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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: YELLOW: PINK: BLUE: WHITE:
1/13/04 12/11/03 11/27/03 10/13/03 9/17/03
FOR EDUCATIONAL PURPOSES ONLY
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 -2 INT. COTTAGE BEDROOM -- NIGHT BOURNE'S EYES OPEN! -- panicked -- gasping -- trying to stay quiet -- MARIE sleeps. A2 INT. COTTAGE LIVING AREA/BATHROOM -- NIGHT A2 2
BOURNE moving for the medicine cabinet. Digs through the medicine cabinet. Downs something specific. 3 INT./EXT. COTTAGE LIVING ROOM/VERANDA -- NIGHT One minute later. BOURNE moves out onto the veranda. 3
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.
2. MARIE I'll get the book. No. BOURNE 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. time. I remember you. She smiles. 4 Kisses him. * * * * * * * * * *
Leads him back in. 4
INT. COTTAGE BEDROOM -- NIGHT
MARIE getting BOURNE into the bed. Turning down the light. Getting him settled. Waiting for that pill to kick in. What would he do without her? BOURNE I'm trying, Marie, Okay? MARIE I worry when you get like this.
..DAY 6 A busy market town. And I think it's not memories at all. MARIE shopping. Lots of young Western faces. BOURNE I should be better by now. Rundown and happening at the same time. It just takes time.. MARIE You are better. A punishing pace along the sand. Sleep. Deep into it. OUTDOOR MARKET -. Two waifs in the dark. He knows she's right. He's fading.3. Focused. MARIE I don't mean that. MARIE (CONT'D) Sleep now. I worry when you try He hesitates. Resistance folding. Moving strong. And with that opening. MARIE One day it will be different. Filling a bag with local produce.GOA/BEACHTOWN -.DAY 5 BOURNE running in the sun.GOA/BEACHTOWN -. to ignore it. Silence. He's letting her do it. The stunning conjunction of sun and scenery are lost on him. Hippie town. He gives in to her tenderness. But that gets him. Effortless. (beat) We'll make new memories. DISSOLVE TO: 5 EXT. She strokes his face. It's just a dream you keep having over and over. Almost childlike. 6 EXT. Fishing town. She's gathering him in. You and me. he's letting go. BOURNE But it ends up the same. BEACH -. BOURNE It's just a nightmare.
ROAD -. 8 INT. Young. putting the groceries away.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 -9 8 7 . Alive.GOA/BEACHTOWN -. checking the scene. A SILVER CAR -. Standing there. MAIN STREET -.GOA/BEACHTOWN -. So serious he's casual. Jason and Marie on a beach.DAY BOURNE still running.can't quite see who's driving. Big smiles. MOVING WITH HIM AS BOURNE follows THE SILVER CAR on foot -. chugging away. CAMERA FINDS BOURNE coming out of a store with a big bottle of water. In love. 9 EXT. Colonial facades in vivid. He's just finished his run. COTTAGE KITCHEN -. leaving the beach behind. but -BACK TO BOURNE watching this silver car.DAY MARIE back from the market. 7 EXT. Her arms around him. Loud morning traffic. There on the windowsill.pulling down the block -.something newish -. Almost done. when she stops for a moment -A PHOTOGRAPH. As if she were the protector.4. A snapshot.DAY Funky busy. when something catches his eye -HIS POV THE STREET. sub-continental technicolor.natural -cruising the BUSY SIDEWALK -. but we do: He's on alert. Nobody passing would notice. MARIE smiles.
INT. MR.call him KIRILL -. He's just been handed something -A PHOTOGRAPH OF MARIE -. The guy.DAY KIRILL coming out of the bank. 10 The car. There's a GUY -. Heading back to the SILVER CAR. MAIN STREET/BANK GOA/BEACH TOWN -. TELEGRAPH OFFICE/GOA -.physical out of the car and building there.balling it quickly.he's heading across the street toward a TELEGRAPH OFFICE.DAY A NOTE ON THE TABLE: "I'M AT THE BEACH" 11 BOURNE has just come in -. Methodical. This is the last place we know she called from. 11 INT. Perimeter. COTTAGE -.just read the note -. 10 * parked.well-dressed --. There's been a death in the family. He's a crisp.an old passport picture. sir? KIRILL across the desk. MOHAN at his desk. Getting in and -12 . 12 EXT.HOUSE CASH pulled from a lamp base. Fast. Packing like a machine -RAPID TIME CUTS -. -.DAY MR. Calm. A BACK TO BOURNE checking his watch. Mission accomplished.BACKPACKS thrown open on the bed. because -BOURNE is bailing. In fact. KIRILL She's my sister. HIS POV THE SILVER CAR has casual -. -.sunglasses -. MOHAN And your question. Some exfil procedure that he's honed and choreographed.5. proper man of fifty. everything is quickly now.CREDIT CARDS taped under the counter.
13 INT.MARIE at her favorite spot.the one of he and Marie on the beach -the one we saw her looking at earlier -.glancing around -.one last thing -.DAY 18A * * * A burly JEEP comes roaring up.6.takes off towards the beach. Eyes everywhere. He's cool.YARD/ALLEY -.on the move -.he begins a sweep of the beach.jogging -.the place is stripped -.shit. laughing with them .sunbathers -. COTTAGE -. 16 EXT.GOA/BEACHTOWN -. BOURNE spots the SILVER CAR.DAY 14 15 BOURNE -. Putting the car into gear.on foot -.nothing random about it. Talking with TWO WOMEN.done -.there it is on the windowsill -.through the alleys -.keeping low -. he makes a slow pass through the marketplace. BEACH/PARKING AREA -. parks at the other end -. Glancing around nice and easy.GOA/BEACHTOWN -.happy. he almost missed it -THE PHOTOGRAPH -. BEACH -. 18A EXT.DAY (CONT) 16 BOURNE out the back -. SIDE STREET/PARKING AREA -. COTTAGE BACK DOOR -. 14 15 DELETED INT. .pulling on the backpacks -.DAY (CONT) 13 * * * KIRILL starting it up.into the neighborhood -.DAY 17 18 * * Crowded with tourists -.jamming it into his pocket and -A16 EXT.DAY A16 * * * KIRILL now parked and out of the car -. this has all been worked out and -17 18 DELETED EXT. SILVER CAR -.GOA -.
she knows it's serious. BOURNE We pushed it. KIRILL retreats. He arrives just as KIRILL looks up and sees them a hundred yards away -. How? MARIE BOURNE The Telegraph office. No.GOA -. Marie grabs her bag.DAY (CONT) BOURNE driving. JEEP -. One minute ago everything was fine.bag tossed in the back -...every towel. We gotta go.GOA -. one eye on MARIE.DAY 20 19 * * * * * * * * * BOURNE coming up the beach the opposite way -. 20 EXT. We got lazy. A quick goodbye to the friends. * .7. BEACH/PARKING LOT -.one eye on KIRILL. From the tone of his voice.BOURNE bends down -BOURNE We gotta go. 19 EXT. They hurry off. MARIE beside him -BOURNE 22 We're blown.she knows the drill -. 21 EXT. MARIE But we were so careful.GOA -. now.DAY KIRILL methodically making his way up the beach -checking every blue tent -. She hesitates. BEACH -. Marie.even as the Jeep pulls away and -22 INT.DAY 21 * * * * * * * They reach the JEEP -.a hard stare between them -. BOURNE uses the sunbathers as cover. BEACH -.
. Eyes all over -. MARIE * * BOURNE It's wrong.DAY 23 * * * KIRILL already back at the SILVER CAR -.. BEACHTOWN ALLEY/OFF MAIN STREET -. 24 EXT.Hyundai -silver -- * * . BEACH/PARKING LOT -. This is real.8..GOA/BEACHTOWN -.DAY 24 THE JEEP pulling down this narrow little passageway and -BOURNE'S WINDSHIELD POV MAIN STREET packed with traffic and -BACK TO BOURNE not liking this.blocked by the local traffic -pulling a HUGE AUTOMATIC PISTOL out from his travel bag.trying to decide.at the corner -. Where -MARIE * * * * BOURNE Back there -. 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. (suddenly) And he's right there. * MARIE But you're sure? BOURNE He was at the campground yesterday. So. BOURNE Not this. 23 EXT..following them out onto the MAIN STREET -. (throwing the car into reverse) No.
we can't afford to be wrong! 28 INT.where's left to go? -BOURNE -. we clear out.. Possessed of a familiar tactical patience.THE JEEP -..DAY (CONT) 28 * * * * * * * * * * * * * * * * * * 27 KIRILL.DAY (CONT) BOURNE leaning on THE HORN -.. I'll come back. HYUNDAI -. we get safe. BOURNE We can't wait to be sure. BOURNE Look. ALLEYWAY -. He can't get the Hyundai to the alley from where he is and it doesn't make sense to go on foot. I'll check it out. MARIE I don't want to move again.as they disappear and -26 EXT. Calm. Glancing back for a way out -..but you're not -.shit.I like it here.BLOWING ITS HORN because an OLD VAN pulls in and blocks him from behind -27 INT.DAY (CONT) 26 THE JEEP backing up the way it came -.twenty yards back -.DAY (CONT) 25 * KIRILL trapped in some Main Street gridlock.9. HYUNDAI -. .freezing suddenly. He checks his rearview. because there -HIS POV -. JEEP -.a good look at BOURNE and MARIE -..GOA/BEACHTOWN -.THE ALLEY -.right there -. We hang there awhile. But right now we can't -MARIE -. we get to the shack..there's places -.you're not sure. 25 INT. now they've got to wait! MARIE .
where? -MARIE BOURNE -.MARIE moving out to pass -veering back! -.there's an opening ahead and he's taking it -even though it's away from them -.just in time and -MARIE -.toward the bridge -MARIE scrambling over the seat.not yet -MARIE -.DAY -.make the left -. ALLEYWAY -. BOURNE.clipping another vehicle -. eyes everywhere. Fuck it -. BOURNE scanning behind them -. What? BOURNE MARIE 29 THE OLD * * * * * * * * * * * * * * * * * BOURNE (already squeezing over) Switch! You drive! -.MIRROR SHATTERING! -. THE JEEP squirts back on the main street and -30 INT.he'll find another way -29 EXT.10. VAN is still blocking them from behind -You drive. checks his watch.it's just him? -- . JEEP -.DAY -.Jesus! -(glancing over) -.clear running for thirty yards ahead and -MARIE skidding them into the right turn -.CONT 30 MARIE at the wheel -.an ONCOMING BUS -.GOA/BEACHTOWN -.is he back there? -BOURNE -.(CONT) BOURNE sees the HYUNDAI move forward into traffic.adrenaline pumping -.speeding up.
