHILDA
                         I guess I am a little nervous, yes.
                         Just want to say the right things,
                         y'know?

                                   TONY
                         Well, I'll be there too, so it'll be
                         fine. Don't worry. By the way, you
                         look beautiful.

                                   MATHILDA
                         Thank you.

               The car stops and the driver exits. He opens the door. Tony and
               Mathilda make their way out of the parked vehicle.

        30     EXT. THE STREET - EVENING                               30

               They exit the car. The door is closed.

                                                       CUT TO:

        31     EXT. FRONT OF HOUSE - EVENING                           31

               We are in front of a very well made house. A large fountain is
               in its fullest working order. Small lights surround the house
               and light up as they walk up some marble steps.

                                   MATHILDA
                         Nice little house.

                                   TONY
                         Only the best for Mr. Walker.

               They are escorted in by two men in front, one behind. They all
               enter a large opened door. The door closes as the last man
               enters. As the door closes, the lights that had lit up the
               steps, blink off.

                                                       FADE TO BLACK:

                                                       FADE IN:

        32     INT. VESTIBULE - EVENING                                32

               Mathilda and Tony are guided into the hallway. Tony hangs back,
               but guides Mathilda thru an open door. One of Mr. Walker's men
               takes her into his office.

                                   TONY
                         It's OK, go on thru.

                                   MATHILDA
                             (taps her watch)
                         The time..

               Tony nods his head.

        33     INT. OFFICE - DAY                                       33

               Mathilda enters Mr. Walkers office. A man in the corner sits in
               a chair.

                                   THE MAN
                         It's Ok, take a seat.

               She takes a seat. A large leather chair. One of two, that sit
               in the middle of the room. She looks around the room. There
               are two guys. One sits in a chair in the right corner, the
               other is behind her near the door. There is an old
               grandfather clock in the top left corner. It's tick tock
               sound can be heard. As she looks at the clock, Mathilda
               notices that it is about thirty seconds away from it striking
               its eight o' clock appointment chime. Tony enters the office,
               sits down quickly. Mathilda shakes her head.

                                   TONY
                         What?

               The door opens and a GUY, medium build, very smartly dressed,
               smart suit, silk shirt, silk tie and holding a document file,
               closes the door behind him. It is Mr. Walker. He makes his way
               over to his desk, sits in his chair and takes a moment. While he
               does this, Mathilda looks at the clock as the arms reach 8:00pm.
               it chimes. She smiles.

                                   WALKER
                             (smiles)
                         Very punctual, I like this, Tony

                                   TONY
                         Thank you, Mr. Walker.

                                   WALKER
                         Now, you must be, Mathilda?

                                   MATHILDA
                         Yes.                                                                   
                                   WALKER                                                                                  
                         I've read a file on you. You see...
                         we run a business here,                                                                                                                                                                                            
                         Mathilda. Each of my employees has
                         a file. I like to know                                                                                                                                                                                                 
                         who I'm dealing with.

               Walker opens the file. Scrolls down with his finger.

                                   WALKER
                         I see you knew Leon?

                                   MATHILDA
                         For a short while, yes. 

                                   WALKER
                         Then you'll be here on the
                         understanding, that once you have made
                         this deal, there is no going back.
                         That's, ... if you wish to follow the
                         path that Leon took?

               Mathilda nods her head.

                                   WALKER
                         I have given this careful thought, and
                         my conclusion is this. With guidance
                         from young Tony here, in a months time
                         I will decide on whether you will be
                         joining are organization.
                         You have a month to train. I like my
                         employees sharp. Do we understand each
                         other?

                                   MATHILDA
                         Loud and clear.

                                   WALKER
                         Good. Now, unless it is really of
                         importance to see me, all
                         transactions, data, files, names,
                         and places, go thru this man right
                         here.	

               Walker points at Tony, then closes Mathilda's file.

                                   WALKER
                         I have no doubt you will be joining us
                         soon, Mathilda. So if I forget to say
                         this to you, I'll say it here now.

               He looks at Mathilda.

                                   WALKER
                         Welcome to the organization.

                                   MATHILDA
                         Thank you.

               Walker gets up from his desk, walks past Mathilda, stops in
               front of his office door.

                                   WALKER
                         Can I  have a moment, Tony?. The door
                         please.

               Tony gets up, opens the door and follows Mr. Walker out into the
               hallway. The door closes. Mathilda sits in the chair with a
               smile on her face.

                                                       FADE TO BLACK:

        34     TITLE CARD - ONE MONTH LATER                            34

        35     INT. PIZZERIA - DAY                                     35

               Tony is on the phone, Mathilda sits at one of the restaurant
               tables. Tony finishes off his call. Puts the phone down, walks
               thru to the dining area.

                                   TONY
                         You're in.

               Mathilda jumps up and gives Tony a hug and a kiss.

                                   MATHILDA
                         We did it.

                                   TONY
                         No, you did.

                                   MATHILDA
                         We both did.

                                   TONY
                         I'll continue with your training, But
                         on your first hit, and those that
                         follow, you're on your own. You
                         understood this part, right?

                                   MATHILDA
                         I understood. I work best alone.

               Tony, looking at his watch, walks over and unlocks the snip                                                                                  
               on the door. He opens it. A person we do not see hands Tony a
               large envelope.

                                   TONY
                         Thanks.

               Tony walks over to where Mathilda sits, throws down the envelope
               and smiles.

                                   MATHILDA
                         What's that?

                                   TONY
                         That, is your first assignment.

                                   MATHILDA
                         Cool.

                                                       FADE TO BLACK:

        36     EXT. THE STREET - DAY                                   36

               Mathilda enters a Chemists. We see her thru the glass outside,
               as she puts some packets into a basket. She pays for them and
               leaves.

               The following scenes are continuous in pretty much the same
               fashion. As we see her, exiting a local Library, Buying food,
               helping out Tony in the pizzeria.

                                                       FADE OUT:

                                                       FADE IN:

        37     INT. PIZZERIA - NIGHT                                   37

               As usual Tony says his good-byes to his staff as they exit the
               restaurant. Mathilda sits in the corner reading a large dusty
               looking book.

               Tony walks over grabs a seat, throws a towel he has in his hand
               onto a chair.

                                   TONY
                         What you reading?

               She lifts the front up to reveal it's name. On the cover it
               reads - Poisons of the 20th Century By Henry Pierce.

                                   TONY
                         You going back to college or
                         something?

                                   MATHILDA
                         Y'know, this book is fascinating.

                                   TONY
                         Oh yeah, which part?

                                   MATHILDA
                         There's this one part here that sounds
                         good.

                                   TONY
                         It is...?

                                   MATHILDA
                         If a solution is mixed with certain
                         chemicals it can be placed inside an
                         everyday drinking glass or cup.
                         You see, it coats the inside, then
                         when it mixes, well,
                         with whatever you have, say, in a
                         glass, then it becomes part of that
                         liquid. You see?

