FOR EDUCATIONAL PURPOSES ONLY
1 EXT. MERCEDES WINDSHIELD -- DUSK 1
It's raining...
Light strobes across the wet glass at a rhythmic pace...
Suddenly -- through the window a face -- JASON BOURNE --
riding in the backseat -- his gaze fixed.
A1 INT. MERCEDES -- NIGHT A1
On his knee -- a syringe and a gun --
The eyes of the driver, JARDA, watching --
BOURNE'S POV -- the passenger -- back of his HEAD -- cell
phone rings -- the HEAD turns -- it's CONKLIN --
BOURNE returns his stare...
CUT TO --
2 INT. COTTAGE BEDROOM -- NIGHT 2
BOURNE'S EYES OPEN! -- panicked -- gasping -- trying to
stay quiet -- MARIE sleeps.
A2 INT. COTTAGE LIVING AREA/BATHROOM -- NIGHT A2
BOURNE moving for the medicine cabinet. Digs through the
medicine cabinet. Downs something specific.
3
3 INT./EXT. COTTAGE LIVING ROOM/VERANDA -- NIGHT
One minute later. BOURNE moves out onto the veranda.
MARIE pads in. Watching him for a moment. Concerned.
Clearly it's not the first time this has happened.
The y both loo k differe nt than last we saw them; his hair is
lon ger. She' s a blond e. Hippie trav elers. Th eir cottage
is humble but sweet. The bedroom ope ns to a be ach and a
tow n just dow n the hil l. CLUB MUSIC from some all night
rav e wafting in from t he far distance .
MARIE
Where were you, Jason?
BOURNE
In the car. Conklin up front.
2.
MARIE
I'll get the book.
BOURNE
No. There's nothing new.
MARIE
You're sure?
(he nods)
We should still -- we should write it
down.
BOURNE
Two years we're scribbling in a notebook -- *
MARIE
-- it hasn't been two years -- *
BOURNE
-- it's alwa ys bad and it's never *
anything but bits and piece s anyway! *
(she's gone quiet) *
You ever thi nk that maybe i t's just *
making it wo rse? You don't wonder that? *
She lays her hands on his shoulders, steadies him.
MARIE
We write them down because sooner or *
later you're going to remember something *
good. *
BOURNE
(softens)
I do remember something good. All the
time. I remember you.
She smiles. Kisses him. Leads him back in.
4
4 INT. COTTAGE BEDROOM -- NIGHT
MARIE getting BOURNE into the bed. Turning down the light.
Getting him settled. Waiting for that pill to kick in.
What would he do without her?
BOURNE
I'm trying, Marie, Okay?
MARIE
I worry when you get like this.
3.
BOURNE
It's just a nightmare.
MARIE
I don't mean that. I worry when you try
to ignore it.
He hesitates. But that gets him. He knows she's right.
And with that opening, he's letting go. Resistance
fol ding. Almost childlike. She's gathering him in.
He' s letting her do it...
MARIE (CONT'D)
Sleep. Sleep now.
BOURNE
I should be better by now.
MARIE
You are better. And I think it's not
memories at all. It's just a dream you
keep having over and over.
BOURNE
But it ends up the same.
MARIE
One day it will be different. It just
takes time.
(beat)
We'll make new memories. You and me.
Silence. She strokes his face. He gives in to her
tenderness. He's fading. Two waifs in the dark.
DISSOLVE TO:
5
5 EXT. BEACH -- GOA/BEACHTOWN -- DAY
BOU RNE running in the sun. A punishing pace along the
san d. Moving strong. Effortless. Deep into it. Focused.
The stunning conjunction of sun and scenery are lost on
him .
6 EXT. OUTDOOR MARKET -- GOA/BEACHTOWN -- DAY 6
A busy market town. Fishing town. Hippie town. Lots of
young Western faces. Rundown and happening at the same
time.
MARIE shopping. Filling a bag with local produce.
4.
7 EXT. ROAD -- GOA/BEACHTOWN -- DAY 7
BOURNE still running, leaving the beach behind.
8 INT. COTTAGE KITCHEN -- DAY 8
MARIE back from the market, putting the groceries away.
Almost done, when she stops for a moment --
A PHOTOGRAPH. There on the windowsill. A snapshot. Jason
and Marie on a beach. Her arms around him. As if she were
the protector. Big smiles. Young. Alive. In love.
BOURNE coming out of a store with a big bottle of water.
He's just finished his run. Standing there, chugging away,
checking the scene, when something catches his eye --
HIS POV
THE STREET. A SILVER CAR -- something newish -- pulling
down the block -- can't quite see who's driving, but --
BACK TO
BOURNE watching this silver car. So serious he's casual.
Nobody passing would notice, but we do: He's on alert.
MOVING WITH HIM AS
BOURNE follows THE SILVER CAR on foot -- natural --
cruising the BUSY SIDEWALK -- blending into the mix --
chugging on that water bottle and --
UP AHEAD
THE SILVER CAR making the corner and turning now --
BACK TO
BOURNE slowing as he reaches the corner --
5.
HIS POV
THE SILVER CA R has par ked. There's a GUY -- well-dressed --
cas ual -- phy sical -- sunglasses -- call him KIRILL -- he's
out of the ca r and hea ding across the street toward a
bui lding ther e. A TEL EGRAPH OFFICE.
BACK TO
BOURNE checking his watch. The car. The guy. Perimeter.
10 INT. TELEGRAPH OFFICE/GOA -- DAY 10 *
MR. MOHAN at his desk. He's a crisp, proper man of fifty.
He's just been handed something --
A PHOTOGRAPH OF MARIE -- an old passport picture.
MR. MOHAN
And your question, sir?
KIRILL across the desk.
KIRILL
She's my sister. There's been a
death in the family. This is the
last place we know she called from.
11 INT. COTTAGE -- DAY 11
A NOTE ON THE TABLE: "I'M AT THE BEACH"
BOURNE has just come in -- just read the note -- balling it
quickly. In fact, everything is quickly now, because --
BOURNE is bailing.
Fast. Calm. Methodical. Some exfil procedure that he's
honed and choreographed. Packing like a machine --
RAPID TIME CUTS
-- BACKPACKS thrown open on the bed. -- HOUSE CASH pulled
from a lamp base. -- CREDIT CARDS taped under the counter.
12 EXT. MAIN STREET/BANK GOA/BEACH TOWN -- DAY 12
KIRILL coming out of the bank. Mission accomplished.
Heading back to the SILVER CAR. Getting in and --
6.
13 INT. SILVER CAR -- DAY (CONT) 13
KIRILL starting it up. Glancing around nice and easy.
He's cool. Putting the car into gear, he makes a slow pass *
through the marketplace. Eyes everywhere. *
14 DELETED 14 *
15 INT. COTTAGE -- DAY 15
BOURNE -- done -- the place is stripped -- pulling on the
backpacks -- glancing around -- one last thing -- shit, he
almost missed it --
THE PHOTOGRAPH -- the one of he and Marie on the beach --
the one we saw her looking at earlier -- there it is on the
windowsill -- jamming it into his pocket and --
A16 EXT. SIDE STREET/PARKING AREA -- GOA/BEACHTOWN -- DAY A16 *
KIRILL now parked and out of the car -- on the move -- on *
foot -- he begins a sweep of the beach. *
16 EXT. COTTAGE BACK DOOR -- YARD/ALLEY -- DAY (CONT) 16
BOURNE out the back -- jogging -- keeping low -- into the
neighborhood -- through the alleys -- nothing random about
it, this has all been worked out and --
17 DELETED 17 *
18 *
18 EXT. BEACH -- GOA/BEACHTOWN -- DAY
Crowded with tourists -- sunbathers -- MARIE at her
favorite spot. Talking with TWO WOMEN, laughing with them -
- happy.
18A EXT. BEACH/PARKING AREA -- GOA -- DAY 18A *
A burly JEEP comes roaring up. BOURNE spots the SILVER *
CAR, parks at the other end -- takes off towards the beach. *
7.
19 EXT. BEACH -- GOA -- DAY 19 *
KIRILL methodically making his way up the beach -- *
checking every blue tent -- every towel. *
20 EXT. BEACH -- GOA -- DAY 20 *
BOURNE coming up the beach the opposite way -- one eye on *
KIRILL, one eye on MARIE. *
He arrives just as KIRILL looks up and sees them a *
hundred yards away -- a hard stare between them -- BOURNE *
bends down -- *
BOURNE
We gotta go, Marie. We gotta go, now.
