这个杀手不太冷的第一版本剧本

weapon.
He opens the violin case and assembles a rifle with
telescopic sight and silencer.
LEON
The rifle is the first weapon you learn
to use, because you can keep far from the
client. The more experience you have, the
closer you get.
He finished assembling the weapon and hands it to Mathilda.
She's going to pull off telescope's cover.
LEON
No. Always take it off at the last
moment, because of light reflexes.
They'll see you in two seconds.
They get close to roof's edge. Mathilda sits down and gets in
position.
LEON
Relax. You must feel at ease.
Mathilda leans down properly.
MATHILDA
OK, I'm fine.
LEON
Good.
He removes telescope's cover.
LEON
Here, this is the light scoop for night
shooting. There, you fix client's
distance... How much to the bench down
there in the park?
MATHILDA
Huh... 500 meters?
LEON
130... 140...
MATHILDA

How can you say it?
LEON
Look. When you can see his fingers, it's
50 meters. When you just see his hands,
it's about 80 meters. When you
distinguish arms from body, it's 120-130.
When you see nothing more than a shape,
you don't shoot. Not very sure. You have
one chance out of five to miss. A
contract means getting all chances on
your side. 5 out of 5. You can't miss a
client. Never... If the task is delicate
or the risk is too big, you double. That
is, you insure yourself by another means.
MATHILDA
What, for example?
LEON
Well, if the guy is far, in a car, and I
know weather is going to be bad, rain for
example, I think I would plastic the car,
with a remote here. I shoot from the
distance and if I miss I plastic.
MATHILDA
What if you can't approach the car or he
changes car?
Leon thinks.
LEON
Rocket launcher.
MATHILDA
Oh

really?
(She looks at the
road and imagines)
But can you miss the car?
Leon pulls a small box out of the violin.
LEON(showing a special bullet)
It's a coded bullet... You put it in the
rifle, you glue it to the car, no matter
where. Then you take your rocket
launcher and the rocket will get there
automatically.
MATHILDA
Wow! It's brilliant!
LEON
Yeah... Come on, have a little
training.
Mathilda gets in position.
MATHILDA
Who'll I aim at?
LEON
Whoever.
Leon pulled out binoculars. Mathilda looks for a victim by
telescope. She passes over playing kids.
MATHILDA
No women... No kids....
Leon smiles: she learnt the lesson.
LEON
Begin from a steady target. It's easier.
She stops on a man who's reading a newspaper. The man wears
a suit, Herald Tribune, fat.
MATHILDA
The fat man down there, on the bench.
LEON

Perfect.
Mathilda aims at the fat man. One of bench's boards explodes.
The fat man turns his head. He doesn't understand what
happened and resumes reading.
LEON
Try again. The same.
Second shot. The bench explodes on the opposite side. The
man is still curious but doesn't understand.
LEON(at binoculars)
Too much to the left.
Mathilda concentrates again and shoots: nothing happens.
Mathilda wonders whether she missed again and prepares for a
new shot.
LEON
Wait...
The fat man softly leans down on his side.
LEON
Bull's-eye.
Mathilda is happy but, evidently, she expected death to be
more spectacular.
LEON
Come on, now a walking one.
Mathilda aims at a businessman. She really chooses the
ugliest one. She shoots. Man's case explodes and he hides
behind a tree: he's scared and doesn't move any more.
LEON
Good! First shot!
MATHILDA
Yeah, but I didn't get him, I got his
case and now he's behind the tree. What
can I do?
LEON
It's not serious, it's just training.
You

have to learn from the beginning to
hit the target, then, to improve
precision, you'll train, but on
cardboards.
MATHILDA
OK.
LEON
Now, try a running guy.
Mathilda gets back to telescope and looks for a jogger.
MATHILDA
The yellow and pink.
LEON
OK.
The guy is footing, sweaty, with a walkman and headphones.
Mathilda shoots once. Twice. Thrice. The bullets pass around
the jogger, who can't see or hear anything.
MATHILDA
Shit! It's hard when he runs!
Leon hands her another charger.
LEON
Don't lose him! Concentrate. There,
reload. OK, keep calm. Calm, breathe
deeply. Look at his movements. Imagine
you're running with him. Breathe... Hold
your breathe... His movements... Now...
She shots and the guy gets a bullet in a thigh. He's scared,
but doesn't know where to go.
MATHILDA
Did you see? First shot! It's good,
isn't it? Did I learn well?
Mathilda proudly smiles.
LEON(serious and steady)
Put tools away.
Mathilda obeys, seriously. st1\:*{behavior:url(#ieooui) } /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-fareast-font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;}