MARIE (concerned) Where are you going? I'll meet BOURNE I'm going to bail on the other side and wait. it is.BRIDGE -.pulling out -. you there in an hour. Eye out for 32 * * * * * * * * * * * * * * * * * * * * * BOURNE You keep going to the shack. BOURNE preps his pistol. KIRILL'S mind racing. * * * * * * * BELOW -. 31 Bit of a view from here. HYUNDAI -. leave us alone.11. JEEP -.the JEEP headed for A BRIDGE. He's gonna lose them. Marie. BOURNE -. MARIE What if it's not who you think it is? BOURNE If he crosses the bridge. 32 INT.BOURNE knowing he's got a good one here -31 INT.hang on -MARIE bearing down -. Grabs duffle from the back.DAY/SUNSET MARIE driving.one guy -.DAY/SUNSET KIRILL stopping short on a rise. I told them to . KIRILL.yeah -.I don't think he was ready -MARIE -. Gets half out the car to look.gives him a quick smile -. abandons car. MARIE There must be another way! BOURNE I warned them. This bridge is the only way he can follow.
33 * * * * * KIRILL slams into it. LOW WALL -. Eye to the scope. B34 * SNIPER SCOPE POV There! The JEEP rumbling across the bridge. KIRILL'S FINGER Squeezing.pistol in hand -. Only a moment and he's got a SNIPER RIFLE. No clear target.. BOURNE Tell me later.DAY KIRILL..DAY BOURNE -. MARIE Jason.it won't ever be over like this. Firing.. A34 INT. precise grabs into the bag. too.DAY/SUNSET Almost there. MARIE looks ahead. when I roll out do not slow down. B34 EXT. JEEP -. A34 * * * * * * * * * * MARIE I love you. MARIE nods. got it. BOURNE There's no choice. 33 EXT. LOW WALL -. just the back of the full DRIVER'S SIDE HEADREST. HER POV The old CONCRETE BRIDGE ahead.BRIDGE -.. please don't do this. Quick.12. BOURNE At the end make the left.spare clip in the other -checks his watch. . After a beat.
13. 34 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. 35 EXT. LOW WALL -- DAY (CONT) 35 34
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. 36 As she sinks back inside -36 * 37
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. MARIE, tries to urge her out. BOURNE reaches over to
38 * * 39
EXT. LOW WALL -- DAY KIRILL with a killer's patience, waiting, almost done. SCOPE POV The surface of the water. Unbroken.
14. KIRILL Scans his perimeter. There's the old woman again. But more people with her. People coming out of the woodwork. KIRILL checks the surface one last time. Nothing. * 40
He breaks down the rifle in moments -- goes. 40 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. 41 EXT. KIRILL -- BY THE SILVER CAR 41 * * *
Bag chucked in the back. All he has left is the scope. One last look to the unbroken surface. Then it's time to go. KIRILL -- drifting away -- disappears. 42 EXT. JEEP -- RIVER BOTTOM -- DAY The red halo growing bigger. BOURNE pauses. BLOOD. She's dead. 42
* * * * DISSOLVE TO:
MARIE'S face is blank.
BOURNE finally pulling back. goodbye...
Realizing this is
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.
15. As the man comes to a CHINESE RESTAURANT he stops. Squarely. So he can be seen clearly. Then he enters a STARK GLASS OFFICE BUILDING. TEDDY/RADIO (V.O.) (cont'd) (CONT'D)
He's inside. 70
EXT. ZOOGARTEN SQUARE -- NIGHT
TWO MEN cross the square to the Chinese Restaurant. VIC is forty -- steel-ass intel operator -- he carries A LARGE SAMPLES CASE. Beside him, MIKE, younger, ex-Navy-Seal. 71 INT. BERLIN HQ/COMMAND POST -- NIGHT 71
"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? 72 INT. NEARBY BERLIN OFFICE -- NIGHT (CONT) 72
Dark. TEDDY at the window. Another military face. Radio rig. Night Scope. Watching VIC and MIKE pass below him -TEDDY/RADIO (OVER) "Hub, this is Survey One. Mobile One is in motion. Seller is inside and waiting." 73 EXT. MODERN BERLIN STREET -- NIGHT VIC and MIKE slow as they come to the same STARK, GLASS OFFICE BUILDING. TEDDY/RADIO (OVER) "We are ready to go." 73
Langley. BERLIN HQ/COMMAND POST -. We understand you're using the full allocation for this buy? PAMELA That's where we came out. MIKE/RADIO (sleeve mike. MARSHALL I'm here. Deputy Vice-Director.. 74 EXT. So is Donnie and Jack Weller. CIA SITUATION ROOM/LANGLEY. MIKE will keep walking. PAMELA (a bit surprised) Martin? 76 INT.we are standingby for final green. he's in charge. MODERN BERLIN STREET -. heading away from THE GLASS OFFICE BUILDING toward A VAN parked up the block. KIM raises a finger. KIM * * * * * * * * 76 * * * * * * * * She hands PAMELA a phone that's patched into her board. I'm clear.NIGHT 74 MIKE and VIC shake hands.listen up -. VIC entering the building through the big glass doors. And we hear: MIKE still walking. MARTIN MARSHALL. Just as she's about to give the final word.NIGHT THE COMMAND POST.. board." 75 INT.. CRONIN works the communications 75 * * CRONIN "All teams -. All is tense.. . VIRGINIA -.sit around a round table." (turning now to--) PAMELA.DAY THREE MEN -. alone now. who has been listening.CIA MANDARINS -. earpiece) "This is Escort One.. smiling as he's approached by A NIGHT SHIFT SECURITY GUARD.16. two tired co-workers parting ways..
If they're fakes. MARSHALL * * * * * * * * * * * * * * * * * * * * * * * * * * 77 78 * PAMELA For a thief. I'm in total agreement.. Jack Weller here. You are go. CRONIN/RADIO "Final Green. PAMELA We're talking raw. He's real. I've got the seller on site and in play. your game. Not convinced.NIGHT All eyes on PAMELA as she puts down the phone to Langley.. Quite honestly. Still. I vetted the source. MARSHALL All right Pam. MARSHALL It's a lot of money. sir.. but doesn't want to lose the opportunity. Pam. 77 78 DELETED INT.. BERLIN HQ/COMMAND POST -. Time to wash his hands. It's not something we can go out and comparison shop. MARSHALL looks to his MANDARIANS. it's a bargain at ten times the price. Marty. (furious. you . Yes. there's not much more to talk about. A mole. It's the quality that's at issue. are go for Final Green. impatient) Gentlemen. Nodding to CRONIN. PAMELA Yes... If it does nothing more than narrow the list of suspects. they're expensive. MANDARIN #1 Pamela.17. your call. unprocessed KGB files." Repeat.
onto the main riser. Here? IVAN VIC IVAN (holding open the door) Show now. . GLASS OFFICE BUILDING LOBBY -. Done with that.. As the tape is pressed down. here comes A SECOND SMALL EXPLOSIVE DEVICE . the top floor..6." VIC pulling his earpiece.the guy we saw outside with the briefcase -. The doors close. Pressing the button for #9. earpiece) "On my way up.no bigger than a pack of cigarettes -. Show me.. VIC/RADIO (sleeve mike. it's being taken from A PLASTIC BAG and mounted down by the floor on a sub-panel -Done.. he's standing alone at AN ELEVATOR BANK.standing in an empty.. transferring it onto the charge -80 INT.. They carefully place an EXPLOSIVE DEVICE -.the main electrical risers.. GLASS OFFICE BUILDING ELECTRICAL CLOSET -.. lit by the glare of someone's MAG-LIGHT. 79 INT. VIC bracing himself. Now.5.. The car rises. GLASS OFFICE BUILDING ELEVATOR -.4.18.3. it stops.2.Russian -.. A80 Going dark. A small room full of wiring and infrastructure.. It bears a FINGERPRINT..NIGHT Dark.NIGHT 80 VIC alone with THE SAMPLES CASE. elevator.. Waits for an * A80 INT.but this one's special. the hands hold up what looks like a piece of tape. as the door opens and -IVAN -.. And then.NIGHT 79 VIC has just passed muster with The Security Guard. GLOVED HANDS quickly pass over racks of gear and wiring and then stopping at -. darkened hallway.
shut up! -.THE SAMPLE CASE spilling cash and -- .NIGHT 82 Curtains drawn. Lights low. Dozens of KGB files..MUSIC -.no! -. Old and new. VIC flips open the case. But judging by the seals and clearance signoffs.alone -you said alone -Both of them sure they're being double-crossed -VIC (CONT'D) (cont'd) (reaching for his ankle) -.NIGHT A GLASS DOOR. CASPIEX-PETROLEUM Cherbourg -. CASPIEX OFFICE -. Marked up.a radio -.not me! -. financial data. GLASS OFFICE BUILDING CORRIDOR -.just shut the -Freaked by the gun. 81 INT. Three million dollars. IVAN Is all there.what the hell is that? -.19. counting the cash. * * * * Suddenly -. all top-secret.no other people! -VIC (coming up with a pistol) -. One light on deep inside. Anonymous. Clean.Moscow -. VIC poring over -RUSSIAN DOCUMENT FILES. Spread sheets.some tinny pop tune just started playing from somewhere down the hall -VIC -. IVAN to his feet -. VIC This is everything? Is there. 81 CASH. Incomprehensibly Cyrillic.Rome -.who else is here? -IVAN -. IVAN sitting with THE SAMPLES CASE..VIC pushing him back as he rushes past -.who? -.Tehran 82 INT. A suite of offices beyond.