Fro m the tone of his voice, she knows it's serious. *
Mar ie grabs h er bag. A quick goodbye to the friends. *
The y hurry of f. BOURNE uses the sunbathers as cover. *
KIR ILL retrea ts. *
21 EXT. BEACH/PARKING LOT -- GOA -- DAY 21 *
They reach the JEEP -- she knows the drill -- bag tossed in *
the back -- even as the Jeep pulls away and -- *
22 INT. JEEP -- DAY (CONT) 22
BOURNE driving. MARIE beside him --
BOURNE
We're blown.
She hesitates. One minute ago everything was fine.
MARIE
No... How?
BOURNE
The Telegraph office.
MARIE
But we were so careful.
BOURNE
We pushed it. We got lazy. *
8.
23 EXT. BEACH/PARKING LOT -- GOA/BEACHTOWN -- DAY 23 *
KIRILL already back at the SILVER CAR -- following them *
out onto the MAIN STREET -- blocked by the local traffic -- *
pulling a HUGE AUTOMATIC PISTOL out from his travel bag.
24 EXT. BEACHTOWN ALLEY/OFF MAIN STREET -- DAY 24
THE JEEP pulling down this narrow little passageway and --
BOURNE'S WINDSHIELD POV *
MAIN STREET packed with traffic and --
BACK TO
BOURNE not liking this. Eyes all over -- trying to decide.
MARIE
But you're sure?
BOURNE
He was at the campground yesterday.
MARIE
So... *
BOURNE
It's wrong. Guy with a rental car and *
hundred dollar sneakers sleeps in a tent?
Trying to decide whether to pull out or back up --
MARIE
That's crazy. *
BOURNE
No. Not thi s. This is real. *
(sudde nly) *
And he's rig ht there... *
(throw ing the car into
rever se)
MARIE
Where --
BOURNE
Back there -- at the corner -- Hyundai -- *
silver -- *
9.
25 INT. HYUNDAI -- DAY (CONT) 25 *
KIRILL trapped in some Main Street gridlock. Glancing back
for a way out -- freezing suddenly, because there --
HIS POV -- THE JEEP -- THE ALLEY -- right there -- twenty
yards back -- a good look at BOURNE and MARIE -- as they
disappear and --
26 EXT. ALLEYWAY -- GOA/BEACHTOWN -- DAY (CONT) 26
THE JEEP backing up the way it came -- BLOWING ITS HORN
because an OLD VAN pulls in and blocks him from behind --
27 INT. JEEP -- DAY (CONT) 27
BOURNE leaning on THE HORN -- shit, now they've got to
wait!
MARIE *
...but you're not -- you're not sure... *
BOURNE *
We can't wait to be sure. *
MARIE *
I don't want to move again...I like it *
here. *
BOURNE *
Loo k, we clear out, we get to the shack, *
we get safe. We hang there awhile. I'll *
com e back. I'll check it out. But right *
now we can't -- *
MARIE *
-- where's left to go? -- *
BOURNE *
-- there's places -- we can't afford to *
be wrong! *
28 INT. HYUNDAI -- DAY (CONT) 28
KIR ILL. Calm. Possessed of a familiar tactical patience.
He can't get the Hyundai to the alley from where he is and *
it doesn't make sense to go on foot. He checks his
rea rview.
10.
Fuck it -- there's an opening ahead and he's taking it -- *
even though it's away from them -- he'll find another way -- *
29 EXT. ALLEYWAY -- GOA/BEACHTOWN -- DAY -- (CONT) 29
BOURNE sees the HYUNDAI move forward into traffic. THE OLD *
VAN is still blocking them from behind -- *
BOURNE *
You drive. *
MARIE *
What? *
BOURNE *
(already squeezing over) *
Switch! You drive! *
MARIE *
-- where? -- *
BOURNE *
-- make the left -- toward the bridge -- *
MARIE scrambling over the seat. BOURNE, eyes everywhere, *
checks his watch. *
THE JEEP squirts back on the main street and --
30 INT. JEEP -- DAY -- CONT 30
MARIE at the wheel -- adrenaline pumping -- clear running
for thirty yards ahead and --
MARIE skidding them into the right turn -- clipping another
vehicle -- MIRROR SHATTERING! -- speeding up.
BOURNE scanning behind them -- MARIE moving out to pass --
veering back! -- an ONCOMING BUS -- just in time and --
MARIE
-- Jesus! --
(glancing over)
-- is he back there? --
BOURNE
-- not yet --
MARIE
-- it's just him? --
11.
BOURNE
-- yeah -- one guy -- I don't think
he was ready --
MARIE
-- hang on --
MARIE bearing down -- pulling out -- gives him a quick
smile -- BOURNE knowing he's got a good one here -- *
31 INT. HYUNDAI -- DAY/SUNSET 31 *
KIRILL stopping short on a rise. Bit of a view from here. *
Gets half out the car to look. *
BELOW -- the JEEP headed for A BRIDGE. He's gonna lose *
them. KIRILL'S mind racing. Grabs duffle from the back, *
abandons car. *
32 INT. JEEP -- BRIDGE -- DAY/SUNSET 32
MARIE driving. BOURNE preps his pistol. Eye out for *
KIRILL. *
BOURNE *
You keep going to the shack. I'll meet *
you there in an hour. *
MARIE *
(concerned) *
Where are you going? *
BOURNE *
I'm going to bail on the other side and *
wait. This bridge is the only way he can *
follow. *
MARIE *
What if it's not who you think it is? *
BOURNE *
If he crosses the bridge, it is. *
MARIE *
There must be another way! *
BOURNE *
I warned them, Marie. I told them to *
leave us alone. *
12.
MARIE *
Jason, please don't do this...it won't *
ever be over like this. *
BOURNE *
There's no choice. *
HER POV
The old CONCRETE BRIDGE ahead. Almost there.
33 EXT. LOW WALL -- DAY/SUNSET 33
KIRILL slams into it. Quick, precise grabs into the bag.
Only a moment and he's got a SNIPER RIFLE.
A34 INT. JEEP -- BRIDGE -- DAY A34
BOURNE -- pistol in hand -- spare clip in the other -- *
checks his watch. *
BOURNE *
At the end make the left, when I roll out *
do not slow down. *
MARIE nods, got it. After a beat... *
MARIE *
I love you, too. *
BOURNE *
Tell me later. *
MARIE looks ahead.
B34
B34 EXT. LOW WALL -- DAY
KIRILL. Eye to the scope. *
SNIPER SCOPE POV
There! The JEEP rumbling across the bridge. No clear
target, just the back of the full DRIVER'S SIDE HEADREST.
KIRILL'S FINGER
Squeezing. Firing.
13.
34 EXT. WOODEN BRIDGE -- DAY (CONT) 34
The JEEP jerking.
FRONT FENDER tearing into and along the guard rail --
cement shards fill the air --
BOURNE reaching for the wheel -- Too late!
As the JEEP finally crashes through the flimsy guardrail --
Plummets -- splashes hard -- begins to sink out of sight.
35 EXT. LOW WALL -- DAY (CONT) 35
KIR ILL lowers the scop e, takes a quick look around. He's
bas ically gon e unnotic ed in this little nook with his
sil enced rifl e. But p eople are already rushing toward the
bri dge. Then ... there !
An OLD WOMAN looking directly at KIRILL from a doorway.
Not quite sure what. But an old Indian woman in Goa? So
what.
KIRILL drills her with a look. As she sinks back inside --
36 INT. JEEP -- SINKING IN THE RIVER -- DAY/SUNSET 36
Swallowed up. BOURNE and MARIE gone. *
37 EXT. LOW WALL -- SUNSET 37
KIRILL scans the surface of the river under the bridge.
Waiting.
38
38 EXT. RIVER BOTTOM -- DAY
Mud plumes as the JEEP settles. BOURNE reaches over to *
MARIE, tries to urge her out. *
39 EXT. LOW WALL -- DAY 39
KIRILL with a killer's patience, waiting, almost done.
SCOPE POV
The surface of the water. Unbroken.
14.
KIRILL
Scans his perimeter. There's the old woman again. But
more people with her. People coming out of the woodwork.
KIRILL checks the surface one last time. Nothing.
He breaks down the rifle in moments -- goes. *
40 EXT. JEEP -- RIVER BOTTOM -- DAY 40
BOURNE -- up into an air pocket held by the jeep's canvas
top. A big gulp of air --
And he's back to MARIE. Frantic. Trying to unclip her *
seatbelt. Pull her out. But it's all jammed up. *
41 EXT. KIRILL -- BY THE SILVER CAR 41
Bag chucked in the back. All he has left is the scope. *
One last look to the unbroken surface. Then it's time to
go. KIRILL -- drifting away -- disappears.
