Establish shot of some modernist high-rise in the former Yugoslavia.
Descending sweeps of strings on the soundtrack.
A bright yellow-orange light flickers into life in one of the windows, and increases in magnitude to approach bleach-out.
INT - '50s BEDROOM - NIGHT
We are in a young child's bedroom; some might call it a nursery.
The shot is bleached out by special effects, and we can hear the buzzing sound of a materialising TARDIS.
The concentration of FX light is in the same part of shot as the window in the last shot; namely to the left of centre. The light receeds to reveal the room, and in the corner is a wardrobe. As the light dies away, we see it creeping from the jamb of the wardrobe door. The wardrobe is shaking.
The light and the shaking fade into nothingness, and the shot is now illuminated by a child's nightlight: a porcelin boot with an upturned toe that reveals three rabbits. There is also a tin-foil mobile hung over the cot. This casts nice fronds of light about the room.
The room should bear striking resemblance to Leon's university accomidation. Our shot has a cot in the near front left, where Leon's bed might be, a desk at the near front right, with the lamp on, the wardrobe at the rear left, and the door at the centre rear. We are looking from the lakeside window, in effect, and should use the same set - albeit decorated as a '50s nursery.
Face-on shot of the wardrobe as it shakes and glows its last. The door opens.
ECU of LEON (Jean Reno)'s face. He looks about to get his bearings.
Music starts: something from Fellini's 8½.
Previous shot again, showing LEON stepping from the wardrobe. He looks a little shaken and disoriented as he looks about.
Original angle from window. LEON is wearing his dark brown corduroy jacket and his glasses.
POV from the cot at LEON looking down at us. This is a temporal jump for a change.
Don't you recognise me?
Shot of BABY in cot, showing no signs of recognition.
False angle from Tomy's wall, showing LEON gesturing to the baby. In the background, on the wall, is Picasso's stick-man painting of Don Quixote, in a simple '80s-style blue frame.
I am you.
CU of BABY looking snooty.
I am you fifty years from now.
False angle from Chris's wall, showing LEON sitting himself in the chair at his desk. The chair has its back to the window, and LEON looks into the cot.
POV from the cot to LEON.
I am your future.
Shot from the door end, taking in the window. Nets disguise the back-lighting, which should be a card and bulb cityscape with moonlight.
I'm not doing bad for fifty, eh?
BABY making some nonchelant noise with its mouth.
BABY's POV. LEON leans in.
You know, you've been born into a doomed world.
Cut to CU of BABY.
But you have a wonderful mind.
Cut to LEON by the cot.
You'll see and do some amazing things in your life.
Cut to CU of LEON.
You're going to travel far across time...
Wider angle, incorporating cot.
CU of BABY, complete with panicky gurgle.
POV of BABY.
I know what you are thinking.
LEON / cot / window.
It all sounds like the ravings of a mad man.
CU of LEON.
LEON / cot / window. He looks at us as he says.
He looks back at the BABY as he probes in his coat pocket.
CU of LEON, seemingly having got what it is he was after.
CU of LEON's hands. He has some scraps of notepaper which he is rummaging through.
There are people who will help disorganise your life.
CU of BABY looking tired.
POV of LEON, rummaging through his papers. He studies one, with some heiroglyphs on it.
They'll play a big part in your future.
LEON / cot / window. Still clutching the papers in his left hand, LEON reaches with his right into an inside pocket, and produces a stuffed toy goose. As greylag as possible.
Ah. Elgar. Nice to see you again.
Shot over the cot. LEON lowers in the goose, causing the BABY to cry.
Shot from door. LEON is getting up and walking away, putting his papers back in his pocket.
You know, you're going to have a mixed life,
and, sorry, eight thousand clones.
CAPTION: "E.D.S. Deliver gore."
LEON walks out of shot, right. Hold shot.
TARDIS sounds; light flares up.
Cut to shot of BABY in coffin; tearful; playing with goose. Light spills across him.
Reverse angle to show the light disappearing through the rattling wardrobe door again.
EXT - '50s CROATIAN FLATS - NIGHT
The light at the window receeds as the music comes to a somber end.
The image begins to fade out.
Then, without warning, there is a blinding flash and a massive explosion as the building detonates from the window outwards.
The fade-out continues, gradually, to black.
Emerging from the Wilderness
on Easter Sunday, 8th April.