suppressed small caliber shots -.20.VIC falls first -IVAN crashing back across a desk as the bullets tear into him -.NIGHT 83 The electrical risers -.the whole place just went dark! --" CRONIN looking at Pamela -. 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 -.SNAPPH! -./INT..both of them dead before they hit the floor and -REVERSE TO FIND The GLOVED HANDS unscrewing a SILENCER.. He's putting this sheet of paper inside the file cover.we lost power -the building! -. BERLIN HQ/COMMAND POST -. SNAPPH! -. wait. self-contained explosion and -84 EXT.SNAPPH! -. Wrong. Waiting.GLOVED HANDS carefully remove A SINGLE SHEET OF PAPER from inside the bag.all the money..NIGHT As the lights flicker and fail and THE NIGHT SHIFT SECURITY GUARD is suddenly cast into darkness and -85 INT.SNAPPH! -. Now he's slipping them both underneath the desk.as ONE OF THE TWO DETONATION DECIVES BLOWS -. tucking away the weapon.the target building or your location? --" . He's left out ONE old KGB FILE COVER -. THE GLASS OFFICE BUILDING LOBBY -.the first whiff of dread as -CRONIN "-.and now he pulls A PLASTIC BAG from his backpack -. another page full of Cyrillic blur. But only a moment before -85 84 TEDDY/RADIO (sudden. urgent) "Hub? -.. GLASS OFFICE BUILDING ELECTRICAL CLOSET -. And this paper looks exactly like all the stuff he's just tucked away.SNAPPH! -. tidy.all the files -.five fast. Except.a single.repeat -.NIGHT As they were.who is dark? -.we just -. tossing them there as if they fell in the struggle and -83 INT.
It's a small room. KIRILL stepping out of a car. GRETKOV is waiting. RADIO VOICES piling up -.panicked.) GRETKOV (Make it fast. Tosses some money on the bed. BERLIN NOVATEL CORRIDOR -. 89 INT. NOVATEL ROOM -. He's carrying the duffle. GRETKOV (What are you doing?) KIRILL stripping quickly -KIRILL (I'm taking a shower. GRETKOV (Russian) (You're early) KIRILL (You're complaining?) GRETKOV (It's clean?) KIRILL (Would I bring it?) GRETKOV taking over now. confusion cascading as 86-87 A87. BERLIN NOVATEL/PARKING LOT -.NIGHT KIRILL enters.B87 88 DELETED DELETED EXT. my plane is waiting) * * * * * * * * * * * * . Dominant. checks out the photocopy of the files. 90 Heading down the hall. 90 89 86-87 A87. He's forty.21.B87 88 * * * * * * * * * * * * * INT. Professional.NIGHT KIRILL. it's been a long day.NIGHT Anonymous drone barn. Trim and polished.
but this is a heartbroken exfil. GRETKOV dumping three million dollars over the bed as KIRILL sheds his clothes. PAMELA and CRONIN. 91-92A A93 DELETED INT. .Watching -. SHACK -. watching. The mood is black. and we -DISSOLVE TO: A90 EXT.From a distance -.A FOOTLOCKER open. across the street. POLICE blocking OFFICE WORKERS from getting in the building.DAY B90 * * Crime scene. off of it -As water pours A90 * * BOURNE -. But he also has to separate.Empty -CUT TO: B90 EXT.DAY BOURNE is bailing. across the street. Exfil procedure.GOA -.22. CRONIN I'm working on it.other things he needs. PAMELA We need to get in there. BERLIN OFFICE BUILDING -. Staring at the disaster 91-92A A93 BOURNE going through the footlocker.GOA -. MEDIA vans clogging the street. -. PAMELA stands there. THE BRIDGE -. Silent.DAY WORKMEN cluster as a cable winches -The JEEP is raised from the river bottom. Bourne's main stash. Ashes. Setting aside his 'work clothes' -.
TEDDY This is a KGB file that must've fallen somehow and then slipped under. The rules of exfil say drop it -. CRONIN Show her the other thing. or. Nothing left except -The PHOTOGRAPH -. Phony student IDs. BOURNE feeding his papers and all of Marie's belongings into the fire.DAY A folding table covered with XEROXED BERLIN POLICE PAPERWORK.but he can't -. The fingerprint. NEAR THE SHACK -. Her face begins to burn.. (handing it to her--) 93 * * * * * * . a desk there. 93 INT. One of them failed. holds the photo out to the flames. BERLIN HQ COMMAND POST -. PAMELA getting a show-and-tell from CRONIN and TEDDY. Gas-soaked clothes tossed in.spare shoes. Clothes -. (Pamela's got it) That's from the one that didn't go off. CRONIN -.so there were two of these explosive charges placed on the power lines.23. Loose passport photos with a mix of looks and hair-dos. We checked every database we could access. hefting. the bag.the picture of he and Marie at the beach. I guess.. BOURNE strides away. B93 EXT.vacuum-packed bags -. PAMELA And the Germans can't match it? TEDDY Nobody's got it.. Then.. A passport cover crinkles back to reveal her photo. A GROWING PILE of Marie memories: Bank cards. Nothing. sticks the photo on top of his gear.DAY B93 * A gasoline-stoked FIRE burning in a rock-lined pit.won't -He reaches to his bag. BOURNE hesitates. The one from his desk.
C. HEADQUARTERS -. bright.I.DAY 98 * PAMELA and CRONIN watching THE S. CUT TO: C93 EXT. Coding in. CUT TO: 94-96 A97 DELETED EXT. CIA HEADQUARTERS -.A. sterile hallway. PAMELA What the hell is a "Treadstone?" CRONIN shaking his head.DAY BOURNE bouncing around on an old Punjab BUS. OFFICER. OFFICER unlock the operation panel. (a scrap of paper) The main word there. the file heading. HEADQUARTERS VIRGINIA 97 INT. They begin to descend and -- . 98 INT. C.24.S. translates as: Treadstone.S. crush of humanity..DAY 97 A long. PAMELA and CRONIN walking briskly alongside A UNIFORMED S.LANGLEY.P.P.A. Nobody knows.. VIRGINIA PAMELA'S POV as she drives toward the entrance..I. Going only God knows where. PAMELA Do we know what this says? TEDDY Yup. 94-96 A97 C93 Alone in a C.I. INDIA COUNTRYSIDE -. ELEVATOR -.A..
Passing a sign that reads: Operations Library Center.A. Hard drives. Pam? PAMELA/PHONE I was hoping you had some time for me.DAY 103A-104 105 * WARD ABBOTT at his desk.25. Binders. DIFFERENT C.DAY 99 * * * Drab and desolate. triple-locked NUMBERED DOOR. PAMELA and CRONIN come around a corner. It swings open. ABBOTT/PHONE Time for what? PAMELA/PHONE I'm free right now actually. Lights flicker on. CORRIDOR -. 103A-104 105 DELETED INT. ABBOTT/PHONE What can I do for you. SECURED READING ROOM #63171 -. 99 INT. 100-102 103 DELETED INT.I. A PICTURE WINDOW offers a commander's view of the BULLPEN. A HUGE FILING CABINET labeled -- TREADSTONE Ward? Yes? PAMELA/PHONE (OVER) ABBOTT (OS) PAMELA/PHONE Pamela Landy. . Tons of shit packed away in here. Tapes. Boxes. HEADQUARTERS -.A. walking with A NEW ESCORT OFFICER.DAY 100-102 103 * Sealed. The cluttered clubhouse HQ of a man who's spent the last thirty-five years in the spy game. PAMELA steps in. ABBOTT'S OFFICE/C.I. Shelves bulging.
Desk. CRONIN is standing with DANIEL ZORN. Let me check my schedule. Closed down two years ago. ABBOTT rocked and trying to hide it. Eyes drifting out the window and -- Treadstone. Clearly ZORN is getting the less polite version of Pamela's invitation. ABBOTT holds the phone. ABBOTT With all due respect. I think you might've wandered a little past your paygrade.26. (MORE) * * . ABBOTT To know about it? (almost amused) It was a kill squad. She slides it forward. C. questioning glance to Abbott as -106 INT. ABBOTT And what are we looking for? PAMELA I want to know about Treadstone.A. PAMELA 106 ABBOTT and PAMELA alone. PAMELA That's not gonna fly. ABBOTT'S POV THE BULLPEN. She has a piece of paper. ZORN managing to shoot a quick. INTERVIEW ROOM -.I. Two chairs. one of Abbott's trusted #2s. ABBOTT/PHONE That sounds ominous. PAMELA That's a warrant from Director Marshall granting me unrestricted access to all personnel and materials associated with Treadstone.DAY A cold room. Black on black. ABBOTT Never heard of it. Pam.
I've been down to the archives. ABBOTT (CONT'D) Nobody wants to know about Treadstone. PAMELA (trump card) He does.LATE AFTERNOON BOURNE disembarking to an immigration queue. Ward. BAY OF NAPLES -. Just one of many passing through. FERRY DOCK -.I. Pam? You want to fry me? You want my desk? Is that it? PAMELA I want to know what happened.LATE AFTERNOON A hard working port. I have the files. Unchanged from India. ABBOTT What are you after. 107 A107 DELETED EXT. CONKLIN'S FACE peering back.A.BOURNE at the rail. 108 INT. 107 A107 * * A big MEDITERRANEAN FERRY coming in.DAY 108 B107 As they were. Conklin had these guys wound so tight they were bound to snap. B107 EXT. PAMELA Let's talk about Conklin. Looking unremarkable. C.27. Not around here. (MORE) * * . NAPLES FERRY -. (fury focusing) You've got the files? Then let's cut the crap. It went wrong. Sliding it over. ABBOTT watching PAMELA pull a photo from her file. ABBOTT What happened? Jason Bourne happened. (the warrant) You better take this back to Marty and make sure he knows what you're doing. INTERVIEW ROOM -. Staring ahead as Europe looms.