42 EXT. JEEP -- RIVER BOTTOM -- DAY 42
The red halo growing bigger. BLOOD. *
BOURNE pauses. MARIE'S face is blank. She's dead. *
BOURNE finally pulling back. Realizing this is *
goodbye... *
DISSOLVE TO:
43-68
43-68 DELETED
69 EXT. ZOOGARTEN SQUARE -- NIGHT 69
We pick up a MAN WITH A BRIEFCASE on a telephoto lens.
TEDDY/RADIO (V.O.)
The seller has arrived.
BERLIN
15.
As the man comes to a CHINESE RESTAURANT he stops.
Squarely. So he can be seen clearly. Then he enters a
STARK GLASS OFFICE BUILDING.
TEDDY/RADIO (V.O.)
(cont'd) (CONT'D)
He's inside.
70 EXT. ZOOGARTEN SQUARE -- NIGHT 70
TWO MEN cross the square to the Chinese Restaurant. VIC is
forty -- steel-ass intel operator -- he carries A LARGE
SAMPLES CASE. Beside him, MIKE, younger, ex-Navy-Seal.
71 INT. BERLIN HQ/COMMAND POST -- NIGHT 71
"Th e Hub". S ecure, an onymous office space somewhere in the
cit y. Shades drawn. Lots of gear cabled around. The
sta le, improv ised feel of a temporary outpost. Four
ser ious peopl e alone i n this room:
PAMELA LANDY is 46. A Senior C.I.A. Counterintelligence
Officer. Hovering over the communications console.
CRONIN -- Pamela's #2 -- early forties, stone-cold facade --
quarterbacking the operation over the radio --
KURT and KIM are the techs here. His and Her headphones.
Ruggedized laptops and comm gear spread around them.
CRONIN
What have you got, Survey One?
72
72 INT. NEARBY BERLIN OFFICE -- NIGHT (CONT)
Dark. TEDDY at the window. Another military face. Radio
rig. Night Scope. Watching VIC and MIKE pass below him --
TEDDY/RADIO (OVER)
"Hub, this is Survey One. Mobile One is
in motion. Seller is inside and waiting."
73 EXT. MODERN BERLIN STREET -- NIGHT 73
VIC and MIKE slow as they come to the same STARK, GLASS
OFFICE BUILDING.
TEDDY/RADIO (OVER)
"We are ready to go."
16.
74 EXT. MODERN BERLIN STREET -- NIGHT 74
MIK E and VIC shake han ds; two tired c o-workers parting
way s. MIKE w ill keep walking. VIC e ntering the building
thr ough the b ig glass doors, smiling as he's approached by
AN IGHT SHIFT SECURITY GUARD. And we hear:
MIKE still walking, alone now, heading away from THE GLASS
OFFICE BUILDING toward A VAN parked up the block.
MIKE/RADIO
(sleeve mike, earpiece)
"This is Escort One. I'm clear."
75 INT. BERLIN HQ/COMMAND POST -- NIGHT 75
THE COMMAND POST. CRONIN works the communications *
board... *
CRONIN
"All teams -- listen up -- we are standing-
by for final green."
(turning now to--)
PAMELA, who has been listening. Just as she's about to give *
the final word, KIM raises a finger... *
KIM *
Langley... *
She hands PAMELA a phone that's patched into her board. *
PAMELA *
(a bit surprised) *
Martin? *
76
76 INT. CIA SITUATION ROOM/LANGLEY, VIRGINIA -- DAY
THREE MEN -- CIA MANDARINS -- sit around a round table.
MARTIN MARSHALL, Deputy Vice-Director, he's in charge. *
All is tense. *
MARSHALL *
I'm here. So is Donnie and Jack Weller. *
We understand you're using the full *
allocation for this buy? *
PAMELA *
That's where we came out. *
17.
MARSHALL
It's a lot of money, Pam.
PAMELA
We're talking raw, unprocessed KGB files. *
It's not something we can go out and *
comparison shop. *
MARSHALL *
Still... *
PAMELA *
For a thief. A mole. I ve tted the *
sou rce, Marty. He's real. If it does *
not hing more than narrow th e list of *
sus pects, it's a bargain at ten times the *
pri ce. *
MANDARIN #1 *
Pamela, Jack Weller here. It's the *
quality that's at issue... *
PAMELA *
Yes, sir. I 'm in total agr eement. If *
they're fake s, they're expe nsive. *
(furio us, impatient) *
Gentlemen, I 've got the sel ler on site and *
in play. Qu ite honestly, t here's not much *
more to talk about. *
MARSHALL looks to his MANDARIANS. Not convinced, but *
doesn't want to lose the opportunity. Time to wash his *
hands. *
MARSHALL *
All right Pam, your game, your call... *
77 *
77 DELETED
78 INT. BERLIN HQ/COMMAND POST -- NIGHT 78
All eyes on PAMELA as she puts down the phone to Langley.
Nodding to CRONIN. Yes.
CRONIN/RADIO
"Final Green. You are go. Repeat, you
are go for Final Green."
18.
79 INT. GLASS OFFICE BUILDING LOBBY -- NIGHT 79
VIC has just passed muster with The Security Guard, he's
standing alone at AN ELEVATOR BANK.
VIC/RADIO
(sleeve mike, earpiece)
"On my way up."
VIC pulling his earpiece. Going dark. Waits for an
elevator. *
A80 INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT A80
Dark. A small room full of wiring and infrastructure, lit
by the glare of someone's MAG-LIGHT.
GLOVED HANDS quickly pass over racks of gear and wiring and
then stopping at -- the main electrical risers.
They carefully place an EXPLOSIVE DEVICE -- no bigger than
a pack of cigarettes -- onto the main riser...
Done with that, here comes A SECOND SMALL EXPLOSIVE DEVICE -
- but this one's special, it's being taken from A
PLASTIC BAG and mounted down by the floor on a sub-panel --
Done, the hands hold up what looks like a piece of tape.
It bears a FINGERPRINT. As the tape is pressed down,
transferring it onto the charge --
80 INT. GLASS OFFICE BUILDING ELEVATOR -- NIGHT 80
VIC alone wit h THE SAM PLES CASE. Pre ssing the button for
#9, the top f loor. Th e doors close. The car
ris es...2...3 ...4...5. ..6... And the n, it stops. VIC
bra cing himse lf, as th e door opens an d --
IVAN -- Russian -- the guy we saw outside with the
briefcase -- standing in an empty, darkened hallway.
IVAN
Show me.
VIC
Here?
IVAN
(holding open the door)
Now. Show now.
19.
VIC flips open the case. CASH. Three million dollars.
81 INT. GLASS OFFICE BUILDING CORRIDOR -- NIGHT 81
A GLASS DOOR. A suite of offices beyond. Clean.
Anonymous. One light on deep inside...
CASPIEX-PETROLEUM
Cherbourg -- Moscow -- Rome -- Tehran
82 INT. CASPIEX OFFICE -- NIGHT 82
Curtains drawn. Lights low. IVAN sitting with THE SAMPLES
CASE, counting the cash. VIC poring over --
RUS SIAN DOCUM ENT FILES. Dozens of KGB files. Old and new. *
Spr ead sheets , financial data. Incomprehensibly Cyrillic. *
Mar ked up. B ut judging by the seals and clearance sign- *
off s, all top -secret. *
VIC
This is everything?
IVAN
Is there. Is all there.
Suddenly -- MUSIC -- a radio -- some tinny pop tune just
started playing from somewhere down the hall --
VIC
-- what the hell is that? -- alone --
you said alone --
Both of them sure they're being double-crossed --
VIC (CONT'D) (cont'd)
(reaching for his ankle)
-- who? -- who else is here? --
IVAN
-- no! -- not me! -- no other people! --
VIC
(coming up with a pistol)
-- shut up! -- just shut the --
Freaked by the gun, IVAN to his feet -- VIC pushing him
back as he rushes past -- THE SAMPLE CASE spilling cash and
--
20.
Wrong.