                                   TONY
                         Seen something like that done in a
                         movie before.

                                   MATHILDA
                         Really?

                                   TONY
                         Some, action flick.

                                   MATHILDA
                         Did it work?

                                   TONY
                         Yeah, totally unexpected.

                                   MATHILDA
                         Do you ever think anyone has ever done
                         it in real life?

                                   TONY
                         I dunno. Maybe.

                                   MATHILDA
                         Interesting. Can you remember the name
                         of the solution? I could look it up in
                         here.

                                   TONY
                         Racine, I think.

               Mathilda flicks thru the book.

                                   MATHILDA
                         N, O, P, Q, R.. Right. Here we go.
                         Racine you say?

                                   TONY
                         Racine. I'm pretty sure it was.

                                   MATHILDA
                         Ok, Racine. Blah, blah, boring,
                         boring. Ahhh!

               Mathilda scans thru till she reads something that resembles
               their talk.

                                   MATHILDA
                         Solution. The solution can easily be
                         wiped within the inside of
                         a glass etc. Pretty much what I
                         read earlier. If drank can cause
                         instant heart failure. The liquid
                         cannot be detected, etc, etc.

               She puts in a piece of paper in the page, then closes the book.

                                   MATHILDA
                         Sound like the stuff in that movie?

                                   TONY
                         Yeah, pretty close. Why? You got some
                         ideas?

                                   MATHILDA
                         Like I said earlier, I wonder if
                         anyone has tried it for real.

                                   MATHILDA
                         Other than the film, I can't say I've
                         ever heard.

                                   MATHILDA
                         There's always a first time.

                                   TONY
                         What do you have in mind?

               Mathilda, moves her book aside, takes hold of the file, opens
               it.

                                   MATHILDA
                         The guy in here, right? Goes to the
                         same cafe, Tuesdays, Thursdays. I
                         mean, if anyone wants to whack this
                         guy,
                         it would be here, right?

                                   TONY
                         You worked out the times?

                                   MATHILDA
                         Yeah. I think I got it covered. I have
                         a day before the hit. Plenty of time.
                         You know any good Chemists?

                                   TONY
                         I may have a name or two.

                                   MATHILDA
                         Cool.

                                                       FADE TO BLACK:

        38     EXT. THE STREET - DAY                                   38

               We are on the street. It's Wednesday morning and Mathilda is
               keeping an eye on her target. It is A GUY, medium build, wearing
               a casual sports jacket, and holding a mobile phone. He is
               standing next to a car, speaking into phone. Mathilda eats her
               hot dog she has just paid for from the vendor. He gets into his
               car, starts up, drives off.

                                                       CUT TO:

        39     EXT. STREET - DAY                                       39

               Mathilda, now wearing a black jacket, a dark dress underneath
               and dark shades, observes once again her target. He is at the
               table of a local Chinese restaurant.

        40     INT. RESTAURANT - DAY                                   40

               We are inside the restaurant as a waiter comes up to a couple
               and asks their order. We see that it is Mathilda's hit. As we
               see the waiter do his thing, outside thru glass, Mathilda can be
               seen. She is watching from the other side of the street.

        41     EXT. THE STREET - DAY                                   41

               Mathilda, now in front of the Cafe where her hit will be, is
               looking into the window. She observes who is inside. There is
               one person who has his back to us sitting at a counter. A
               waitress who was serving behind the counter walks thru a door
               behind her. And for the time that she needs, Mathilda leans
               around the doorway and picks up a glass. Puts it in her purse.
               As we cut back to the side walk, she has vanished. A car sits on
               the street. Across the road from the cafe. Inside we see for a
               split second that it has a driver and passenger. It drives
               slowly away.

        42     INT. CELLAR - NIGHT                                     42

               Inside the cellar of the pizzeria, Mathilda is busy shooting                                                                             
               bullets into a cardboard figure. She is very precise. All
               bullets hit home and are aimed at the head. Tony comes down the
               stairs.

                                   TONY
                         You sound hard at it.

                                   MATHILDA
                         Just getting a few.

               Mathilda takes aim, fires. Reloads fast, aims fires. Misses a
               shot.

                                   MATHILDA
                         Fuck!

                                   TONY
                         Sure you're Ok? You seem different.

                                   MATHILDA
                         It's nothing, I'm sure.

               She puts one gun down, picks another up. Loads it, turns to
               Tony.

                                   MATHILDA
                         Ok. For the past few weeks I've been
                         seeing this car, right? Don't ask me
                         what make, cos I don't know cars. All
                         I know is that it's dark, it's got
                         four wheels, and a couple of guys sit
                         in it.

               Tony looks.

                                   TONY
                         Didn't get a clear look at who they
                         were?

                                   MATHILDA
                             (angry)
                         No.

               She takes the three guns she's been firing and puts them back
               upon the wall. Takes loose bullets and puts them in a small box.

                                   MATHILDA
                         Do you think I'm losing it?

                                   TONY
                         I think you're working too hard.
                         This I do know. So, young lady,
                         time out. I wanna' see you upstairs
                         for supper. Got that?

                                   MATHILDA
                         Ok, I'll just finish up here.

                                   TONY
                         Good. And, Mathilda..

                                   MATHILDA
                         Yeah.

                                   TONY
                         Don't worry. The mind plays tricks
                         sometimes. I have a feeling that it
                         may be Mr. Walker.

                                   MATHILDA
                         Walker, why?

                                   TONY
                         Keeping an eye on you, this being your
                         first hit for	the organization.

                                   MATHILDA
                         You may be right. That's most probably
                         it.

               Tony puts his arm around Mathilda

                                   TONY
                         You finished?

                                   MATHILDA
                         Yeah, I feel better now I've heard
                         that.

                                   TONY
                         See you in ten.

                                   MATHILDA
                         Thank you, Tony.

               Tony walks up the flight of stairs.

                                   TONY
                         Sure.

               Mathilda, tired, looks at the target she has shot. Close up of
               her eyes. Her hand reaches up and pulls the light cord. The
               screen goes blank.

        43     TITLE CARD -  THURSDAY                                  43

        44     EXT. THE STREET - DAY                                   44

               Mathilda sits on a bench facing the restaurant. Her target
               arrives, getting out of a top of the range sports car of
               somekind. He is by himself. He enters the cafe. Sits down and is
               talking to a waitress from inside. Mathilda sees this thru the
               window. He sits there quietly. Mathilda puts down the paper she
               wasn't reading and takes a moment. Takes slow pants, talks to
               herself, takes off the sunglasses she was wearing, puts then
               into her blouse.

                                   MATHILDA
                         You can do this. Be the best, the
                         best. (pause) Ok....

               She gets up, takes a breath and with confidence walks straight
               across the road and into the cafe.

