"In writing fiction, the more fantastic the tale, the plainer the prose should be. Don't ask your readers to admire your words when you want them to believe your story." - Ben Bova [ more quotes ]

"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



EXT. MERCEDES WINDSHIELD -- DUSK

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.

INT. MERCEDES -- NIGHT

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:

INT. COTTAGE BEDROOM -- NIGHT

BOURNE'S EYES OPEN! -- panicked -- gasping -- trying to stay
quiet -- MARIE sleeps.

INT. COTTAGE LIVING AREA/BATHROOM -- NIGHT

BOURNE moving for the medicine cabinet. Digs through the
medicine cabinet. Downs something specific.

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.

They both look different than last we saw them; his hair is
longer. She's a blonde. Hippie travelers. Their cottage is
humble but sweet. The bedroom opens to a beach and a town
just down the hill. CLUB MUSIC from some all night rave
wafting in from the far distance.

MARIE
Where were you, Jason? In the car.

BOURNE
Conklin up front.

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 always bad and it's never
anything but bits and pieces anyway!
(she's gone quiet)
You ever think that maybe it's just
making it worse? 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.

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.

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 folding. Almost
childlike. She's gathering him in. He's letting her do it...

MARIE
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:

EXT. BEACH -- GOA/BEACHTOWN -- DAY

BOURNE running in the sun. A punishing pace along the sand.
Moving strong. Effortless. Deep into it. Focused. The stunning
conjunction of sun and scenery are lost on him.

EXT. OUTDOOR MARKET -- GOA/BEACHTOWN -- DAY

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.

EXT. ROAD -- GOA/BEACHTOWN -- DAY

BOURNE still running, leaving the beach behind.

INT. COTTAGE KITCHEN -- DAY

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.

EXT. MAIN STREET -- GOA/BEACHTOWN -- DAY

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 --

HIS POV

THE SILVER CAR has parked. There's a GUY -- well-dressed --
casual -- physical -- sunglasses -- call him KIRILL -- he's
out of the car and heading across the street toward a building
there. A TELEGRAPH OFFICE.

BACK TO

BOURNE checking his watch. The car. The guy. Perimeter.

INT. TELEGRAPH OFFICE/GOA -- DAY

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.

INT. COTTAGE -- DAY

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.

EXT. MAIN STREET/BANK GOA/BEACH TOWN -- DAY

KIRILL coming out of the bank. Mission accomplished.

Heading back to the SILVER CAR. Getting in and --

INT. SILVER CAR -- DAY (CONT)

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.

DELETED 14

INT. COTTAGE -- DAY

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 --

EXT. SIDE STREET/PARKING AREA -- GOA/BEACHTOWN -- DAY

KIRILL now parked and out of the car -- on the move -- on
foot -- he begins a sweep of the beach.

EXT. COTTAGE BACK DOOR -- YARD/ALLEY -- DAY (CONT)

BOURNE out the back -- jogging -- keeping low -- into the
neighborhood -- through the alleys -- nothing random about
it, this has all been worked out and --

DELETED

EXT. BEACH -- GOA/BEACHTOWN -- DAY

Crowded with tourists -- sunbathers -- MARIE at her favorite
spot. Talking with TWO WOMEN, laughing with them -- happy.

EXT. BEACH/PARKING AREA -- GOA -- DAY

A burly JEEP comes roaring up. BOURNE spots the SILVER CAR,
parks at the other end -- takes off towards the beach.

EXT. BEACH -- GOA -- DAY

KIRILL methodically making his way up the beach -- checking
every blue tent -- every towel.

EXT. BEACH -- GOA -- DAY

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.

From the tone of his voice, she knows it's serious. Marie
grabs her bag. A quick goodbye to the friends. They hurry
off. BOURNE uses the sunbathers as cover. KIRILL retreats.

EXT. BEACH/PARKING LOT -- GOA -- DAY

They reach the JEEP -- she knows the drill -- bag tossed in
the back -- even as the Jeep pulls away and --

INT. JEEP -- DAY (CONT)

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.

EXT. BEACH/PARKING LOT -- GOA/BEACHTOWN -- DAY

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.

EXT. BEACHTOWN ALLEY/OFF MAIN STREET -- DAY

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 this. This is real.
(suddenly)
And he's right there...
(throwing the car
into reverse)

MARIE
Where --

BOURNE
Back there -- at the corner -- Hyundai --
silver --

INT. HYUNDAI -- DAY (CONT)

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 --

EXT. ALLEYWAY -- GOA/BEACHTOWN -- DAY (CONT)

THE JEEP backing up the way it came -- BLOWING ITS HORN
because an OLD VAN pulls in and blocks him from behind --

INT. JEEP -- DAY (CONT)

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
Look, we clear out, we get to the
shack, we get safe. We hang there
awhile. I'll come 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!

INT. HYUNDAI -- DAY (CONT)

KIRILL. 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 rearview.

Fuck it -- there's an opening ahead and he's taking it --
even though it's away from them -- he'll find another way --

EXT. ALLEYWAY -- GOA/BEACHTOWN -- DAY -- (CONT)

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 --

INT. JEEP -- DAY -- CONT

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? --

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 --

INT. HYUNDAI -- DAY/SUNSET

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.

INT. JEEP -- BRIDGE -- DAY/SUNSET

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.

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.

EXT. LOW WALL -- DAY/SUNSET

KIRILL slams into it. Quick, precise grabs into the bag.
Only a moment and he's got a SNIPER RIFLE.

INT. JEEP -- BRIDGE -- DAY

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.

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.

EXT. WOODEN BRIDGE -- DAY (CONT)

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.

EXT. LOW WALL -- DAY (CONT)

KIRILL lowers the scope, takes a quick look around. He's
basically gone unnoticed in this little nook with his silenced
rifle. But people are already rushing toward the bridge.
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 --

INT. JEEP -- SINKING IN THE RIVER -- DAY/SUNSET

Swallowed up. BOURNE and MARIE gone.

EXT. LOW WALL -- SUNSET

KIRILL scans the surface of the river under the bridge.
Waiting.

EXT. RIVER BOTTOM -- DAY

Mud plumes as the JEEP settles. BOURNE reaches over to MARIE,
tries to urge her out.

EXT. LOW WALL -- DAY

KIRILL with a killer's patience, waiting, almost done.

SCOPE POV

The surface of the water. Unbroken.

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.

EXT. JEEP -- RIVER BOTTOM -- DAY

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.

EXT. KIRILL -- BY THE SILVER CAR

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.

EXT. JEEP -- RIVER BOTTOM -- DAY

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:

DELETED

EXT. ZOOGARTEN SQUARE -- NIGHT

We pick up a MAN WITH A BRIEFCASE on a telephoto lens.

TEDDY/RADIO (V.O.)
The seller has arrived.

BERLIN

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.)
He's inside.

EXT. ZOOGARTEN SQUARE -- NIGHT

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.

INT. BERLIN HQ/COMMAND POST -- NIGHT

"The Hub". Secure, anonymous office space somewhere in the
city. Shades drawn. Lots of gear cabled around. The stale,
improvised feel of a temporary outpost. Four serious people
alone in 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?

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 (V.O.)
"Hub, this is Survey One. Mobile One
is in motion. Seller is inside and
waiting."

EXT. MODERN BERLIN STREET -- NIGHT

VIC and MIKE slow as they come to the same STARK, GLASS OFFICE
BUILDING.

TEDDY/RADIO (V.O.)
"We are ready to go."

EXT. MODERN BERLIN STREET -- NIGHT

MIKE and VIC shake hands; two tired co-workers parting ways.
MIKE will keep walking. VIC entering the building through
the big glass doors, smiling as he's approached by A NIGHT
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."

INT. BERLIN HQ/COMMAND POST -- NIGHT

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?

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.

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 vetted the
source, Marty. He's real. If it does
nothing more than narrow the list of
suspects, it's a bargain at ten times
the price.

MANDARIN #1
Pamela, Jack Weller here. It's the
quality that's at issue...

