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The Bourne Supremacy
Compiled from drafts
Dated
7/11/03
9/17/03
10/13/03
By
Tony Gilroy
Dated
11/14/03
11/19/03
By
Brian Helgeland
Based on the novel by Robert Ludlum and
The 2002 Universal Film "The Bourne Identity"
GREEN: 1/ 13/04
YELLOW: 12 /11/03
PINK: 11 /27/03
BLUE: 10 /13/03
WHITE: 9/ 17/03
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.
MARIE smiles.
9 EXT. MAIN STREET -- GOA/BEACHTOWN -- DAY 9
Funky busy. Colonial facades in vivid, sub-continental
technicolor. Loud morning traffic.
CAMERA FINDS
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..."
BOURNE'S FACE -- eyes -- tight -- looking weird --
39.
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 -- *
BOOOOOMM!!! -- JARDA'S KITCHEN -- blown out! -- gone --
155 EXT. JARDA'S BACK DOOR -- DAY 155
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? *
(at Ni cky)
For someone with amnesia, he certainly
hasn't forgo tten how to kill, has he?
Across the room -- CRONIN and TEDDY suddenly excited about
what they're seeing on THEIR SCREEN --
53.
CRONIN
-- hey! -- they've got him boxed in! --
(new data coming up on the
monitor)
Everyone rushing to look. Excited, except --
ZORN
Forget it. They lost him.
TEDDY
What're you talking about? They've got a
three block perimeter.
ZORN
You can't see him? He's not in front of
you? Forget it. He's gone.
CRONIN *
(fuck you, buzzkill) *
It's not gonna be like last time. *
ZORN
You better start listening to someone. *
Cause we've been there. *
ABBOTT *
Okay, enough... *
(stepping in) *
Take a walk, Danny. Get some air. *
Zorn nods. Happy to. *
NICKY
(piping in)
I don't think we need to keep looking for
him anyway.
PAMELA
And why is that?
NICKY
Because he's doing just what he said he'd *
do. He's coming for us.
And for the first time they're all thinking the same thing.
165
165 EXT. HOTEL BRECKER -- BERLIN -- NIGHT -- RAIN
It is pouring rain. Seen from that Hellish car, A HUGE,
DISTINCTIVE, NEEDLE-LIKE TOWER dominates the skyline,
lights flashing through the dark and wet --
54.
166 INT. THE AUDI/REST-STOP -- NIGHT 166
BOURNE'S EYES OPENING! -- heart pounding -- springing up --
alone -- damn, his side hurts -- recoiling from that --
where is he? -- he's in the car -- looking around and --
HIS WINDSHIELD POV
AN AUTOBAHN REST-STOP. Gas station. Sleeping trucks.
BACK TO
BOURNE catching his breath -- shifting away from the pain
in his rib -- checking his watch -- but what the hell is
that on his sleeve? -- fuck, it's BLOOD -- JARDA's blood --
167 EXT. AUTOBAHN REST-STOP -- NIGHT 167
BOURNE out of the car fast -- careless -- wrong -- not even
checking who's watching -- pulling off the shirt -- tearing
it off -- throwing it down and --
Standing there. In the weird light. A big bruise ripening
on his side. Looking around.
It's okay. Nobody's watching. But, shit, man...
Get it together.
A167 INT. PEUGEOT -- AUTOBAHN -- NIGHT A167
Streaking along. BOURNE back to his mission.
B167
B167 EXT. AUTOBAHN -- NIGHT
Berlin 75 KM.
Roaring by a SIGN:
168 INT. MOSCOW AIRPORT -- NIGHT 168
KIRILL striding through the terminal. Moving quickly
toward a departure gate and --
THE CAMERA FINDS
GRETKOV above. Watching him go.
55.
169 EXT. BERLIN TRAIN STATION -- DAWN 169
BOURNE drives up.
170-178 DELETED 170-178
179 INT. BERLIN TRAIN STATION -- DAWN 179
Quiet and forlorn this early. Just like BOURNE who's
taking A LOCKER. Stashing A BACKPACK. Prepping the evac.
Always ready. He heads outside, we hear:
HOTEL OPERATOR #1 (V.O.)
(front desk German)
(Berlin Hilton, how can I help you?)
BOURNE/PHONE (V.O.)
(I'm trying to reach a guest, Pamela
Landy, please.)
HOTEL OPERATOR #1 (V.O.)
(I'm sorry but I'm not showing that we
have a guest by that name.)
(continuing as--)
A179 INT. BERLIN TRAIN STATION PHONE KIOSK -- DAWN A179
BOURNE tucked in with a BERLIN GUIDE BOOK, a felt tip pen,
and a Fifty-Euro phonecard. Working it.
BOURNE/PHONE
(Pamela Landy, please)
HOTEL OPERATOR #2
(Sorry, I don't see it here.)
Crossing out another Hotel off the list -- four down, forty
to go -- as we start TIME CUTTING and...
HOTEL VOICES (V .O.)
(overl apping)
(-- no one h ere by that nam e --)
(-- no, sir, there's no Lan dy here --)
(-- how are you spelling th at, sir? --)
(-- sorry, b ut no --)
(-- I have n o Landy registe red, sir --)
(conti nuing, until--)
56.
B179 INT. PAMELA'S HILTON HOTEL SUITE -- DAWN B179
Clean and plain. A bed nobody's slept in. THE PHONE
begins ringing. PAMELA, fresh from the shower, rushing out
from the bathroom to answer it --
PAMELA/PHONE
Hello --
Dial tone. PAMELA hangs up. That was strange --
C179 EXT. BERLIN STREETS/ALEXANDERPLATZ -- DAWN C179
A TAXI driving through the empty early streets and --
D179 INT. BERLIN TAXI -- DAWN (CONT) D179
BOURNE in the backseat. Staring out the window and --
HIS POV
THE FERNSEHTURM looming as they pass, the Berlin TV Tower.
That needle in the sky. From the flashback. And then --
E179 SUDDENLY E179
FLA SHBACK! -- it's rai ning -- we're s till movin g -- still
in a car -- s till near Alexanderplatz , but sudd enly it's
pou ring outsi de -- tur ning back, we r ealize we' re not in
the cab anymo re -- the re's A DRIVER u p front, a nd beside
him ...
CONKLIN! -- yes, Conklin -- he's in the passenger seat --
turning back to us -- handing us something -- A PHOTOGRAPH --
a face -- some guy --
CONKLIN
Neski. Vladimir Neski...
(the photo)
He's at the Hotel Brecker. Get the *
papers. *
(beat)
Say it.
BOURNE -- Treadstone Bourne -- alone in the back -- staring
at the photo --
BOURNE
Neski. Hotel Brecker. Papers. *
57.
CONKLIN
This is not a drill, soldier. We're clear
on that? This is a live project and you
are go. Training is over.
BOURNE
Yes, sir.
CONKLIN
Good, then g imme the damn picture back.
(takin g it)
See you on t he other side.
(to th e driver)
Pull over, h e's getting out.
F179 BACK TO F179
BOURNE sitting in the back seat of the cab. Frozen there.
Rocked. What's happening to him? No chance to work it
out, because the taxi's stopped and --
TAXI DRIVER
(waiting; irritated)
(The Hotel Brecker or the Grand?, make up
your mind.)
BOURNE
(What?)
TAXI DRIVER
(This is the Westin Grand. You just said
Brecker.)
BOURNE
(fishing for money)
(Yeah. Sorry. This is good.)
INT. BERLIN WESTIN GRAND HOTEL LOBBY -- EARLY MORNING G179
G179
Concentric rings looking down on each other. BOURNE
slipping in unnoticed, taking a quick look up before
moving along.
H179 INT. HEALTH CLUB -- GRAND HOTEL -- DAY H179 *
BOURNE stepping up to the GUY behind the desk. The gym *
mostly empty. *
BOURNE *
Hi. I think I left my backpack here *
yesterday. Black, Nike. *
58.
The guy disappears in back to check. *
BOURNE leans across the counter, scrolling the COMPUTER -- *
the guest list -- his finger stabbing down on... *
SCREEN: Landy, Pamela 413.
BOURNE clears the screen, walks away.
J179 INT. CONCENTRIC RINGS -- GRAND HOTEL -- DAY J179
Because of the set-up, Bourne, pretending to talk on a
house phone, has a view of ROOM 413 across the way. The
door opens, PAMELA exits, carrying an overnight bag -- *
BOURNE watches.
K179 INT. LOBBY -- THE GRAND -- DAY K179
ELEVATOR DOORS OPENING. PAMELA coming out into the lobby.
Heading toward the exit and --
L179 EXT. GRAND HOTEL ENTRANCE -- EARLY MORNING L179
A BLACK SUBURBAN at the curb. CRONIN standing there *
waiting, as she emerges --
PAMELA
Anything?
TEDDY
No. Munich's a bust. He's loose. *
PAMELA *
Are we locked up? *
CRONIN *
I told everyone they had an hour -- eat, *
sleep, shave, whatever they want, but *
once we're back, we're back for good. *
As they pile in, and -- *
THE CAMERA FINDS
BOURNE walking right past them -- he's got the whole thing
scoped -- heading quickly across the street and --
59.
M179 EXT. HILTON HOTEL TAXI STAND -- EARLY MORNING M179
BOURNE jumps into the first cab in the rank and --
N179 INT. BERLIN TAXI #2 -- EARLY MORNING (CONT) N179
THE DRIVER starting up the car, as --
BOURNE
(That black SUV. Fifty Euros if you keep
me close.)
THE DRIVER smiles and --
179I pt. INT. BERLIN AIRPORT HOTEL -- EARLY MORNING 179I pt.
KIRILL walks down the same hallway Gretkov came to meet him
last time.
A GUY carrying a briefcase toward him. Stopping for a
moment to light a smoke. Letting KIRILL take charge of the
briefcase. Smooth. Like it never happened --
180 EXT. BERLIN HQ/COMMAND POST -- DAY 180
The SUV rolling up. The CAB continuing past and stopping
at the corner.
A180 INT. CAB -- DAY A180
BOURNE looking back out the rear window.
HIS POV
As they pile out of the van, start inside. Acknowledged by
a SECURITY DETAIL pretending to loiter outside. As we
hear:
PAMELA (VO)
-- Munich to Berlin, check everything --
flights -- t rains -- police reports --
that'll be B ox #1, Teddy that's yours --
(conti nuing as--)
60.
179I pt. INT. BERLIN HOTEL ROOM -- DAY 179I pt.
KIRILL opening the briefcase. TWO AUTOMATIC PISTOLS.
SILENCERS. AMMO. Care package.
181 EXT. BERLIN ROOFTOP -- DAY 181
A bulkhead opening. BOURNE stepping out among the
satellite dishes. Unpacks a bag: telescope, water, food,
and we hear:
PAMELA (VO)
-- Box #2, c all it Prior Ge rman
Con nections -- Nicky, I wan t to re-run all
Bou rne's Tre adstone materia l, every
foo tstep -- Kim, Box #3 -- let's call it
Mun ich Outbo und --
(conti nuing as--)
182 INT. BERLIN HQ/COMMAND POST -- DAY 182
We' ve been he aring it, now we're seei ng it: PAM ELA at the
cha lkboard -- ABBOTT b acking her up - - everyone else spread
aro und -- the y're re-g rouping -- urge ntly -- be hind them *
cot s are bein g set up -- food, water stacked up -- *
PAMELA
-- let's sta y on the local cops, we n eed
av ehicle -- parking ticket -- someth ing --
Lan gley's of fered to upload any satel lite
ima ging we n eed, so let's f ind a targ et to
loo k for.