        45     INT. CAFE  - DAY                                        45

               The cafe is quiet and only herself, the hit and one other
               person, a man, sit inside. The stranger to Mathilda pays for his
               order and leaves. Leaving herself and her target.
               He sits there drinking from a glass. On the table she sees a
               glass jug of iced water. She watchers from the counter, her back
               to the target. She is seeing all this thru a mirror behind the
               counter. The waitress comes up to Mathilda.

                                   WAITRESS
                         Will you be needing a table?

                                   MATHILDA
                         No thank you, just some iced water.

                                   WAITRESS
                         Sure. It's very hot today isn't it?

               Mathilda smiles, all the while keeping an eye on the guy. The
               waitress puts a glass onto the bar. The same glass as she had
               taken and the same glass the hit is drinking from. Having been
               put there earlier by Mathilda. 

                                   WAITRESS
                         Damn! Sorry.

                                   MATHILDA
                         Yeah?

                                   WAITRESS
                         No ice. I'll just get some.

                                   MATHILDA
                         Thank you.

               This is all the time Mathilda needs. She opens her purse, swings
               around, gets of her stool. Walks towards the guy. She leans
               down, looking over the paper he is reading. Looks in her purse.

                                   MATHILDA
                         Sorry, er.. can I trouble you for a
                         light? I know they are in here
                         somewhere. Damn smokes.

                                   THE HIT
                         Yeah, sure. No problem.

               He puts his paper down. As he does this, Mathilda knocks over
               his glass of water.

                                   MATHILDA
                         Oops! I'm so sorry.

               As the glass is knocked she drops her cigarettes. The guy leans
               down to get them. As he does, Mathilda takes a glass out of her
               purse and puts it quickly on his table. The waitress hearing
               this comes thru from the back. Runs over to the guy.

                                   WAITRESS
                         Is everything Ok?

               The guy answers her. As he does, Mathilda takes away the knocked
               over glass and backs away from the table.

                                   THE HIT
                             (smiles)
                         No problem here. Accidents happen,
                         y'know.

                                   WAITRESS
                         I'll grab a towel.

                                   THE HIT
                         Now about that light.

               Mathilda has no time for this and exits as quickly as she can.

                                   MATHILDA
                         It's fine. Sorry, gotta' run, take
                         care now.

        46     EXT. THE STREET - DAY                                   46

               Mathilda makes it to the bench across the street. Thru the glass
               we see the waitress handing him a towel. As all this happens his
               body jerks upwards and then back down. The waitress panics.
               Several staff from inside the kitchen are now visible. Mathilda
               watchers this going on. Very calmly, she gets up and walks
               slowly across the road. Waits a second with her back to the
               wall. We hear the waitress scream. She walks past the open cafe
               door. Leans inside.

                                   MATHILDA
                         Can I help?

                                   WAITRESS
                             (Tearful)
                         He's dead. I just took his order.
                         Dead...

        47     EXT. THE STREET DAY                                     47

               Mathilda exits out of the cafe, takes out her shades, puts them
               on. Walks off down the road slowly.

                                                       FADE TO BLACK:

               The next scenes are linked together in a montage with music
               overlay.

               We see Mathilda shooting her gun.

               We see her jogging in the park.

               We see her having a walk with Tony.

               We see her knocking on a door, then firing shots into it.

               We see her pouring a solution into a swimming pool. And her
               target diving into the pool. We see him burn up from whatever
               was poured in. We fade from this into the pizzeria.

        48     TITLE CARD - FOUR MONTHS LATER                          48

        49     INT. PIZZERIA - NIGHT                                   49

               Tony is talking with Mathilda.

                                   TONY
                         Hard day?

                                   MATHILDA
                         Yeah, I'm a little tired.

               Mathilda walks thru into the kitchen.

        50     INT. KITCHEN - NIGHT                                    50

               She opens the fridge, looks inside.

                                   MATHILDA
                         You know you got no milk in.

                                   TONY
                         No?

                                   MATHILDA
                         It's Ok, I'll go get some. Not a
                         problem. 

               Closes the fridge door.

        51     EXT. THE STREET- NIGHT                                  51

               Mathilda closes the door of the pizzeria. Before she does, she
               lets Tony know how long she will be.

                                   MATHILDA
                         Won't be long, five minutes.
                         Nah, don't worry about it.                     
                         	
                         									
                         			FADE TO BLACK:

        52     TITLE CARD - PALERMO                                    52

        53     EXT. ROAD - DAY                                         53

               Leon is sitting inside his vehicle, we see the back of him as he
               travels to his destination. As the car turns into a courtyard, a
               man carrying a rifle walks off some steps as Leon pulls up. He
               opens Leon's door. Leon steps out, gives the guy a nod and
               shakes his hand. The man escorts Leon up a flight of stairs and
               into a hallway. (From now on in all dialogue is spoken in
               Italian)

               The subtitles are seen on screen.

        54     INT. HALLWAY - DAY                                      54

               The person he has come to see walks up to Leon. It is A MAN, mid
               50s, combed back grey hair, dark trousers and a smart waste coat
               and white shirt. He holds out his hand. We hear the sound of
               Peacocks in the distance. A fountain that takes place in the
               centre of the garden can be seen thru doors. DON MANCELLA runs
               the small town in which Leon lives.

                                   DON MANCELLA
                         Leon, you're here.

                                   LEON
                         Yes.

               They talk as they enter a room.

        55     INT. OFFICE - DAY                                       55

               They enter Don Mancella's office. Leon takes a seat. The office
               is pretty basic compared to the rest of the house, which is
               lavish.

                                   DON MANCELLA
                         Can I offer you a drink, Leon?

                                   LEON
                         I'm fine.

                                   DON MANCELLA
                         A little wine maybe?

                                   LEON
                         Maybe a little.

               Leon looks around the office, waits for Don Mancella to finish
               pouring the drinks.

                                   DON MANCELLA
                         I'm sorry I had to pull you away from
                         what you were doing.

                                   LEON
                         Just doing a little training.

                                   DON MANCELLA
                         Training is good, Leon. But I need
                         this taking care of fast. This
                         assignment is for Sunday. Are you free
                         Sunday?

                                   LEON
                         Yes.

                                   DON MANCELLA
                         Good. How's the wine? The grapes are
                         from my vineyard.

                                   LEON
                         It has a nice taste.

               Don Mancella takes out a file from inside his desk table. Hands
               it to Leon.

                                   DON MANCELLA
                         He goes to church on Sunday. That's
                         where I would like it to be. This
                         person has shown me disrespect and
                         shown anger towards the
                         organization.

                                   LEON
                         Shouldn't be a problem.

               Leon opens the file. We see a black and white photo of a typical
               looking Italian businessman. He is thin, grey hair and
               moustached. Leon looks at the next photo in the file and
               recognizes the girl in the picture.

                                   DON MANCELLA
                         Is there a problem, Leon?