SNA PPH! -- SN APPH! -- SNAPPH! -- SNAP PH! -- SNA PPH! -- f ive
fas t, suppres sed small caliber shots -- VIC fal ls first --
IVA N crashing back acr oss a desk as t he bullets tear int o
him -- both o f them de ad before they hit the fl oor and - -
REVERSE TO FIND
The GLOVED HA NDS unscr ewing a SILENCE R, tucking away the
wea pon. Alre ady in mo tion before we know what' s happened --
pul ling a cli mbing duf fel out from hi s back pac k --
stu ffing in T HE SAMPLE S CASE and IVAN 'S BRIEFCA SE -- all
the files -- all the m oney...
Exc ept, wait. .. He's left out ONE ol d KGB FILE COVER -- and
now he pulls A PLASTIC BAG from his b ackpack -- GLOVED
HAN DS careful ly remove A SINGLE SHEET OF PAPER from insi de
the bag. And this pap er looks exactl y like all the stuf f
he' s just tuc ked away; another page f ull of Cyr illic blu r.
He's putting this sheet of paper inside the file cover.
Now he's slipping them both underneath the desk, tossing
them there as if they fell in the struggle and --
83 INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT 83
The electrical risers -- as ONE OF THE TWO DETONATION
DECIVES BLOWS -- a single, tidy, self-contained explosion
and --
84 EXT./INT. THE GLASS OFFICE BUILDING LOBBY -- NIGHT 84
As the lights flicker and fail and THE NIGHT SHIFT
SECURITY GUARD is suddenly cast into darkness and --
85
85 INT. BERLIN HQ/COMMAND POST -- NIGHT
As they were. Waiting. But only a moment before --
TEDDY/RADIO
(sudde n, urgent)
"Hub? -- we just -- we lost power --
the building ! -- the whole place just
went dark! - -"
CRONIN looking at Pamela -- the first whiff of dread as --
CRONIN
"-- repeat -- who is dark? -- the target
building or your location? --"
21.
RADIO VOICES piling up -- panicked, confusion cascading as -
-
86-87 DELETED 86-87 *
A87,B87 DELETED A87,B87 *
88 EXT. BERLIN NOVATEL/PARKING LOT -- NIGHT 88 *
Anonymous drone barn. KIRILL stepping out of a car. *
He's carrying the duffle. *
89 INT. BERLIN NOVATEL CORRIDOR -- NIGHT 89 *
KIRILL. Heading down the hall. *
90 INT. NOVATEL ROOM -- NIGHT 90 *
KIRILL enters. It's a small room. GRETKOV is waiting. *
He's forty. Professional. Trim and polished. Dominant. *
GRETKOV *
(Russian) *
(You're early) *
KIRILL
(You're complaining?)
GRETKOV *
(It's clean?) *
KIRILL *
(Would I bring it?) *
GRETKOV taking over now. Tosses some money on the bed, *
checks out the photocopy of the files. *
GRETKOV
(What are you doing?)
KIRILL stripping quickly -- *
KIRILL *
(I'm taking a shower, it's been a long *
day.) *
GRETKOV *
(Make it fast, my plane is waiting) *
22.
GRETKOV dumping three million dollars over the bed as *
KIRILL sheds his clothes, and we -- *
DISSOLVE TO:
A90 EXT. THE BRIDGE -- GOA -- DAY A90
WORKMEN cluster as a cable winches --
The JEEP is raised from the river bottom. As water pours
off of it --
BOURNE -- Watching -- From a distance -- Empty --
CUT TO:
B90 EXT. BERLIN OFFICE BUILDING -- DAY B90 *
Crime scene. POLICE blocking OFFICE WORKERS from getting *
in the building. MEDIA vans clogging the street.
PAMELA and CRONIN, across the street, watching.
The mood is black. Ashes.
PAMELA
We need to get in there.
CRONIN
I'm working on it.
PAMELA stands there. Silent. Staring at the disaster
across the street.
91-92A
91-92A DELETED
A93
A93 INT. SHACK -- GOA -- DAY
BOURNE is bailing.
Exfil procedure, but this is a heartbroken exfil.
-- A FOOTLOCKER open. Bourne's main stash.
BOURNE going through the footlocker. Setting aside his
'work clothes' -- other things he needs.
But he also has to separate.
23.
A GROWING PILE of Marie memories: Bank cards. Phony
student IDs. Loose passport photos with a mix of looks and
hair-dos. Clothes -- vacuum-packed bags -- spare shoes. *
B93 EXT. NEAR THE SHACK -- DAY B93
Ag asoline-st oked FIRE burning in a r ock-lined pit. BOURNE
fee ding his p apers and all of Marie's belonging s into the
fir e. A pass port cove r crinkles back to reveal her photo.
Her face begi ns to bur n. Gas-soaked clothes to ssed in.
Not hing left except --
The PHOTOGRAPH -- the picture of he and Marie at the beach.
The one from his desk.
BOURNE hesitates, holds the photo out to the flames. The
rules of exfil say drop it -- but he can't -- won't --
He reaches to his bag, sticks the photo on top of his gear.
Then, hefting, the bag, BOURNE strides away. *
93 INT. BERLIN HQ COMMAND POST -- DAY 93
A folding table covered with XEROXED BERLIN POLICE *
PAPERWORK. PAMELA getting a show-and-tell from CRONIN *
and TEDDY. *
CRONIN
-- so there were two of the se explosive
charges plac ed on the power lines. One of *
them failed. The fingerpri nt... *
(Pamel a's got it)
That's from the one that di dn't go off.
PAMELA
And the Germans can't match it?
TEDDY
Nobody's got it. We checked every
database we could access. Nothing.
CRONIN
Show her the other thing.
TEDDY
This is a KG B file that must've fallen
somehow and then slipped under, I guess, a
desk there, or...
(handi ng it to her--)
24.
PAMELA
Do we know what this says?
TEDDY
Yup...
(a scrap of paper)
The main word there, the file heading,
translates as: Treadstone.
PAMELA
What the hell is a "Treadstone?"
CRONIN shaking his head. Nobody knows.
CUT TO:
C93 EXT. INDIA COUNTRYSIDE -- DAY C93
BOURNE bouncing around on an old Punjab BUS. Alone in a
crush of humanity.
Going only God knows where...
CUT TO:
94-96 DELETED 94-96
A97 EXT. CIA HEADQUARTERS -- LANGLEY, VIRGINIA A97
PAMELA'S POV as she drives toward the entrance.
C.I.A. HEADQUARTERS VIRGINIA *
97
97 INT. C.I.A. HEADQUARTERS -- DAY
A long, bright, sterile hallway. PAMELA and CRONIN walking
briskly alongside A UNIFORMED S.P.S. OFFICER.
98 INT. C.I.A. ELEVATOR -- DAY 98
PAMELA and CRONIN watching THE S.P.S. OFFICER unlock the
operation panel. Coding in. They begin to descend and --
25.
99 INT. DIFFERENT C.I.A. CORRIDOR -- DAY 99
Drab and desolate. PAMELA and CRONIN come around a corner, *
walking with A NEW ESCORT OFFICER. Passing a sign that *
reads: *
Operations Library Center.
100-102 DELETED 100-102
103 INT. SECURED READING ROOM #63171 -- DAY 103 *
Sea led, tripl e-locked NUMBERED DOOR. It swings open.
Lig hts flicke r on. To ns of shit pack ed away in here.
She lves bulgi ng. Boxe s. Tapes. Bin ders. Har d drives.
PAM ELA steps in. A HU GE FILING CABIN ET labeled --
TREADSTONE
PAMELA/PHONE (OVER)
Ward?
ABBOTT (OS)
Yes?
PAMELA/PHONE
Pamela Landy.
103A-104 DELETED 103A-104
105 INT. ABBOTT'S OFFICE/C.I.A. HEADQUARTERS -- DAY 105
WARD ABBOTT at his desk. The cluttered clubhouse HQ of a
man who's spent the last thirty-five years in the spy game. *
A PICTURE WINDOW offers a commander's view of the BULLPEN.
ABBOTT/PHONE
What can I do for you, Pam?
PAMELA/PHONE
I was hoping you had some time for me.
ABBOTT/PHONE
Time for what?
PAMELA/PHONE
I'm free right now actually.
26.
ABBOTT/PHONE
That sounds ominous. Let me check my
schedule.
ABBOTT holds the phone. Eyes drifting out the window and --
ABBOTT'S POV
THE BULLPEN. CRONIN i s standing with DANIEL ZO RN, one of
Abb ott's trus ted #2s. Clearly ZORN i s getting the less
pol ite versio n of Pame la's invitation . ZORN ma naging to
sho ot a quick , questio ning glance to Abbott as --
106 INT. C.I.A. INTERVIEW ROOM -- DAY 106
A cold room. Desk. Two chairs. ABBOTT and PAMELA alone.