PAMELA
Yes, sir. I'm in total agreement. If
they're fakes, they're expensive.
(furious, impatient)
Gentlemen, I've got the seller on
site and in play. Quite honestly,
there'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...

DELETED

INT. BERLIN HQ/COMMAND POST -- NIGHT

All eyes on PAMELA as she puts down the phone to Langley.
Nodding to CRONIN. Yes.

CRONIN/RADIO
"Final Green. You are go. are go for
Final Green." Repeat, you

INT. GLASS OFFICE BUILDING LOBBY -- NIGHT

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.

INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT

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 --

INT. GLASS OFFICE BUILDING ELEVATOR -- NIGHT

VIC alone with THE SAMPLES CASE. Pressing the button for #9,
the top floor. The doors close. The car
rises...2...3...4...5...6... And then, it stops. VIC bracing
himself, as the door opens and --

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.

VIC flips open the case. CASH. Three million dollars.

INT. GLASS OFFICE BUILDING CORRIDOR -- NIGHT

A GLASS DOOR. A suite of offices beyond. Clean. Anonymous.
One light on deep inside...

CASPIEX-PETROLEUM

Cherbourg -- Moscow -- Rome -- Tehran

INT. CASPIEX OFFICE -- NIGHT

Curtains drawn. Lights low. IVAN sitting with THE SAMPLES
CASE, counting the cash. VIC poring over --

RUSSIAN DOCUMENT FILES. Dozens of KGB files. Old and new.
Spread sheets, financial data. Incomprehensibly Cyrillic.
Marked up. But judging by the seals and clearance sign offs,
all top-secret.

VIC
This is everything? Is there.

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
(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 --

Wrong.

SNAPPH! -- SNAPPH! -- SNAPPH! -- SNAPPH! -- SNAPPH! -- five
fast, suppressed small caliber shots -- VIC falls first --
IVAN crashing back across a desk as the bullets tear into
him -- both of them dead before they hit the floor and --

REVERSE TO FIND

The GLOVED HANDS unscrewing a SILENCER, tucking away the
weapon. Already in motion before we know what's happened --

pulling a climbing duffel out from his back pack -- stuffing
in THE SAMPLES CASE and IVAN'S BRIEFCASE -- all the files --
all the money...

Except, wait... He's left out ONE old KGB FILE COVER -- and
now he pulls A PLASTIC BAG from his backpack -- GLOVED HANDS
carefully remove A SINGLE SHEET OF PAPER from inside the
bag. And this paper looks exactly like all the stuff he's
just tucked away; another page full of Cyrillic blur.

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 --

INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT

The electrical risers -- as ONE OF THE TWO DETONATION DEVICES
BLOWS -- a single, tidy, self-contained explosion and --

EXT./INT. THE GLASS OFFICE BUILDING LOBBY -- NIGHT

As the lights flicker and fail and THE NIGHT SHIFT SECURITY
GUARD is suddenly cast into darkness and --

INT. BERLIN HQ/COMMAND POST -- NIGHT

As they were. Waiting. But only a moment before --

TEDDY/RADIO
(sudden, 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? --
"

RADIO VOICES piling up -- panicked, confusion cascading as --

DELETED

DELETED

EXT. BERLIN NOVATEL/PARKING LOT -- NIGHT

Anonymous drone barn. KIRILL stepping out of a car. He's
carrying the duffle.

INT. BERLIN NOVATEL CORRIDOR -- NIGHT

KIRILL. Heading down the hall.

INT. NOVATEL ROOM -- NIGHT

KIRILL enters. It's a small room. GRETKOV is waiting. He's
forty. Professional. Trim and polished. Dominant.

GRETKOV
(Russian)
[You're early.]

KIRILL
(Russian)
[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.]

GRETKOV dumping three million dollars over the bed as KIRILL
sheds his clothes, and we --

DISSOLVE TO:

EXT. THE BRIDGE -- GOA -- DAY

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:

EXT. BERLIN OFFICE BUILDING -- DAY

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.

DELETED

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.

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.

EXT. NEAR THE SHACK -- DAY

A gasoline-stoked FIRE burning in a rock-lined pit. BOURNE
feeding his papers and all of Marie's belongings into the
fire. A passport cover crinkles back to reveal her photo.
Her face begins to burn. Gas-soaked clothes tossed in. Nothing
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.

INT. BERLIN HQ COMMAND POST -- DAY

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 these
explosive charges placed on the power
lines. One of them failed. The
fingerprint...
(Pamela's got it)
That's from the one that didn'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 KGB file that must've fallen
somehow and then slipped under, I
guess, a desk there, or...
(handing it to her --)

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:

EXT. INDIA COUNTRYSIDE -- DAY

BOURNE bouncing around on an old Punjab BUS. Alone in a crush
of humanity. Going only God knows where...

CUT TO:

DELETED

EXT. CIA HEADQUARTERS -- LANGLEY, VIRGINIA

PAMELA'S POV as she drives toward the entrance.

C.I.A. HEADQUARTERS VIRGINIA

INT. C.I.A. HEADQUARTERS -- DAY

A long, bright, sterile hallway. PAMELA and CRONIN walking
briskly alongside A UNIFORMED S.P.S. OFFICER.

INT. C.I.A. ELEVATOR -- DAY

PAMELA and CRONIN watching THE S.P.S. OFFICER unlock the
operation panel. Coding in. They begin to descend and --

INT. DIFFERENT C.I.A. CORRIDOR -- DAY

Drab and desolate. PAMELA and CRONIN come around a corner,
walking with A NEW ESCORT OFFICER. Passing a sign that reads:

Operations Library Center.

DELETED

INT. SECURED READING ROOM #63171 -- DAY

Sealed, triple-locked NUMBERED DOOR. It swings open. Lights
flicker on. Tons of shit packed away in here. Shelves bulging.
Boxes. Tapes. Binders. Hard drives.

PAMELA steps in. A HUGE FILING CABINET labeled --

TREADSTONE

PAMELA/PHONE (V.O.)
Ward?

ABBOTT (O.S.)
Yes?

PAMELA/PHONE
Pamela Landy.

DELETED

INT. ABBOTT'S OFFICE/C.I.A. HEADQUARTERS -- DAY

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.

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 is standing with DANIEL ZORN, one of
Abbott's trusted #2s. Clearly ZORN is getting the less polite
version of Pamela's invitation. ZORN managing to shoot a
quick, questioning glance to Abbott as --

INT. C.I.A. INTERVIEW ROOM -- DAY

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
That's a warrant from Director
Marshall granting me unrestricted
access to all personnel and materials
associated with Treadstone.

ABBOTT rocked and trying to hide it.

ABBOTT
And what are we looking for?

PAMELA
I want to know about Treadstone.

ABBOTT
To know about it?
(almost amused)
It was a kill squad. Black on black.
Closed down two years ago. Nobody
wants to know about Treadstone. Not
around here.
(the warrant)
You better take 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.

DELETED

EXT. BAY OF NAPLES -- LATE AFTERNOON

A hard working port. A big MEDITERRANEAN FERRY coming in.

NAPLES

FERRY -- BOURNE at the rail. Unchanged from India. Staring
ahead as Europe looms.

EXT. FERRY DOCK -- LATE AFTERNOON

BOURNE disembarking to an immigration queue. Looking
unremarkable. Just one of many passing through.

INT. C.I.A. INTERVIEW ROOM -- DAY

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
What happened? Jason Bourne happened.
(fury focusing)
You've got the files? Then let's cut
the crap. It went wrong. Conklin had
these guys wound so tight they were
bound to snap. Bourne was his number
one -- guy went out to work, screwed
the op and never came back. Conklin
couldn't fix it, couldn't find Bourne,
couldn't adjust. It all went sideways.
Finally there were no options left.

PAMELA
So you had Conklin killed.
(silence)
I mean, if we're cutting the crap...

ABBOTT
I've given thirty years and two
marriages to this agency. I've
shoveled shit on four continents.
I'm due to retire next year and
believe me, I need my pension, but
if you think I'm gonna sit here and
let you dangle me with this, you can
go to hell. Marshall 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
I think I do. We had a deal going
down in Berlin last week. During the
buy, both our Field Agent and the
seller were killed. We pulled a
fingerprint from a timing charge
that didn't go off.
(beat)
They were killed by Jason Bourne.