(to Zo rn)
Dan ny, Box # 4 -- I need fre sh eyes --
rev iew the b uy where we los t the three
mil lion -- t imeline it with what we know
abo ut Bourne 's movements. Turn it upside
dow n and see how it looks - -
(conti nuing as--)
183 EXT. TELESCOPIC POV -- DAY 183
Ad ecent view into the Berlin HQ. Tw o windows. One offers
al ook at an empty kit chenette. The other, a n ice shot of
the bullpen a rea. It looks like they are in fo r the long *
hau l. There' s TEDDY p acing past...a glimpse of ZORN *
con ferring wi th ABBOTT ...now KIM talk ing on the phone.
61.
184 EXT. BERLIN ROOFTOP -- DAY 184
BOURNE -- eyes locked on the target. Scanning. Waiting.
And then, something changes. Suddenly, there's something
down there that's clearly a great deal more electric than
what he's seen so far --
A184 TELESCOPIC POV A184
NICKY! -- she's just come into the kitchenette -- pouring
herself a cup of coffee. Nicky who he knows. And --
BOURNE lowering the telescope. Yes. Now he's getting
somewhere. Thinking it through, as --
185 DELETED 185 *
186 INT. KITCHENETTE -- BERLIN HQ/COMMAND POST -- DAY 186
NICKY is joined by PAMELA who goes for the coffee.
PAMELA
Is it fresh?
NICKY
It's got caffeine in it. That's all I
know.
Before PAMELA can pour, her cell phone rings. She *
answers. *
PAMELA
Pamela Landy.
BOURNE/PHONE
I was at the Westin this morning. I could *
have killed you. *
PAMELA
Who is this?
INTERCUT WITH ROOFTOP
BOURNE *
It's me. *
PAMELA
(Holy Christ)
Bourne?
62.
NICKY reacts to the name. Runs to the other room to try
and start a trace.
PAMELA (cont'd) (CONT'D)
What do you want?
BOURNE
I want to come in.
He wants to come in! -- it's like a bomb going off -- NICKY
back in with Conklin -- PAMELA waving for a pencil.
PAMELA
Okay, how do you want to do it? *
BOURNE
I want someone I know to take me in. *
PAMELA
Who?
BOURNE
There was a girl in Paris. Part of the
program. She used to handle the
medication.
AND NOW WE STAY WITH
PAMELA -- her eyes flicker over to NICKY.
PAMELA
What if we can't find her?
BOURNE/PHONE
It's easy. She's standing right in front
of you.
Busted. *
PAMELA *
Okay, Jason, your move. *
BOURNE *
Alexanderplatz. 30 minutes. Under the *
World Clock. Alone. Give her your *
phone. *
Click. The line goes dead -- Pamela steps away from the *
window, realizing he's on one of the roofs out there! *
63.
A186 EXT. BERLIN ROOFTOP -- DAY A186
As the bulkhead door swings in the wind -- BOURNE is gone.
B186 INT. BULLPEN -- BERLIN HQ/COMMAND POST -- DAY B186
Everyone gathered. A big, detailed MAP of ALEXANDERPLATZ *
spread on the table.
ZORN *
Here's the clock -- shit -- he's put her *
in the middle of everything. *
CRONIN *
-- it's a nightmare -- we'll never get her *
covered. *
ABBOTT
Call a Mayday into Berlin station. We
need snipers, DOD, whatever they got.
PAMELA
Snipers? Hold on -- he said he wants to *
come in.
ABBOTT
My ass he do es. You're pla ying with fire,
Pam ela. Mar shall said nail him to the *
wal l. I don 't know how you interpreted *
tha t, but I don't think he meant *
rep atriate h im. *
PAMELA
Don't you want answers?
ABBOTT
There are no answers. Ther e's either
Jason Bourne alive or Jason Bourne dead.
And I for on e would prefer the latter.
And what abo ut her?
(point s to Nicky)
You just sen d her out to th is lunatic with
no protectio n?
PAMELA looks to NICKY.
PAMELA
What do you think? Is he coming in?
64.
NICKY
I don't know. He was sick. He wanted
out. I believed him. *
PAMELA
Alright...
PAMELA gestures to ABBOTT, CRONIN, TEDDY.
PAMELA (CONT'D) *
...make the call. Get a wire on her. If *
it starts to go wrong, take him out.
187 DELETED 187 *
A187 EXT. BERLIN STATION/MOTORPOOL -- DAY A187
The rear of THE OFFICIAL BERLIN C.I.A. HQ -- and here they
come -- TEN DELTA DUDES in civvies, sprinting to A COUPLE
VEHICLES with DRIVERS ready and engines running and -- *
B187-C187 DELETED B187-C187 *
D187 INT. BULLPEN -- BERLIN HQ/COMMAND POST -- DAY D187
NIC KY, her ha nds overh ead as -- ZORN tapes a TRANSMITTER
and BATTERY b etween he r shoulder blades -- TEDDY and CRONIN *
plo t the area with TWO MEN plainclothed DELTA TEAM -- KIM *
and KURT on t heir own lines. *
KIM *
(this just in) *
They got the number. Bourne's calls came *
from Nevins' phone. The field agent in *
Genoa. *
TEDDY *
Nevins is Bourne? *
ABBOTT *
(losing it) *
Are you an idiot?! Bourne must've cloned *
his phone! *
An embarrassed silence. Abbott mad at himself for losing *
his temper -- looking up to find Pamela's eyes on his. *
ABBOTT (cont'd) (CONT'D) *
I hope you know what you're doing -- *
65.
E187-F187 DELETED E187-F187 *
G187 EXT. ALEXANDERPLATZ -- DAY G187
In all its vastness -- Alone -- there's the WORLD CLOCK -- *
NICKY waiting on the periphery, TWO PLAIN-CLOTHED DELTAS
nearby.
IN QUICK SUCCESSION -- NICKY -- BINOCULAR POV -- SNIPER
SCOPE POV -- on a VIDEO MONITOR.
H187 INT. BULLPEN -- COMMAND POST -- DAY H187 *
Everyone waiting. Holding their breath. Watching NICKY *
standing as... *
J187 EXT. ALEXANDERPLATZ -- WORLD CLOCK -- DAY J187
NICKY'S (Pamela's) PHONE rings. She answers as a yellow *
TRAM approaches... *
BOURNE *
See that tram coming around the corner? *
NICKY *
Yes. *
BOURNE *
Get on it. *
She turns and walks as the TRAM arrives. The DELTA DUDES *
start moving... *
K187 *
K187 EXT. ALEXANDERPLATZ -- DAY
The yellow TR AM arrive s. NICKY enter s. One of the DELT A *
DUD ES just ba rely join ing her. The T RAM begins moving. *
NIC KY looks a round ner vously. Nothin g happens. The TRA M *
mov es about 5 00 yards across the PLAT Z. Stops at the ne xt *
sto p. People get on a nd off. NICKY and DELTA DUDE rela x *
ab it. Doors begin to close. *
And just like that, BOURNE swoops in beside NICKY! Flashes *
a gun. *
BOURNE *
Walk. *
66.
BOURNE takes her arm and they just get off as the doors *
close leaving the DELTA DUDE behind. They disappear down *
into the PEDESTRIAN SUBWAY. *
L187-M187 DELETED L187-M187 *
N187 INT. BULLPEN -- BERLIN H.Q. -- DAY N187 *
A madhouse, a video feed on a monitor.
PAMELA
Where's Nicky?
As they realize she's gone --
ABBOTT
Goddamn it -- I told you.
CRONIN
Listen! Listen!
He cranks the speaker.
BOURNE'S VOICE
What did I say? What did I tell you in
Paris?
O187 DELETED O187 *
P187 INT. PEDESTRIAN SUBWAY -- DAY P187
BOURNE
What were my words?
(but s he can't speak)
Leave me alo ne! Leave me out of it!
But you coul dn't do that, could you?
NICKY
I did...Jason, I swear, I did...I told
them... I told them I believed you...
BOURNE
Who is Pamela Landy?
NICKY
You hear me? I believed you.
BOURNE
IS SHE RUNNING TREADSTONE? *
67.
Q187 INT. BULLPEN -- BERLIN H.Q. -- DAY Q187 *
PAMELA all ears.
NICKY'S VOICE
She's CI. Counterintelligence.
She's a Deputy Director.
BOURNE'S VOICE
What the hell is she doing?
R187 INT. PEDESTRIAN SUBWAY -- DAY R187
NICKY
What's she doing?
Nicky looks at him like he's crazy.
BOURNE
Why is she trying to kill me? *
NICKY
They know!
(defia nt, reckless)
They know yo u were here. T hey know you
killed these two guys. The y know you and
Conklin had something on th e side. They
don't know w hat it is, but they know!
As BOURNE tries to process --
S187 INT. BULLPEN -- BERLIN H.Q. -- DAY S187 *
Radio chatter going wild. Panic.
DELTA V.O.
(into radio)
Where are they? Anyone?
T187
T187 INT. PEDESTRIAN SUBWAY -- DAY
Still walking. BOURNE knowing he must be driving them *
nuts.
BOURNE
How do they know that? How can they know
any of that?
68.
NICKY
What is this, a game?
BOURNE
I want to hear it from you.
She looks at him. Is he crazy? What?
BOURNE (cont'd) (CONT'D)
Say it.
NICKY
Last week an Agency field officer went to
make a buy from a Russian national.
BOURNE
A Russian?
NICKY
It was Pamela Landy's op. The guy was
goi ng to sell-out a mole or something. I
hav en't been debriefed on exactly what it
was .
BOURNE *
Last week? When? *
Is she supposed to answer? -- Nicky shrugs -- on quicksand.
NICKY
And you got to him before we could.
BOURNE
I killed him???
NICKY
You left a p rint! There was Kel that
did n't go of f! There was a partial print,
the y tracked it back to Treadstone! They
kno w it's yo u!
BOURNE
I left a fingerprint! You fucking *
people. *
SUDDENLY --
BOURNE'S jerking her down to a LOWER LEVEL --
69.
U187 INT. BULLPEN -- BERLIN H.Q. -- DAY U187 *
Big static on the speakers. DELTA C.O. cooly checks the
map.
DELTA C.O.
She must be in one of the pedestrian
tunnels.
V187 EXT. ALEXANDERPLATZ -- DAY V187
As DELTA DUDES fan out, head for the subway entrances.
W187 INT. PEDESTRIAN SUBWAY -- SECTION TWO -- DAY W187
An INTERSECTION of THREE TUNNELS.
BOURNE leads NICKY far left. She looks really scared.
188 INT./EXT. BERLIN AIRPORT -- DAY 188
GRETKOV has landed. Just coming off the flight --
189-A189 DELETED 189-A189 *
190 DELETED 190 *
191 INT. PEDESTRIAN SUBWAY -- SECTION FOUR -- DAY 191
BOURNE *
What was Lan dy buying? What kind of *
files? *
(when she doesn't answer *
insta ntly--) *
BUYING? *
WHAT WAS SHE
NICKY
Conklin! Stuff on Conklin!