PAMELA
Treadstone.
ABBOTT
Never heard of it.
PAMELA
That's not gonna fly.
ABBOTT
With all due respect, Pam, I think you
might've wandered a little past your pay-
grade.
She has a piece of paper. She slides it forward.
PAMELA
Tha t's a warrant from Director Marshall
gra nting me unrestricted access to all
per sonnel and materials associated with
Tre adstone.
ABBOTT rocked and trying to hide it.
ABBOTT
And what are we looking for?
PAMELA
I want to know about Treadstone.
ABBOTT
To know abou t it?
(almos t amused)
It was a kil l squad. Black on black. *
Closed down two years ago. *
(MORE)
27.
ABBOTT (CONT'D)
Nobody wants to know about Treadstone. *
Not around h ere. *
(the w arrant)
You better t ake this back to Marty and
make sure he knows what you're doing.
PAMELA
(trump card)
He does. I've been down to the archives.
I have the files, Ward.
107 DELETED 107
A107 EXT. BAY OF NAPLES -- LATE AFTERNOON A107
A hard working port. A big MEDITERRANEAN FERRY coming in.
NAPLES
FERRY -- BOURNE at the rail. Unchanged from India.
Staring ahead as Europe looms.
B107 EXT. FERRY DOCK -- LATE AFTERNOON B107
BOURNE disembarking to an immigration queue. Looking
unremarkable. Just one of many passing through.
108 INT. C.I.A. INTERVIEW ROOM -- DAY 108
As they were. ABBOTT watching PAMELA pull a photo from her
file. Sliding it over. CONKLIN'S FACE peering back.
PAMELA
Let's talk about Conklin.
ABBOTT
What are you after, Pam? You want to fry
me? You want my desk? Is that it?
PAMELA
I want to know what happened.
ABBOTT
d? Jason Bourn e happened.
What happene
(fury focusing)
You've got t he files? Then let's cut the *
crap. It we nt wrong. Conk lin had these *
guys wound s o tight they we re bound to
snap.
(MORE)
28.
ABBOTT (CONT'D)
Bou rne was h is number one - - guy went out
to work, scr ewed the op and never cam e
bac k. Conkl in couldn't fix it, could n't *
fin d Bourne, couldn't adjus t. It all went
sid eways. F inally there we re no opti ons *
lef t.
PAMELA
So you had Conklin killed.
(silence)
I mean, if we're cutting the crap...
ABBOTT
I've given t hirty years and two marri ages
to this agen cy. I've shove led shit o n *
four contine nts. I'm due t o retire n ext
year and bel ieve me, I need my pensio n,
but if you t hink I'm gonna sit here a nd
let you dang le me with this , you can go to
hell. Marsh all too.
(flat)
It had to be done.
PAMELA
And Bourne? Where's he now?
ABBOTT
(shrugs)
Dead in a ditch? Drunk in a bar in
Mogadishu? Who knows?
PAMELA
It hink I do . We had a dea l going down
in Berlin la st week. Durin g the buy,
both our Fie ld Agent and th e seller were
killed. We pulled a finger print from a *
timing charg e that didn't g o off.
(beat)
They were ki lled by Jason Bourne.
ABBOTT hesitates. Blindsided. What?
A courtesy knock at the door.
CRONIN
(appearing in the doorway)
They're ready for us upstairs.
109-114
109-114 DELETED
29.
A115 INT. FERRY BUILDING CUSTOMS HALL -- SUNSET A115
Now at the IMMIGRATION OFFICER booth, BOURNE hands over an
OLD BLUE PASSPORT. It reads, JASON BOURNE. What's he up
to? Is he giving up?
IMMIGRATION OFFICER
(Where you coming from, Mr.
Bourne?)
BOURNE
(Tangiers)
The OFFICER runs the CODE on the passport through the
SCANNER.
115 INT. INTERPOL MONITORING STATION -- MADRID -- SUNSET 115
A TECH turns as a COMPUTER ALARM begins an incessant
BEEPING.
THE SCREEN
As Jason Bourne's PASSPORT DATA begins scrolling through.
A sleeper waking up on the grid. Then his PHOTO.
WORK STATION
As an Interpol SUPERVISOR leans in over the TECH'S shoulder
to see what's up. After a beat...
As the TECH begins typing and hits send...
INT. C.I.A. RELAY STATION -- BETHESDA, MARYLAND -- DAY 116
116
CREWCUT turns from his monitor to his own SUPERIOR as, at
the same time...
117
117 INT. FERRY BUILDING CUSTOMS HALL -- SUNSET
Looking up from his computer, the IMMIGRATION OFFICER
gestures BOURNE to one side.
IMMIGRATION OFFICER
(Sir, would you be so kind as to step
over here, please?) *
30.
BOURNE
(Uh, sure.)
The IMMIGRATION OFFICER comes out of his booth as a
CARABINIERI joins him and they escort BOURNE to a small
room at the side of the CUSTOMS HALL.
IMMIGRATION OFFICER
(Please wait in here.) *
BOURNE scans the hall as he walks, enters room...
PAMELA'S (V.O.)
Seven years ago, twelve million dollars *
was stolen from a CIA account... *
BOURNE takes a seat. CARABINIERI guards the room.
118 INT. C.I.A. SITUATION ROOM -- DAY 118
Same table. More faces. MARSHALL back in the throne. *
ABBOTT, THREE C.I.A. MANDARINS plus THEIR #2'S, and -- *
PAMELA *
...in Warsaw. This is... *
CLICK -- A PHOTO of the man killed in Berlin fills the *
projection screen behind her -- CLICK -- crime scene photo *
of dead body -- CLICK -- "PECOS OIL" logo -- *
PAMELA (CONT'D) *
... Ivan Meve dev -- senior f inancial *
man ager -- w orked for one o f the new *
Rus sian petr oleum companies , Pecos Oil. *
He claimed t o know where th e money landed. *
We believe t his could have only happened *
wit h help fr om someone insi de the *
Age ncy... T his... *
CLICK -- CONKLIN'S PHOTO -- *
PAMELA (CONT'D) *
(placing it on the table) *
...this is Conklin's computer. *
CLICK -- A PHOTOCOPY OF A BANKING CONTRACT -- *
PAMELA (CONT'D) *
... At the ti me of his death, Conklin was
sit ting on a personal account in the
amo unt of se ven-hundred and sixty
tho usand dol lars.
31.
ABBOTT
Do you know what his budget was? *
PAMELA
Excuse me.
ABBOTT
We were throwing money at him. Throwing *
it at him and asking him to keep it dark. *
PAMELA
May I finish? *
ABBOTT
Conklin migh t've been a nut , but he *
wasn't a mol e. You have me his calendar *
for a couple of days, I'll prove he *
killed Linco ln. *
(appea ling to Marshal l)
This is supp osed to be defi nitive?
PAMELA
What's definitive, is that I just lost
two people in Berlin!
ABBOTT
So what's yo ur theory?
(mocki ng her)
Conklin's re aching out from the grave to
protect his good name?
(incre dulous)
The man is d ead.
MARSHALL
(he's heard enough)
No one's disputing that, Ward.
ABBOTT
For crissake, Marty, you knew Conklin.
Does this scan? I mean, at all?
MARSHALL signals for quiet...
MARSHALL
Okay, cut to the chase, Pam. What are you
selling?
PAMELA
I think that Bourne and Conklin were in
business. That Bourne is still involved. *
(MORE)
32.
PAMELA (CONT'D)
And that wha tever information I was going *
to buy in Be rlin, it was big enough to *
make Bourne come out from wherever he's *
been hiding to kill again. *
(to Ab bott) *
How's that s can? *
As the MANDARINS all start talking at once --
ZORN enters. Stands at the head of the table. Tries to *
get their attention. *
ZORN *
Hey... *
(they look up) *
Look, you're not gonna believe this, but *
Jason Bourne 's passport just came on the *
grid in Napl es.
ABBOTT blinks. What? *
119-120 DELETED 119-120 *
121 EXT. FERRY BUILDING CUSTOMS HALL -- NIGHT 121
NEVINS. American. A junior, C.I.A. Field Officer.
Walking from the parking lot, talking on his cellphone.
NEVINS
...what can I do? I can't. I'll call you
when I know what I'm into...
(a has sled pause)
I don't know , some guy's name came up on
the computer .
(start ing toward the
build ing)
So start wit hout me, if I can get there, I
will. Later ...