ABBOTT hesitates. Blindsided. What?

A courtesy knock at the door.

CRONIN
(appearing in the
doorway)
They're ready for us upstairs.

DELETED

INT. FERRY BUILDING CUSTOMS HALL -- SUNSET

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.

INT. INTERPOL MONITORING STATION -- MADRID -- SUNSET

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

CREWCUT turns from his monitor to his own SUPERIOR as, at
the same time...

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?]

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.

INT. C.I.A. SITUATION ROOM -- DAY

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
...Ivan Mevedev -- senior financial
manager -- worked for one of the new
Russian petroleum companies, Pecos
Oil. He claimed to know where the
money landed. We believe this could
have only happened with help from
someone inside the Agency... This...

CLICK -- CONKLIN'S PHOTO --

PAMELA
(placing it on the
table)
...this is Conklin's computer.

CLICK -- A PHOTOCOPY OF A BANKING CONTRACT --

PAMELA
...At the time of his death, Conklin
was sitting on a personal account in
the amount of seven-hundred and sixty
thousand dollars.

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 might've been a nut, but he
wasn't a mole. You have me his
calendar for a couple of days, I'll
prove he killed Lincoln.
(appealing to Marshall)
This is supposed to be definitive?

PAMELA
What's definitive, is that I just
lost two people in Berlin!

ABBOTT
So what's your theory?
(mocking her)
Conklin's reaching out from the grave
to protect his good name?
(incredulous)
The man is dead.

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. And that whatever
information I was going to buy in
Berlin, it was big enough to make
Bourne come out from wherever he's
been hiding to kill again.
(to Abbott)
How's that scan?

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 Naples.

ABBOTT blinks. What?

DELETED

EXT. FERRY BUILDING CUSTOMS HALL -- NIGHT

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 hassled pause)
I don't know, some guy's name came
up on the computer.
(starting toward the
building)
So start without me, if I can get
there, I will. Later...

NEVINS hangs up and pockets the phone. He hustles towards
the building.

INT. CIA SITUATION ROOM -- DAY

The room is jumping. Agents tracking, working the phones and
computers. PAMELA giving orders. ABBOTT watches.

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...

INT. FERRY BUILDING HOLDING ROOM -- SUNSET

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?
(BOURNE nods)
Name's Nevins. I'm with the US
Consulate. Could I see your passport?

BOURNE, silent, hands over his passport.

NEVINS
So, Mr. Bourne...

NEVINS studies Bourne's passport...

NEVINS
What are you doing in Tangiers?

Silence...

NEVINS
(faux friendly)
Are you travelling alone?

BOURNE stares straight ahead. NEVINS comes around the table
and sits in front of BOURNE.

NEVINS
(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
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...

INT. CIA SITUATION ROOM -- DAY

PAMELA on the phone.

PAMELA
Then use extreme caution. He can be
very unpredictable and violent. Use
whatever means necessary to...

INT. FERRY BUILDING HOLDING ROOM -- SUNSET

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
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.

BOURNE is back, silent and effective.

Finding NEVINS cellphone, BOURNE reaches into his bag. He
holds the phone next to a larger, diagnostic MOBILE UNIT --
the "confirm" light blinks -- Nevins' phone has been cloned.
BOURNE puts the phone back in NEVINS coat, takes his gun and
CARABINIERI'S gun and radio and puts them in his duffle.
We're starting to realize there's a plan at work 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 --

EXT. NAPLES FERRY BUILDING -- NIGHT

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.

EXT. NAPLES FERRY PARKING LOT -- NIGHT

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.

DELETED

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?

DELETED

INT. C.I.A. SITUATION ROOM -- DAY

PAMELA at the other end of the line.

PAMELA/PHONE
Mr. Nevins?

NEVINS/PHONE
Who's this?

PAMELA/PHONE
Pamela Landy, again. Where do we
stand?

INT. FERRY/SECURITY HOLDING ROOM -- NIGHT

Nevins barely knows where he is.

EXT. NAPLES STREET -- NIGHT

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 real close.
Jason Bourne is armed and extremely
dangerous. A week ago, he assassinated
two men in Berlin, one of whom was a
highly-experienced field officer...
(continuing as --)

We're TOTALLY ON BOURNE at this point -- sitting there in
the dark car, struggling to make sense of this -- what the
fuck is she talking about? -- Berlin? -- He writes it, circles
it.

PAMELA/PHONE
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 Berlin in
45 minutes, which means you are going
to call me back in 30, and when I
ask you where we stand, I had better
be impressed. My mobile number 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.

INT. C.I.A. SITUATION ROOM -- DAY

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. And we are -- all of us --
going to do what we were either too
lazy or inept to do the last time
around -- you're going to find this
sonofabitch and take him down before
he destroys any more of this agency.
(beat)
Is that definitive enough for you?

ABBOTT nods. Sharing a look with PAMELA as we --

INT. CIA HEADQUARTERS HALLWAY -- DAY

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 all relevant files to Kim --
(a look back at Zorn)
-- and I want them to contact anyone
who had anything to do with Treadstone --

ZORN looks to ABBOTT, as they disappear around a corner...

EXT. AUTOSTRADA -- NIGHT

THE PEUGEOT speeding North -- North towards Germany and --

DELETED

INT. BOURNE'S PEUGEOT -- NIGHT (CONT)

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 --

PAMELA/TAPE
"...a week ago he assassinated two
men in Berlin, one a highly..."

SUDDENLY

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 --

BACK TO

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 ---

EXT. BAKERY -- PORTOBELLO ROAD -- DAY

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.

INT. US AIR FORCE BASE, ENGLAND -- DAY

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.

NICKY
I had two responsibilities. One was
to coordinate logistical operations.
The other was to monitor the health
of the agents, to make sure they
were up to date with their
medications.

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 know if
that's true or not, but that's what
I was told.
(a bit defensive)
Look, they took vulnerable subjects,
okay? You mix that with the right
pharmacology and some serious behavior
modification, and, I don't know, I
mean, I guess anything's possible.

ZORN arrives from outside.

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.

EXT. PRIVATE JET -- DUSK

Streaks across the sky.

INT. PRIVATE JET -- NIGHT

Quiet in the cabin. ABBOTT gets up to use the bathroom. PAMELA
sits across from NICKY who stares out the window. As the
bathroom door clicks shut, PAMELA seizes the privacy.

PAMELA
I'm curious about Bourne. Your
interpretation of his condition. You
have specific training in the
identification and diagnosis of
psychological 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.

PAMELA
So he fooled you.

NICKY
(frustration building)
If you say so.

PAMELA
(leans in; still low)
Not good enough. You're the person
who floated this amnesia story.
(shifts gears)
Ever feel sorry for him? For what
he'd been 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.
Whatever he's doing, we need to end
it. This isn't the kind of mess you
walk away from.

PAMELA leans away. NICKY looks back out the window.

EXT. TARMAC -- BERLIN AIRPORT -- NIGHT

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 --

EXT. BERLIN STREET -- NIGHT

The SEDANS making their way, stopping at a non-descript office
building.

INT. BERLIN HQ/COMMAND POST -- NIGHT

ELEVATOR opens into their 9th floor world. Emergency activity.
KIM ready to debrief, KURT work the computers. Energy up.
PAMELA, ABBOTT and CRONIN bring NICKY into the room.

KIM
-- so far Bourne's had no contact
with anyone on the list -- Langley
pulled an image 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.
Why Naples?

ZORN
Why now?

PAMELA has gone quiet, just staring at the picture, as --

KURT
Could be random.

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 mistake.
(everyone looks over)
They don't make mistakes. And they
don't do random. There's always an
objective, always a target.
(beat)
If he's in Naples, on his own
passport, there's a reason.

PAMELA turns to ABBOTT. A silent moment between them. They're
in it now and they know it.