                                   LEON
                         The girl. I know her, she works in the
                         village. Runs a stall.

                                   DON MANCELLA
                         Let me tell you about her, Leon. Up
                         until two months ago she was not
                         part of this village.
                         Your client in the file there was
                         overheard saying he had no
                         daughter. Suddenly she appears, and
                         within months is wanting to find
                         out about new property's and
                         businesses in the area. My name was
                         mentioned. Maybe she was hired to
                         get information about are
                         organization. Her father, if it is,
                         has shown nothing but disrespect.
                         He refuses protection                                                        
                         and has taken many people under his
                         wing.

                                   LEON
                         This does not concern me. I cannot
                         commit to this assignment.

                                   DON MANCELLA
                         You refuse Don Mancella? You cut off
                         the hand that feeds you. Are you to
                         show me disrespect also? Do I have to
                         point out what happened to your father
                         when respect was not forthcoming.

                                   LEON
                         No women, no kids. That's the rules.

                                   DON MANCELLA
                         Is this your final word, Leon?

                                   LEON
                         Yes.

                                   DON MANCELLA
                         Then I am left with no choice.

               Don Mancella calls out to one of his men outside in the garden.
               Both men stare at each other. The door opens and a man in his
               mid 30s walks in.

                                   DON MANCELLA
                         Come in, come here. Stand by me.

               The young man stands next to his boss clutching a rifle. Don
               Mancella points at Leon.

                                   DON MANCELLA
                         I want you to keep an eye on young
                         Leon here. Make sure he doesn't miss
                         his appointment. I will be waiting for
                         a phone call from Leon. A phone call
                         that says that the assignment has been
                         fulfilled.
                         I want you to make sure he doesn't
                         forget. Do I make myself clear, Carlo?

                                   CARLO
                         Yes, Don Mancella.

                                   DON MANCELLA
                         You see, Leon, that.. is a man of
                         respect.

                                   LEON
                         You hurt the girl.. I kill you.

                                   DON MANCELLA
                         If you don't, well, you may as well
                         leave the country, Leon, because you
                         wont make it home.

                                   LEON
                         I see.

                                   DON MANCELLA
                         Don't ever try to threaten, Leon. You
                         don't have the power.

               Leon stands up and throws the file onto the desk.

                                   LEON
                         Until Sunday.

                                   DON MANCELLA
                         Until Sunday, Leon.

               Leon is escorted out of the office. He slams the door shut.
               Don Mancella takes a sip of his wine, picks up the file and
               puts it inside the draw.                                                              

        56     INT. HALLWAY - DAY                                      56

               Leon walks angrily thru Don Mancella's hallway. Swearing and
               banging his hat on his hip. He puts his cap back on as his car
               is brought up by one of Don Mancella's men. He gets inside,
               starts up and drives off.

        57     INT. BEDROOM - DAY                                      57

               Leon is awakened by his alarm clock.

        58     TITLE CARD - SUNDAY                                     58

        59     EXT. BEDROOM - DAY                                      59

               He gets out of bed an opens the curtains of his apartment.
               Carlo, the man seen at Don Mancella's, sits in Leon's garden.
               Looking up at the window.

                                                       CUT TO :

        60     EXT. GARDEN - DAY                                       60

               Leon has come down stairs and around to the back of his garden.
               He crouches down behind his cherry tree. He's almost seen by
               Carlo. Carlo stretches. As he does this, Leon, quick as a flash
               is behind him. He doesn't use any guns or knifes. He takes
               Carlo's head and simply twists it sharply until we hear a snap.

                                   LEON
                         You have to be up earlier than that,
                         my friend.

                                                       CUT TO:

        61     EXT. COURTYARD - DAY                                    61

               It is a very hot Sunday morning as Leon walks over towards his
               car. Carrying his trusted case. The body of Carlo cannot be
               seen. He gets into his car, starts up and drives away.

                                                              FADE TO BLACK:

                                                               FADE IN:

        63     EXT. THE ROOF TOP - DAY                                 63

               We pan in slowly as Leon is about to take out his mark. He
               assembles his rifle and waits. The camera pans down to give us
               Leon's view. A small church can be seen. There are quite a few
               people dotted around the town square. A Bell from the church can
               be heard. Back on the roof top, Leon puts his sunglasses on,
               flicks open the sight cover and looks in. We see the steps of
               the church thru his lens. The church bell stops. Leon looks at
               his watch as the church doors opens. We cut back and forth
               between the roof top and church steps. The doors open, Leon
               gets ready. A few people walk out. Leon takes out a bullet, puts
               it inside. More people come out from the entrance. Leon scopes
               thru the lens until it rests on his target. We see that it is
               the businessman we saw in the photo. A dark haired young women
               is with him. We see that it is Francesca. He knows he has to
               make a decision. He fires two shots. We don't see who he hits.
               The town square goes into a panic. Leon lowers his head and
               closes the gun sight slowly.

                                                                  FADE TO BLACK:

        64     EXT. FIELD - DAY                                        64

               It is a hot sunny day in Palermo. The camera closes in on a
               small barn in the middle of a field. We pan inside the door
               slowly.

        65     INT. BARN - DAY                                         65

               We see an old harvest cutter in the corner, some wood, and Leon.
               He is covered up with his jacket. He wakes up suddenly. For a
               moment he forgets where he is. He gets up and walks towards the
               barn door.

        66     EXT. FIELD - DAY                                        66

               From a short distance we can see Leon in the doorway. We also
               see his car. It is covered up slightly by the branches bent down
               from a large tree.

        67     INT. BARN - DAY.                                        67

               Leon puts down the pistol he has been holding. We had not seen
               it until this moment. He puts his jacket on, picks the gun up,
               puts it into his pocket and exits the barn.

        68     EXT. FIELD - DAY                                        68

               Leon walks towards his car. He pulls back the branches that stop
               him opening his door. He gets in and starts up. The car is put
               into reverse. It moves away from the tree then past the front
               entrance of the barn. He drives away.

        69     INT. CAR - DAY                                          69

               We are inside the car with Leon. He has a serious look in his
               eyes. 																
               				FADE INTO:

        70     EXT. COURTYARD - DAY                                    70

               We are in the courtyard and home of Don Mancella. As we saw
               previously it is a house pretty much cut off from the town. The
               next scenes are drifting images of Don Mancella's grounds.
               Inside and out. The camera moves slowly from one room to the
               next.

               The sound-track is that of Leon and his execution of Don 
               Mancella's organization.

               Each sounds fits the image of what has happened.

               We see three men in a garden with holes in their chests.

               We see a man in a hallway with his throat slit. 			
               																 
               We see two men face down in a kitchen.								
               													 