NEVINS hangs up and pockets the phone. He hustles towards
the building.
122 INT. CIA SITUATION ROOM -- DAY 122
The room is jumping. Agents tracking, working the phones
and computers. PAMELA giving orders. ABBOTT watches.
33.
CRONIN *
(looks up from computer *
screen) *
Looks like he's been detained. *
PAMELA *
Who's going? Us? *
CRONIN *
There's only a Consulate, they sent a *
field officer out half an hour ago -- *
PAMELA *
(cuts him off) *
Then get a number, they need to know who *
they're dealing with. *
CRONIN already on it... *
123 INT. FERRY BUILDING HOLDING ROOM -- SUNSET 123
As NEVINS flashes his credentials to CARABINIERI at door,
who gives an unimpressed shrug and lets him in.
NEVINS takes his overcoat off, tosses it on the empty
chair. We see a big ass .45 for just a second under his
suit jacket.
NEVINS
Alright, Mr. Bourne, is that your name?
(BOURN E nods)
Name's Nevin s. I'm with the US Consulate.
Could I see your passport?
BOURNE, silent, hands over his passport.
NEVINS (CONT'D)
So, Mr. Bourne...
NEVINS studies Bourne's passport...
NEVINS (CONT'D) *
What are you doing in Tangiers?
Silence... *
NEVINS (CONT'D)
(faux friendly)
Are you travelling alone? *
34.
BOURNE stares straight ahead. NEVINS comes around the *
table and sits in front of BOURNE. *
NEVINS (CONT'D) *
(in his face) *
Look, I don't know what you've done. *
But, you're gonna need to play ball here. *
NEVINS cell starts to ring. He shrugs an apology, turns *
away and answers: *
NEVINS (cont'd) (CONT'D) *
Nevins... *
PAMELA/PHONE *
This is Pamela Landy, a CI Supervisor *
calling from Langley, Virginia. Are you *
with a Jason Bourne now? *
NEVINS
(listens; looks at Bourne)
Yes...
A123 INT. CIA SITUATION ROOM -- DAY A123 *
PAMELA on the phone. *
PAMELA *
Then use extreme caution. He can be very *
unpredictable and violent. Use whatever *
means necessary to... *
123 INT. FERRY BUILDING HOLDING ROOM -- SUNSET 123
Whatever Nevins is being told, it's concerning. BOURNE
watching him. Knows exactly what this is.
CLOSE ON NEVINS as he steps away, listening intently. His
hand just starting to move toward his shoulder holster.
NEVINS (cont'd)
Okay, I'll call you right back.
NEVINS flips shut his phone. He reaches for his gun, even
as he turns, and --
BOURNE is right there in his face. WHUMP! Momentum and
gravity reaching mutual agreement as NEVINS hits the deck.
CARABINIERI barely clears his holster before -- CHOP --
CHOP -- BOURNE has him down in a heap.
35.
BOURNE is back, silent and effective.
Fin ding NEVIN S cellpho ne, BOURNE reac hes into h is bag. He
hol ds the pho ne next t o a larger, dia gnostic MO BILE UNIT --
the "confirm" light bl inks -- Nevins' phone has been
clo ned. BOUR NE puts t he phone back i n NEVINS c oat, takes
his gun and C ARABINIER I'S gun and rad io and put s them in
his duffle. We're sta rting to realiz e there's a plan at
wor k here.
FINALLY
BOURNE -- exits the door, wedging a desk under the handle
so it cannot be opened from the inside and calmly walks
away like nothing ever happened --
124 EXT. NAPLES FERRY BUILDING -- NIGHT 124
And now we see the old BOURNE, in his long black coat,
purposely striding out of the building. He pauses long
enough for the security camera to get a good look at him.
THE RONIN returns.
125 EXT. NAPLES FERRY PARKING LOT -- NIGHT 125
BOURNE crosses the street and approaches a man putting his
suitcase in the trunk of a green Peugeot. BOURNE reaches
into his bag, pulls out some cash.
126 DELETED 126 *
127
127 INT. FERRY/SECURITY HOLDING ROOM -- NIGHT
NEVINS stirring, the CARABINIERI still out. A phone starts
to RING. Nevins' phone. Finally sitting up, he answers.
NEVINS
Hello?
128-129 DELETED 128-129
130
130 INT. C.I.A. SITUATION ROOM -- DAY
PAMELA at the other end of the line.
36.
PAMELA/PHONE
Mr. Nevins?
NEVINS/PHONE
Who's this?
PAMELA/PHONE
Pamela Landy, again. Where do we stand? *
A130 INT. FERRY/SECURITY HOLDING ROOM -- NIGHT A130
Nevins barely knows where he is.
131 EXT. NAPLES STREET -- NIGHT 131
BOURNE sits in the dark car. Headphones. A nest of cool
gadgetry -- on the passenger seat. Listening in -- *
recording --
He writes: Pamela Landy -- circles it.
NEVINS/PHONE
I think... I think he got away. *
PAMELA looks at the faces waiting around the table. Shakes
her head no... *
PAMELA *
Have you locked down the area? *
NEVINS/PHONE
Ah, we're in Italy. They don't exactly *
"lock down" real quick...
INTERCUT -- BOURNE -- NEVINS -- PAMELA --
PAMELA/PHONE
How long have you worked for the agency?
NEVINS/PHONE
Me? Four years.
PAMELA/PHONE
If you ever want to make it to five,
you 're gonna listen to me r eal close.
Jas on Bourne is armed and e xtremely
dan gerous. A week ago, he assassinated
two men in B erlin, one of w hom was a *
hig hly-exper ienced field of ficer... *
(conti nuing as--)
37.
We' re TOTALLY ON BOURNE at this point -- sitting there in
the dark car, struggling to make sense of this -- what the
fuc k is she talking about? -- Berlin? -- He writes it,
cir cles it.
PAMELA/PHONE (CONT'D)
I want that area secured, I want any
evidence secured and I want it done now.
Is that clear?? *
NEVINS/PHONE
Yes, sir -- ma'am...
PAMELA/PHONE
I'm getting on a plane to B erlin in 45 *
min utes, whi ch means you ar e going to call *
me back in 3 0, and when I a sk you where we *
sta nd, I had better be impr essed. My *
mob ile numbe r is... *
BOURNE already turning the key in the ignition -- THE
PEUGEOT ROARING TO LIFE, as he writes the number. *
Dropping the car into gear, BOURNE pulls briskly away from
the curb.
A131 INT. C.I.A. SITUATION ROOM -- DAY A131
PAMELA finishes, hangs up.
ABBOTT *
Berlin! *
PAMELA *
I've already got a team there. I doubt *
Bourne's in Naples to settle down and *
raise a family. *
ABBOTT *
You don't know what you're getting into *
here. *
PAMELA *
And you do? From the moment he left *
Treadstone, he has killed and eluded *
every person that you sent to find him... *
Before it can come to blows --
MARSHALL
(riot act)
Enough. I want both of you on that plane. *
(MORE)
38.
MARSHALL (CONT' D)
And we are - - all of us -- going to d o *
what we were either too laz y or inept to *
do the last time around -- you're goi ng to *
find this so nofabitch and t ake him do wn
before he de stroys any more of this
agency.
(beat)
Is that defi nitive enough for you?
ABBOTT nods. Sharing a look with PAMELA as we --
AA131 INT. CIA HEADQUARTERS HALLWAY -- DAY AA131 *
PAMELA and CRONIN come screaming around a corner and down *
a long corridor, ABBOTT and ZORN trying to keep up. *
CRONIN *
-- Kurt's reopening all the wyfi and sat *
links -- *
PAMELA *
-- uplink al l relevant files to *
Kim -- *
(a loo k back at Zorn) *
-- and I wan t them to contact anyone who *
had anything to do with Treadstone -- *
ZORN looks to ABBOTT, as they disappear around a *
corner... *
B131 EXT. AUTOSTRADA -- NIGHT B131
THE PEUGEOT speeding North -- North towards Germany and --
132
132 DELETED
133 INT. BOURNE'S PEUGEOT -- NIGHT (CONT) 133
BOURNE driving -- listening to playback of Pamela's
conversation with Nevins.
PAMELA/TAPE
"Jason Bourne is armed and extremely
dangerous..."
PAMELA/TAPE (cont'd)
(CONT'D)
"...a week ago he assassinated two men in
Berlin, one a highly..."