PAMELA So you had Conklin killed. ABBOTT hesitates. ABBOTT I've given thirty years and two marriages to this agency. What? * A courtesy knock at the door. both our Field Agent and the seller were killed. We pulled a fingerprint from a timing charge that didn't go off. screwed the op and never came back. During the buy. Blindsided. CRONIN (appearing in the doorway) They're ready for us upstairs. We had a deal going down in Berlin last week. couldn't find Bourne.. It all went sideways. And Bourne? PAMELA Where's he now? * * * ABBOTT (shrugs) Dead in a ditch? Drunk in a bar in Mogadishu? Who knows? PAMELA I think I do. 109-114 DELETED 109-114 .28. but if you think I'm gonna sit here and let you dangle me with this. Marshall too. (beat) They were killed by Jason Bourne. (flat) It had to be done. I've shoveled shit on four continents.guy went out to work. you can go to hell. ABBOTT (CONT'D) Bourne was his number one -. I need my pension. I'm due to retire next year and believe me. if we're cutting the crap.. Conklin couldn't fix it. Finally there were no options left. (silence) I mean. couldn't adjust.
29. A115 INT. FERRY BUILDING CUSTOMS HALL -- SUNSET A115
Now at the IMMIGRATION OFFICER booth, BOURNE hands over an OLD BLUE PASSPORT. It reads, JASON BOURNE. What's he up to? Is he giving up? IMMIGRATION OFFICER (Where you coming from, Mr. Bourne?) (Tangiers) BOURNE
The OFFICER runs the CODE on the passport through the SCANNER. 115 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... 116 INT. C.I.A. RELAY STATION -- BETHESDA, MARYLAND -- DAY 116 CREWCUT turns from his monitor to his own SUPERIOR as, at the same time... 117 INT. FERRY BUILDING CUSTOMS HALL -- SUNSET Looking up from his computer, the IMMIGRATION OFFICER gestures BOURNE to one side. IMMIGRATION OFFICER (Sir, would you be so kind as to step over here, please?) 117 115
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. 118 CARABINIERI guards the room. 118 * * * * * * * * * * * * * * * * * * * * * * * *
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 (CONT'D) ...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 (CONT'D) (placing it on the table) ...this is Conklin's computer. CLICK -- A PHOTOCOPY OF A BANKING CONTRACT -PAMELA (CONT'D) ...At the time of his death, Conklin was sitting on a personal account in the amount of seven-hundred and sixty thousand dollars.
31. ABBOTT Do you know what his budget was? Excuse me. PAMELA
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. selling? What are you
* * * * * * *
PAMELA I think that Bourne and Conklin were in business. That Bourne is still involved. (MORE)
Later. 122 INT. 119-120 121 DELETED EXT..DAY He hustles towards 122 The room is jumping. Stands at the head of the table.. (to Abbott) How's that scan? As the MANDARINS all start talking at once -ZORN enters. NEVINS . .. if I can get there.what can I do? I can't.NIGHT What? NEVINS. A junior. PAMELA giving orders. PAMELA (CONT'D) And that whatever information I was going to buy in Berlin. (starting toward the building) So start without me. Agents tracking. ABBOTT watches. I'll call you when I know what I'm into.I.32. the building..A.. you're not gonna believe this. Walking from the parking lot. I will. C.. some guy's name came up on the computer. NEVINS hangs up and pockets the phone. CIA SITUATION ROOM -. FERRY BUILDING CUSTOMS HALL -.. get their attention. Field Officer. ABBOTT blinks. (they look up) Look. American. Tries to * * * * * * * * 119-120 121 * * * * * * * ZORN Hey.. but Jason Bourne's passport just came on the grid in Naples. working the phones and computers. talking on his cellphone. (a hassled pause) I don't know. it was big enough to make Bourne come out from wherever he's been hiding to kill again.
123 INT. We see a big ass . Bourne... NEVINS takes his overcoat off..33. CRONIN already on it. who gives an unimpressed shrug and lets him in. I'm with the US Consulate..SUNSET As NEVINS flashes his credentials to CARABINIERI at door. FERRY BUILDING HOLDING ROOM -. tosses it on the empty chair. CRONIN (looks up from computer screen) Looks like he's been detained... Could I see your passport? BOURNE. 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. NEVINS (CONT'D) So.45 for just a second under his suit jacket. hands over his passport. Bourne. Mr.. is that your name? (BOURNE nods) Name's Nevins. silent.. NEVINS Alright. Who's going? PAMELA Us? * * * * * * * * * * * * * * 123 CRONIN There's only a Consulate. NEVINS (CONT'D) What are you doing in Tangiers? Silence. Mr. NEVINS (CONT'D) (faux friendly) Are you travelling alone? * * * . NEVINS studies Bourne's passport.
BOURNE has him down in a heap. and -He reaches for his gun.. But. it's concerning. away and answers: Nevins. PAMELA Then use extreme caution. even BOURNE is right there in his face. you're gonna need to play ball here. NEVINS cell starts to ring.. . a CI Supervisor calling from Langley.DAY PAMELA on the phone. FERRY BUILDING HOLDING ROOM -.. CARABINIERI barely clears his holster before -. He can be very unpredictable and violent. as he turns. Are you with a Jason Bourne now? NEVINS (listens. NEVINS flips shut his phone. 123 BOURNE A123 * * * * * * CLOSE ON NEVINS as he steps away. He shrugs an apology. CIA SITUATION ROOM -. NEVINS (CONT'D) (in his face) Look.34.CHOP -CHOP -. WHUMP! Momentum and gravity reaching mutual agreement as NEVINS hits the deck. NEVINS (cont'd) Okay.SUNSET Whatever Nevins is being told. looks at Bourne) Yes. watching him. His hand just starting to move toward his shoulder holster... listening intently. NEVINS comes around the table and sits in front of BOURNE. BOURNE stares straight ahead. Knows exactly what this is.. Virginia. A123 INT. 123 INT. I don't know what you've done. turns * * * * * * * * * * * * * * NEVINS (cont'd) (CONT'D) PAMELA/PHONE This is Pamela Landy. Use whatever means necessary to. I'll call you right back.
125 EXT.I. We're starting to realize there's a plan at work here. Hello? 128-129 130 DELETED INT. BOURNE reaches into his bag. NAPLES FERRY BUILDING -. Finally sitting up. NAPLES FERRY PARKING LOT -. Finding NEVINS cellphone.exits the door. BOURNE puts the phone back in NEVINS coat. purposely striding out of the building. SITUATION ROOM -.NIGHT 126 127 * NEVINS stirring. 126 127 DELETED INT. C.Nevins' phone has been cloned. the CARABINIERI still out. silent and effective. FERRY/SECURITY HOLDING ROOM -. he answers. in his long black coat.A. He pauses long enough for the security camera to get a good look at him. A phone starts to RING. BOURNE is back. BOURNE reaches into his bag. takes his gun and CARABINIERI'S gun and radio and puts them in his duffle. pulls out some cash. NEVINS 128-129 130 .NIGHT 125 BOURNE crosses the street and approaches a man putting his suitcase in the trunk of a green Peugeot. FINALLY BOURNE -.DAY PAMELA at the other end of the line.NIGHT 124 And now we see the old BOURNE. Nevins' phone. diagnostic MOBILE UNIT -the "confirm" light blinks -. He holds the phone next to a larger.35. THE RONIN returns. wedging a desk under the handle so it cannot be opened from the inside and calmly walks away like nothing ever happened -124 EXT.
FERRY/SECURITY HOLDING ROOM -.circles it. A nest of cool gadgetry -. A week ago. again. Shakes * * * * * * PAMELA/PHONE If you ever want to make it to five. 131 EXT.BOURNE -. Listening in -recording -He writes: Pamela Landy -.NIGHT Nevins barely knows where he is. you're gonna listen to me real close..PAMELA -PAMELA/PHONE How long have you worked for the agency? Me? NEVINS/PHONE Four years. (continuing as--) * * . NAPLES STREET -. PAMELA looks at the faces waiting around the table. Where do we stand? A130 INT. I think he got away. NEVINS/PHONE I think.. Nevins? Who's this? PAMELA/PHONE Pamela Landy. INTERCUT -. Headphones.. her head no.NEVINS -. he assassinated two men in Berlin. They don't exactly "lock down" real quick.on the passenger seat.. one of whom was a highly-experienced field officer..... PAMELA/PHONE NEVINS/PHONE Mr.36. we're in Italy. PAMELA Have you locked down the area? NEVINS/PHONE Ah. Jason Bourne is armed and extremely dangerous.NIGHT 131 A130 * BOURNE sits in the dark car.
. as he writes the number. and when I ask you where we stand. Dropping the car into gear.what the fuck is she talking about? -. struggling to make sense of this -. We're TOTALLY ON BOURNE at this point -.. Is that clear?? NEVINS/PHONE Yes... hangs up. C. I want any evidence secured and I want it done now. SITUATION ROOM -. I had better be impressed.DAY PAMELA finishes... ABBOTT You don't know what you're getting into here. PAMELA And you do? From the moment he left Treadstone. BOURNE pulls briskly away from the curb.I. sir -.A. I doubt Bourne's in Naples to settle down and raise a family. Before it can come to blows -MARSHALL (riot act) Enough.Berlin? -. PAMELA/PHONE (CONT'D) I want that area secured. Berlin! ABBOTT * * * * * * * * * * * * * A131 * * * * * * * PAMELA I've already got a team there. A131 INT. which means you are going to call me back in 30.THE PEUGEOT ROARING TO LIFE.He writes it.ma'am. I want both of you on that plane.sitting there in the dark car.37. PAMELA/PHONE I'm getting on a plane to Berlin in 45 minutes. My mobile number is. (MORE) * . he has killed and eluded every person that you sent to find him. BOURNE already turning the key in the ignition -. circles it.