               We see a man squashed behind the gates of the front entrance.                                                
               													             
              And we see Don Mancella face down at his desk. The desk covered
              in blood.														
               										                    
              The home now looks deserted.											
               			                    FADE INTO:					
               								                                                                                                                                                                                                                                                                                                                                                                       

        71     INT. CAR - DAY                                          71

               We're back inside the car as Leon adjusts his mirror. The camera
               pans in on his eyes. The screen slowly fades.

                                                       FADE OUT:

                                                       FADE IN:

        72     TITLE CARD - NEW YORK                                   72

        73     EXT. STREET - NIGHT                                     73

               Mathilda walks down the sidewalk carrying a grocery bag                                                                  
               with milk etc.. inside. She is stopped by a car mid walk. She
               stands there startled, as it is the car that she had been seeing
               for the past few months. The passenger side window opens and a
               guy of medium build sticks his head out.

                                   MAN
                         Get in, Mathilda.

                                   MATHILDA
                         Shit!

               She starts to run, but is stopped by a gun now pointed at her.

                                   MAN
                         Get in.

               The back door opens and a guy jumps out. He grabs her arm.

               Mathilda isn't man handled. She is put carefully into the back
               seat. The car drives off.

                                                       CUT TO:

        74     INT. ROOM - NIGHT                                       74

               Mathilda sits inside a Police Interrogation Room. She sits
               alone. The door opens. In step two cops of medium build. Each
               wearing a smart suit, tie and shirt. Two Detectives. LEE and
               TURNER.

                                   LEE
                         This is all very nice. Coffee?

                                   MATHILDA
                             (sarcastic)
                         Are you for fuckin' real?

                                   TURNER
                         Language, young lady.

               They sit down at a table that Mathilda sits at.

                                   MATHILDA
                         Would you like to tell me what this
                         is all about?

                                   LEE
                         Know this guy?

               Det Lee places a photo from a file onto the table. It is a
               picture of a guy covered in blood. The camera moves into what
               Mathilda can see. It's a picture of a man slumped down on a
               chair. He has been sliced across his neck. The body is covered
               with blood.

                                   MATHILDA
                         I can't say that I do.

                                   LEE
                         No? Ok, here's another. Looks
                         kinda' better in this one.

               Places the picture on top.

                                   MATHILDA
                         Fuck!

                                   LEE
                         I do believe we have a winner.

               Mathilda looks up at Lee with tears in her eyes.

                                   MATHILDA
                         Tony.

                                   LEE
                         Correct.

               We see the photo. It is a still black and white picture. He is
               outside the front of a cafe. Tony (senior).

                                   MATHILDA
                         Please take that. I don't wanna' see
                         it.

               Det Lee picks up the picture and puts it down by his side.

                                   MATHILDA
                         Why am I here?

                                   TURNER
                         We're getting to that.

                                   LEE
                         You see, Mathilda, you can help us.

                                   MATHILDA
                         Help the police, me? No way.

                                   LEE
                         Do you have a problem with police
                         officers or something?

                                   MATHILDA
                         You could say that.

               Mathilda looks down at the file on the table.

                                   MATHILDA
                         Can we cut to the chase?

               Lee opens the file on the table.

                                   LEE
                         We'll cut to the chase, Mathilda.
                         Let's just hope you can keep up.

                                   MATHILDA
                         Ok.

                                   LEE
                         We know a lot about you, Mathilda.
                         A broken home, troubled childhood.
                         The school that helped and taught
                         you. How you were becoming a
                         teacher there.
                         Etc, etc..

                                   MATHILDA
                         I see. It's no reason to stop me on
                         the street.

                                   LEE
                         That's true. But we do have a reason
                         when you're living with Tony Gianti.

               Turner takes out a photo of young Tony from the file. Places it
               in front of Mathilda. The photo has herself and Tony outside the
               Pizzeria.

                                   LEE
                         Now I do know you know this guy.

               Turner takes a picture of Mr. Walker from their file.

                                   MATHILDA
                         I think I know where this is going.

                                   LEE
                         Maybe, Mathilda, maybe.

                                   MATHILDA
                         You're going to arrest Walker, Then
                         Tony. Me, then the organization,
                         right?

               The two cops look at Mathilda.

                                   LEE
                         Something like this.

               Mathilda leans back into her chair.

                                   LEE
                         We want this guy taken out.
                         A bad element erased you might say.

                                   MATHILDA
                         If I didn't know you guys better, I'd
                         think you were working for someone
                         other than the police.

                                   TURNER
                         And why would you think that?

                                   MATHILDA
                         Oh, it's nothing special. Just the
                         fact that since I've got here, no one
                         has read my rights. And as I took in
                         the room before, I see that
                         a tape machine isn't on the table
                         here.

                                   TURNER
                         Beauty and brains.

                                   LEE
                         You're very perceptive, Mathilda.
                         That is why we felt the need to
                         choose you. We needed someone from
                         the outside. Someone who                                                               
                         isn't about to make a fuss.

                                   MATHILDA
                         Well, I am honored.

                                   LEE
                         We need a certain part of his
                         organization taking out.

                                   TURNER
                         That's not even the good part.

               Det Lee takes some pictures out of the folder. Puts a picture
               down then speaks. He repeats the process.

                                   LEE
                         You know this guy? How about him?
                         How about this guy right here?

                                   MATHILDA
                         They have looked better.

               She is looking at a collection of photos taken from her last few
               hits.

                                   LEE
                         Good work. Saves us a job.

                                   MATHILDA
                         Can I ask a question?, Seeing as we
                         are all friends here now. And I'm just
                         talkin' here, not saying it's the
                         truth or anything. And, well, I know
                         you wouldn't tell a lie cos you're
                         cops, right? Cos you know all
                         corruption is only ever seen in
                         movies, right?

                                   LEE
                         What's your question?

                                   MATHILDA
                         Has it ever occurred to you two that
                         if it's meant to look like a hit, then
                         one of the other organizations would
                         automatically be in the frame?

                                   LEE
                         No. That had not occurred to us.

                                   MATHILDA
                         Is that so? Oh yeah, forgot.
                         Sorry, you don't work for any
                         organization do you?

               The sarcasm comes to a halt as Det Lee Takes a final picture
               from his file.

                                   LEE
                         What I'm to say to you now is
                         important, Mathilda. You wanted the
                         big time, then you got it. I'm not                                                             
                         fucking around here anymore. So
                         listen. And listen good.

               He points down to the photo. Picks up the file and shakes it,
               puts it back on the table.

                                   LEE
                         I have no more pictures to show you.

                                   MATHILDA
                             (smiles)
                         What's next...Slides?

                                   TURNER
                         You remember I said, that's not the
                         fun part?

                                   MATHILDA
                         Yeah.

                                   TURNER
                         Well, this next parts really gonna'
                         give you something to laugh at.

                                   LEE
                         See that photo? That's my boss. It's
                         who we work for.

                                   MATHILDA
                         Finally, the truth.

               The picture we never see, but see Mathilda looking at it.