(trying not to lose it)
Suddenly he rips the microphone out from under her shirt --
he knew of course -- dropping it as he yanks her along.
70.
192 INT. BULLPEN -- BERLIN H.Q. -- DAY 192 *
As the transmission goes dead. Christ... ABOOTT drills a
look at PAMELA. Your fault!
PAMELA *
(ignoring Abbott) *
That phone has a locator on it. *
KURT and KIM work their stuff. *
193 INT. PARKING GARAGE -- DAY 193
Gloomy, deserted. A mausoleum. Here come NICKY and
BOURNE. She knows she's on her own now. BOURNE dead
serious. Looks at his watch. *
BOURNE
Why are you here, then? *
NICKY *
Please -- I'm only here because of Paris -- *
because they can't figure out what you're *
doing -- I'm here because of Abbott -- *
BOURNE *
Abbott? *
NICKY *
He closed down Treadstone -- he took care *
of me after Paris... *
BOURNE *
So when was I here? *
NICKY *
What do you mean? *
BOURNE
For Treadstone. In Berlin. You know my
file. I did a job here. When?
NICKY
No. You never worked Berlin.
BOURNE
My first job. *
NICKY
Your first assignment was Geneva.
71.
BOURNE
That's a lie!
NICKY
(emphatic)
You never worked Berlin...
BOURNE raising the gun -- eyes gone dead -- oh, shit...
NICKY (CONT'D)
No...Jason...please...
BOURNE
I was here!
NICKY
... it's not in the file...I swear...I
kno w your file...your first job was *
Gen eva!...I swear to God you never worked *
her e!... *
He's so ready to kill her. NICKY starting to cry -- hands
over her face -- covering up -- bracing for the bullet she
knows is coming --
BOURNE -- about to pull the trigger --
SUDDENLY
A193 FLA SHBACK! -- a moment -- a shard -- A WOMAN'S FACE -- A193
bac king away -- beggin g -- begging us -- beggin g the camera
-- PLEADING F OR HER LI FE IN RUSSIAN - - this awf ul blur of
des peration a nd panic -- fear -- too fast -- to o panicked --
B193 JAM BACK TO B193
BOURNE swamped -- thrown -- hesitating --
CLOSE ON NICKY
Sobbing now -- when? -- finally looking out, and --
BOURNE IS GONE!
C193 INT. BERLIN HQ/COMMAND POST -- NIGHT C193
An hour later. Whole new vibe. Siege mode. Curtains
drawn.
THREE DELTA DUDES parked around the room. KURT and KIM *
working the phones and screens.
72.
The mood is dark. PAMELA, ABBOTT, CRONIN all in here,
the "safe" zone, away from the windows --
CRONIN
(on a cell phone)
Got it, yeah . Hang on...
(to th e room)
Oka y, they'v e got three guys out front *
and another two taking the back stairs. *
No word on N icky. *
KURT *
(looks up from screen) *
Even if she' s still got your phone, it *
might take a while -- signal's hard to *
trace down t here. *
PAMELA turns, looking at the photo of BOURNE in Naples. *
Introspective. *
PAMELA
So what's he doing? You believe him? *
ABBOTT *
It's hard to swallow. *
(beat) *
The confusio n -- the amnesia -- but he *
keeps on kil ling? It's more calculated *
than sick. *
(real soft sell) *
What about N icky? She's the last one to *
see Bourne i n Paris. She's the one he *
asks for. T hey disappear... *
PAMELA *
Well, whatev er he's doing, I've had *
enough -- th is is now a search and *
destroy miss ion. *
(turns to the room) *
I want the B erlin police fully briefed *
and -- *
(handi ng the photo to Cronin) *
-- get this out to all the agencies. *
ABBOTT agrees...
194 DELETED 194 *
195
195 EXT. BERLIN STREET -- NIGHT
A BMW parked in the shadows.
73.
196 INT. BMW -- NIGHT 196
KIRILL wearing headphones, listening to a BERLIN POLICE
FREQUENCY. There's an INTERPOL "WANTED" PICTURE OF JASON
BOURNE there on the seat. He's in play.
D193 INT. BERLIN HQ/COMMAND POST -- NIGHT D193
Quiet, intense activity. MILITARY RADIOS CHIRPING here
and there.
THE CAMERA FINDS
ZORN moving through the bullpen, carrying a cup of coffee,
heading back toward PAMELA'S OFFICE where --
ABBOTT is leaning in the doorway. Past him, inside, we can
see PAMELA in the midst of a tough phone conversation.
CRONIN and THE DELTA BOSS sitting there with her.
ZORN
(the coffee)
Sir...
ABBOTT
Thanks.
ABBOTT nods. Takes a sip. Looking beat.
ZORN (cont'd)
I have that number you wanted...
ABBOTT hesitates -- but only a moment -- he never asked for
a number. But he's playing along. Looking satisfied as
ZORN hands him a slip of paper.
ABBOTT
(glancing at it)
She say what time I should call?
ZORN
The sooner the better.
ABBOTT nods. Pockets the paper. Turning back, as if it
were nothing and --
E193
E193 INT. BERLIN CYBER CAFE -- NIGHT
Massive. Modern. Busy. BOURNE in the back. In a corner.
74.
Doing a search HOTEL BRECKER 1997-1999. Scrolling. And
then stopping. Freezing. Because...
ON THE MONITOR
A BERLIN NEWSPAPER ARCHIVE. There it is. Written large in
loud, tabloid German:
(OIL REFORMER MURDERED) *
The re's a pho tograph o f the Berlin Po lice carry ing two body
bag s out of t he Hotel Brecker. There 's a capti on
ide ntifying t he dead a s Vladimir and Sonya Nesk i. There's
eve n a long a rticle ac companying all this, but it's in
Ger man and we don't ne ed to read it a nyway, bec ause --
BOURNE is reading it.
And we're reading in his face. That he is rocked. That he
has found another bottom to the abyss.
F193 INT./EXT. GLASS OFFICE BUILDING -- NIGHT F193
Remember the building where Vic was killed? We're back.
ZORN and ABBOTT making their way in. Zorn steering them
away toward a stairwell at the back...
194 INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT 194
ZORN and ABBOTT have snuck in here. Work light. Signs
of repair on the wall.
ZORN
(nervo us)
Id id my box work, but I wa nted to sh ow
you before I showed Landy. I came ou t *
her e last ni ght because non e of this was
mak ing any s ense. I mean, I'm with y ou on
thi s, Conkli n was a nut, bu t a traito r? I
jus t can't g et there.
ABBOTT
What do you have, Danny?
ZORN
(the e lectrical riser )
You put a fo ur-gam Kel on h ere and it's
gon na take o ut power to the building. You
kno w that. What you can't know, is if
it' s gonna b low the room wi th it.
75.
ABBOTT
And?
ZORN
The re were t wo charges, they were supposed
to go off si multaneously. The second one,
the one that didn't go off, was down
her e...
(point ing it out)
Fir st of all , this is nothi ng, it's a sub-
lin e for the breaker above. Second, why
put the char ge all the way down here? If
you 're good enough to get i n here and
han dle the g ear, you're goo d enough to
kno w you don 't need this.
(beat)
Bou rne would know.
ABBOTT
It was staged?
ZORN
Is it a slam dunk? No, but...
ABBOTT
Jesus...
ZORN
(spit- balling)
Oka y. What if someone decided to cover
the ir tracks by blaming Conklin and
Bou rne. Wha t if Bourne didn't have
any thing to do with this?
ABBOTT
Keep going...
ZORN
Something's been going on here in Europe.
And it's still going on. Post Conklin.
Who's been in Berlin?
ABBOTT
Lots of people...
ZORN
Including Landy...
(jumping off the cliff)
She had access to the archives.
ZORN hesitates. But it's out. It's in the room.
76.
ABBOTT
Who else knows about this?
ZORN
Nobody. You.
(he's scared)
I had to tell you, right?
ABBOTT
Show me again...
ZORN
Okay...
(turning away, when--)
ABB OTT -- out of nowhe re -- his hand jamming up into ZORN'S
RIB CAGE! -- m ore than his hand, becau se ZORN'S EYES barely
hav e a moment to regis ter shock befor e they bul ge.
Cle nching the younger man's body, pul ling him c lose, as he
tur ns the kni fe and --
ZORN is dead.
ABBOTT without hesitation. Shifting away from the blood.
Letting the body fall.
ABBOTT standing there. Listening. Checking himself for
blood. He's clean.
Looking for a place to stash the body, as --
A194 EXT. HOTEL BRECKER -- NIGHT A194
BOURNE across the street. Staring at the hotel. Haunted.
As a POLICE SIREN edges closer through the empty streets --
AA194 FLASHBACK! AA194
We are a POV -- a stake-out -- watching the HOTEL across
the way --
The POV checks its watch -- checks the perimeter, the
street deserted, foreboding --
THE HOTEL
Our destiny waiting up there somehow --
-- and suddenly a LIGHT COMES ON -- a terrible signal --
and as the car suddenly lurches forward and around the
corner --
77.
AB194 BACK TO: AB194
BOURNE muscling up his backpack. Heading toward the hotel.
B194 INT. HOTEL BRECKER LOBBY -- NIGHT B194
And hotel. Fusty but comfortable. And busy. GUESTS
and STAFF doing their thing. A CLERK behind the reception
desk.
CLERK
Guten Abend.
BOURNE
(playing it American)
Guten Abend.
CLERK
(switching to English)
Can I help you?
SUDDENLY
BA194 FLASHBACK! -- the lobby, but seven years ago -- BA194
across the room -- A MAN buttoning a raincoat as he
passes -- NESKI! --
BB194 JAMMING BACK TO BB194
BOURNE stalled -- coming back, as --
CLERK (cont'd) (CONT'D)
Sir?
(smiling)
Do you have a reservation?
BOURNE
No. Sorry. I just got in...
(rally ing back)
I -- Is room 645 available?
(off t he Clerk's look)
I stayed the re before. My wife and I.
THE CLERK nods, checking the register. THE CONCIERGE just
down the desk glancing over at BOURNE. Nodding hello and --
CLERK
I'm sorry, that room is occupied. Would
room 644 be okay, it's just across the
hall...
78.
BOURNE
Sure. That's fine. Danka.
194C-D DELETED 194C-D
195 SHOT 195 *
A196 INT. HOTEL BRECKER ELEVATOR -- NIGHT A196
BOURNE riding up. Alone. Dread mounting, and --
197 INT. HOTEL BRECKER LOBBY -- NIGHT 197
THE CONCIERGE coming out of the office with a sheet of fax
paper. Placing it quietly down beside THE CLERK and --
THE CAMERA FINDS
THE FAX -- BOURNE'S FACE -- the same "wanted" picture and --
198 INT. SIXTH FLOOR HALLWAY/HOTEL BRECKER -- NIGHT 198
BOURNE off the elevator. He makes his way down --
HIS POV
THE SIXTH FLOOR HALLWAY. Suddenly scary.