40-year-old man climbs the stairway. He
evidently lives in the building.
MAN
May I...?
LEON
Pardon.
(To Mathilda)
Let pass.
Leon opens the door by disassembled lock's wires. The man is
going to pass, but doesn't. Leon's going to resume his
explanation.
MAN
Excuse me, but... What are you doing?
LEON
I teach to the girl.
MAN
Do you teach her how to break buildings'
doors, don't you? Don't you give a shit
about me? Get away before I call the
Police! The man is very nervous,
searches in a pocket, then pulls out an
anti-aggression bomblet. He'll have no
time to use it: Leon pulled out his
silenced gun. A shot to the hand and the
bomblet takes off. Shot's energy makes
the man turn around. A second shot in the
back makes the man get over the parapet
and disappear in a decorative bush,
almost without noise. Mathilda is
immobilized. Leon looks around, then
resumes.
LEON
So...

Astaire.
LEON
...Look! Even the wall, nothing stops
him. The movement goes on. He uses
everything: soil, wall, his rush, his
weight. Life is movement, death is a
part of it.
Mathilda listens carefully.
LEON
So, you have to let the client finish
the movement he started. It's better, he
thinks about other things and he can't
see death's arrival. He's got no time to
suffer. He isn't surprised. He's got no
time even to think. He departs without
realizing. He departs in the movement he
started.
Mathilda looks at the screen, sparkling eyes.
MATHILDA
...It's brilliant.

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MUSIC
Series of short sequences.
Morning in the apartment
Television turned on. Mathilda and Leon have some abdominals.
After some bendings, Mathilda collapses and remains on the
floor. Leon goes on, undisturbed. Mathilda tries again.
Weapons assemblage
Leon disassembled a big weapon in front of him. Mathilda
observes, very concerted. Leon reassembles it in record time.
She's stunned. He hands her the weapon. Mathilda doesn't know
where to start from.
Mathilda's room
In the little room, Mathilda started a collection of target
cardboards. The first targets have just two or three off-
center hits.
Living room
Leon's making abdominal flexes, feet always blocked under a
wardrobe. Mathilda is making gym in front of television. Leon
glances at her now and then.
Kitchen
Leon pours a big glass of milk. Mathilda sits in front of
him. She's tired. He hands her the glass. She shakes her head
no, but he clearly shows she can't discuss. She takes the
glass without pleasure.
Weapons assemblage
Mathilda's much quicker now, but makes an error. Leon stops
her and takes over to explain her mistake. Mathilda
understands and restarts.
Mathilda's room
Cardboard collection expands. More and more impacts on
targets.
Living room
Mathilda was able to convince Leon to make his gym in front
of television and with music. She teaches him, since he's not
used to this and is quite embarrassed.
Kitchen
Mathilda pours two glasses of milk. She gives one to Leon: he
drinks then they have a race. Mathilda does everything to be
fast. Leon is too used: he wins. The two laugh because
Mathilda spread milk everywhere. Two kids.
Mathilda's room
Mathilda adds a cardboard to her collection. Five impacts,
all virtually on target.
MUSIC ENDS
END of short sequences

don't need them...
TONY
Take them, you never know... If you want
to have some fun. Take, it's a gift.
Tony puts the money in Leon's hand, who takes it.
LEON
Thanks.
TONY (smiling)
Good. Let's talk business, now?
LEON
I've got a hit perfect for you. I kept
it for you. To be made alone. That's what
you like. Don't move, I get the file.
Manolo! A glass of milk for Leon!
Tony stands up and disappears. Leon looks out. Mathilda
accepts a cigarette from the young man. They laugh. Leon can't
resist any more. He stands up and exits. He kindly pushes
Mathilda aside. The quite nice young man waits.
LEON(low voice)
Pay attention, Mathilda. You can't let
people approach you like that. People are
kind and very fast, they offer you drugs
or other things.
MATHILDA (smiling)
Leon, don't worry. I'm on the street
since I've born. I was just smoking a
cigarette while waiting for you.
Leon pauses and looks at the young man, who smiles at him.
LEON
Keep away. He looks suspicious. A bad
guy, OK?
MATHILDA (smiling)
OK.

