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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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