A198 INT. BMW -- NIGHT A198
KIRILL sitting up as THE POLICE RADIO starts broadcoasting
an ALL-POINTS BULLETIN, the words "Hotel Brecker" in there --
KIRILL dropping the car into gear and --
B198/200
B198/200 INT. SIXTH FLOOR HALLWAY/HOTEL BRECKER -- NIGHT
BOURNE walking. There's his room, #618. But across the
hall and down one...
ROOM #645. BOURNE steps up. Listening a moment. Then he
knocks. Nothing.
He pulls A KNIFE from his pocket.
79.
Checks the hallway. He's clear. Wedges the blade in there
and -- one...two... Pop.
199 DELETED 199
201 INT. ROOM #645 HOTEL BRECKER -- NIGHT 201
BOURNE enters a suite. Closing the door behind him.
-- And TREADSTONE BOURNE, seven years ago, does the same --
BOURNE shakes off the flash, looks around. The lights are
on. An open suitcase on the bed.
202 INT. HOTEL BRECKER LOBBY -- NIGHT 202
THE CLERK, THE CONCIERGE and THE MANAGER are huddled in
conversation with THREE BERLIN COPS who've just arrived
and --
Trying to be discreet, but... this is clearly serious.
203 INT. ROOM #645 HOTEL BRECKER -- NIGHT 203
BOURNE just standing there. Breathing it in.
TREADSTONE BOURNE doing the same -- *
204 DELETED 204
205
205 INT. ROOM #645 HOTEL BRECKER -- NIGHT
BOURNE with his hand on the wall. As if he can feel it.
Like it's all still here. Heart pounding and --
206
206 INT. BERLIN HQ/COMMAND POST -- NIGHT
Chaos -- Bourne's been found -- everybody rushing out --
CRONIN
(to Teddy)
-- go -- take the van! --
PAMELA
-- the hotel -- how far? --
80.
TEDDY
-- five, six minutes --
CRONIN
-- Kurt -- you're here! -- keep the comm
line open! --
207 INT. ROOM #645 -- NIGHT 207
BOURNE standing there. Looking out the window. The images
-- the Television Tower over the city. Everything but the
rain.
208 EXT. HOTEL BRECKER COURTYARD -- NIGHT 208 *
The BERLIN POLICE SWAT TEAM TRUCK arrives -- discreetly --
by the back loading area.
209 INT. ROOM #645 BEDROOM -- NIGHT 209
BOURNE flat against the wall. Just as he was. Leaning
forward to see in THE MIRROR. Just so, and... There.
210 DELETED 210
211A INT. ROOM #645 -- FLASHBACK -- NIGHT 211A
A MAN in the mirror -- pacing into view -- NESKI -- on the
phone -- a talking in Russian -- it's raining --
BOURNE standing there -- Treadstone Bourne, still wet from
the rain -- one eye on that mirror and the other on A
SYRINGE that he prepped -- a predator --
THE MIRROR -- the doorbell rings -- NESKI gets off the phone
--
BOURNE tensing -- new element -- factoring and --
THE MIRROR -- as NESKI opens the door -- a new flood of
Russian -- happy -- it's MRS. NESKI -- a surprise! -- but
he's very happy to see her --
BOURNE pocketing the syringe -- new weapon -- pistol --
quiet -- methodical -- watching the lovers bill and coo and
--
81.
THE MIRROR -- Mr. Neski kisses her -- takes her bag --
she's hanging up her coat and moving now toward the
bathroom and --
BOURNE checking the window -- the weapon -- his balance and
--
THE MIRROR -- MRS. NESKI'S FACE right there -- seeing him --
so freaked she can't even register it yet --
BOU RNE with the pistol in her face -- finger to his lips --
"sh hh..." -- but she knows -- backing away -- begging for
her life in Russian -- this awful blur of desperation and
fea r --
MR. NESKI turning back to see his wife backing out of the
bathroom and BOURNE with the pistol -- with no hesitation --
SNAP! -- one shot -- into Neski's heart -- he's down --
MRS. NESKI -- what's just happened? --
BOU RNE has her wrist in his hand -- raising it to her head -
-t o where he holds the pistol -- her fingers -- his
tri gger -- SNAP! -- letting the gun fall with her as she
dro ps and --
BOURNE starts to move -- starts to prep his evac -- but
there's something on the dresser --
A PHOTOGRAPH -- the Neski family -- father, mother and a
TWELVE-YEAR-OLD GIRL -- arms around each other -- happy and
--
BOURNE staring at the picture -- undone for a moment --
HARD OUT FLASHBACK TO
212
212 INT. ROOM #645 -- NIGHT
BOURNE -- our Bourne -- standing where they fell.
Frozen there. Paralyzed by the shame of original sin.
212 pt DELETED 212 pt
213-214
213-214 DELETED
82.
215 INT. HOTEL BRECKER LOBBY -- NIGHT 215
A SWAT CAPTAIN conferring discreetly with the MANAGER.
MANAGER
He's in 618.
SWAT CAPTAIN
Cal l all the guests on the 6th floor.
Tel l them to remain in their rooms. Tell
the m it's a police order. Then start on
the 5th and 8th floors.
A215 INT. ROOM #645 -- NIGHT A215
BOURNE -- trying to stabilize -- to breathe --
216 INT. STAIRWELL -- NIGHT 216
The SWAT team on their way up.
A216 INT. ROOM #645 -- NIGHT A216
RING! RING! BOURNE snaps back as the phone in his room
STARTS TO RING. Four times and it stops.
BOURNE freezes. Footsteps. Shadows under the door. He
leans into the peephole.
BOURNE'S POV
ROOM #644. GERMAN S.W.A.T. TEAM. Taking position.
B216
B216 INT. ROOM #645 -- NIGHT
BOURNE backs away -- surveys the room -- his watch -- his
balance and --
C216 EXT. STREET OUTSIDE THE HOTEL BRECKER -- NIGHT C216
Qui ckly turni ng into a major event -- HALF-A-DOZEN POLICE
VEH ICLES alre ady parke d here -- MORE ARRIVING every minute -
-P ASSERSBY m ixing wit h the COPS and PEOPLE FROM THE HOTEL
who 've just c ome out a nd --
THE CAMERA FINDS
83.
KIRILL jogging over from THE BMW he's just parked and --
217 DELETED 217 *
218 DELETED 218
219 INT. ROOM #644 HOTEL BRECKER -- NIGHT 219
WHAM! -- THE DOOR KICKED OFF ITS HINGES! -- SWAT TEAM
flooding into BOURNE'S EMPTY HOTEL ROOM and --
A219 INT. ROOM #645 HOTEL BRECKER -- NIGHT A219
BOURNE -- in motion -- out the bathroom window and --
220 INT. HOTEL BRECKER SIXTH FLOOR HALLWAY -- NIGHT 220
BERLIN SWAT LEADER gives order to search other rooms and --
221 EXT. HOTEL BRECKER FACADE -- NIGHT 221
BOU RNE up the water pi pe to the roof -- as he a rrives, a *
SWA T team mem ber turns -- BOURNE pull s him over the edge -- *
fir es point b lank into the 2nd SWAT m ember's ve st -- *
stu nning him. He's mo ving fast -- sc rambling a long the *
roo f and into the nigh t... *
222 INT. SIXTH FLOOR HALLWAY ROOM #645 -- NIGHT 222
WHAM! The door caves in and the SWAT team moves enters #
645 -- rushing to the window -- Nobody -- No sign of him
and --
223
223 EXT. STREET OUTSIDE THE HOTEL BRECKER -- NIGHT
KIRILL heading for THE HOTEL ENTRANCE blocked by the *
exiting guests. *
225 INT. HOTEL BRECKER SIXTH FLOOR HALLWAY -- NIGHT 225
Too many cops and radios --
84.
SWAT TEAM BOSS
(trying to take charge)
(-- LISTEN UP! -- WE'RE CLEARING THE
BUILDING! -- ROOM BY ROOM! --)
226 EXT. STREET OUTSIDE THE HOTEL BRECKER -- NIGHT 226
PAMELA jumping out of A VAN the moment it stops. Seeing
it all. The crowd. The army of cops. The searchlights
playing across THE HOTEL FACADE. It's another disaster.
227 INT. HOTEL BRECKER LOBBY -- NIGHT 227
KIRILL wants to get upstairs -- he can't -- TOO MANY GUESTS
coming down the stairwell -- BERLIN COPS trying keep it
moving and -- *
228-229 DELETED 228-229 *
230 INT. HOTEL BRECKER LOBBY -- NIGHT 230 *
KIRILL hears BOURNE is on the roof. *
231 DELETED 231 *
234 DELETED 234 *
232 INT. LOBBY/THE HOTEL BRECKER -- NIGHT 232 *
PAMELA and CRONIN listening to TEDDY who just got the *
police update -- *
TEDDY
Black coat, possibly leather. Dark
slacks. Dar k t-shirt.
(point ing now--)
He says they 're gonna try and corral the
guests on th e street over there, and then
check them o ut, but...
PAMELA
(disgusted)
Yeah, that'll work...What the hell was he
doing here?
85.
CRONIN
Maybe he just needed a place to spend the
night?
PAMELA
I want to look at the room. *
(to TEDDY as she goes) *
Check it out. *
PAMELA'S in charge now. They enter the elevator. *
233 EXT. STREET BEHIND THE HOTEL BRECKER -- NIGHT 233
BOURNE coming around the other side of the hotel --
Stepping to the left before he spots the SWAT van --
BOURNE about-faces -- heads the other way --
A SIDEWALK COP looks over, checks the BOURNE PHOTO print-
out in his hand.
234 DELETED 234 *
244 EXT. STREET OUTSIDE THE HOTEL BRECKER -- NIGHT 244
TEDDY huddled with the HOTEL MANAGER and A GROUP OF HIGH-
RANKING BERLIN COPS, turning back as --
ABBOTT
(arriving breathless)
They missed him?
TEDDY *
So far. But they found Nicky. She's *
back at the Westin. Bourne let her go. *
ABBOTT
He let her go? Great. Where's Danny? *
He should head over there and debrief *
her. *
(the Hotel) *
What's here? What was he doing? *
TEDDY
We don't know. They're in a room
upstairs. I was told to wait down here.
ABBOTT accepting that. Because he has to. Only we see
the fear. Turns to leave... *
86.
ABBOTT
OK, if you see Danny tell him I went back *
to the hotel. *
ABBOTT steps out into the street as...
235 EXT. STREET NEAR THE HOTEL BRECKER -- NIGHT 235 *
BOURNE striding away and -- Following -- *
SIDEWALK COP blowing a WHISTLE -- fumbling for his holster.
BOURNE running now, slowly at first, and --
A235 EXT. SIDE-STREET NEAR THE HOTEL -- NIGHT A235
Now FASTER, as if he can gauge his speed and distance...
237 EXT. SIDE-STREET NEAR THE HOTEL -- NIGHT 237
MOTION -- BOURNE tearing away and --
A237 EXT. BIGGER BERLIN STREET -- NIGHT A237
BOURNE slows to a walk -- TWO PATROL CARS heading his way --
no choice -- there -- a narrow passageway between TWO
MOVING TROLLEY TRAINS and -- SPRINTING through --
The PATROL CARS skidding into 180's.