PAMELA/TAPE "Jason Bourne is armed and extremely dangerous. B131 EXT.looking weird -132 133 ..listening to playback of Pamela's conversation with Nevins..DAY PAMELA and CRONIN come screaming around a corner and down a long corridor.Kurt's reopening all the wyfi and sat links -PAMELA -.you're going to find this sonofabitch and take him down before he destroys any more of this agency.38.North towards Germany and -132 133 DELETED INT.tight -.NIGHT THE PEUGEOT speeding North -.all of us -.eyes -.going to do what we were either too lazy or inept to do the last time around -. (beat) Is that definitive enough for you? ABBOTT nods. MARSHALL (CONT'D) And we are -. CIA HEADQUARTERS HALLWAY -. ABBOTT and ZORN trying to keep up. as they disappear around a corner.and I want them to contact anyone who had anything to do with Treadstone -ZORN looks to ABBOTT.NIGHT (CONT) BOURNE driving -. BOURNE'S PEUGEOT -." BOURNE'S FACE -.uplink all relevant files to Kim -(a look back at Zorn) -.. AA131 Sharing a look with PAMELA as we -AA131 * * * * * * * * * * * * * * B131 * * * INT.. CRONIN -. AUTOSTRADA -.
. 135 INT. -recognition -. Suddenly. BAKERY -. He nods that it's okay to answer..A STEEL CASE on the backseat. (We'll know him later as Jarda. As we lay hands on them -B133 BACK TO: B133 BOURNE out of it -.39. PAMELA sits on a window sill. 134 Accelerating and --134 Nicky from the EXT." A133 SUDDENLY A133 FLASHBACK! -.almost losing control of the car for a second -.. Get the fuck in. ENGLAND -.rolling BRANDENBURG BERLIN -.jerking back into his lane. Pamela bristles at the check-off.toughing it out -. The passenger door open. PISTOL. she stops -- ABBOTT stands there beside a parked car.jolted! -.THE TELEVISION TOWER -THE DRIVER looks back. Message clear. Inside a SYRINGE.lightning flash of images GETTING IN THE BACK SEAT OF THE CAR -. * * . old days.Steady as she goes -Catching his rhythm again.DAY 135 Inside a hanger.. ABBOTT watching as CRONIN questions NICKY.pieces -. US AIR FORCE BASE.a week ago he assassinated two men in Berlin. one a highly. NICKY emerging.DAY A BAKERY on the corner. PAMELA/TAPE (cont'd) (CONT'D) ".) Then -. Inside an office. We see him.a shard -. A DARK VIAL. CRONIN So your cover at the time was what? NICKY That I was an American student in Paris.PORTOBELLO ROAD -.A MIRROR -. CRONIN What exactly did your job with Treadstone in Paris consist of? Nicky looks to Abbott.
I mean. CRONIN Health. meaning what? NICKY Their mental health. I don't know if that's true or not.40. The other was to monitor the health of the agents. * . One was to coordinate logistical operations. to make sure they were up to date with their medications. and. they took vulnerable subjects. I was told it was voluntary. Because of what They were prone to a PAMELA (losing patience) What kind of problems? NICKY Depression. I mean. but that's what I was told. I don't know. (a bit defensive) Look. Anger. NICKY I had two responsibilities.sensitivity to light -Amnesia? Before this? NICKY gets agitated. cop. ZORN arrives from outside. PAMELA NICKY Before Bourne? * * * No. I guess anything's possible. They had physical symptoms -headaches -. good ABBOTT Were you familiar with the training program? NICKY The details? No. variety of problems. okay? You mix that with the right pharmacology and some serious behavior modification. * * ABBOTT steps in. they'd been through. fatherly. Compulsive behaviors.
NICKY * * * * * * * * * * * * 136 PAMELA You were his local contact. 137 INT. PRIVATE JET -. PAMELA seizes the privacy. PAMELA sits across from NICKY who stares out the window. You have specific training in the identification and diagnosis of psychological conditions? NICKY Am I a doctor..DUSK Streaks across the sky. I believed him. Good luck. As the bathroom door clicks shut. ABBOTT gets up to use the bathroom.NIGHT 137 Quiet in the cabin. PAMELA I'm curious about Bourne. * * * * * * * . no. NICKY relieved. She thinks. Your interpretation of his condition. You're coming with us. She's off the hook. but. You were with him the night Conklin died. Everybody moving. PAMELA Are you an expert in amnesia? NICKY Look.41. She becomes aware of PAMELA considering her. PAMELA Believed what? NICKY I believed Jason Bourne had suffered a severe traumatic breakdown. PRIVATE JET -.. what do you want me to say? I was there. (points to Nicky) There's a car for you. 136 EXT. ZORN The jet's ready.
did I want a date? Did you? PAMELA * * * * * NICKY These were killers. still low) Not good enough. Whatever he's doing. PAMELA (leans in. PAMELA leans away. Conklin had them all jacked up. You're the person who floated this amnesia story. PAMELA You felt nothing? No spark? Two young people in Paris? Dangerous missions? Life and death? NICKY (incredulous) You mean. NICKY (frustration building) If you say so. Nicky. we need to end it. I met him alone twice. NICKY looks back out the window. . PAMELA Some women like Dobermans -NICKY What do you want from me? reassigned. I was * * * * * * PAMELA See.42. This isn't the kind of mess you walk away from. I'm out. (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. PAMELA So he fooled you. that's a problem for me. They were Dobermans.
TARMAC -.Langley pulled an image out of Naples.NIGHT 138 Three in the morning as the GULF STREAM lurches to a stop. TWO BLACK SEDANS here for the pickup. 138 EXT. TEDDY the greeting party as -PAMELA. Energy up..NIGHT B138 ELEVATOR opens into their 9th floor world. ABBOTT.so far Bourne's had no contact with anyone on the list -. Why Naples? ZORN Why now? * * PAMELA has gone quiet.. ABBOTT and CRONIN bring NICKY into the room. oblique -.NIGHT A138 The SEDANS making their way. Emergency activity.. just staring at the picture.begins materializing on HALF-A-DOZEN MONITORS around the room. .43. stopping at a non-descript office building.. KIM ready to debrief. KURT Coming in now. as THE PHOTO -. BERLIN STREET -. CRONIN. PAMELA (to Nicky) Is it him? Looking closer -. ZORN and NICKY disembark -A138 EXT. Everything stops. it's uploading right now. CRONIN He's not hiding. Suddenly. they're surrounded by Bourne.blurry. B138 INT. as -KURT Could be random. BERLIN HQ/COMMAND POST -.she nods. KURT work the computers. that's for sure.BERLIN AIRPORT -. PAMELA. KIM -.
taking us with him through THE CROWD. Pushing the car through the night. Skin and smoke. (beat) If he's in Naples.NIGHT (CONT.) D138 BOURNE driving hard. A silent moment between them. A DOORMAN on the move. And then. Passing a sign for the German border.NIGHT 139 Packed and loud.NIGHT C138 * * * * * THE PEUGEOT streaking through the Alps. And they don't do random. from behind them -NICKY It's not a mistake. (everyone looks over) They don't make mistakes. PAMELA turns to ABBOTT. ITALIAN MOUNTAIN HIGHWAY -. There's always an objective. They're in it now and they know it. Mission Bourne. there's a reason.voices -all the Moscow party people and -AT THE BACK . taking us into -139 INT. MOSCOW NIGHTCLUB -. THE PEUGEOT -. on his own passport. As the MUSIC KEEPS JUST BUILDING AND BUILDING. Faces -.44. always a target. C138 EXT.. 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. Moonlit glacial peaks whipping past as CLUB MUSIC STARTS PULSING LOUDER AND LOUDER and -D138 INT. CRONIN Maybe he's running..
day.starts once he comes through the door. 141 142 DELETED EXT. THREE WOMEN. KIRILL can walk.. It's a sad house.. GRETKOV (You told me Jason Bourne was dead.DAY 143 The man enters. The most graceful drunk you've ever seen. A VIP BOOTH. It's nine a. Kids off to school and -GRETKOV sitting in his Mercedes. numb kind of way. Just like everyday.45. The girls looking up to see -THE DOORMAN (standing there) (Can he walk?) KIRILL stirs.trying to process. He enters his code and the beeping stops.beep. KIRILL suddenly in the sunlight.beep -.DAY Discreet and chilly. A car pulls up. But in a really creepy. KIRILL simply shitfaced. FOLLOW CAR and SECURITY and ASSISTANT equally unhappy. 141 142 MUNICH We don't see his face as he heads in. His stupor a futile attempt to escape. MOSCOW NIGHTCLUB -. Eyes A minute later. chatting away as if he weren't even there. Tuning out everything but the need to get to THE DOOR and -140 EXT. absolutely gorgeous. still those of an exceptionally hard man. His alarm system -. ANONYMOUS MUNICH NEIGHBORHOOD -. are sitting around him.) KIRILL blinking against the sunlight -. A MAN gets out.m. JARDA'S HOUSE FOYER/KITCHEN -. People going to work. There's A KEYPAD on the wall. Making his way through the club. 143 INT. He hangs his coat on the rack.DAY (CONT) 140 Yes. Moving now -- . not happy.