EXT. ITALIAN MOUNTAIN HIGHWAY -- NIGHT

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 --

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 --

INT. MOSCOW NIGHTCLUB -- NIGHT

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

A VIP BOOTH. KIRILL simply shitfaced. But in a really creepy,
numb kind of way. THREE WOMEN, absolutely gorgeous, are
sitting around him, chatting away as if he weren't even there.
The girls looking up to see --

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 --

EXT. MOSCOW NIGHTCLUB -- DAY (CONT)

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.

DELETED

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.

INT. JARDA'S HOUSE FOYER/KITCHEN -- DAY

The man enters. His alarm system -- beep...beep -- starts
once he comes through the door. There's A KEYPAD on the wall.
He enters his code and the beeping stops. Just like everyday.
It's a sad house.

He hangs his coat on the rack. Moving now --

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
Here...

Bourne tosses him FLEXCUFFS -- JARDA puts his hands behind
his back, turns to let BOURNE cinch them.

BOURNE
Front. Use your teeth.

JARDA
(caught scamming)
Sorry. Old habits.

BOURNE kicks over a chair. Sit.

JARDA
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)
Last time I saw you was Greece. You
had a good spot.

BOURNE reacts -- doesn't look over -- but realizes...

JARDA
I had the girl. I had her lined up
that whole afternoon. Waiting for
you, that was the problem.
(defensive)
You ever do two targets? It's tough.

BOURNE turns. Cold.

JARDA
(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 --

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
What the hell did you do? You must
have really screwed up.

BOURNE doesn't know. He backs off.

JARDA
She really did that? Told you not to
kill me?
(beat)
I had a woman once. But after a while,
what do you talk about? I mean, for
us. The work. You 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.

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
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
How long?

INT. DOD RAPID CAR -- DAY

Jamming -- right the fuck into it -- three guys -- JARHEADS -
DOD Special Force dudes -- speeding through MUNICH -- JAR #1
is the driver -- JAR #2 is prepping weapons like a maniac 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.

INT. JARDA'S HOUSE KITCHEN -- DAY

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 --

EXT. MUNICH STREET -- DAY

TWO MUNICH PATROL CARS rolling and --

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
older and cuffed, but strong and determined -- BOURNE still
hammered from that opening sucker-punch -- the two of them
braced there -- grappling -- falling --

JARDA -- the cuffs -- he's got BOURNE in a choke-hold -- but
BOURNE driving his head back -- into JARDA'S FACE and --

INT. DOD RAPID CAR -- DAY

Jamming along through Munich --

INT. JARDA'S KITCHEN -- DAY

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.

INT. DOD RAPID CAR -- DAY

JARHEADS getting close -- but up ahead -- ANOTHER MUNICH
PATROL CAR in motion -- the JARHEADS react -- don't need or
want the company.

INT. JARDA'S KITCHEN -- DAY

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 --

Next -- A FORK -- grabbing it -- jamming it down into the
mechanism on a TOASTER -- wedging it there -- and now he's
grabbing PAPERS -- JARDA's stuff on the table -- jamming a
roll of sales projections into the toaster beside the fork --

BOURNE coughing from the gas, turning the toaster on.

Checking his watch.

Taking one last look at JARDA dead on the floor and --

DELETED

INT. DOD RAPID CAR -- DAY

They're just turning into the street --

EXT. JARDA'S STREET -- DAY

THE DOD CAR -- THREE DODS approaching the house, when --

BOOOOOMM!!! -- JARDA'S KITCHEN -- blown out! -- gone --

EXT. JARDA'S BACK DOOR -- DAY

BOURNE -- same moment -- flying out the rear -- as planned --
urban backyard exfil -- he's flying and -- Gone.

EXT. JARDA'S HOUSE -- DAY

Fire -- smoke -- it's all burning now -- MUNICH COPS blown
back -- they'll have a story to tell tonight --

INT. BOURNE'S CAR -- DAY

Drives away past arriving police...

DELETED

INT. BERLIN HQ/COMMAND POST -- NIGHT

The bullpen is cranking -- phones to Munich -- lines to
Langley -- ABBOTT watching from the sidelines -- KURT and
KIM at their work stations -- PAMELA on mobile, turns to
ABBOTT --

PAMELA
So he beats a man within an inch of
his life, strangles him, then blows
the place up?
(at Nicky)
For someone with amnesia, he certainly
hasn't forgotten how to kill, has
he?

Across the room -- CRONIN and TEDDY suddenly excited about
what they're seeing on THEIR SCREEN --

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.

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 --

INT. THE AUDI/REST-STOP -- NIGHT

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 --

EXT. AUTOBAHN REST-STOP -- NIGHT

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.

INT. PEUGEOT -- AUTOBAHN -- NIGHT

Streaking along. BOURNE back to his mission.

EXT. AUTOBAHN -- NIGHT

Roaring by a SIGN: Berlin 75 KM.

INT. MOSCOW AIRPORT -- NIGHT

KIRILL striding through the terminal. Moving quickly toward
a departure gate and --

THE CAMERA FINDS

GRETKOV above. Watching him go.

EXT. BERLIN TRAIN STATION -- DAWN

BOURNE drives up.

DELETED

INT. BERLIN TRAIN STATION -- DAWN

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.)
['m sorry but I'm not showing that
we have a guest by that name.]
(continuing as --)

INT. BERLIN TRAIN STATION PHONE KIOSK -- DAWN

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.)
(overlapping)
[--no one here by that name--]
[--no, sir, there's no Landy here--]
[--how are you spelling that, sir?--]
[--sorry, but no--]
[--I have no Landy registered, sir--]
(continuing, until--)

INT. PAMELA'S HILTON HOTEL SUITE -- DAWN

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 --

EXT. BERLIN STREETS/ALEXANDERPLATZ -- DAWN

A TAXI driving through the empty early streets and --

INT. BERLIN TAXI -- DAWN (CONT)

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 --

SUDDENLY

FLASHBACK! -- it's raining -- we're still moving -- still in
a car -- still near Alexanderplatz, but suddenly it's pouring
outside -- turning back, we realize we're not in the cab
anymore -- there's A DRIVER up front, and 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.

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 gimme the damn picture
back.
(taking it)
See you on the other side.
(to the driver)
Pull over, he's getting out.

BACK TO

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

Concentric rings looking down on each other. BOURNE slipping
in unnoticed, taking a quick look up before moving along.

INT. HEALTH CLUB -- GRAND HOTEL -- DAY

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.

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.

INT. CONCENTRIC RINGS -- GRAND HOTEL -- DAY

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.

INT. LOBBY -- THE GRAND -- DAY

ELEVATOR DOORS OPENING. PAMELA coming out into the lobby.

Heading toward the exit and --

EXT. GRAND HOTEL ENTRANCE -- EARLY MORNING

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 --

EXT. HILTON HOTEL TAXI STAND -- EARLY MORNING

BOURNE jumps into the first cab in the rank and --

INT. BERLIN TAXI #2 -- EARLY MORNING (CONT)

THE DRIVER starting up the car, as --

BOURNE
[That black SUV. Fifty Euros if you
keep me close.]

THE DRIVER smiles and --

INT. BERLIN AIRPORT HOTEL -- EARLY MORNING

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 --

EXT. BERLIN HQ/COMMAND POST -- DAY

The SUV rolling up. The CAB continuing past and stopping at
the corner.

INT. CAB -- DAY

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 (V.O.)
-- Munich to Berlin, check everything --
flights -- trains -- police reports --
that'll be Box #1, Teddy that's yours --
(continuing as --)

INT. BERLIN HOTEL ROOM -- DAY

KIRILL opening the briefcase. TWO AUTOMATIC PISTOLS.
SILENCERS. AMMO. Care package.