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Leon arrives to the hotel, Mathilda still on his back. The
receptionist smiles at Leon, who doesn't return. Mathilda gets
the key with a big smile.
MATHILDA
We'd a nice walk!
RECEPTIONIST (smiling)
Good, Miss.
Mathilda cackles and leads her mount upstairs. In the room,
she jumps on the bed.
MATHILDA
Leon? I think I'm falling in love with
you.
Leon's milk goes the wrong way. She calmly said it, laying on
the bed, spread ar***ike a simple truth. Leon got milk
everywhere.
MATHILDA
...Anyway, this impressed you!
He dries himself, but doesn't reply.
MATHILDA
It's strange, being in love... It's the
first time for me...
LEON
How do you know it's love, if you've
never been in love before?... It may be
friendship... or the love you can have
with a brother or a father... How can you
know?
MATHILDA
...Because I feel it.
LEON(upset)
Huh? Where?
Mathilda puts a

hand on her stomach.
MATHILDA
Here... in my stomach... it's hot.
She turns, takes his hand and puts it on her stomach.
MATHILDA
I always had a knot... No longer...
Leon pulls off his hand. He stands up and nervously walks.
LEON
Mathilda, I'm... I'm very happy you've
got no more stomach ache, but... this
doesn't mean anything. I'm late for work
and I don't like being late for work.
Mathilda smiles. She's calm. She rolls herself into the
blanket. Leon gets out of the room. He puts various weapons
into his case and in his violin. He's nervous. This
conversation upset him. He hears a noise, flowing water:
Mathilda sings. She's having a bath. He finished preparing
his gear. He knocks bathroom's door.
LEON
Mathilda? May I come in?
MATHILDA
Yes.
Leon opens the door. Mathilda is naked and is brushing her
hair. Leon closes back the door without entering.
LEON(embarrassed)
Sorry. I heard "yes", so I got in...
Mathilda opens the door. She's still combing her hair. She's
still naked.
MATHILDA
Yes... You can come in.
Leon is rigid. He takes a towel and deploys it in front of

her.
LEON
Take it, please.
She rolls herself into the towel, without speaking. Leon's
relieved.
LEON
I... I've got a contract... I've got to
go now. It's urgent. ...So, you stay
here. You don't move. About telephone, I
let it ring once then I call you back,
else you don't answer, OK?
Mathilda is sulky.
MATHILDA
Why don't you take me with you?... I'm
ready, now. You said I learn very
quickly.
LEON
Quick doesn't mean "ready". And you
can't discuss, we said. Right?
Mathilda has to surrender.
LEON
Go on learning like this... Then we'll
see.
He gets in the living room and she follows him.
MATHILDA
May I go to the cinema?
LEON
No.
MATHILDA
For musicals? That's part of the job!
LEON
No, you can't go out.
MATHILDA (resigned)

OK... you come back tonight, don't you?
He takes his violin and his case.
LEON
During my absence, you have to work on a
very important thing you badly lack:
patience.
He slightly smiles. She's sulky.
LEON
You see, five minutes ago you said you
loved me and now you hate me... but I
prefer this!
MATHILDA
I hate you because you depart without
kissing me. That's all.
She sweetly closes the door in face of him. For a moment,
he's blocked behind the door. The receptionist is walking
along the hall and notices Leon prostrated in front of the
door.
RECEPTIONIST
Did you lose your key, Mister?
Leon recovers from his shock.
LEON
No... I just thought if I'd lost
anything...
RECEPTIONIST
And did you forget anything?
LEON
Yeah... But "forgotten" doesn't mean
lost
He passes in front of the perplexed receptionist, leaving the
hotel.

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Mathilda gets back in the hotel room. She sits on the couch,
in front of the switched off television. One has never seen,
nor heard her that concentrated, and determined. Her face
looks thirty-year-old. Noise from the lock; she switches
television on: anime. Leon gets in, gets off his stuff. He's
got a parcel. He puts it on the table. Leon is stunned by her
lack of interest for the parcel.
LEON
...It's for you... It's a gift.
No reactions. No replies.
LEON
Would you like me to open it?
(He's too excited.)
...I open it!
(He pulls out a
small dress, flowers
motif. He's very
happy.)
...Do you like it?
MATHILDA (harsh)
...You'd better directly buy the doll to
fit in it, that would be clearer! Leon
doesn't understand. He takes the dress
and checks it out for defects.
She sighs and gets in the kitchen. Leon gives up. He sweetly
lays the dress down on the table and switches television off.
Mathilda comes back with a lot of pop corn. She switches
television on again, sits on the couch and turns volume up.
Leon is perplexed, he doesn't speak. He gets in the bathroom
for a shower. Mathilda turns volume down. She stands up,
glances at the dress, touches it by fingertips. Her face is
tense. Water flows in the bathroom, but Leon is at door's
small opening and observes Mathilda. She eventually leaves the
dress, switches television off and gets to the window to look
at the sunset. Leon feels bad. He silently closes the door.