Bourne's dream. Front. opens the fridge for a drink. BOURNE I emptied it. JARDA (a total pro) Felt a little light. INTO THE KITCHEN. JARDA I like it here. He drops his briefcase on the table. Sit. BOURNE JARDA lets the gun fall. Bigger gun. JARDA from So ready. BOURNE checking JARDA'S briefcase -. But as he turns -BOURNE behind him.. Here. Except what he comes out with is -A GUN! Wheeling around. looks his old comrade over a beat.. Waiting. The salaryman is JARDA. Old habits.JARDA puts his hands behind his back. (a beat) (MORE) . turns to let BOURNE cinch them.46. BOURNE (cont'd) (CONT'D) Use your teeth. JARDA (caught scamming) Sorry. Drop it. * JARDA (CONT'D) Word in the ether was you'd lost your memory. BOURNE kicks over a chair.tearing through it -BOURNE You still should've moved. But Bourne's not interested in a reunion. BOURNE (cont'd) (CONT'D) Bourne tosses him FLEXCUFFS -.
good spot. We're the last two.he's falling! -. BOURNE turns.47. BOURNE JARDA Shot dead in Paris. He's dead.. JARDA down a peg. JARDA (CONT'D) I had the girl. BOURNE -. Cold. It's over. Silence. You had a BOURNE reacts -. (defensive) You ever do two targets? It's tough. JARDA What do you want? Conklin. (beat) She's the only reason you're alive.but realizes.landing hard -.right to Jarda's face -Try again. I had her lined up that whole afternoon.the gun -. Dead the night you BOURNE/PHONE Then who runs Treadstone? JARDA Nobody... * * * JARDA (CONT'D) (his real question) So why didn't you kill me then? BOURNE She wouldn't let me. (not finishing because--) -.BOURNE just kicked the chair out from under him -- . BOURNE JARDA Or two. JARDA (CONT'D) Last time I saw you was Greece.doesn't look over -. They shut it down. walked out.. that was the problem. Waiting for you.
what do you talk about? I mean. He backs off. JARDA I thought you were here to kill me. But after a while. Unsure. BOURNE You're lying. You can't tell them who you are. why are they after me? JARDA I don't know. I did.48. . BOURNE Pamela Landy? JARDA I don't know who that is. for us. BOURNE Who sent you to Greece? JARDA A voice. BOURNE What's going on in Berlin? JARDA I don't know! Why would I lie? Silence. It's really like Bourne just told him how much he loved her.. The work. If it's over. BOURNE pulls back. JARDA makes it to his feet. A voice from the States. BOURNE JARDA hesitates. BOURNE doesn't know. Someone new. JARDA (CONT'D) What the hell did you do? You must have really screwed up.. * JARDA (CONT'D) She really did that? Told you not to kill me? (beat) I had a woman once.
Something in the way he said it. * . BOURNE (cont'd) (CONT'D) You called it in? I'm sorry. BOURNE looks across to the alarm pad Jarda hit on the way in.JARHEADS -. JARDA Plus Jarda just glanced BOURNE How long? How long do I have -(stopping because--) THE PHONE JUST STARTED RINGING -. BOURNE What did you do? JARDA shrugs.so fix it.loud -.like a switch. almost embarrassed.JAR #2 is prepping weapons like a maniac in the backseat and -JAR #3 (on the phone) -. Voltage -.speeding through MUNICH -JAR #1 is the driver -.it's a red flag file! -. DOD RAPID CAR -.three guys -.right the fuck into it -.insistent -How long? 144 BOURNE (cont'd) (CONT'D) INT. 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.DOD Special Force dudes -.DAY 144 Jamming -. at his watch.49.
but we should --. but strong and determined -.JARDA swings -.JARDA older and cuffed.out of nowhere -. 145 INT.Free! JARDA follows up -.into JARDA'S FACE and -148 INT.what? -BOURNE JARDA -.he's got BOURNE in a choke-hold -but BOURNE driving his head back -. slices the flexcuffs through on a shard of glass -.BOURNE scanning out the windows -.as JARDA starts to move -.grappling -.the two of them braced there -.falling -JARDA -.my coat -. SLAM! -.everything fast --.like a mace -.get another car -BOURNE hesitates -. JARDA'S HOUSE KITCHEN -. JARDA'S KITCHEN -.skittering across the floor -BOURNE -.DAY 148 147 146 .a flat-out. MUNICH STREET -.two-hands -still cuffed -.knee up in the ribs -. close-quarter death match -. glimpsed through the glass outside.BOURNE still hammered from that opening sucker-punch -.DAY 145 PHONE RINGING -.just a moment -Wrong.the cuffs -.take the back -./INT. DOD RAPID CAR -.catching BOURNE hard and -BOURNE stunned -.car keys? BOURNE JARDA -.JARDA in cuffs -.DAY Seen from inside.DAY TWO MUNICH PATROL CARS rolling and -147 EXT. It's war -.JARDA smashing the coffee table.50.backhanding him and -146 EXT.THE GUN KNOCKED FREE FROM BOURNE'S HAND! -.
there -. Checking his watch. This is as real and up close as it gets.all business now -.grabbing it -.BOURNE'S first kill in a long time.wild shot -..JARDA's stuff on the table -. Until.Revulsion.DAY 149 JARDA -.but up ahead -.into the refrigerator -Still wrestling -.THE GUN on the floor -. Eyes fixed. A messy one -.DAY 151 BOURNE -. 151 INT. one gun and -BLAMM!!! -.and now he's grabbing PAPERS -.breaking JARDA's nose. until -The gun knocked away again. Jamming along through Munich -149 INT. Finally their hands locked into each other's throats.struggling for it -. JARDA'S KITCHEN -.jamming it down into the mechanism on a TOASTER -. turning the toaster on.jamming a roll of sales projections into the toaster beside the fork BOURNE coughing from the gas.THE GAS LINE HOSE -. BOURNE jumping back.pinned there -four hands.BOURNE ripping it free -. 150 INT. Taking one last look at JARDA dead on the floor and -152 DELETED 152 * .A FORK -..wedging it there -. BOURNE finally holds dead weight.pulling THE STOVE away from the wall -.the JARHEADS react -.don't need or want the company. Blood all over his shirt -.gas running wide open into the room -Next -.ANOTHER MUNICH PATROL CAR in motion -. JARDA'S KITCHEN -.51.JARDA there first -.BOURNE -.DAY 150 JARHEADS getting close -. DOD RAPID CAR -. Staring.BOURNE on him -.
DOD RAPID CAR -. turns to ABBOTT -PAMELA So he beats a man within an inch of his life.CRONIN and TEDDY suddenly excited about what they're seeing on THEIR SCREEN -* * * .DAY Drives away past arriving police. strangles him.ABBOTT watching from the sidelines -.he's flying and -.JARDA'S KITCHEN -.KURT and KIM at their work stations -.THREE DODS approaching the house.lines to Langley -. 153 INT.as planned -..flying out the rear -.blown out! -.NIGHT 158-163 164 157 * * The bullpen is cranking -.DAY 155 BOURNE -. 158-163 164 DELETED INT..gone -155 EXT.Gone.MUNICH COPS blown back -.PAMELA on mobile.same moment -.smoke -. BOURNE'S CAR -.52. he certainly hasn't forgotten how to kill. BERLIN HQ/COMMAND POST -.urban backyard exfil -.phones to Munich -. then blows the place up? (at Nicky) For someone with amnesia.they'll have a story to tell tonight -157 INT.DAY 154 * 153 THE DOD CAR -. has he? Across the room -. 156 EXT. JARDA'S HOUSE -. JARDA'S STREET -. JARDA'S BACK DOOR -.it's all burning now -.DAY 156 Fire -.DAY They're just turning into the street -154 EXT. when -BOOOOOMM!!! -.
ZORN You can't see him? He's not in front of you? Forget it. A HUGE.53. * * * * * * * * * * Get some air. buzzkill) It's not gonna be like last time..RAIN 165 * It is pouring rain. Excited. lights flashing through the dark and wet -- . CRONIN -. PAMELA And why is that? NICKY Because he's doing just what he said he'd do. enough. Seen from that Hellish car. 165 EXT. He's gone. And for the first time they're all thinking the same thing. Zorn nods. DISTINCTIVE. NICKY (piping in) I don't think we need to keep looking for him anyway. CRONIN (fuck you.hey! -. ZORN You better start listening to someone. NEEDLE-LIKE TOWER dominates the skyline.BERLIN -. HOTEL BRECKER -..NIGHT -. They've got a TEDDY What're you talking about? three block perimeter. He's coming for us. Danny. Forget it. ABBOTT Okay. Happy to. except -- ZORN They lost him.they've got him boxed in! -(new data coming up on the monitor) Everyone rushing to look. Cause we've been there. (stepping in) Take a walk.
throwing it down and -Standing there. BACK TO BOURNE catching his breath -.. 166 INT. AUTOBAHN -.wrong -.NIGHT Streaking along. BOURNE out of the car fast -. THE AUDI/REST-STOP -. PEUGEOT -.54. Moving quickly 168 .not even checking who's watching -. it's BLOOD -.NIGHT 166 BOURNE'S EYES OPENING! -. Sleeping trucks. B167 A167 EXT.pulling off the shirt -.shifting away from the pain in his rib -.springing up -alone -.he's in the car -. his side hurts -.AUTOBAHN -. Get it together.checking his watch -.recoiling from that -where is he? -. 168 INT. MOSCOW AIRPORT -. Watching him go.tearing it off -. In the weird light. man.looking around and -HIS WINDSHIELD POV AN AUTOBAHN REST-STOP.NIGHT KIRILL striding through the terminal.NIGHT Roaring by a SIGN: Berlin 75 KM. Looking around. A big bruise ripening But. shit.careless -. It's okay.damn.NIGHT 167 Gas station.but what the hell is that on his sleeve? -. A167 INT. on his side. B167 BOURNE back to his mission. toward a departure gate and -THE CAMERA FINDS GRETKOV above.heart pounding -.JARDA's blood -167 EXT.fuck. AUTOBAHN REST-STOP -. Nobody's watching..