A133 SUDDENLY A133
FLASHBACK! -- a shard -- pieces -- lightning flash of
images GETTING IN THE BACK SEAT OF THE CAR -- rolling
BRANDENBURG BERLIN -- A MIRROR -- THE TELEVISION TOWER --
THE DRIVER looks back. We see him. (We'll know him later
as Jarda.) Then -- A STEEL CASE on the backseat. Inside a
SYRINGE, A DARK VIAL, PISTOL. As we lay hands on them --
B133 BACK TO: B133
BOURNE out of it -- jolted! -- almost losing control of the
car for a second -- jerking back into his lane, --
recognition -- toughing it out -- Steady as she goes --
Catching his rhythm again. Accelerating and ---
134 EXT. BAKERY -- PORTOBELLO ROAD -- DAY 134
A BAKERY on the corner. NICKY emerging. Nicky from the
old days. Suddenly, she stops --
ABBOTT stands there beside a parked car. The passenger
door open. Message clear. Get the fuck in.
135 INT. US AIR FORCE BASE, ENGLAND -- DAY 135
Inside a hanger. Inside an office. ABBOTT watching as
CRONIN questions NICKY. PAMELA sits on a window sill.
CRONIN
So your cover at the time was what?
NICKY
That I was an American student in Paris.
CRONIN
What exactly did your job with Treadstone
in Paris consist of?
Nicky looks to Abbott. He nods that it's okay to *
answer. Pamela bristles at the check-off. *
40.
NICKY
Ih ad two re sponsibilities. One was to
coo rdinate l ogistical operations. Th e
oth er was to monitor the health of th e
age nts, to m ake sure they were up to date
wit h their m edications.
CRONIN
Health, meaning what?
NICKY
Their mental health. Because of what
they'd been through. They were prone to a
variety of problems.
PAMELA
(losing patience) *
What kind of problems?
NICKY
Depression. Anger. Compulsive
behaviors. They had physical symptoms --
headaches -- sensitivity to light --
PAMELA *
Amnesia? *
NICKY
Before this? Before Bourne? No.
NICKY gets agitated. ABBOTT steps in, fatherly, good *
cop. *
ABBOTT
Were you familiar with the training
program?
NICKY
The details? No. I mean, I was told it
was voluntary. I don't kno w if that's
true or not, but that's wha t I was told.
(a bit defensive)
Look, they took vulnerable subjects,
okay? You mix that with th e right
pharmacology and some serio us behavior
modification, and, I don't know, I mean,
I guess anything's possible .
ZORN arrives from outside. *
41.
ZORN *
The jet's ready. *
(points to Nicky) *
There's a car for you. *
Everybody moving. NICKY relieved. She's off the hook. *
She thinks. She becomes aware of PAMELA considering her. *
NICKY *
Good luck. *
PAMELA *
You were his local contact. You were *
with him the night Conklin died. You're *
coming with us. *
136 EXT. PRIVATE JET -- DUSK 136
Streaks across the sky.
137 INT. PRIVATE JET -- NIGHT 137
Qui et in the cabin. ABBOTT gets up to use the bathroom. *
PAM ELA sits across from NICKY who stares out the window. *
As the bathroom door clicks shut, PAMELA seizes the *
pri vacy. *
PAMELA *
I'm curious about Bourne. Your *
int erpretati on of his condi tion. *
You have spe cific training in the
ide ntificati on and diagnosi s of
psy chologica l conditions?
NICKY
Am I a doctor, no, but...
PAMELA
Are you an expert in amnesia?
NICKY
Look, what do you want me to say?
I was there. I believed him.
PAMELA
Believed what?
NICKY
I believed Jason Bourne had suffered
a severe traumatic breakdown.
42.
PAMELA
So he fooled you.
NICKY
(frustration building)
If you say so. *
PAMELA
(leans in; still low) *
Not good eno ugh. You're the person who *
flo ated this amnesia story. *
(shift s gears) *
Eve r feel so rry for him? For what he'd
bee n through ?
NICKY
You're making it out like we're friends
here or something. I met him alone twice.
PAMELA
You felt nothing? No spark? Two young
people in Paris? Dangerous missions?
Life and death?
NICKY
(incredulous)
You mean, did I want a date?
PAMELA
Did you?
NICKY
These were killers. Conklin had them all
jacked up. They were Dobermans.
PAMELA
Some women like Dobermans --
NICKY
What do you want from me? I was
reassigned. I'm out. *
PAMELA
See , that's a problem for me, Nicky. *
Wha tever he's doing, we need to end it. *
Thi s isn't the kind of mess you walk away *
fro m. *
PAMELA leans away. NICKY looks back out the window. *
43.
138 EXT. TARMAC -- BERLIN AIRPORT -- NIGHT 138
Three in the morning as the GULF STREAM lurches to a stop.
TWO BLACK SEDANS here for the pickup. TEDDY the greeting
party as --
PAMELA, CRONIN, ABBOTT, ZORN and NICKY disembark --
A138 EXT. BERLIN STREET -- NIGHT A138
The SEDANS making their way, stopping at a non-descript
office building.
B138 INT. BERLIN HQ/COMMAND POST -- NIGHT B138
ELE VATOR opens into their 9th floor world. Emergency
act ivity. KIM ready to debrief, KURT work the computers.
Ene rgy up. PAMELA, ABBOTT and CRONIN bring NICKY into the
roo m.
KIM
-- so far Bourne's had no contact with *
any one on the list -- Langley pulled an *
ima ge out of Naples, it's uploading right
now .
KURT
Coming in now...
Everything stops, as THE PHOTO -- blurry, oblique -- begins
materializing on HALF-A-DOZEN MONITORS around the room.
Suddenly, they're surrounded by Bourne.
PAMELA
(to Nicky)
Is it him?
Looking closer -- she nods...
CRONIN
He's not hiding, that's for sure.
ZORN
Why Naples? Why now?
PAMELA has gone quiet, just staring at the picture, as --
KURT
Could be random.
44.
CRONIN
Maybe he's running.
ABBOTT looks skeptical.
ABBOTT
On his own passport?
KIM
(the image)
What's he actually doing?
CRONIN
What's he doing? He's making his first
mistake...
And then, from behind them --
NICKY
It's not a m istake.
(every one looks over)
They don't m ake mistakes. And they don't
do random. There's always an objective, *
always a tar get. *
(beat) *
If he's in N aples, on his own passport, *
there's a re ason. *
PAMELA turns to ABBOTT. A silent moment between them.
They're in it now and they know it.
C138 EXT. ITALIAN MOUNTAIN HIGHWAY -- NIGHT C138
THE PEUGEOT streaking through the Alps. Passing a sign for
the German border. Moonlit glacial peaks whipping past as
CLUB MUSIC STARTS PULSING LOUDER AND LOUDER and --
D138
D138 INT. THE PEUGEOT -- NIGHT (CONT.)
BOURNE driving hard. Pushing the car through the night.
Mission Bourne. As the MUSIC KEEPS JUST BUILDING AND
BUILDING, taking us into --
139 INT. MOSCOW NIGHTCLUB -- NIGHT 139
Packed and loud. Skin and smoke. A DOORMAN on the move,
taking us with him through THE CROWD. Faces -- voices --
all the Moscow party people and --
AT THE BACK
45.
AV IP BOOTH. KIRILL s imply shitfaced . But in a really
cre epy, numb kind of w ay. THREE WOME N, absolut ely
gor geous, are sitting around him, cha tting away as if he
wer en't even there. T he girls lookin g up to se e --
THE DOORMAN
(standing there)
(Can he walk?)
KIRILL stirs. His stupor a futile attempt to escape. Eyes
still those of an exceptionally hard man.
A minute later. KIRILL can walk. The most graceful drunk
you've ever seen. Making his way through the club. Tuning
out everything but the need to get to THE DOOR and --
140 EXT. MOSCOW NIGHTCLUB -- DAY (CONT) 140
Yes, day. It's nine a.m. KIRILL suddenly in the sunlight.
People going to work. Kids off to school and --
GRETKOV sitting in his Mercedes, not happy.
FOLLOW CAR and SECURITY and ASSISTANT equally unhappy.
GRETKOV
(You told me Jason Bourne was dead.)
KIRILL blinking against the sunlight -- trying to process.
141 DELETED 141
142
142 EXT. ANONYMOUS MUNICH NEIGHBORHOOD -- DAY
Discreet and chilly. A car pulls up. A MAN gets out.
MUNICH
We don't see his face as he heads in.