EXT. BERLIN ROOFTOP -- DAY

A bulkhead opening. BOURNE stepping out among the satellite
dishes. Unpacks a bag: telescope, water, food, and we hear:

PAMELA (V.O.)
-- Box #2, call it Prior German
Connections -- Nicky, I want to re-
run all Bourne's Treadstone material,
every footstep -- Kim, Box #3 --
let's call it Munich Outbound --
(continuing as --)

INT. BERLIN HQ/COMMAND POST -- DAY

We've been hearing it, now we're seeing it: PAMELA at the
chalkboard -- ABBOTT backing her up -- everyone else spread
around -- they're re-grouping -- urgently -- behind them
cots are being set up -- food, water stacked up --

PAMELA
-- let's stay on the local cops, we
need a vehicle -- parking ticket --
something -- Langley's offered to
upload any satellite imaging we need,
so let's find a target to look for.
(to Zorn)
Danny, Box #4 -- I need fresh eyes --
review the buy where we lost the
three million -- timeline it with
what we know about Bourne's movements.
Turn it upside down and see how it
looks --
(continuing as --)

EXT. TELESCOPIC POV -- DAY

A decent view into the Berlin HQ. Two windows. One offers a
look at an empty kitchenette. The other, a nice shot of the
bullpen area. It looks like they are in for the long haul.
There's TEDDY pacing past... a glimpse of ZORN conferring
with ABBOTT... now KIM talking on the phone.

EXT. BERLIN ROOFTOP -- DAY

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 --

TELESCOPIC POV

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 --

DELETED

INT. KITCHENETTE -- BERLIN HQ/COMMAND POST -- DAY

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?

NICKY reacts to the name. Runs to the other room to try and
start a trace.

PAMELA
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!

EXT. BERLIN ROOFTOP -- DAY

As the bulkhead door swings in the wind -- BOURNE is gone.

INT. BULLPEN -- BERLIN HQ/COMMAND POST -- DAY

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. Snipers?

PAMELA
Hold on -- he said he wants to come
in.

ABBOTT
My ass he does. You're playing with
fire, Pamela. Marshall said nail him
to the wall. I don't know how you
interpreted that, but I don't think
he meant repatriate him.

PAMELA
Don't you want answers?

ABBOTT
There are no answers. There's either
Jason Bourne alive or Jason Bourne
dead. And I for one would prefer the
latter. And what about her?
(points to Nicky)
You just send her out to this lunatic
with no protection?

PAMELA looks to NICKY.

PAMELA
What do you think? Is he coming in?

NICKY
I don't know. He was sick. He wanted
out. I believed him.

PAMELA
Alright...

PAMELA gestures to ABBOTT, CRONIN, TEDDY.

PAMELA
...make the call. Get a wire on her.
If it starts to go wrong, take him
out.

DELETED

EXT. BERLIN STATION/MOTORPOOL -- DAY

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 --

DELETED

INT. BULLPEN -- BERLIN HQ/COMMAND POST -- DAY

NICKY, her hands overhead as -- ZORN tapes a TRANSMITTER and
BATTERY between her shoulder blades -- TEDDY and CRONIN plot
the area with TWO MEN plainclothed DELTA TEAM -- KIM and
KURT on their 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
I hope you know what you're doing --

DELETED

EXT. ALEXANDERPLATZ -- DAY

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.

INT. BULLPEN -- COMMAND POST -- DAY

Everyone waiting. Holding their breath. Watching NICKY
standing as...

EXT. ALEXANDERPLATZ -- WORLD CLOCK -- DAY

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...

EXT. ALEXANDERPLATZ -- DAY

The yellow TRAM arrives. NICKY enters. One of the DELTA DUDES
just barely joining her. The TRAM begins moving. NICKY looks
around nervously. Nothing happens. The TRAM moves about 500
yards across the PLATZ. Stops at the next stop. People get
on and off. NICKY and DELTA DUDE relax a bit. Doors begin to
close.

And just like that, BOURNE swoops in beside NICKY! Flashes a
gun.

BOURNE
Walk.

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.

DELETED

INT. BULLPEN -- BERLIN H.Q. -- DAY

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?

DELETED

INT. PEDESTRIAN SUBWAY -- DAY

BOURNE
What were my words?
(but she can't speak)
Leave me alone! Leave me out of it!
But you couldn'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?

INT. BULLPEN -- BERLIN H.Q. -- DAY

PAMELA all ears.

NICKY'S VOICE
She's CI. Counterintelligence. She's
a Deputy Director.

BOURNE'S VOICE
What the hell is she doing?

INT. PEDESTRIAN SUBWAY -- DAY

NICKY
What's she doing?

Nicky looks at him like he's crazy.

BOURNE
Why is she trying to kill me?

NICKY
They know!
(defiant, reckless)
They know you were here. They know
you killed these two guys. They know
you and Conklin had something on the
side. They don't know what it is,
but they know!

As BOURNE tries to process --

INT. BULLPEN -- BERLIN H.Q. -- DAY

Radio chatter going wild. Panic.

DELTA (V.O.)
(into radio)
Where are they? Anyone?

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?

NICKY
What is this, a game?

BOURNE
I want to hear it from you.

She looks at him. Is he crazy? What?

BOURNE
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 going to sell-out a mole or
something. I haven'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 print! There was Kel that
didn't go off! There was a partial
print, they tracked it back to
Treadstone! They know it's you!

BOURNE
I left a fingerprint! You fucking
people.

SUDDENLY --

BOURNE'S jerking her down to a LOWER LEVEL --

INT. BULLPEN -- BERLIN H.Q. -- DAY

Big static on the speakers. DELTA C.O. cooly checks the map.

DELTA C.O.
She must be in one of the pedestrian
tunnels.

EXT. ALEXANDERPLATZ -- DAY

As DELTA DUDES fan out, head for the subway entrances.

INT. PEDESTRIAN SUBWAY -- SECTION TWO -- DAY

An INTERSECTION of THREE TUNNELS.

BOURNE leads NICKY far left. She looks really scared.

INT./EXT. BERLIN AIRPORT -- DAY

GRETKOV has landed. Just coming off the flight --

DELETED

DELETED

INT. PEDESTRIAN SUBWAY -- SECTION FOUR -- DAY

BOURNE
What was Landy buying? What kind of
files?
(when she doesn't
answer instantly --)
WHAT WAS SHE BUYING?

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.

INT. BULLPEN -- BERLIN H.Q. -- DAY

As the transmission goes dead. Christ... ABBOTT drills a
look at PAMELA. Your fault!

PAMELA
(ignoring Abbott)
That phone has a locator on it.

KURT and KIM work their stuff.

INT. PARKING GARAGE -- DAY

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.

BOURNE
That's a lie!

NICKY
(emphatic)
You never worked Berlin...

BOURNE raising the gun -- eyes gone dead -- oh, shit...

NICKY
No... Jason... please...

BOURNE
I was here!

NICKY
...it's not in the file... I swear...
I know your file... your first job
was Geneva!... I swear to God you
never worked here!...

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

FLASHBACK! -- a moment -- a shard -- A WOMAN'S FACE -- backing
away -- begging -- begging us -- begging the camera --
PLEADING FOR HER LIFE IN RUSSIAN -- this awful blur of
desperation and panic -- fear -- too fast -- too panicked --

JAM BACK TO

BOURNE swamped -- thrown -- hesitating --

CLOSE ON NICKY

Sobbing now -- when? -- finally looking out, and --

BOURNE IS GONE!

INT. BERLIN HQ/COMMAND POST -- NIGHT

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.

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 the room)
Okay, they've got three guys out
front and another two taking the
back stairs. No word on Nicky.

KURT
(looks up from screen)
Even if she's still got your phone,
it might take awhile -- signal's
hard to trace down there.

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 confusion -- the amnesia -- but
he keeps on killing? It's more
calculated than sick.
(real soft sell)
What about Nicky? She's the last one
to see Bourne in Paris. She's the
one he asks for. They disappear...

PAMELA
Well, whatever he's doing, I've had
enough -- this is now a search and
destroy mission.
(turns to the room)
I want the Berlin police fully briefed
and --
(handing the photo to
Cronin)
-- get this out to all the agencies.

ABBOTT agrees...

DELETED

EXT. BERLIN STREET -- NIGHT

A BMW parked in the shadows.

INT. BMW -- NIGHT

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.