B237
B237 EXT. BERLIN BRIDGE -- NIGHT
THE RIVER SPREE lit by THE TROLLEY that's rumbling past and
the running lights of a DOUBLE COAL BARGE up the river.
BOURNE runs across the bridge -- going as fast as he can --
hearing THE POLICE SIRENS swirling behind him, when --
A THIRD AND FOURTH POLICE CAR AHEAD!
BOURNE turns hard for a STAIRWELL, jumps the walkway curb,
leaps up the stairs, two at a time, as --
All FOUR COP CARS SKID to a stop. As doors open --
87.
238 EXT. TRAM PLATFORM -- BERLIN BRIDGE -- NIGHT 238
A TRAM waiting as the LAST FEW PASSENGERS get on. The
doors seem to stay open in slow motion as --
BOURNE appears -- makes a mad last dash --
And he's on!
And the doors don't close! It's not scheduled to go yet.
And here come the COPS!
BOURNE off the tram -- GUNS appear --
BOURNE runs to his left -- stops short --
The other cops are coming this way -- SCREAMING at him --
Not a lot of options -- BOURNE looks over the rail --
DOWN BELOW
A COAL BARGE passing, the prow just emerging --
BOURNE
On the rail and JUMPING even as the FIRST SHOT is fired --
239 EXT. DOUBLE COAL BARGE -- NIGHT 239
BOURNE lands hard -- stands -- voltage going up one leg --
And they're SHOOTING at him.
He can worry about the leg later. He RUNS.
Back toward them!
The barge moving slow -- BOURNE disappears under the
bridge.
240 EXT. BERLIN BRIDGE -- NIGHT 240
Guns aimed, POLICE waiting for a clear shot. TWO OF THEM
DASH to watch over the other side.
88.
241 EXT. UNDER THE BRIDGE -- NIGHT 241
Countering -- the barge going one way -- BOURNE the other --
dodging all the super-structure on deck -- all the while
keeping his cover overhead --
And LEAPING to the second barge!
And more of the same, until --
BOURNE running out of barge --
LEAPING back onto the BRIDGE FOOTING and --
242 EXT. BERLIN BRIDGE -- NIGHT 242
THE POLICE watching the barge fully emerge -- continuing
down river -- SHOUTING IN GERMAN that he's either "in the
water" or "hiding on the barge".
Off they go -- down the stairs --
Leaving the PASSENGERS on the tram blinking out in shock --
And BOURNE -- climbing back over the rail --
Limping back on the tram just before --
The DOORS CLOSE -- and off it goes --
243 EXT. NEXT BRIDGE DOWN -- NIGHT 243
POL ICE converge from both ends -- Barge goes under as
KIR ILL arrives at the center of the bridge -- missed
aga in -- behind KIRILL, a train snakes off into the
nig ht...
245 pt
245 pt INT. ROOM #645 -- HOTEL BRECKER -- NIGHT
PAMELA and CRONIN move into the living room. A couple of *
COPS in the hallway outside. *
CRONIN *
The room he checked into was across the *
hall -- why, why would he come here? *
PAMELA glances around -- something bothering her about *
this space -- *
89.
PAMELA *
He must've had a reason. That's how they *
were trained. *
CRONIN moves around the bedroom, then into the bathroom *
and -- *
CRONIN *
He went out the window in here... *
246-247 DELETED 246-247 *
245 pt INT. ROOM #645 -- BATHROOM -- NIGHT 245 pt *
There on the mirror -- scrawled in soap on the glass... *
I KILLED NESKI *
CRONIN *
Pam, you need to see this. *
PAMELA moves in behind him. *
CRONIN (CONT'D) *
Who's Neski? *
Both of them staring. *
PAMELA *
(thinking) *
Alright...take it down. *
CRONIN *
What? *
PAMELA *
This stays between you and I. *
(sensing confusion) *
We finally have an edge. I don't want to *
lose it. *
253 EXT. CATHEDRAL PLAZA -- NIGHT 253
Very late -- ABBOTT waits on an isolated bridge -- a lone *
figure in the shadow of East Berlin. *
GRETKOV arrives by car. Walks through the darkness. *
ABBOTT barely glancing over. *
90.
ABBOTT
You told me Bourne was dead.
GRETKOV
There was a mistake.
ABBOTT
I'l l say. You killed his goddam *
gir lfriend instead. Now they're onto *
Nes ki. They're at the Brecker Hotel even *
as we speak. *
GRETKOV
Will it track back to us? *
ABBOTT
No. The files are spotless. Whatever *
they find, it's just going to make Conklin *
look worse. *
GRETKOV
And the Landy woman? *
ABBOTT
She's done everything I wanted. She bit *
on Conklin so fast it was laughable. She *
even found his bogus Swiss account... *
GRETKOV *
Anything else? *
ABBOTT shoves a piece of paper -- and ADDRESS -- into *
GRETKOV'S hand. *
ABBOTT
(the p aper) *
The re's a bo dy in the basem ent. Dann y
Zor n. He's got to disappea r. For go od.
Cle an and fa st. I'll put h im in bed with
Con klin and Bourne. Even t he girl, N icky. *
Giv e me twen ty-four hours, I'll think it
up. But get the goddamn bo dy out of
the re.
It's getting late. A taxi now and then... *
ABBOTT (CONT'D)
Neski was a roadblock. Without me, *
there's no company, no fortune. You owe *
me, Uri. One last push. *
GRETKOV
One last push. One.
91.
GRETKOV leaves. ABBOTT watches him go. *
254 EXT. MERCEDES -- NIGHT 254
Seconds later. GRETKOV getting in slowly. *
255 INT. MERCEDES -- NIGHT 255
KIRILL slouched in back. Waiting. Gretkov to the DRIVER.
GRETKOV
(Airport.)
(to Kirill)
(We're done here.)
KIRILL nods. As they pull away, ABBOTT turns and walks *
into the foggy night... *
A248 EXT. BERLIN STREET -- NIGHT A248 *
Late. ABBOTT walks. A lonely figure. Past someone in *
the shadows -- *
BOURNE *
Mr. Abbott? *
He turns to answer when BOURNE firmly guides him into a *
side street... *
***BOURNE/ABBOTT SCENE*** *
248 *
248 INT. LOBBY -- HOTEL BRECKER -- NIGHT
As PAMELA and CRONIN exit the elevator, they are met by *
TEDDY. *
TEDDY
Here's what I've got.
(reads )
Remember Vla dimir Neski? R ussian *
politician? Seven years ag o, he was due *
to speak to a group of Euro pean Oil *
ministers he re at the hotel . He never *
did. He was murdered. *
PAMELA *
By who? *
92.
TEDDY
His wife. In room 645. Then she shot *
herself. *
(Pamela and Cronin share a *
look) *
PAMELA *
(to Teddy) *
Alright...I want you, Kurt and Kim to stay on *
Bourne, track everything that's out *
there... *
TEDDY goes to get in the van. PAMELA follows with *
CRONIN. *
PAMELA (CONT'D) *
(confi dentially to Cronin) *
And I want y ou to go through and cross *
reference ou r buy that went bad, the *
Neskis, and Treadstone -- *
As they get in... *
PAMELA (CONT'D) *
-- they have to be related. *
249 EXT. BERLIN TRAIN STATION -- NIGHT 249
BOURNE'S ARRIVED. Limping. As he continues for the *
station -- *
250 INT. BERLIN TRAIN STATION LOCKER AREA -- NIGHT 250
BOURNE retrieving the exfil bag he stashed in the locker.
Changed his clothes.
251
251 INT. BERLIN TRAIN STATION MEN'S ROOM -- NIGHT
Bag slung -- limping out -- BOURNE has changed clothes. A
big overcoat, knit cap.
252 INT. BERLIN TRAIN STATION PLATFORM -- NIGHT 252
A busy midnight departure. Big train. BOURNE climbing
on the train, under the sign:
MOSCOW EXPRESS
93.
253-255 MOVED 253-255 *
A256 INT. NEW BERLIN HQ/COMMAND POST -- NIGHT A256
A BLUEPRINT spread across a table. NICKY, KURT & KIM all
gathered around. CRONIN works the TREADSTONE files on *
another table. TEDDY at center briefing PAMELA. *
TEDDY *
We' re lookin g at all Berlin outbound. *
Goo d news is , every train s tation in *
Ber lin has t hirty to forty fixed, digital *
sec urity cam eras. Common f eed. *
PAMELA
Are we hacking or asking?
TEDDY *
Yes. In that order.
PAMELA
And what about you, anything? *
CRONIN
It's starting to link up -- the hijacked *
money -- the leak -- Pecos Oil -- one *
last bit is Treadstone. *
256 EXT. MOSCOW TRAIN -- NIGHT 256
Crossing the border into Poland -- Cold, desolate, snow --
257
257 INT. MOSCOW TRAIN/PASSENGER CAR -- NIGHT
CONDUCTORS moving quietly through the dark cars. Checking
tickets and visas and --
BOURNE -- hands over his ticket and RUSSIAN PASSPORT -- off
the grid --
258-259 DELETED 258-259 *
A260 INT. NEW BERLIN HQ/COMMAND POST -- NIGHT A260 *
4:00 am. KURT, KIM, and TEDDY spread around the room. *
They've been running laptop train station videos for *
hours. Just about ready to raise the white flag. *
94.
All they have so far is an isolated loop of BOURNE limping *
into the men's room. Cronin watches it stutter along. *
CRONIN *
Does it look like he's faking? *
TEDDY *
On the way in? Forget it. *
KURT *
The leg's definitely hurt. *
CRONIN *
(the b lueprint) *
Well, there' s no window in the men's room, *
folks, so le t's find somebody coming out *
with a bad l eft leg. *
KURT *
(worn out) *
Maybe he's still in there. *
TEDDY *
I've got a limping guy, but it's the right *
leg. *
KIM *
Walking away, or walking toward you? *
CRONIN jumping on that, right there, over TEDDY'S shoulder - *
- *
CRONIN *
That's him. It's the coat! What train is *
that? *
260
260 INT. MOSCOW TRAIN/PASSENGER CAR -- DAWN
BOURNE -- asleep in his chair -- rocked by the rhythm. But
something wakes him up.
Looks out the window -- something weird about the light out
there -- then up to see:
MARIE -- looking at him over the back of his chair in front
of him -- no big deal --
BOURNE
Hey...
She smiles. A beat. She comes around, sits beside him. He *
looks away out the window. *
95.
BOURNE (CONT'D) *
I wanted to kill him. *
MARIE *
But you found another choice. *
BOURNE *
I did. *
MARIE *
It wouldn't have changed the way you *
feel. *
BOURNE *
It might have. *
BOURNE looks back at her. She smiles. He accepts it, *
leans back, closes his eyes. *
BOURNE (CONT'D) *
I know it's a dream.
MARIE
You do?
BOURNE
I only dream about people who are dead.
MARIE leans over, kisses his forehead. Whispers --
BOURNE (CONT'D) *
God, I miss you. I don't know what to do *
without you. *
MARIE
(softly, serenely) *
Jason. You know exactly what to do. That *
is your mission now. *
BOURNE opens his eyes.
And it's morning outside.
And Marie is gone.