                                   LEE
                         He just so happens to be out of town
                         this Saturday. And if that isn't a
                         coincidence, it's the exact day that a
                         certain two cops, who'll remain
                         nameless, just so happen to pick up a
                         certain Mr. Walker. The same Mr.
                         Walker who happens to be mixed up in
                         organized crime.

                                   MATHILDA
                         And while he's in jail, he just
                         happens to have a fall, say, onto
                         someone's knife for example. So, your
                         boss then moves in on his businesses,
                         right? So, in the end it actually
                         looks like another mob hit, and not of
                         your boss'?

                                   LEE
                         Exactly.

                                   MATHILDA
                         And you thought of me?

                                   LEE
                         Correct again.

                                   MATHILDA
                         What if I say no?

                                   TURNER
                             (smiling)
                         Tell her the best part.

                                   LEE
                         The best part is.. you have no choice.

               He points to one of Mathilda's hits. A picture she had seen
               earlier.

                                   LEE
                         You wanna' know who that is?

               Mathilda, now very serious.

                                   MATHILDA
                         Yes.

                                   LEE
                         That is John Peterson, undercover cop.
                         You shot. Your work, your photos.

               Det Lee leans in.

                                   LEE
                         Really, you have no choice, Mathilda.

               She falls back into her chair. Exhausted after hearing not one
               but two sets of bad news.

                                   MATHILDA
                         And I go to jail if I don't, right?

                                   TURNER
                         Give that girl a cigar.

                                   LEE
                         And you are no use to us dead.

                                   MATHILDA
                         Saturday, right?

                                   LEE
                         Saturday.

               Det. Lee slides a piece of paper over to Mathilda.

                                   LEE
                         Call me. Tomorrow.									
               														  
              Mathilda  picks up the paper, looks at the two cops. The camera
               gives us a side shot. They say nothing.

                                                       FADE TO BLACK:

        75     TITLE CARD - SATURDAY                                   75

        76     EXT. THE STREET - DAY                                     76

               We are in Central Park as Mathilda sits on a park bench. She
               takes out her mobile phone, snaps it open. Takes out a piece of
               paper from her purse. Looks at it, tares it up, dials into
               phone. Throws away the note in the bin next to her. As she
               talks, we hear Detective Lee on the other end. Voice only. The
               phone rings then is answered.

                                   MATHILDA
                         Ok,...here's how we play it. Walker is
                         out till ten, some meal or other. I'll
                         call about that time. Be ready.

                                   LEE
                         Good.

                                   MATHILDA
                         I need one thing. Then I'll do it.

                                   LEE
                         Who's making the deals here?

                                   MATHILDA
                         I am. Cos of right now, You have no
                         choice. If you help me, I'll help you
                         	Time is ticking.

               There's a pause before Detective Lee answers.

                                   LEE
                         What is it?

               Mathilda talks into phone as the camera moves away from her. A
               sound-track is heard. We don't hear the rest of the
               conversation. As the camera moves slowly away from her, we see
               people jogging and generally having fun in the park. We return
               to Mathilda as she closes her phone. Sits quietly as joggers run
               past.

                                                       FADE TO BLACK:

        77     INT. BEDROOM - DAY                                      77

               It is Saturday night and Mathilda is getting herself ready for
               her hit.

               The next scenes are a montage of her getting ready and examining
               her weapons.

               We see her take a shower.

               We see her putting out her clothes.

               We see her loading up her guns.

               We see her looking at a picture of dead tony's body.

               And as the montage ends we see her fully dressed. All in black.
               Very smart, wearing a small black skull cap. She stands in front
               of her mirror and speaks.

                                   MATHILDA
                         I need you tonight, Leon. I
                         need you to guide me thru this.
                         I know you'll be with me.

               She lowers her head and rases it. Looks into mirror again. This
               time putting her sunglasses on.

                                   MATHILDA
                         Ok. Let's do it.

               She opens her bedroom door, exits, then closes it behind her.

                                                       CUT TO:

        78     EXT. STREET - NIGHT                                     78

               We are looking thru a set of binoculars. We see that we are
               looking at the front driveway and its lead up to the home of Mr.
               Walker. She puts her binoculars down. She comes out from a tree.
               Hidden by it's branches. She moves quickly across the road. The
               area is quiet. A few cars pass her by. She has her back against
               the front entrance gates. She takes out a pistol.

        79     EXT. DRIVEWAY - NIGHT                                   79

               Inside the inner gate of Mr. Walker's sits a man. He is guarding
               the front gates. As he sits there, a pistol end comes thru the
               gate and stops. It is pressed against the guys head.

                                   MATHILDA
                         Don't move.

               The guy, opened mouthed, freezers.

                                   MATHILDA
                         I'm going to ask a question, Ok?
                         And don't be a hero, give me the right
                         answer.

               The guy nods his head.

                                   MATHILDA
                         How many men are here? Remember, right
                         answers please.

                                   THE MAN
                             (nervous)
                         Two in the garden. One in the kitchen.
                         Three in the hallway.

                                   MATHILDA
                         That it? 'Cause if you're lying..

                                   THE MAN
                         No, no, that's the truth, that's the
                         truth.

                                   MATHILDA
                         Good. Now buzz me in. Just enough for
                         me. I ain't a car.

               The guy pushes a small button in a box near to where he sits.
               The gate opens. Mathilda enters. Points the gun at the guy.

                                   MATHILDA
                         Sorry.

               The camera gives us a static look at the button the guy had just
               pressed. The pistol is fired and blood hits the button.

                                                       CUT TO:

        80     EXT. THE GARDEN - NIGHT                                 80

               Two men smoke and chat, as Mathilda slowly moves up behind one
               of the men. She is crouched as she moves in. With his back to
               us, one of the guys is tripped up as Mathilda rolls herself
               under the back of his legs. She jumps up, takes out her pistol
               and fires. He falls to the ground. The other guy hasn't even got
               time to take out his gun, as Mathilda fires a shot that hits him
               in the neck.

                                   MATHILDA
                         Two down, four to go.

        81     EXT. OUTSIDE KITCHEN WINDOW - NIGHT                     81

               Looking thru the glass, Mathilda sees a guy making himself a
               sandwich. We hear one of the guys shout into the kitchen from
               the hallway.

                                   MAN (V.O)
                         And not too much mustard this time.
                         You always put too much on.

               Mathilda takes out two guns. Loads the cartridges, then puts
               them back into her jacket. She gets up, takes a breath, leans
               back, and with great force, kicks the back door open.

               The following scenes are fast and sharp as Mathilda, once
               inside, blows the guys away. 

        82     INT. HOUSE - NIGHT                                      82

               She shoots the guy in the kitchen. He falls onto the desk he had
               been working on.

               She enters the hallway. Shoots the furthest guy from her, who
               sits at a chair.

               One guy, startled, is hit automatically. Leaving one guy free.

                                   MATHILDA
                         Freeze it!