HOTEL VOICES (V. 170-178 179 DELETED INT. sir? --) sorry. we hear: HOTEL OPERATOR #1 (V. BOURNE/PHONE (Pamela Landy.) (overlapping) no one here by that name --) no. Pamela Landy. BERLIN TRAIN STATION -. please.. Always ready. sir --) (continuing. there's no Landy here --) how are you spelling that. Prepping the evac.) (front desk German) (Berlin Hilton.. forty to go -. a felt tip pen. but no --) I have no Landy registered.) (I'm sorry but I'm not showing that we have a guest by that name. I don't see it here.) Crossing out another Hotel off the list -. how can I help you?) BOURNE/PHONE (V. Just like BOURNE who's taking A LOCKER. Stashing A BACKPACK. sir. until--) (-(-(-(-(-- . Working it. BERLIN TRAIN STATION PHONE KIOSK -.DAWN BOURNE drives up. 169 EXT.O.O.DAWN 170-178 179 169 Quiet and forlorn this early. BERLIN TRAIN STATION -. He heads outside.as we start TIME CUTTING and.) (I'm trying to reach a guest.O. please) HOTEL OPERATOR #2 (Sorry. and a Fifty-Euro phonecard.) (continuing as--) A179 INT.) HOTEL OPERATOR #1 (V.DAWN A179 BOURNE tucked in with a BERLIN GUIDE BOOK.four down.O.55.
handing us something -. rushing out from the bathroom to answer it -Hello -Dial tone. Papers.Treadstone Bourne -.it's raining -. the Berlin TV Tower. we realize we're not in the cab anymore -.staring at the photo -Neski.still near Alexanderplatz.. From the flashback. Vladimir Neski.we're still moving -.DAWN (CONT) BOURNE in the backseat. and beside him. Get the * * BOURNE -. fresh from the shower.DAWN B179 Clean and plain.some guy -CONKLIN Neski. * .DAWN A TAXI driving through the empty early streets and -- D179 INT.he's in the passenger seat -turning back to us -. PAMELA'S HILTON HOTEL SUITE -.still in a car -.A PHOTOGRAPH -a face -.turning back..yes. papers. EXT.56. B179 INT.alone in the back -. That needle in the sky. HIS POV D179 Staring out the window and -- THE FERNSEHTURM looming as they pass. C179 PAMELA/PHONE That was strange -C179 PAMELA hangs up.. PAMELA. Conklin -. BERLIN TAXI -. (beat) Say it. A bed nobody's slept in. THE PHONE begins ringing. BERLIN STREETS/ALEXANDERPLATZ -. (the photo) He's at the Hotel Brecker. but suddenly it's pouring outside -.. CONKLIN! -. And then -E179 SUDDENLY E179 FLASHBACK! -.there's A DRIVER up front. BOURNE Hotel Brecker.
F179 BACK TO F179 BOURNE sitting in the back seat of the cab.DAY BOURNE stepping up to the GUY behind the desk. CONKLIN This is not a drill. (to the driver) Pull over. BOURNE Hi. Black. This is good. H179 INT. mostly empty. make up your mind. Brecker. Rocked. BOURNE slipping in unnoticed.) G179 INT. H179 The gym * * * * * * . because the taxi's stopped and -TAXI DRIVER (waiting. Yes. (taking it) See you on the other side. Nike.) (What?) BOURNE TAXI DRIVER (This is the Westin Grand. he's getting out.EARLY MORNING G179 Concentric rings looking down on each other. irritated) (The Hotel Brecker or the Grand?. soldier. I think I left my backpack here yesterday.57. sir. What's happening to him? No chance to work it out. Frozen there. Training is over. BERLIN WESTIN GRAND HOTEL LOBBY -. Sorry. BOURNE CONKLIN Good.GRAND HOTEL -. taking a quick look up before moving along. We're clear on that? This is a live project and you are go. then gimme the damn picture back. HEALTH CLUB -.) You just said BOURNE (fishing for money) (Yeah.
PAMELA coming out into the lobby. Pamela 413.EARLY MORNING A BLACK SUBURBAN at the curb.58.heading quickly across the street and -- . The door opens.DAY J179 * * * Because of the set-up. shave. As they pile in.eat. whatever they want. Bourne. LOBBY -. and -THE CAMERA FINDS BOURNE walking right past them -. J179 INT.. BOURNE leans across the counter. walks away. but once we're back. K179 INT.GRAND HOTEL -. pretending to talk on a house phone.THE GRAND -.. SCREEN: Landy. BOURNE clears the screen. carrying an overnight bag -BOURNE watches. has a view of ROOM 413 across the way.he's got the whole thing scoped -. as she emerges -Anything? No. we're back for good. CONCENTRIC RINGS -. Heading toward the exit and -L179 EXT. The guy disappears in back to check.DAY K179 * ELEVATOR DOORS OPENING. scrolling the COMPUTER -the guest list -. PAMELA exits. waiting. He's loose. GRAND HOTEL ENTRANCE -. PAMELA CRONIN standing there L179 * TEDDY Munich's a bust. * * * * * * * * PAMELA Are we locked up? CRONIN I told everyone they had an hour -. sleep.his finger stabbing down on.
EARLY MORNING 179I pt. HIS POV As they pile out of the van. Fifty Euros if you keep me close. BERLIN AIRPORT HOTEL -. A180 INT. at the corner. As we hear: PAMELA (VO) -. M179 EXT.Munich to Berlin.59. CAB -. HILTON HOTEL TAXI STAND -. BERLIN HQ/COMMAND POST -. INT.DAY BOURNE looking back out the rear window. Stopping for a moment to light a smoke.EARLY MORNING (CONT) THE DRIVER starting up the car.trains -. N179 M179 KIRILL walks down the same hallway Gretkov came to meet him last time.DAY The SUV rolling up. start inside. check everything -flights -.) THE DRIVER smiles and -179I pt. Smooth. BERLIN TAXI #2 -. Acknowledged by a SECURITY DETAIL pretending to loiter outside. as -BOURNE (That black SUV. Teddy that's yours -(continuing as--) 180 The CAB continuing past and stopping A180 . Like it never happened -180 EXT.police reports -that'll be Box #1. Letting KIRILL take charge of the briefcase.EARLY MORNING BOURNE jumps into the first cab in the rank and -N179 INT. A GUY carrying a briefcase toward him.
Two windows.food.DAY 182 We've been hearing it.a glimpse of ZORN conferring with ABBOTT. Unpacks a bag: telescope. 179I pt.Box #2.DAY 179I pt.something -Langley's offered to upload any satellite imaging we need. * * . (to Zorn) Danny.let's stay on the local cops.urgently -. we need a vehicle -. water. every footstep -.DAY 181 A bulkhead opening. water stacked up -PAMELA -. The other.parking ticket -. BOURNE stepping out among the satellite dishes.let's call it Munich Outbound -(continuing as--) 182 INT. Turn it upside down and see how it looks -(continuing as--) 183 EXT. I want to re-run all Bourne's Treadstone material.I need fresh eyes -review the buy where we lost the three million -. It looks like they are in for the long haul.now KIM talking on the phone. food. BERLIN HOTEL ROOM -..timeline it with what we know about Bourne's movements. call it Prior German Connections -.they're re-grouping -.. One offers a look at an empty kitchenette. and we hear: PAMELA (VO) -. There's TEDDY pacing past. TWO AUTOMATIC PISTOLS.Kim. so let's find a target to look for. BERLIN ROOFTOP -. BERLIN HQ/COMMAND POST -.Nicky. Box #4 -. Care package.everyone else spread around -. SILENCERS.60. Box #3 -.ABBOTT backing her up -.behind them cots are being set up -... 181 EXT.DAY 183 * * A decent view into the Berlin HQ. TELESCOPIC POV -. INT. a nice shot of the bullpen area. AMMO. now we're seeing it: PAMELA at the chalkboard -. KIRILL opening the briefcase.
KITCHENETTE -. And -BOURNE lowering the telescope. know. have killed you. Yes.eyes locked on the target. 184 Waiting. Is it fresh? PAMELA 185 186 * NICKY It's got caffeine in it. BOURNE PAMELA I could * * * * PAMELA (Holy Christ) Bourne? . Who is this? INTERCUT WITH ROOFTOP It's me.61.pouring herself a cup of coffee. That's all I She * * Before PAMELA can pour. And then. BERLIN ROOFTOP -. Suddenly. Scanning. something changes.DAY NICKY is joined by PAMELA who goes for the coffee. PAMELA Pamela Landy. Thinking it through. BOURNE/PHONE I was at the Westin this morning. her cell phone rings. 184 EXT. Now he's getting somewhere. there's something down there that's clearly a great deal more electric than what he's seen so far -A184 TELESCOPIC POV A184 NICKY! -.DAY BOURNE -. Nicky who he knows. as -185 186 DELETED INT. answers.she's just come into the kitchenette -.BERLIN HQ/COMMAND POST -.
PAMELA What if we can't find her? It's easy. your move. Jason. and start a trace.NICKY back in with Conklin -. PAMELA Okay. Who? PAMELA * * BOURNE There was a girl in Paris. He wants to come in! -. The line goes dead -. PAMELA Okay.it's like a bomb going off -. Give her your phone.PAMELA waving for a pencil. NICKY reacts to the name. Part of the program. Click. Under the World Clock. BOURNE Alexanderplatz.62. realizing he's on one of the roofs out there! BOURNE/PHONE She's standing right in front * * * * * * * * * . of you. how do you want to do it? BOURNE I want someone I know to take me in. She used to handle the medication.her eyes flicker over to NICKY. 30 minutes. AND NOW WE STAY WITH PAMELA -. Runs to the other room to try PAMELA (cont'd) (CONT'D) What do you want? BOURNE I want to come in.Pamela steps away from the window. Alone. Busted.
PAMELA Hold on -. but I don't think he meant repatriate him. detailed MAP of ALEXANDERPLATZ spread on the table.he said he wants to * ABBOTT My ass he does.he's put her in the middle of everything. DOD. There's either Jason Bourne alive or Jason Bourne dead. B186 INT. BULLPEN -. A186 EXT. CRONIN -.DAY B186 * * * * * * * Everyone gathered. Marshall said nail him to the wall.BOURNE is gone. ZORN Here's the clock -. ABBOTT Call a Mayday into Berlin station. I don't know how you interpreted that. Snipers? come in. Pamela.it's a nightmare -. And what about her? (points to Nicky) You just send her out to this lunatic with no protection? PAMELA looks to NICKY. You're playing with fire. PAMELA What do you think? Is he coming in? * * * * . BERLIN ROOFTOP -. A big. We need snipers.we'll never get her covered.BERLIN HQ/COMMAND POST -.63. whatever they got. And I for one would prefer the latter. PAMELA Don't you want answers? ABBOTT There are no answers.shit -.DAY A186 As the bulkhead door swings in the wind -.