A LITTLE GIRL smiles at him from over the back of the chair
in front. BOURNE can't meet her gaze for long. As he
looks back out the window --
261-262 *
261-262 DELETED
96.
263 INT. MOSCOW TRAIN/PASSENGER CAR -- DAWN 263
BOURNE watching the birch trees rush past, not quite hiding
the smokestacks beyond. Eyes locked. Forging something
within, one final mission, as we --
264 INT. BERLIN WESTIN HOTEL LOBBY -- EARLY MORNING 264
ABBOTT coming through. It's empty this early, but --
Here's PAMELA, NICKY, CRONIN and the TEAM waiting to *
report.
PAMELA
Sorry to wake you.
ABBOTT
(waves off apology)
I wasn't sleeping. *
(to Nicky as he passes) *
You OK? *
NICKY *
Yeah, thanks. *
ABBOTT *
What's up? *
PAMELA
Bunch of stuff.
PAMELA looks to CRONIN -- him first. *
CRONIN *
We tied the room Bourne visited tonight to
a murder/suicide seven years ago. A
Russian couple, the Neskis. *
ABBOTT *
(playing along) *
Neski. The reformer. I remember that. *
CRONIN *
He champione d the equal dis tribution of *
oil leases i n the Caspian S ea. When he *
die d, they w ere all release d to one *
pet roleum co mpany, Pecos Oi l. Guess *
wha t? -- the CEO, Uri Gretk ov, is ex- *
KGB . *
*
97.
NICKY *
Someone was using Treadstone as a private *
cleaning service. *
ABBOTT *
Conklin... *
(a beat) *
It's -- I'm sorry, Pamela. I guess you *
were right all along. *
*
Pamela waves him off, it's okay, but --
PAMELA
There's something else.
Abbott can see by their faces: this hits closer to home.
ABBOTT
What?
PAMELA
They found Danny Zorn's body. Dead in the
basement at the building where my people
got hit the first time.
ABBOTT
Oh, God... It must have been Bourne. *
PAMELA
Did he say anything to you?
ABBOTT
No... It must have been Bourne.
PAMELA, straight...
PAMELA
We'll know for sure when we get the *
security tapes. *
CRONIN *
But we can relax. We tracked him. He's *
on a train to Moscow. *
ABBOTT reeling, hiding it.
ABBOTT
Moscow? What the Hell's he going to
Moscow for?
98.
PAMELA
(shrugs)
Don't know.
ABBOTT
Jesus... I, Zorn... I have to call his
family. Tell them...
PAMELA
I'm sorry, Ward.
They watch as he goes.
265 INT. WESTIN ELEVATOR -- DAWN 265 *
ABBOTT in the rising elevator. Imploding.
266 INT. GRETKOV'S OFFICE -- MORNING 266
Palatial. But you can't buy taste. GRETKOV working his *
computer -- answers his PHONE. *
GRETKOV
Da...
ABBOTT/PHONE
You didn't stay, Uri.
GRETKOV
(matter of fact)
This is not a clean phone.
267 *
267 INT. WESTIN GRAND HOTEL LOBBY -- DAWN
Everyone still here. CRONIN answering his cell phone -- *
motioning to them, he's got news --
CRONIN
(phone to his ear)
You're sure?
PAMELA
What? The tapes? *
CRONIN
(noddi ng but)
Hold on...
(holdi ng the phone)
Yep. And Ab bott just direct dialed Moscow *
from his roo m...
99.
Now we realize, she's set a trap and Abbott's walked in.
All the same, Pamela shakes her head, wishes it wasn't
true.
And they're moving --
268 INT. ABBOTT'S WESTIN HOTEL ROOM -- DAWN 268 *
ABBOTT at his desk, still on the phone, pouring a vodka.
GRETKOV
Leaving was a business decision. We're
both rich, come enjoy it.
ABBOTT
What do you mean?
GRETKOV
Go to the airport. Get a plane. I'll
have a brass band waiting for you.
ABBOTT
Save it for Bourne.
GRETKOV
What?
There's a KNOCKING AT HIS DOOR -- ABBOTT simply ignores it.
ABBOTT
He left yest erday on the night train.
He's probabl y just getting in now.
(he dr inks)
You'll have to hurry.
GRETKOV
Bourne comes here? Why?
More KNOCKING...
ABBOTT
Good luck.
A268 EXT. MOSCOW TRAIN -- DAWN A268 *
Speeding East through the Russian countryside. The forest *
is gone, replaced by factories and refineries. A *
wasteland of rust and gray that seems to go on forever -- *
100.
269 INT. WESTIN HALLWAY OUTSIDE ABBOTT'S ROOM -- NIGHT 269 *
PAMELA knocking again. NICKY, TEDDY and CRONIN behind her.
PAMELA
Open it.
CRONIN with a pass key. TEDDY prepped and --
A269 INT. ABBOTT'S WESTIN HOTEL ROOM -- NIGHT A269 *
PAMELA leading -- they enter -- stop short --
ABBOTT at his desk, calmly pointing a PISTOL -- at Pamela.
ABBOTT
They go. You stay.
She looks back. CRONIN shakes his head 'no'.
PAMELA
Yes. Now...
They reluctantly obey. The door clicking shut behind them.
ABBOTT
Sit down.
PAMELA
I'd rather stand if it's all the same to
you.
ABBOTT
I don't exactly know what to say -- I'm
sorry.
PAMELA
'Why' would be enough for me.
ABBOTT
I'm not a traitor. I've served my *
country. *
PAMELA
And pocketed a fair amount of change while *
doing it. *
ABBOTT
Why not? It was just money. *
101.
PAMELA
And Danny Zorn, what was that? *
ABBOTT
Had to be done. *
PAMELA *
No good options left? *
ABBOTT *
(shrug s) *
In the end, honestly, it's hubris. *
Sim ple hubri s. You reach a point in this *
gam e when th e only satisfaction left is *
to see how c lever you are. *
PAMELA *
No. You lost your way. *
ABBOTT *
Well, you're probably right. I guess *
that's all that hubris is. *
He raises the gun.
PAMELA -- presses her lips together, closes her eyes.
BOOM!
She opens them. And as CRONIN flies back through the door --
There's ABBOTT -- dead at the desk -- he's shot himself --
also, in a way, with some help from Bourne.
270 INT. PLATFORM -- MOSCOW TRAIN STATION -- DAY 270
THE TRAIN easing to a stop. The platform busy with people
waiting and -- PASSENGERS disembarking.
BOURNE among them. Unremarkable in THE CROWD and -- *
271
271 INT. MOSCOW TRAIN STATION -- DAY
BOURNE on the move. Welcome to the whole mad Moscow scene.
A jumble of faces and voices. Travellers. Arrivals and
departures. Families. Beggars. Drunk war vets. Hawkers.
102.
272 EXT. MOSCOW TRAIN STATION CAB STAND -- DAY 272
There, in the plaza. BOURNE hobbling across the street,
when suddenly -- A CAR HORN! -- he turns and --
Look out!
A BIG BLACK BMW speeding past -- followed by TWO MORE --
all three cars with BLUE LIGHTS STROBING on the dashboards -
- a convoy -- whipping by like they own the place and --
TAXI DRIVER (OS)
(Gangster bastards don't care what they
do.)
BOURNE turns. A grizzled TAXI DRIVER right beside him.
BOURNE pulls a slip of paper from his pocket.
BOURNE
(his Russian is basic)
(You know this address?)
THE TAXI DRIVER squints, finally grunts affirmative.
He motions to his cab. As they get in and pull away --
273 INT. MOSCOW GARAGE -- DAY 273
Lots of cars. No people. But someone running... It's
KIRILL pulling his keys as he sprints past and --
274 DELETED 274 *
275
275 INT. MOSCOW TAXI -- DAY
BOURNE and THE TAXI DRIVER looking over as THREE MOSCOW
POLICE CARS speed by -- SIRENS WAILING --
TAXI DRIVER
(It's always something, right?)
BOURNE just nods, as we --
103.
276 INT./EXT. BLACK BMW -- DAY 276
KIRILL at the wheel. A guy in a hurry who knows what he's
doing. One more thing, on the passenger seat -- TWO BIG
AUTOMATIC PISTOLS --
277 EXT. MOSCOW TRAIN STATION -- DAY 277
MOSCOW COPS fanning through the crowd showing BOURNE'S
INTERPOL PICTURE. "Have you seen him?"
278 EXT. MOSCOW TRAIN STATION CAB STAND -- DAY 278
MOSCOW COPS with the picture. Flashing it around, until --
YOUNG CABBY
(the moment he sees it)
(He was just here. They just left.)
279 INT. MOSCOW TAXI -- DAY 279
They've stopped. BOURNE flashes a FIFTY DOLLAR BILL --
BOURNE
You wait. You understand? Stay.
TAXI DRIVER
(happy to pocket the cash)
Sure. No problem. I sit.
280 EXT. OLD MOSCOW STREET -- DAY 280
Old Moscow. But not for long, there's new construction
metastasizing all around it. BOURNE crosses the street and
--
HIS POV
AN ABANDONED WOODEN HOUSE. Windows shattered and boarded
up. Paint all but gone. Roof and gables all failing.
BACK TO
BOURNE crestfallen. Checking the address. This is it.
104.
281 EXT. MOSCOW TRAIN STATION CAB STAND -- DAY 281
MORE COPS. Everything focused on ANOTHER TAXI DRIVER who's
making a call on a cell phone -- everybody waiting on it --
282 EXT. ABANDONED WOODEN HOUSE -- DAY 282
BOURNE off the sidewalk now, peering around the side,
trying to see if there's anything around back and --
OVER THERE
AN OLD WOMAN on the steps next door. Watching him.
BOURNE starts over. Finding the sweetest smile he's got --
283 INT. MOSCOW TAXI -- DAY 283
THE TAXI DRIVER still parked there --
HIS POV
BOURNE and the OLD LADY -- she's pointing like she's giving
directions -- when suddenly, the Driver's CELL PHONE RINGS -
-
TAXI DRIVER/PHONE
(Hello...?)
284 EXT. ABANDONED WOODEN HOUSE -- DAY 284
BOURNE and the OLD LADY. His Russian is limited, but she's
charmed nonetheless --
BOURNE
(A pen...to write...one minute...)
(searching his pockets)
285
285 INT. MOSCOW TAXI -- DAY
THE TAXI DRIVER on the phone -- not so happy anymore --
TAXI DRIVER
(-- I'm looking at him -- American -- he's
right here! --)
105.
286 EXT. ABANDONED WOODEN HOUSE -- DAY 286
THE OLD LADY scribbling on a piece of paper. BOURNE
reacting as the TAXI drops into gear. Pulls away.
BOURNE
Wait! Hey!