               Mathilda is startled by a women who screams. It is one of the
               maids. The guy turns around, fires. The bullet hits the maid in
               the chest. Mathilda bouncers back off one of the walls of the
               hallway and fires. Unloading the full round. She walks over to
               the dead guy. Looks down at him. There is an open door. Inside
               we see two maids. They look at Mathilda. Mathilda looks at them
               and puts a finger to her mouth.

                                   MATHILDA
                         Shhh..

        83     EXT. THE GARDEN - NIGHT                                 83

               Mathilda, outside, looks at her watch, dials into her phone.                                                          
               There is a pause, then she speaks.

                                   MATHILDA                               
                         It's done. You got about ten
                         minutes.

               She quickly runs from the garden to the front gates. Hits the
               button so the gates open fully. She runs over to the other side
               of the road. Positions herself where she was before. Picks up
               her binoculars.

        84     EXT. STREET - NIGHT                                     84

               A short time passes. Then three police cars and a dark looking
               one, speed down the road and drive into Mr. Walker's driveway.
               Mathilda picks up her binoculars. We see thru them that
               Detective Lee and Detective Turner have exited their vehicle.
               Four cops stand with them.

        85     EXT. STREET - NIGHT                                     85

               A dark colored van moves at high speed thru the gates and up to
               the home. It stops. Five men get out. They each wear jackets
               with the initials F.B.I written on the back. We see thru the
               binoculars view, The door being opened by one of the maids, as
               the police enter the house. Mathilda puts her binoculars down
               for a second. She sees a car pull into the driveway. It's Mr.
               Walker.

                                   MATHILDA
                         Bingo!

               We see thru Mathilda's binoculars, as he exits the car. His
               driver doesn't even have time to open his door. He's opened it
               and got out. The passenger side door opens and a women in her
               late 50s gets out. She looks around. Mathilda has seen enough.
               She puts the binoculars away in Leon's gun box. She takes the
               guns out of her jacket and puts them inside the box, closes the
               lid.

        86     INT. HALLWAY - NIGHT                                    86

               Mr. Walker enters his house. Very angry. He's stopped by
               Detective Lee. Detective Turner stands behind Lee, with two
               other cops. Various cops are seen. Some are up and down stairs.
               Some are exiting the maids out of the front door.

                                   WALKER
                         And just what the hell is this?

                                   DET LEE
                         Looks like a hit to me. A
                         professional I'd say. Oh, I'm
                         sorry, forgot to introduce myself.
                         I'm Detective Lee, this is
                         Detective Turner.                                                                         
                         And these guys are the police.

               Det Lee shouts to a cop on the stairs. And points.

                                   WALKER
                         What do you think you are looking for?
                         You don't have the right. I thought
                         you were here for these shootings.

                                   DET LEE
                         Well, an attempt, by the looks of
                         it, was made on your life. So you
                         will have to accompany us. Down
                         town. This just so happens to be
                         coincidental. We were coming here
                         anyway. Someone really has it in
                         for you. Don't they Mr. Walker?

                                   WALKER
                         Coincidental? I don't understand.

                                   DET LEE
                         Mr. Henry Walker, I'm arresting you on
                         charges of Prostitution, the illegal
                         selling and distribution of drugs.
                         Hell, I'm not even going to read you
                         your rights right now. Though, I'm
                         sure you could say them back to me.

                                   WALKER
                         You have nothing on me.

               Detective Lee talks to Detective Turner.

                                   DET LEE
                         Kindly escort Mr. Walker into the back
                         of the car would you, Detective
                         Turner.

               Det Turner and one other cop, take Mr. Walker away. The cops
               inside continue their search. Det Lee walks back into the room
               he came out of. We don't see any of Mathilda's handy work.

                                                       CUT TO:

        87     EXT. STREET - NIGHT                                     87

               We look from where Mathilda stood to see police etc in and out
               of the house. An ambulance and coroner van enter thru the gates.
               Mathilda has gone.

                                                       FADE TO BLACK:

        88     INT. CAFE - NIGHT                                       88

               Mathilda, now wearing more civilian clothes, sits at a table
               looking out of a window. There is a cup of coffee on the table.
               She looks at her watch. We see outside a car pulling up. She
               sits back in her booth as the cafe door opens. A man walks
               towards Mathilda's table. At first we don't see him. He puts a
               medium sized cardboard file onto the table.

                                   MATHILDA
                         You're late. That it?

                                   DET LEE
                         That's all of it.

                                   MATHILDA
                         The genuine article?

                                    DET LEE										
               		  Genuine article.

                                   MATHILDA
                         The real thing? 'Cause you know, if
                         you're lying, I'll be back.

                                   DET LEE
                         It's the real thing.

                                   MATHILDA
                         Good.

                                   DET LEE
                         Good work tonight. Very smooth, very
                         professional. My boss would...

               Mathilda hasn't got time for all this and cuts him off mid
               sentence.

                                   MATHILDA
                         Good-bye.

               Mathilda opens her file and starts to look at what's inside. Det
               Lee waits for a moment. Mathilda continues to read. We see him
               smile. As Mathilda looks up, he has his back to us. He walks out
               of the cafe. As she continues to read we can see thru the glass,
               that he has entered his car and driven away. The camera pans in
               on what Mathilda can see. It is a file with photos, names,
               records and general information about Mathilda. Looks like
               everything the police have had on her since arriving at tony's.
               She nods and seems happy enough. She closes the file.

                                                       FADE TO BLACK:

        89     INT. PIZZERIA - NIGHT                                   89

               Mathilda enters the pizzeria thru the back door. She comes in
               quietly. She puts the gun box down and starts to walk upstairs.
               Tony is in the kitchen. As she starts to walk, a creak in the
               stairs can be head. She moves quickly up them. Tony comes out
               from his kitchen.

                                   TONY
                         That you, Mathilda? You're late.
                         Just about given you up. Suppers
                         nearly ready.

                                   MATHILDA
                         Be down in five, Tony.

                                   TONY
                         Ok.

               Tony walks into his kitchen, then back out, calls up the stairs.

                                   TONY
                         How did your night go?

                                   MATHILDA
                         Great.

               We hear Mathilda shutting her bedroom door.

        90     INT. BEDROOM - NIGHT                                    90

               We are in Mathilda's room. She talks to herself, gets changed
               out of her things.

                                   MATHILDA
                         We did it, Leon.

                                                       CUT TO:

        91     INT. KITCHEN - DAY                                      91

               Tony is making some hot drinks as Mathilda's head pops in the
               open door.

                                   MATHILDA
                             (smiles)
                         Good evening. Can I help?

                                   TONY
                         You sit down, I'll bring them thru.

                                   MATHILDA
                         Ok.

               Tony comes thru with the drinks. Mathilda sits in her usual
               place. A corner table.

                                   TONY
                         Watch it, it's hot.