INT. BERLIN HQ/COMMAND POST -- NIGHT

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
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 --

INT. BERLIN CYBER CAFE -- NIGHT

Massive. Modern. Busy. BOURNE in the back. In a corner.

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]

There's a photograph of the Berlin Police carrying two body
bags out of the Hotel Brecker. There's a caption identifying
the dead as Vladimir and Sonya Neski. There's even a long
article accompanying all this, but it's in German and we
don't need to read it anyway, because --

BOURNE is reading it. And we're reading in his face. That he
is rocked. has found another bottom to the abyss. That he

INT./EXT. GLASS OFFICE BUILDING -- NIGHT

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...

INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT

ZORN and ABBOTT have snuck in here. Work light. Signs of
repair on the wall.

ZORN
(nervous)
I did my box work, but I wanted to
show you before I showed Landy. I
came out here last night because
none of this was making any sense. I
mean, I'm with you on this, Conklin
was a nut, but a traitor? I just
can't get there.

ABBOTT
What do you have, Danny?

ZORN
(the electrical riser)
You put a four-gam Kel on here and
it's gonna take out power to the
building. You know that. What you
can't know, is if it's gonna blow
the room with it.

ABBOTT
And?

ZORN
There were two charges, they were
supposed to go off simultaneously.
The second one, the one that didn't
go off, was down here...
(pointing it out)
First of all, this is nothing, it's
a sub-line for the breaker above.
Second, why put the charge all the
way down here? If you're good enough
to get in here and handle the gear,
you're good enough to know you don't
need this.
(beat)
Bourne would know.

ABBOTT
It was staged?

ZORN
Is it a slam dunk? No, but...

ABBOTT
Jesus...

ZORN
(spit-balling)
Okay. What if someone decided to
cover their tracks by blaming Conklin
and Bourne. What if Bourne didn't
have anything 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.

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 --)

ABBOTT -- out of nowhere -- his hand jamming up into ZORN'S
RIBCAGE! -- more than his hand, because ZORN'S EYES barely
have a moment to register shock before they bulge. Clenching
the younger man's body, pulling him close, as he turns the
knife 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 --

EXT. HOTEL BRECKER -- NIGHT

BOURNE across the street. Staring at the hotel. Haunted.

As a POLICE SIREN edges closer through the empty streets --

FLASHBACK!

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 --

BACK TO

BOURNE muscling up his backpack.

Heading toward the hotel.

INT. HOTEL BRECKER LOBBY -- NIGHT

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

FLASHBACK! -- the lobby, but seven years ago -- across the
room -- A MAN buttoning a raincoat as he passes -- NESKI! --

JAMMING BACK TO

BOURNE stalled -- coming back, as --

CLERK
Sir?
(smiling)
Do you have a reservation?

BOURNE
No. Sorry. I just got in...
(rallying back)
I -- Is room 645 available?
(off the Clerk's look)
I stayed there 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...

BOURNE
Sure. That's fine. Danka.

DELETED

SHOT

INT. HOTEL BRECKER ELEVATOR -- NIGHT

BOURNE riding up. Alone. Dread mounting, and --

INT. HOTEL BRECKER LOBBY -- NIGHT

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 --

INT. SIXTH FLOOR HALLWAY/HOTEL BRECKER -- NIGHT

BOURNE off the elevator. He makes his way down --

HIS POV

THE SIXTH FLOOR HALLWAY. Suddenly scary.

INT. BMW -- NIGHT

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 --

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.

Checks the hallway. He's clear. Wedges the blade in there
and -- one... two... Pop.

DELETED

INT. ROOM #645 HOTEL BRECKER -- NIGHT

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.

INT. HOTEL BRECKER LOBBY -- NIGHT

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.

INT. ROOM #645 HOTEL BRECKER -- NIGHT

BOURNE just standing there. Breathing it in.

TREADSTONE BOURNE doing the same --

DELETED

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 --

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? --

TEDDY
-- five, six minutes --

CRONIN
-- Kurt -- you're here! -- keep the
comm line open! --

INT. ROOM #645 -- NIGHT

BOURNE standing there. Looking out the window. The images --
the Television Tower over the city. Everything but the rain.

EXT. HOTEL BRECKER COURTYARD -- NIGHT

The BERLIN POLICE SWAT TEAM TRUCK arrives -- discreetly --
by the back loading area.

INT. ROOM #645 BEDROOM -- NIGHT

BOURNE flat against the wall. Just as he was. Leaning forward
to see in THE MIRROR. Just so, and... There.

DELETED

INT. ROOM #645 -- FLASHBACK -- NIGHT

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 --

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 --

BOURNE with the pistol in her face -- finger to his lips --
"shhh..." -- but she knows -- backing away -- begging for
her life in Russian -- this awful blur of desperation and
fear --

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? --

BOURNE has her wrist in his hand -- raising it to her head --
to where he holds the pistol -- her fingers -- his trigger --
SNAP! -- letting the gun fall with her as she drops 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

INT. ROOM #645 -- NIGHT

BOURNE -- our Bourne -- standing where they fell.

Frozen there. Paralyzed by the shame of original sin.

DELETED

DELETED

INT. HOTEL BRECKER LOBBY -- NIGHT

A SWAT CAPTAIN conferring discreetly with the MANAGER.

MANAGER
He's in 618.

SWAT CAPTAIN
Call all the guests on the 6th floor.
Tell them to remain in their rooms.
Tell them it's a police order.

Then start on the 5th and 8th floors.

INT. ROOM #645 -- NIGHT

BOURNE -- trying to stabilize -- to breathe --

INT. STAIRWELL -- NIGHT

The SWAT team on their way up.

INT. ROOM #645 -- NIGHT

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.

INT. ROOM #645 -- NIGHT

BOURNE backs away -- surveys the room -- his watch -- his
balance and --

EXT. STREET OUTSIDE THE HOTEL BRECKER -- NIGHT

Quickly turning into a major event -- HALF-A-DOZEN POLICE
VEHICLES already parked here -- MORE ARRIVING every minute --
PASSERSBY mixing with the COPS and PEOPLE FROM THE HOTEL
who've just come out and --

THE CAMERA FINDS

KIRILL jogging over from THE BMW he's just parked and --

DELETED

DELETED

INT. ROOM #644 HOTEL BRECKER -- NIGHT

WHAM! -- THE DOOR KICKED OFF ITS HINGES! -- SWAT TEAM flooding
into BOURNE'S EMPTY HOTEL ROOM and --

INT. ROOM #645 HOTEL BRECKER -- NIGHT

BOURNE -- in motion -- out the bathroom window and --

INT. HOTEL BRECKER SIXTH FLOOR HALLWAY -- NIGHT

BERLIN SWAT LEADER gives order to search other rooms and --

EXT. HOTEL BRECKER FACADE -- NIGHT

BOURNE up the water pipe to the roof -- as he arrives, a
SWAT team member turns -- BOURNE pulls him over the edge --
fires point blank into the 2nd SWAT member's vest -- stunning
him. He's moving fast -- scrambling along the roof and into
the night...

INT. SIXTH FLOOR HALLWAY ROOM #645 -- NIGHT

WHAM! The door caves in and the SWAT team moves enters # 645 --
rushing to the window -- Nobody -- No sign of him and --

EXT. STREET OUTSIDE THE HOTEL BRECKER -- NIGHT

KIRILL heading for THE HOTEL ENTRANCE blocked by the exiting
guests.

INT. HOTEL BRECKER SIXTH FLOOR HALLWAY -- NIGHT

Too many cops and radios --

SWAT TEAM BOSS
(trying to take charge)
[-- LISTEN UP! -- WE'RE CLEARING THE
BUILDING! -- ROOM BY ROOM! --]

EXT. STREET OUTSIDE THE HOTEL BRECKER -- NIGHT

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.

INT. HOTEL BRECKER LOBBY -- NIGHT

KIRILL wants to get upstairs -- he can't -- TOO MANY GUESTS
coming down the stairwell -- BERLIN COPS trying keep it moving
and --

DELETED

INT. HOTEL BRECKER LOBBY -- NIGHT

KIRILL hears BOURNE is on the roof.