But THE TAXI only speeds up, and --
287 EXT. MOSCOW TRAIN STATION -- DAY 287
MOSCOW POLICE CARS tearing away and --
288 DELETED 288
289 INT. BLACK BMW -- DAY 289
KIRILL DRIVING. Reaching for his RINGING PHONE and --
290 EXT. MOSCOW STREET -- DAY 290
THE BLACK BMW -- a moment later -- slamming on the brakes --
fishtailing a U-TURN and --
291 EXT. MOSCOW BUILDING PROJECT -- DAY 291
BOURNE hustling past all the new construction. Glancing
back as POLICE SIRENS start rising behind him and --
292
292 INT. RED LEXUS -- DAY
KIRILL skidding around another corner and --
293
293 EXT. ABANDONED WOODEN HOUSE -- DAY
TWO POLICE CARS just stopped there -- COPS -- the OLD LADY
pointing -- everyone turning as --
THE RED LEXUS speeds past them and --
294
294 DELETED
106.
295 EXT. CONCRETE STAIRS -- DAY 295
BOURNE coming down as fast as he can -- just ahead there's
A FOOTPATH BENEATH A FOUR LANE OVERPASS -- a neighborhood *
on the other side -- he could disappear there --
296 INT. RED LEXUS -- DAY 296
KIRILL driving and scanning -- THERE! -- as he passes it --
THE OVERPASS -- slamming on the brakes and --
297 EXT. FOOTPATH -- DAY 297
BOURNE hobbling out in the open -- twenty yards to go --
298 EXT. OVERPASS -- DAY 298
KIRILL jumping out of the Lexus with A PISTOL in hand and --
299 EXT. FOOTPATH -- DAY 299
BOURNE -- no clue -- BANG! -- his shoulder! -- he's hit! --
he throws himself forward and --
300 EXT. OVERPASS -- DAY 300
KIRILL shifting for a better second shot and --
301 EXT. FOOTPATH -- DAY 301
BOURNE -- he's diving! -- rolling! -- pure instinct -- back
under the embankment and --
302
302 EXT. OVERPASS -- DAY
KIRILL with no shot suddenly -- leaning over the rail --
just as the TWO MOSCOW POLICE CARS come screaming up --
MOSCOW COPS jumping out with guns drawn and --
303 EXT. FOOTPATH -- DAY 303
BOURNE -- he's up -- he's bleeding -- he's moving and --
107.
304 EXT. OVERPASS -- DAY 304
CHAOS -- KIRILL with his hands in the air -- MOSCOW COPS
coming toward him -- everyone screaming --
MOSCOW COPS MOCK-BO URNE
(-- UP! -- HANDS UP! -- KEEP (-- I'M KGB, ASS HOLES! --
THEM UP! -- DROP THE GUN! -- WE'RE CHASING TH E SAME GUY! - *
DROP IT! --) - HE'S GETTING A WAY! --)
They let KIRILL go -- he looks back at the footpath -- *
BOURNE is gone -- as *
A304 EXT. MOSCOW CITY STREET -- DAY A304 *
GRETKOV strolls along, suddenly two black sedans pull up *
and he is arrested. *
A305 INT. PEDESTRIAN TUNNEL -- DAY A305 *
BOURNE hurriedly makes his way to the other end -- a few *
beats later -- KIRILL on the hunt -- *
305 EXT. MOSCOW OUTDOOR MARKET -- DAY 305
A labyrinth of stalls. Food. Hardware. Clothes. And
crowded. Even this hard-to-impress CROWD noticing --
BOURNE hobbling through. Nothing like a limping madman
with a fresh gunshot wound to get attention --
PEOPLE back off -- pull THEIR KIDS out of the way -- SOME
WOMAN STARTS SCREAMING and --
306
306 INT. MOSCOW ENCLOSED MARKET -- DAY
A SECURITY GUARD -- hears the commotion -- jogs out and --
307 DELETED 307
308 EXT. NEARBY MOSCOW STREET -- DAY 308
KIRILL running toward the market -- FIVE MOSCOW COPS behind
him, can't keep up and --
108.
309 INT. MOSCOW OUTDOOR MARKET -- DAY 309 *
THE SECURITY GUARD coming up fast behind BOURNE --
SECURITY GUARD
(-- hey! -- hey you! -- stop! --)
BOURNE turns. THE SECURITY GUARD right behind him and --
BOURNE -- no warning -- his good arm -- SMASH!!! -- right
into THE SECURITY GUARD'S FACE and --
BOURNE takes HIS PISTOL and --
THE CROWD -- they jump -- holy shit!
310 INT. MOSCOW ENCLOSED MARKET -- DAY 310
Crazy -- KIRILL sprinting through -- where did Bourne go? --
311 INT. MOSCOW OUTDOOR MARKET -- DAY 311 *
BOURNE back on the march, except now he's shopping! --
Grabbing -- A BUNDLE OF TUBE SOCKS and --
312 INT. MOSCOW OUTDOOR MARKET -- DAY 312 *
KIRILL sprinting out toward the stalls and --
313-314 DELETED 313-314
315 *
315 INT. MOSCOW OUTDOOR MARKET -- DAY
BOURNE -- THERE! -- A ROLL OF DUCT TAPE and --
-- A BOTTLE OF VODKA and --
316 INT. MOSCOW OUTDOOR MARKET -- DAY 316 *
KIRILL fighting his way through THE FLEEING CROWD --
317 *
317 DELETED
109.
318 pt 1 EXT. MOSCOW OUTDOOR MARKET -- DAY 318 pt 1 *
BOURNE -- leaving the market -- taking a swig of VODKA and -- *
Continues -- knows there are TWO NEW COPS on his ass. *
318 pt 2 EXT. MARKET PARKING LOT -- DAY 318 pt 2 *
Another CAB STAND. CABBIE by a YELLOW CAB, looks up to see *
-- *
BOURNE -- coming toward him -- and also -- *
The TWO COPS. As BOURNE nears, the CABBIE shakes his head. *
Bourne pivots -- casually -- like he doesn't know they're *
coming until -- HE SPITS! -- VODKA -- into one of the cop's *
face! -- blinded as BOURNE takes him and his PARTNER out. *
The CABBIE raises his hands in surrender, steps aside as *
BOURNE takes his car -- *
318 pt 3 INT./EXT. CAB -- DAY 318 pt 3 *
BOURNE IN THE YELLOW CAB -- starting THE ENGINE -- peeling *
away! -- careening into the street and -- *
KIRILL sprinting into the parking lot, just in time to see - *
- *
318 pt 4 INT. CAB -- DAY 318 pt 4 *
BOURNE concentrating away the pain -- trying to drive -- *
319 *
319 EXT. MARKET PARKING LOT -- DAY
TWO LADIES ducked behind a BIG BLACK G-WAGON -- freaked out *
as KIRILL grabs their keys and -- *
320-335 INT./EXT. MOSCOW STREETS/CARS/FACES -- DAY 320-335 *
THE CAB speeding across A BOULEVARD into an older *
neighborhood of rising narrow streets and -- *
TWO MOSCOW POLICE CARS PULLING U-TURNS on the BOULEVARD -- *
whipping around to give chase and -- *
110.
THE G-WAGON in full pursuit now and -- *
BOURNE DRIVING -- up this curving little hill and -- *
THE TWO MOSCOW POLICE CARS starting to climb and -- *
KIRILL DRIVING and he's on the hill now -- *
BOURNE -- bad hand on the wheel -- holding on -- trying to *
find something in passenger seat -- TUBE SOCKS? *
THE TWO MOSCOW POLICE CARS splitting up! -- one on Bourne's *
ass -- the other cutting hard into A SIDE STREET, flanking *
him and -- *
BOURNE -- topping the hill -- two choices -- right or left? *
RIGHT! -- No! -- wrong -- because down the hill there's A *
POLICE CAR just about to angle in from THE SIDE-STREET and - *
- *
BOURNE -- no choice -- FLOORING IT! -- *
THE CAB -- it's a whale -- SLAM! -- knifing the front end *
of THE POLICE CAR and -- *
THE POLICE CAR -- spun back! -- CRASHING AGAINST A BUILDING *
ON THE CORNER and -- *
KIRILL -- right behind that guy -- swerving -- onto the *
sidewalk -- SPARKS FROM THE WALL AS HE SCRAPES! -- hanging *
in -- skidding into a turn down the hill and -- *
JUST MISSING THE FIRST POLICE CAR bombing right past him! *
BOURNE -- in pain as he packs his shoulder wound with the *
socks -- Ahead -- the street banks downhill to left and -- *
THERE! -- A BOULEVARD -- wide ride -- lots of traffic and -- *
THE CAB rocketing into the flow and -- *
BEHIND HIM -- POLICE CAR #1 with THE G-WAGON right on his *
ass and -- *
BOURNE -- Wrists flicking the wheel. THE CAB screaming *
through the slower traffic and -- *
KIRILL -- totally on it -- pedal down -- passenger window *
open -- wind blowing -- he's got THE PISTOL in his hand -- *
closing the gap and -- *
THE BLACK G-WAGON -- blowing past POLICE CAR #1 and -- *
111.
BOURNE -- steering -- barely -- as he tears a few strips of *
DUCT TAPE to finish his triage -- *
BLAM! -- BLAM!! -- THE G-WAGON -- right beside him! -- *
BOURNE -- reacting -- what the fuck?! -- that's not a cop! - *
- but no time to clock Kirill because -- *
KIRILL -- shit! -- can't keep shooting -- into the oncoming *
lanes -- swinging wide -- A TRUCK! -- swerving again and -- *
THE CAB -- wavering again -- rallying and -- *
UP AHEAD -- THE BOULEVARD opens into THE RIVER BELTWAY -- *
big -- wide -- fast -- KREMLIN in the BG and -- *
FOUR NEW POLICE CARS screaming down from RED SQUARE and -- *
BOURNE skidding onto THE BELTWAY -- looking for room -- *
-- Finding it -- open road -- *
KIRILL back in the hunt and -- *
THE RIVER BELTWAY -- CAB SCREAMING PAST -- then ONE -- TWO - *
- THREE -- FOUR POLICE CARS -- now the BLACK G-WAGON and -- *
BOURNE -- Both hands on the wheel -- He's already forgotten *
about his shoulder -- *
THE BELTWAY -- up ahead -- ANOTHER CHOICE -- right takes *
you up to the city -- left is a TRANSIT TUNNEL and -- *
BOURNE -- checking his rearview -- starting right and -- *
THE TWO LEAD POLICE CARS right on his ass and -- *
BOURNE -- fake out -- veering left! -- last second -- into *
THE TUNNEL and -- *
RS -- wrong -- and worse, trying t o *
THE TWO LEAD POLICE CA
cha nge -- CRA SH!!!! -- SPINNING -- an d it's not just the m -- *
AT HIRD POLIC E CAR cau ght in the clut ter -- Not to menti on *
the COMMUTERS -- CRASH !!! The Police are out o f the rac e. *
KIRILL -- not fooled -- threading the needle -- through the *
carnage and into -- *
336-337 DELETED 336-337
112.
338 INT. THE TUNNEL -- DAY 338
FOUR LANES -- two way -- and long -- there's -- *
THE CAB -- squibbing past SLOWER CARS and -- *
KIRILL on him -- move for move -- follow the leader and -- *
BOURNE -- checks the rearview -- he's lost them all but the *
G-WAGON -- who the hell is that? -- *
The Heavyweights. World Championship Belt up for grabs. *
KIRILL -- gaining -- nearly pulling level. *
BOURNE -- nowhere to go -- that's never stopped him before - *
- he carves a path -- turns two lanes into three as *
sparks his way through a lane split -- *
THE G-WAGON -- roaring after him.