                                   MATHILDA
                         Ok, dad.

                                   TONY
                         So, how was the date?

                                   MATHILDA
                         It went better than I'd hoped.

                                   TONY
                             (nods)
                         So, you guys hit it off?

                                   MATHILDA
                         Yeah. You could say I painted the town
                         red.

                                   TONY
                             (laughs)
                         Nice to see you enjoying life for a
                         change. Doesn't have to be all, work,
                         work, work.

                                   MATHILDA
                         Well, speaking of getting out and
                         doing more. I'm going away for a
                         while. Don't know when I'll be back.

                                   TONY
                         I knew you wouldn't be staying here
                         forever, Mathilda. Just didn't expect
                         you to leave so soon.

                                   MATHILDA
                         I have to.

                                   TONY
                         You have to?

                                   MATHILDA
                         Yes.

               Mathilda leans back in her chair. The camera that has been a
               small distance away starts to zoom in slow as she talks to Tony.
               It stops when it reaches a close up.

                                   MATHILDA
                             (serious)
                         I'm leaving tomorrow. Where I go is my
                         business. The less you know, the
                         better. But I want you to put the word
                         out. Tell them I'm for hire. At a
                         price. My fee is non negotiable. I
                         work alone.
                         And I don't hit no women or
                         kids.(pause) Soon there will
                         be men here. Men who may or may not
                         make your life difficult for a while.
                         But I will be watching and waiting.
                         You won't come to harm. I give you my
                         word. But I cannot stay.

               Tony looks at Mathilda. He's puzzled but accepts what she has
               said.

                                   TONY
                         I understand. I think.

                                   MATHILDA
                             (smiles)
                         It's Ok, in time you will.

               They take a minute. Tony smiles.

                                   TONY
                         I want a postcard, Ok?

                                   MATHILDA
                             (smiles)
                         You bet.

                                   TONY
                         From exotic locations.

                                   MATHILDA
                         We'll see. Just don't forget what I
                         asked.

                                   TONY
                         I won't, Mathilda.

                                   MATHILDA
                         Thank you, Tony.

               They smile at each other

                                   TONY
                         Let's drink...before it gets cold.

                                   MATHILDA
                             (smiles)
                         Cool.

               They pick up there mugs and make a toast to each other.

                                                       FADE TO BLACK:

        92     INT. PIZZERIA - DAY                                     92

               It's Sunday morning and Mathilda is carrying the last of her
               bags down from upstairs. Staff work in the kitchen as Tony comes
               out. Smiling at Mathilda.

                                   TONY
                         Forgot you had that many cases.

                                   MATHILDA
                         Yeah. I have one more too.

               Tony looks down to see Leon's famous gun box by her side.

                                   TONY
                         So, Leon really is with you, huh?

                                   MATHILDA
                         I have no doubt. 

               We hear the sound of a car beep.

                                   MATHILDA
                         That'll be my taxi.

                                   TONY
                         I guess so.

                                   MATHILDA
                         Yep.

               Tony takes hold of her cases, starts walking outside. Mathilda
               follows.

        93     INT. STREET - DAY                                       93

               The cab driver has the trunk open as Tony loads the back.
               Mathilda opens the passenger door and puts Leon's gun case into
               the back. The trunk is closed. The driver gets into his cab.
               Tony takes some dollars out of his pocket and hands them to the
               cab driver.

                                   MATHILDA
                         No, Tony, you don't have to.

                                   TONY
                         Least I can do.

               They look at each other. They are slightly nervous, but lean in
               and hug.

                                   TONY
                             (smiles)
                         I love you, Mathilda.

                                   MATHILDA
                         Love you too. Take care. Thanks for
                         everything. Take care, my friend.

                                   TONY
                         You too.

               She enters the cab and closes the door. The cab drives slowly
               away. She sticks her hand out of the window and waves. Tony
               watchers the cab drive away until he can't see it anymore. He
               enters his pizzeria and closes the door.

                                                       FADE TO BLACK:

                                                       FADE INTO:

        94     EXT. OCEAN LINER  - DAY                                 94

               We are on the top deck of an ocean liner. The camera moves
               slowly past people until we get to a gentleman. His back is to
               us. He is looking out across the river. We see that it is Leon.
               He smiles as he sees a famous landmark. The camera gives us the
               view he sees.
               As it moves in time with the flow of the boat, we see that it's
               the Statue Of Liberty. A few people gather on top deck and take
               photographs.

                                                       CUT TO:

        95     EXT. HARBOUR - DAY                                      95

               A car pulls up and stops. It has stopped near a wooden path that
               leads out onto the side. The car door opens and out steps Tony.
               He smiles as he sees Leon walking down the gang plank.

                                   TONY
                         Leon.

               Leon smiles as he sees his friend.

               He takes hold of the box Leon is carrying. The gun box.

                                   TONY
                         I see you travel light, Leon.

                                   LEON
                         It's all I need.

               Tony puts his case in the back. Both men get in. The car starts
               up and drives slowly away.

                                                       FADE TO BLACK:

                                                       FADE IN:

        96     EXT. COURT - DAY                                        96

               We are on the steps of the New York supreme courts. There are
               news reporters and people carrying banners. In the middle,
               walking up some steps is, Mr. Walker and his lawyers. Police
               surround the court steps and Walker. A reporter on the bottom of
               the steps talks into her camera.

                                   REPORTER
                         Behind me now as we speak, yet to be
                         convicted crime boss Henry Walker,
                         part of the New York crime
                         organization. In court today to hear
                         when his trial is to begin...

               The camera moves away from her as she continues talking. The
               camera pans in on Walker as he is about to enter the courts. A
               gun shot is heard. And the top of Walker's head is blown apart.
               He falls down. The street is that of panic. As the Camera spins
               round, it takes in the roofs. There is no one there.
               Reporters rush up steps, police control the crowd. As Walker
               lays there dead the camera zooms slowly away from him. The
               screen fades.

                                                       FADE TO BLACK:

                                                       FADE IN:

        97     TITLE CARD - PARIS, FRANCE                              97

        98     EXT. ROOF TOP - DAY                                     98

               We slowly follow the camera on to a roof top. The Eiffel Tower
               can be seen in the distance. We see the tip of a gun barrel. It
               is aimed at a window across the opposite side. The camera pulls
               back slow to reveal Mathilda in hit-man mode. She is about to
               fire. She flicks open the sight cover. Turns her head and looks
               directly into the camera. She gives a smile. The screen goes
               black.

        99     THE END TITLES ROLL -                                   99

       100     AN AFTER END TITLES SCENE -                            100

       101     EXT. GARDEN - DAY                                      101

               A girl with her back to us is clipping flowers in her garden.
               She cuts a flower and places it in her basket. She looks at the
               camera and smiles. It is Francesca. Screen goes black.



       102                              THE END                       102



       103                               2004/2008 New Version.                       103

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