DELETED

DELETED

INT. LOBBY/THE HOTEL BRECKER -- NIGHT

PAMELA and CRONIN listening to TEDDY who just got the police
update --

TEDDY
Black coat, possibly leather. Dark
slacks. Dark t-shirt.
(pointing now --)
He says they're gonna try and corral
the guests on the street over there,
and then check them out, but...

PAMELA
(disgusted)
Yeah, that'll work...What the hell
was he doing here?

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.

EXT. STREET BEHIND THE HOTEL BRECKER -- NIGHT

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.

DELETED

EXT. STREET OUTSIDE THE HOTEL BRECKER -- NIGHT

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...

ABBOTT
OK, if you see Danny tell him I went
back to the hotel.

ABBOTT steps out into the street as...

EXT. STREET NEAR THE HOTEL BRECKER -- NIGHT

BOURNE striding away and -- Following --

SIDEWALK COP blowing a WHISTLE -- fumbling for his holster.

BOURNE running now, slowly at first, and --

EXT. SIDE-STREET NEAR THE HOTEL -- NIGHT

Now FASTER, as if he can gauge his speed and distance...

EXT. SIDE-STREET NEAR THE HOTEL -- NIGHT

MOTION -- BOURNE tearing away and --

EXT. BIGGER BERLIN STREET -- NIGHT

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.

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 --

EXT. TRAM PLATFORM -- BERLIN BRIDGE -- NIGHT

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 --

EXT. DOUBLE COAL BARGE -- NIGHT

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.

EXT. BERLIN BRIDGE -- NIGHT

Guns aimed, POLICE waiting for a clear shot. TWO OF THEM
DASH to watch over the other side.

EXT. UNDER THE BRIDGE -- NIGHT

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 --

EXT. BERLIN BRIDGE -- NIGHT

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 --

EXT. NEXT BRIDGE DOWN -- NIGHT

POLICE converge from both ends -- Barge goes under as KIRILL
arrives at the center of the bridge -- missed again -- behind
KIRILL, a train snakes off into the night...

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 --

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...

DELETED

INT. ROOM #645 -- BATHROOM -- NIGHT

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
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.

EXT. CATHEDRAL PLAZA -- NIGHT

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.

ABBOTT
You told me Bourne was dead.

GRETKOV
There was a mistake.

ABBOTT
I'll say. You killed his goddam
girlfriend instead. Now they're onto
Neski. 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 paper)
There's a body in the basement. Danny
Zorn. He's got to disappear. For
good. Clean and fast. I'll put him
in bed with Conklin and Bourne. Even
the girl, Nicky. Give me twenty-four
hours, I'll think it up. But get the
goddamn body out of there.

It's getting late. A taxi now and then...

ABBOTT
Neski was a roadblock. Without me,
there's no company, no fortune. You
owe me, Uri. One last push.

GRETKOV
One last push. One.

GRETKOV leaves. ABBOTT watches him go.

EXT. MERCEDES -- NIGHT

Seconds later. GRETKOV getting in slowly.

INT. MERCEDES -- NIGHT

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...

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 - TO BE WRITTEN***

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 Vladimir Neski? Russian
politician? Seven years ago, he was
due to speak to a group of European
Oil ministers here at the hotel. He
never did. He was murdered.

PAMELA
By who?

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
(confidentially to
Cronin)
And I want you to go through and
cross reference our buy that went
bad, the Neskis, and Treadstone --

As they get in...

PAMELA
-- they have to be related.

EXT. BERLIN TRAIN STATION -- NIGHT

BOURNE'S ARRIVED. Limping. As he continues for the station --

INT. BERLIN TRAIN STATION LOCKER AREA -- NIGHT

BOURNE retrieving the exfil bag he stashed in the locker.
Changed his clothes.

INT. BERLIN TRAIN STATION MEN'S ROOM -- NIGHT

Bag slung -- limping out -- BOURNE has changed clothes. A
big overcoat, knit cap.

INT. BERLIN TRAIN STATION PLATFORM -- NIGHT

A busy midnight departure. Big train. BOURNE climbing on the
train, under the sign:

MOSCOW EXPRESS

MOVED

INT. NEW BERLIN HQ/COMMAND POST -- NIGHT

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 looking at all Berlin outbound.
Good news is, every train station in
Berlin has thirty to forty fixed,
digital security cameras. Common
feed.

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.

EXT. MOSCOW TRAIN -- NIGHT

Crossing the border into Poland -- Cold, desolate, snow --

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 --

DELETED

INT. NEW BERLIN HQ/COMMAND POST -- NIGHT

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.

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 blueprint)
Well, there's no window in the men's
room, folks, so let's find somebody
coming out with a bad left 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?

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.

BOURNE
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
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
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 --

DELETED

INT. MOSCOW TRAIN/PASSENGER CAR -- DAWN

BOURNE watching the birch trees rush past, not quite hiding
the smokestacks beyond. Eyes locked. Forging something within,
one final mission, as we --

INT. BERLIN WESTIN HOTEL LOBBY -- EARLY MORNING

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 championed the equal distribution
of oil leases in the Caspian Sea.
When he died, they were all released
to one petroleum company, Pecos Oil.
Guess what? -- the CEO, Uri Gretkov,
is ex-KGB.

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?

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.

INT. WESTIN ELEVATOR -- DAWN

ABBOTT in the rising elevator. Imploding.

INT. GRETKOV'S OFFICE -- MORNING

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.

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
(nodding but)
Hold on...
(holding the phone)
Yep. And Abbott just direct dialed
Moscow from his room...

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 --

INT. ABBOTT'S WESTIN HOTEL ROOM -- DAWN

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 yesterday on the night train.
He's probably just getting in now.
(he drinks)
You'll have to hurry.

GRETKOV
Bourne comes here? Why?

More KNOCKING...

ABBOTT
Good luck.

EXT. MOSCOW TRAIN -- DAWN

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 --

INT. WESTIN HALLWAY OUTSIDE ABBOTT'S ROOM -- NIGHT

PAMELA knocking again. NICKY, TEDDY and CRONIN behind her.

PAMELA
Open it.

CRONIN with a pass key. TEDDY prepped and --

INT. ABBOTT'S WESTIN HOTEL ROOM -- NIGHT

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
ountry.

PAMELA
And pocketed a fair amount of change
while doing it.

ABBOTT
Why not? It was just money.

PAMELA
And Danny Zorn, what was that?

ABBOTT
Had to be done.

PAMELA
No good options left?

ABBOTT
(shrugs)
In the end, honestly, it's hubris.
Simple hubris. You reach a point in
this game when the only satisfaction
left is to see how clever 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.

INT. PLATFORM -- MOSCOW TRAIN STATION -- DAY

THE TRAIN easing to a stop. The platform busy with people
waiting and -- PASSENGERS disembarking.

BOURNE among them. Unremarkable in THE CROWD and --

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.

EXT. MOSCOW TRAIN STATION CAB STAND -- DAY

There, in the plaza. BOURNE hobbling across the street, when
suddenly -- A CAR HORN! -- he turns and --

Look out!

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 (O.S.)
[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 --

INT. MOSCOW GARAGE -- DAY

Lots of cars. No people. But someone running... It's KIRILL
pulling his keys as he sprints past and --

DELETED

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 --

INT./EXT. BLACK BMW -- DAY

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 --

EXT. MOSCOW TRAIN STATION -- DAY

MOSCOW COPS fanning through the crowd showing BOURNE'S
INTERPOL PICTURE. "Have you seen him?"

EXT. MOSCOW TRAIN STATION CAB STAND -- DAY

MOSCOW COPS with the picture. Flashing it around, until --

YOUNG CABBY
(the moment he sees
it)
[He was just here. They just left.]

INT. MOSCOW TAXI -- DAY

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.

EXT. OLD MOSCOW STREET -- DAY

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.

EXT. MOSCOW TRAIN STATION CAB STAND -- DAY

MORE COPS. Everything focused on ANOTHER TAXI DRIVER who's
making a call on a cell phone -- everybody waiting on it --

EXT. ABANDONED WOODEN HOUSE -- DAY

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 --

INT. MOSCOW TAXI -- DAY

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...?]