BOURNE -- checks the mirror -- closer -- who the Hell is
that guy? --
KIRILL -- Gaining -- FIRING through his passenger window.
BOURNE -- BRAKES --
TUNNEL -- As the two vehicles scrape along each other --
KIRILL -- FIRING BACK -- odd angle --
BOURNE -- ducking for meager cover as bullets stitch
through the roof --
TUNNEL -- The G-WAGON crushes the CAB against the wall --
sparks showering the windshield -- finally --
THE CAB -- shoots ahead --
KIRILL -- in a controlled fury --
THE SUV -- jerking hard and right into the rear of the CAB --
BOURNE -- trying to keep control -- spots a MAINTENANCE
TRUCK up ahead --
KIRILL -- banging away as his quarry straightens --
MAINTENANCE TRUCK -- looming --
113.
BOURNE -- a hard left --
TUNNEL -- the CAB wrapping around the front of the SUV --
WHAM! -- pushing it to the right -- the cab continues --
SPINNING around the G-WAGON --
DETAILS -- front bumpers locking on rear fenders as --
TUNNEL -- The G-WAGON hurtling forward -- the CAB ass end
first -- locked together --
KIRILL -- firing into the CAB -- really unloading now --
BOURNE -- down on the floor -- a tornado overhead --
KIRILL -- slaps in a new clip -- intense --
BOURNE -- gun against his door -- just below the window *
knob -- WHUMP-WHUMP-WHUMP -- *
SUV TIRE -- shredding. *
KIRILL -- fights the wheel -- *
ANOTHER TRUCK -- looming large -- *
BOURNE -- looking between the seats out the rear window -- *
a LANE DIVIDING PILLAR ahead -- *
CAB -- as BOURNE sits up -- jerks the wheel to the right -- *
TUNNEL -- the cars unlock -- spin away from each other -- *
KIRILL -- focused -- taking deadly aim -- *
BOURNE -- staring back at him -- calm -- "I know something *
you don't know." *
KIRILL -- frowns -- *
THE TRUCK -- swerves to reveal the PILLAR to Kirill's POV -- *
KIRILL -- eyes go wide -- *
WHALLOP! -- steel vs. concrete -- concrete victorious -- a *
bone compressing, truly horrendous impact! *
BOURNE -- whipping the wheel -- *
CAB -- spinning to a stop out of harm's way -- door opening *
-- *
114.
339 INT. TUNNEL -- DAY 339
Gun ready -- BOURNE heads over.
Ahead -- Spam in a can. BOURNE crouches down -- looks in.
KIRILL -- bloody, beat-to-crap -- barely alive -- but --
trapped -- entombed alive by the metal crushed around him --
BOURNE -- watches. Not here to help.
KIRILL -- looks over -- calms a moment as the two men
consider each other --
BOURNE looks at him long and hard.
Kirill dies.
And BOURNE stands -- and just walks away --
340-350 DELETED 340-350 *
A351 EXT. MOSCOW AIRPORT TARMAC -- DAY A351 *
Snow swirls. PAMELA disembarks from the G-5 (or US *
military plane). She is met by RUSSIAN OFFICIALS. *
351 EXT. MOSCOW HOUSING PROJECT -- TWILIGHT 351
Huge, awful Soviet-era housing towers fill the horizon.
A CITY BUS grinds to a stop. PEOPLE trundle off. Working
people at the end of their day. Tired. Cold.
THE CAMERA FOLLOWS
A GIRL. Trudging a man-made wasteland. Twenty. A proud
little waif. Sad eyes. Home from some job. IRENA.
352 EXT./INT. PROJECT BUILDING ENTRANCE -- EVENING 352
Grimmer up close. Rusted steel mesh over the windows.
DRUNK TEENAGERS. A haze of cigarette smoke.
IRENA pushing through. Doesn't want to talk to anyone --
115.
353 INT. PROJECT BUILDING STAIRWELL -- EVENING 353
IRENA climbing. A JUNKIE here. Flickering light there.
354 INT. SIXTH FLOOR HALLWAY -- EVENING 354
IRENA -- her key at the door. Domestic disturbance playing
across the hall. She opens up and --
355 INT. IRENA'S APARTMENT -- EVENING 355
It's dark. And she's barely through the door when --
IRENA jumps -- chokes back a CRY --
BOURNE is standing there -- propped there actually --
behind her -- gun in hand -- motioning for her to be quiet --
BOURNE
(his shabby Russian)
(Quiet. Silence. Okay?)
IRENA nods. Scared. Gun in hand, BOURNE pushes the door
the last few inches so it's fully closed.
IRENA
(I have no money. No drugs. Is that what
you want?)
And now she can really see him. He's a disaster.
Shivering. Bloody. Eyes more hollow than hers are.
BOURNE
Sit. Can yo u...
(tryin g to conjure the
Russi an--)
(The chair. Have the chair.)
IRENA
(accented)
I speak English.
BOURNE staring at her. Nods. Gestures for her to sit.
BOURNE
Please...
So she does. And here they are.
116.
BOURNE (CONT'D) (cont'd)
Of all the p eople in the world, you're the
only one I h ave anything to offer.
(hesit ating)
That's why I came here.
IRENA
(she's terrified)
Okay.
He' s got some thing bes ide him. Somet hing he's taken off
the wall. IT 'S THE PH OTOGRAPH. The Neski fami ly. Same as
the one that was in th e Hotel Brecker . Mom, Da d and Irena,
arm s around e ach other , in front of t he house. Before it
was abandoned . Happy. Smiling. Per fect.
BOURNE
It's nice.
(a beat)
Does this picture mean anything to you? *
(no answer) *
Hmm? *
IRENA
It's nothing. It's just a picture.
BOURNE
No. It's because you don't know how they
died.
IRENA
(he couldn't understand)
No, I do. *
A change in BOURNE as he studies her, measures her. Some
moment of truth is here. IRENA braces, unsure.
BOURNE
I would want to know.
(beat)
I would want to know that my mother didn't
kill my fath er. I would want
to know that she didn't kill herself.
IRENA
What?
She really looks at him now. Fear overwhelmed by
curiosity.
BOURNE
I would grow up thinking that they didn't
love me if they just left me like that.
117.
Irena making sure her eyes don't leave his. They don't.
BOURNE (CONT'D) (cont'd)
It changes things. That knowledge.
Doesn't it?
IRENA
(wary)
Yes...
BOURNE
That's not what happened to your parents.
IRENA
Then what?
BOURNE
I killed them.
Body blows, but he has her attention. She wipes a tear.
BOURNE (CONT'D) *
It was my jo b. My first time. Your
father was s upposed to be alone. But then
your mother, she came out of nowhere...
(a lit tle shrug)
I had to cha nge my plan.
(beat)
You understa nd me?
(does she?)
You don't ha ve to live like that anymore.
Thinking tha t.
IRENA
You killed them.
BOURNE nods, that's right.
BOURNE
They loved you.
(beat)
And I killed them.
IRENA *
How...how can...how can you be here and *
say this? *
BOURNE *
I don't want you to forgive me. *
She stands suddenly. Stands because if she doesn't she'll
burst into tears. Because she knows if she starts crying
she won't be able to make sense of this.
118.
IRENA
For who? *
(he doesn't answer)
KILLED FOR WHO?
BOURNE pushes himself to his feet. A real effort.
BOURNE
It doesn't matter. Your life is hard
enough.
IRENA
You're a liar.
BOURNE
You know I'm not.
IRENA
YOU'RE A LIAR!
BOURNE
Look at me.
There they are. Two people standing in a room. Squared
off.
And now she starts crying. Really crying.
And he's taking it.
IRENA
I should kill you...if it's true you
should die...I should kill you now!
BOURNE
I can't let you do that either. *
IRENA
Because you're afraid!
BOURNE
No.
(starting for the door)
Because you don't want to know how it
feels.
She hesitates. Stunned. He's leaving. He's opening the *
door. *
BOURNE (CONT'D) *
I have to go now. *
IRENA *
Is this really happening? *
119.
BOURNE *
(empty)
I'm sorry.
And she sags. Back into the chair, as -- *
THE CAMERA FINDS *
THE PHOTOGRAPH on the table. The sound of the door *
closing and Irena crying, as -- *
356 EXT. HOUSING PROJECT PLAYGROUND -- DAY 356
BOURNE trudging along. Across the snow. He's done it.
And he really can't take another step.
There's a bench. He sits down. Out of gas.
He just might die here. We slowly tilt up to the multi- *
colored Moscow tenements. *
FADE OUT: *
357 INT. HOSPITAL ROOM -- DAY 357
BOURNE waking up -- sitting up -- where is he? -- trying to
get his bearings -- but it's so bright -- white walls --
sheets -- SUNSHINE through clean windows and --
PAMELA (OS)
Hello, David. *
There she is. Standing at the foot of his bed.
BOURNE
Where am I?
PAMELA
Ramstein Air Base, Germany. *
(smile s)
Before the w all fell you would have woken
up in a Russ ian prison hospital.
He looks around -- tries to move -- hammered by pain.
BOURNE
Oh, shit...
PAMELA
Careful... *
120.
Long moment. He's taking it in. Trying to.
BOURNE
Why am I alive?
PAMELA
Are you disappointed?
They study each other a beat.
BOURNE
I know who you are.
PAMELA nods. Very calm here. No sudden movements.
PAMELA
Thank you for your gift. I'm sorry about Marie. *
BOURNE *
What's that? *
PAMELA *
Do you think you can read? Are you well *
enough? *
She has a folder. A PHOTOGRAPH -- Bourne's face -- stapled
to the cover.
PAMELA (CONT'D) *
It's all in here. Treadstone. A summary
of your life. All of it.
He waves it off.
BOURNE
Don't need it. I remember everything.
PAMELA
(smiles again)
Sounds like a threat.
BOURNE
You didn't answer my question.
PAMELA
Why you're a live?
(beat)
You're alive because you're special.
Because she kept you alive.
(she s miles)
Because we w ant you back on our side.
BOURNE silent. But hearing it. PAMELA leaves the file.
121.
PAMELA (cont'd) (CONT'D)
Take a look at it. We'll talk later.
BOURNE watching her back away. As she exits into --
358 INT. HOSPITAL CORRIDOR -- DAY 358
Long, sterile hallway. CRONIN and NICKY standing there
with an AIR FORCE SENTRY assigned to guard the room.
CRONIN and NICKY trying to play it cool, but now, as they
get some distance down the hallway --
PAMELA *
(to the sentry) *
Let's give him half an hour. *
NICKY
(quietly)
So?
PAMELA
Felt promising. It's a start. *
A chill in the air. Both of them going quiet because
there's A NURSE carrying a tray of food. She's coming
toward us. They're walking away.
THE CAMERA
Staying with THE NURSE now. Coming up the hall.
THE SENTRY smiles -- opens the door and she enters --
359
359 INT. HOSPITAL ROOM -- DAY
Empty bed. Open window. Bourne is gone.
As THE MUSIC STARTS PUMPING, and we...
360 EXT. MUSEUM ISLAND BRIDGE -- BERLIN -- DAY 360 *
Off he goes. Disappearing into thin air... *
FADE OUT. *
THE END
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