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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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