EXT. ABANDONED WOODEN HOUSE -- DAY

BOURNE and the OLD LADY. His Russian is limited, but she's
charmed nonetheless --

BOURNE
[A pen... to write... one minute...]
(searching his pockets)

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! --]

EXT. ABANDONED WOODEN HOUSE -- DAY

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 --

EXT. MOSCOW TRAIN STATION -- DAY

MOSCOW POLICE CARS tearing away and --

DELETED

INT. BLACK BMW -- DAY

KIRILL DRIVING. Reaching for his RINGING PHONE and --

EXT. MOSCOW STREET -- DAY

THE BLACK BMW -- a moment later -- slamming on the brakes --
fishtailing a U-TURN and --

EXT. MOSCOW BUILDING PROJECT -- DAY

BOURNE hustling past all the new construction. Glancing back
as POLICE SIRENS start rising behind him and --

INT. RED LEXUS -- DAY

KIRILL skidding around another corner and --

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 --

DELETED

EXT. CONCRETE STAIRS -- DAY

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 --

INT. RED LEXUS -- DAY

KIRILL driving and scanning -- THERE! -- as he passes it --
THE OVERPASS -- slamming on the brakes and --

EXT. FOOTPATH -- DAY

BOURNE hobbling out in the open -- twenty yards to go --

EXT. OVERPASS -- DAY

KIRILL jumping out of the Lexus with A PISTOL in hand and --

EXT. FOOTPATH -- DAY

BOURNE -- no clue -- BANG! -- his shoulder! -- he's hit! --
he throws himself forward and --

EXT. OVERPASS -- DAY

KIRILL shifting for a better second shot and --

EXT. FOOTPATH -- DAY

BOURNE -- he's diving! -- rolling! -- pure instinct -- back
under the embankment and --

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 --

EXT. FOOTPATH -- DAY

BOURNE -- he's up -- he's bleeding -- he's moving and --

EXT. OVERPASS -- DAY

CHAOS -- KIRILL with his hands in the air -- MOSCOW COPS
coming toward him -- everyone screaming --

MOSCOW COPS
[-- UP! -- HANDS UP! --
KEEP THEM UP! -- DROP
THE GUN! -- DROP IT! --
]

MOCK-BOURNE
[-- I'M KGB, ASSHOLES! --
WE'RE CHASING THE SAME
GUY! -- HE'S GETTING AWAY! --
]

They let KIRILL go -- he looks back at the footpath -- BOURNE
is gone -- as

EXT. MOSCOW CITY STREET -- DAY

GRETKOV strolls along, suddenly two black sedans pull up and
he is arrested.

INT. PEDESTRIAN TUNNEL -- DAY

BOURNE hurriedly makes his way to the other end -- a few
beats later -- KIRILL on the hunt --

EXT. MOSCOW OUTDOOR MARKET -- DAY

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 --

INT. MOSCOW ENCLOSED MARKET -- DAY

A SECURITY GUARD -- hears the commotion -- jogs out and --

DELETED

EXT. NEARBY MOSCOW STREET -- DAY

KIRILL running toward the market -- FIVE MOSCOW COPS behind
him, can't keep up and --

INT. MOSCOW OUTDOOR MARKET -- DAY

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!

INT. MOSCOW ENCLOSED MARKET -- DAY

Crazy -- KIRILL sprinting through -- where did Bourne go? --

INT. MOSCOW OUTDOOR MARKET -- DAY

BOURNE back on the march, except now he's shopping! --

Grabbing -- A BUNDLE OF TUBE SOCKS and --

INT. MOSCOW OUTDOOR MARKET -- DAY

KIRILL sprinting out toward the stalls and --

DELETED

INT. MOSCOW OUTDOOR MARKET -- DAY

BOURNE -- THERE! -- A ROLL OF DUCT TAPE and --

-- A BOTTLE OF VODKA and --

INT. MOSCOW OUTDOOR MARKET -- DAY

KIRILL fighting his way through THE FLEEING CROWD --

DELETED

EXT. MOSCOW OUTDOOR MARKET -- DAY

BOURNE -- leaving the market -- taking a swig of VODKA and --

Continues -- knows there are TWO NEW COPS on his ass.

EXT. MARKET PARKING LOT -- DAY

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 --

INT./EXT. CAB -- DAY

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 --

INT. CAB -- DAY

BOURNE concentrating away the pain -- trying to drive --

EXT. MARKET PARKING LOT -- DAY

TWO LADIES ducked behind a BIG BLACK G-WAGON -- freaked out
as KIRILL grabs their keys and --

INT./EXT. MOSCOW STREETS/CARS/FACES -- DAY

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 --

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 --

BOURNE -- steering -- barely -- as he tears a few strips of
DUCT TAPE to finish his triage --

BALM! -- 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 --

THE TWO LEAD POLICE CARS -- wrong -- and worse, trying to
change -- CRASH!!!! -- SPINNING -- and it's not just them --
A THIRD POLICE CAR caught in the clutter -- Not to mention
the COMMUTERS -- CRASH!!! The Police are out of the race.

KIRILL -- not fooled -- threading the needle -- through the
carnage and into --

DELETED

INT. THE TUNNEL -- DAY

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 --

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 --

INT. TUNNEL -- DAY

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 --

DELETED

EXT. MOSCOW AIRPORT TARMAC -- DAY

Snow swirls. PAMELA disembarks from the G-5 (or US military
plane). She is met by RUSSIAN OFFICIALS.

EXT. MOSCOW HOUSING PROJECT -- TWILIGHT

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.

EXT./INT. PROJECT BUILDING ENTRANCE -- EVENING

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 --

INT. PROJECT BUILDING STAIRWELL -- EVENING

IRENA climbing. A JUNKIE here. Flickering light there.

INT. SIXTH FLOOR HALLWAY -- EVENING

IRENA -- her key at the door. Domestic disturbance playing
across the hall. She opens up and --

INT. IRENA'S APARTMENT -- EVENING

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 you...
(trying to conjure
the Russian --)
[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.

BOURNE
Of all the people in the world, you're
the only one I have anything to offer.
(hesitating)
That's why I came here.

IRENA
(she's terrified)
Okay.

He's got something beside him. Something he's taken off the
wall. IT'S THE PHOTOGRAPH. The Neski family. Same as the one
that was in the Hotel Brecker. Mom, Dad and Irena, arms around
each other, in front of the house. Before it was abandoned.
Happy. Smiling. Perfect.

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 father. 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.

Irena making sure her eyes don't leave his. They don't.

BOURNE
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
It was my job. My first time. Your
father was supposed to be alone. But
then your mother, she came out of
nowhere...
(a little shrug)
I had to change my plan.
(beat)
You understand me?
(does she?)
You don't have to live like that
anymore. Thinking that.

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.

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
I have to go now.

IRENA
Is this really happening?

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 --

EXT. HOUSING PROJECT PLAYGROUND -- DAY

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:

INT. HOSPITAL ROOM -- DAY

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 (O.S.)
Hello, David.

There she is. Standing at the foot of his bed.

BOURNE
Where am I?

PAMELA
Ramstein Air Base, Germany.
(smiles)
Before the wall fell you would have
woken up in a Russian prison hospital.

He looks around -- tries to move -- hammered by pain.

BOURNE
Oh, shit...

PAMELA
Careful...

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
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 alive?
(beat)
You're alive because you're special.
Because she kept you alive.
(she smiles)
Because we want you back on our side.

BOURNE silent. But hearing it. PAMELA leaves the file.

PAMELA
Take a look at it. We'll talk later.

BOURNE watching her back away. As she exits into --

INT. HOSPITAL CORRIDOR -- DAY

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 --

INT. HOSPITAL ROOM -- DAY

Empty bed. Open window. Bourne is gone. As THE MUSIC STARTS
PUMPING, and we...

EXT. MUSEUM ISLAND BRIDGE -- BERLIN -- DAY

Off he goes. Disappearing into thin air...

FADE OUT:

THE END

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