143 INT. JARDA'S HOUSE FOYER/KITCHEN -- DAY 143
The man enter s. His a larm system -- beep...beep -- starts
onc e he comes through the door. There's A KEYPAD on the
wal l. He ent ers his c ode and the beeping stops. Just like
eve ryday. It 's a sad house.
He hangs his coat on the rack. Moving now --
46.
INTO
THE KITCHEN. He drops his briefcase on the table, opens
the fridge for a drink. Except what he comes out with is --
A GUN!
Wheeling around. The salaryman is JARDA. JARDA from
Bourne's dream. But as he turns --
BOURNE behind him. Bigger gun. Waiting. So ready.
BOURNE
I emptied it.
JARDA
(a total pro)
Felt a little light.
BOURNE
Drop it.
JARDA lets the gun fall, looks his old comrade over a beat.
But Bourne's not interested in a reunion.
BOURNE (cont'd) (CONT'D)
Here...
Bourne tosses him FLEXCUFFS -- JARDA puts his hands behind
his back, turns to let BOURNE cinch them.
BOURNE (cont'd) (CONT'D)
Front. Use your teeth.
JARDA
(caught scamming)
Sorry. Old habits.
Sit.
BOURNE kicks over a chair.
JARDA (CONT'D) *
Word in the ether was you'd lost your
memory.
BOURNE checking JARDA'S briefcase -- tearing through it --
BOURNE
You still should've moved.
JARDA
I like it here.
(a beat)
(MORE)
47.
JARDA (CONT'D)
Last time I saw you was Greece. You had a
good spot.
BOURNE reacts -- doesn't look over -- but realizes...
JARDA (CONT'D) *
I had the gi rl. I had her lined up that
whole aftern oon. Waiting for you, that
was the prob lem.
(defen sive)
You ever do two targets? It's tough.
BOURNE turns. Cold.
JARDA (CONT'D) *
(his real question)
So why didn't you kill me then? *
BOURNE
She wouldn't let me.
(beat)
She's the only reason you're alive.
Silence. JARDA down a peg. Or two.
JARDA
What do you want?
BOURNE
Conklin.
JARDA
He's dead.
BOURNE -- the gun -- right to Jarda's face --
BOURNE
Try again.
JARDA
Shot dead in Paris. Dead the night you
walked out.
BOURNE/PHONE
Then who runs Treadstone?
JARDA
Nobody. They shut it down. We're the
last two. It's over...
(not finishing because--)
-- he's falling! -- landing hard -- BOURNE just kicked the
chair out from under him --
48.
BOURNE
You're lying. If it's over, why are they
after me?
JARDA
I don't know.
BOURNE
Who sent you to Greece?
JARDA
A voice. A voice from the States.
Someone new.
BOURNE
Pamela Landy?
JARDA
I don't know who that is.
BOURNE
What's going on in Berlin?
JARDA
I don't know! Why would I lie?
Silence. BOURNE pulls back. Unsure.
JARDA makes it to his feet.
JARDA (CONT'D) *
What the hell did you do? You must have
really screwed up.
BOURNE doesn't know. He backs off.
JARDA (CONT'D)
She really d id that? Told you not to kill
me?
(beat)
I had a woma n once. But after a while,
what do you talk about? I mean, for us.
The work. Y ou can't tell them who you
are...
BOURNE
I did.
JARDA hesitates. It's really like Bourne just told him how
much he loved her.
JARDA
I thought you were here to kill me.
49.
Something in the way he said it. Plus Jarda just glanced
at his watch.
BOURNE
What did you do?
JARDA shrugs, almost embarrassed. BOURNE looks across to
the alarm pad Jarda hit on the way in. Voltage -- like a
switch.
BOURNE (cont'd) (CONT'D)
You called it in?
JARDA
I'm sorry.
BOURNE
How long? How long do I have --
(stopping because--)
THE PHONE JUST STARTED RINGING -- loud -- insistent --
BOURNE (cont'd) (CONT'D)
How long?
144 INT. DOD RAPID CAR -- DAY 144
Jam ming -- ri ght the f uck into it -- three guys -- JARHEADS
-- DOD Specia l Force d udes -- speeding through MUNICH --
JAR #1 is the driver - - JAR #2 is prepping weapons like a
man iac in the backseat and --
JAR #3
(on the phone)
-- it's a red flag file! -- so fix it,
call them back ASAP! --
JAR #1
(the call)
What? What'd they do?
JAR #3
(bad news)
She called Munich local.
JAR #2
(slamming home another clip)
It's probably just a drill anyway. *
50.
145 INT. JARDA'S HOUSE KITCHEN -- DAY 145
PHONE RINGING -- JARDA in cuffs -- BOURNE scanning out the
windows -- everything fast --
BOURNE
-- car keys?
JARDA
-- my coat -- but we should --
BOURNE
-- what? --
JARDA
-- take the back -- get another car --
BOURNE hesitates -- just a moment --
Wrong.
SLAM! -- out of nowhere -- JARDA swings -- two-hands --
still cuffed -- like a mace -- catching BOURNE hard and --
BOURNE stunned -- JARDA smashing the coffee table, slices
the flexcuffs through on a shard of glass -- Free!
JARDA follows up -- knee up in the ribs -- THE GUN KNOCKED
FREE FROM BOURNE'S HAND! -- skittering across the floor --
BOURNE -- as JARDA starts to move -- backhanding him and --
146 EXT. MUNICH STREET -- DAY 146
TWO MUNICH PATROL CARS rolling and --
147
147 EXT./INT. JARDA'S KITCHEN -- DAY
Seen from inside, glimpsed through the glass outside.
It' s war -- a flat-out , close-quarter death match -- JARDA
old er and cuf fed, but strong and dete rmined -- BOURNE still
ham mered from that ope ning sucker-pun ch -- the two of them
bra ced there -- grappl ing -- falling --
JARDA -- the cuffs -- he's got BOURNE in a choke-hold --
but BOURNE driving his head back -- into JARDA'S FACE and --
148
148 INT. DOD RAPID CAR -- DAY
51.
Jamming along through Munich --
149 INT. JARDA'S KITCHEN -- DAY 149
JARDA -- BOURNE -- THE GUN on the floor -- struggling for
it -- JARDA there first -- BOURNE on him -- pinned there --
four hands, one gun and --
BLAMM!!! -- wild shot -- into the refrigerator --
Still wrestling -- breaking JARDA's nose, until --
The gun knocked away again.
Finally their hands locked into each other's throats. This
is as real and up close as it gets. Until, BOURNE finally
holds dead weight. Eyes fixed. Staring...
BOURNE jumping back. Blood all over his shirt -- BOURNE'S
first kill in a long time. A messy one -- Revulsion.
150 INT. DOD RAPID CAR -- DAY 150
JARHEADS getting close -- but up ahead -- ANOTHER MUNICH
PATROL CAR in motion -- the JARHEADS react -- don't need
or want the company.
151 INT. JARDA'S KITCHEN -- DAY 151
BOURNE -- all business now -- pulling THE STOVE away from
the wall -- there -- THE GAS LINE HOSE -- BOURNE ripping it
free -- gas running wide open into the room --
Nex t -- A FOR K -- grab bing it -- jamm ing it dow n into th e
mec hanism on a TOASTER -- wedging it there -- a nd now he 's
gra bbing PAPE RS -- JAR DA's stuff on t he table - - jamming a
rol l of sales projecti ons into the to aster besi de the fo rk -
-
BOURNE coughing from the gas, turning the toaster on.
Checking his watch.
Taking one last look at JARDA dead on the floor and --
152 *
152 DELETED
52.
153 INT. DOD RAPID CAR -- DAY 153
They're just turning into the street --
154 EXT. JARDA'S STREET -- DAY 154
THE DOD CAR -- THREE DODS approaching the house, when -- *
BOURNE -- same moment -- flying out the rear -- as planned
-- urban backyard exfil -- he's flying and -- Gone.
156 EXT. JARDA'S HOUSE -- DAY 156
Fire -- smoke -- it's all burning now -- MUNICH COPS blown
back -- they'll have a story to tell tonight --
157 INT. BOURNE'S CAR -- DAY 157 *
Drives away past arriving police... *
158-163 DELETED 158-163
164 INT. BERLIN HQ/COMMAND POST -- NIGHT 164
The bullpen is cranking -- phones to Munich -- lines to
Lan gley -- ABBOTT watching from the sidelines -- KURT and
KIM at their work stations -- PAMELA on mobile, turns to
ABB OTT --
PAMELA
So he beats a man within an inch of his *
life, strang les him, then blows the place *
up?