I.ZORN tapes a TRANSMITTER and BATTERY between her shoulder blades -.TEN DELTA DUDES in civvies. He was sick. sprinting to A COUPLE VEHICLES with DRIVERS ready and engines running and -B187-C187 DELETED D187 INT. PAMELA (CONT'D) . take him out. The field agent in Genoa. Bourne's calls came from Nevins' phone.BERLIN HQ/COMMAND POST -. CRONIN.A. her hands overhead as -. PAMELA He wanted * PAMELA gestures to ABBOTT.64. NICKY I don't know.. 187 A187 DELETED EXT.DAY B187-C187 D187 * * NICKY. ABBOTT (cont'd) (CONT'D) I hope you know what you're doing -- .make the call. TEDDY. it starts to go wrong.KIM and KURT on their own lines.TEDDY and CRONIN plot the area with TWO MEN plainclothed DELTA TEAM -. Abbott mad at himself for losing his temper -. BERLIN STATION/MOTORPOOL -. HQ -. KIM (this just in) They got the number.and here they come -.looking up to find Pamela's eyes on his.. BULLPEN -. Alright. out. Get a wire on her.DAY If * * 187 A187 * The rear of THE OFFICIAL BERLIN C... TEDDY Nevins is Bourne? ABBOTT (losing it) Are you an idiot?! his phone! * * * * * * * * * * * * * * * * * * Bourne must've cloned An embarrassed silence. I believed him.
. ALEXANDERPLATZ -. People get on and off. IN QUICK SUCCESSION -.. K187 EXT.Alone -. start moving.. H187 Watching NICKY * * * EXT.. NICKY BOURNE She turns and walks as the TRAM arrives.COMMAND POST -. H187 INT. NICKY enters. ALEXANDERPLATZ -. BOURNE swoops in beside NICKY! a gun. And just like that. NICKY and DELTA DUDE relax a bit. E187-F187 DELETED G187 EXT. J187 * * * * * * * * The DELTA DUDES * * * * * * * * * * * * * She answers as a yellow BOURNE See that tram coming around the corner? Yes. Nothing happens. BULLPEN -.DAY E187-F187 G187 * * In all its vastness -. J187 Holding their breath. Walk.. NICKY looks around nervously. TRAM approaches. The TRAM begins moving.there's the WORLD CLOCK -NICKY waiting on the periphery.DAY Everyone waiting.NICKY -. The TRAM moves about 500 yards across the PLATZ.BINOCULAR POV -. Get on it. BOURNE Flashes . ALEXANDERPLATZ -. Doors begin to close.on a VIDEO MONITOR.SNIPER SCOPE POV -.. TWO PLAIN-CLOTHED DELTAS nearby. One of the DELTA DUDES just barely joining her.WORLD CLOCK -.DAY K187 The yellow TRAM arrives.DAY NICKY'S (Pamela's) PHONE rings. Stops at the next stop.65. standing as.
. I did. PEDESTRIAN SUBWAY -. Listen! CRONIN Listen! L187-M187 N187 * * * * * He cranks the speaker. PAMELA Where's Nicky? As they realize she's gone -ABBOTT Goddamn it -. I told them I believed you.. L187-M187 DELETED N187 INT..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.66. * O187 P187 * BOURNE IS SHE RUNNING TREADSTONE? . BOURNE'S VOICE What did I say? What did I tell you in Paris? O187 P187 DELETED INT..I told you.. could you? NICKY I did.DAY A madhouse. a video feed on a monitor. BULLPEN -. BOURNE takes her arm and they just get off as the doors close leaving the DELTA DUDE behind. I swear..I told them..Jason. BOURNE Who is Pamela Landy? You hear me? NICKY I believed you. They disappear down into the PEDESTRIAN SUBWAY.BERLIN H.Q. -..
Q. She's a Deputy Director.BERLIN H. but they know! As BOURNE tries to process -S187 INT. They don't know what it is. T187 * BOURNE knowing he must be driving them BOURNE How do they know that? any of that? How can they know . -.67. PEDESTRIAN SUBWAY -. NICKY'S VOICE She's CI. Panic. reckless) They know you were here. Counterintelligence.Q. (into radio) Where are they? Anyone? T187 INT. PEDESTRIAN SUBWAY -. S187 * * R187 Q187 * DELTA V. BOURNE Why is she trying to kill me? NICKY They know! (defiant.DAY Radio chatter going wild.DAY Still walking.BERLIN H. BOURNE'S VOICE What the hell is she doing? R187 INT.DAY PAMELA all ears. BULLPEN -. BULLPEN -.O. Q187 INT. nuts. They know you killed these two guys. -.DAY NICKY What's she doing? Nicky looks at him like he's crazy. They know you and Conklin had something on the side.
they tracked it back to Treadstone! They know it's you! BOURNE I left a fingerprint! people. I haven't been debriefed on exactly what it was. The guy was going to sell-out a mole or something.on quicksand.Nicky shrugs -. BOURNE I killed him??? NICKY You left a print! There was Kel that didn't go off! There was a partial print.68. She looks at him. NICKY What is this. a game? BOURNE I want to hear it from you. Last week? BOURNE When? * * Is she supposed to answer? -. SUDDENLY -BOURNE'S jerking her down to a LOWER LEVEL -You fucking * * . NICKY And you got to him before we could. A Russian? BOURNE NICKY It was Pamela Landy's op. Say it. Is he crazy? What? BOURNE (cont'd) (CONT'D) NICKY Last week an Agency field officer went to make a buy from a Russian national.
188 W187 INT.dropping it as he yanks her along.69. 188 She looks really scared. cooly checks the DELTA C. BULLPEN -.BERLIN H. U187 INT. PEDESTRIAN SUBWAY -. head for the subway entrances. PEDESTRIAN SUBWAY -. V187 EXT. She must be in one of the pedestrian tunnels. map. W187 INT.O. BOURNE leads NICKY far left.DAY V187 As DELTA DUDES fan out.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) 189-A189 190 191 * * * * * * * * Suddenly he rips the microphone out from under her shirt -he knew of course -./EXT.DAY Big static on the speakers. BERLIN AIRPORT -. U187 * DELTA C.SECTION FOUR -. .Q. -.DAY GRETKOV has landed.O.DAY An INTERSECTION of THREE TUNNELS. ALEXANDERPLATZ -. Just coming off the flight -- 189-A189 190 191 DELETED DELETED INT.SECTION TWO -.
. deserted.70. Looks at his watch.I'm here because of Abbott -Abbott? BOURNE * * * * * * * * * * * * * * * NICKY He closed down Treadstone -.. A mausoleum. Your fault! Christ.BERLIN H. look at PAMELA. NICKY You never worked Berlin. BULLPEN -. 192 INT.DAY As the transmission goes dead. BOURNE Why are you here.I'm only here because of Paris -because they can't figure out what you're doing -.. You know my file. BOURNE My first job. I did a job here. KURT and KIM work their stuff. When? No.Q. then? NICKY Please -. Here come NICKY and BOURNE. NICKY Your first assignment was Geneva. PARKING GARAGE -. * .. -. In Berlin. BOURNE dead serious.he took care of me after Paris. She knows she's on her own now. 193 INT. BOURNE So when was I here? NICKY What do you mean? BOURNE For Treadstone. 192 ABOOTT drills a * * * * 193 * PAMELA (ignoring Abbott) That phone has a locator on it.DAY Gloomy.
I was here! BOURNE NICKY ..hesitating -CLOSE ON NICKY Sobbing now -.a shard -.thrown -.. and -BOURNE IS GONE! C193 INT. working the phones and screens.A193 begging -..begging us -. C193 Curtains moment -..covering up -.I know your file...oh. BOURNE That's a lie! NICKY (emphatic) You never worked Berlin..please.A WOMAN'S FACE -..when? -.this awful blur of panic -.bracing for the bullet she knows is coming -BOURNE -.PLEADING FOR desperation and JAM BACK TO BOURNE swamped -. BERLIN HQ/COMMAND POST -.about to pull the trigger -SUDDENLY A193 FLASHBACK! -.finally looking out.I swear to God you never worked here!...Jason.. shit.. NICKY (CONT'D) No..I swear.NIGHT An hour later... Siege mode.. He's so ready to kill her.too fast -.it's not in the file.a backing away --.eyes gone dead -. NICKY starting to cry -.... drawn.71.too panicked -B193 * * * B193 THREE DELTA DUDES parked around the room..fear -.begging the camera HER LIFE IN RUSSIAN -. BOURNE raising the gun -..hands over her face -.. Whole new vibe.your first job was Geneva!. KURT and KIM * .
BERLIN STREET -. Introspective.but he keeps on killing? It's more calculated than sick.signal's hard to trace down there. I've had enough -. CRONIN all in here. PAMELA Well. 194 195 DELETED EXT.the amnesia -.. PAMELA..this is now a search and destroy mission. they've got three guys out front and another two taking the back stairs. No word on Nicky. (turns to the room) I want the Berlin police fully briefed and -(handing the photo to Cronin) -. it might take awhile -.72. ABBOTT. whatever he's doing. The mood is dark.. She's the one he asks for. (real soft sell) What about Nicky? She's the last one to see Bourne in Paris.NIGHT A BMW parked in the shadows. ABBOTT agrees. looking at the photo of BOURNE in Naples. PAMELA turns. yeah.get this out to all the agencies.... They disappear. away from the windows -CRONIN (on a cell phone) Got it. PAMELA So what's he doing? You believe him? * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ABBOTT It's hard to swallow. Hang on. KURT (looks up from screen) Even if she's still got your phone. (to the room) Okay. 194 195 * . the "safe" zone. (beat) The confusion -.
ABBOTT Looking beat. Past him. Turning back.73. inside. as if it E193 In a corner. ZORN (the coffee) Sir. Thanks. ABBOTT nods. He's in play. BERLIN CYBER CAFE -. There's an INTERPOL "WANTED" PICTURE OF JASON BOURNE there on the seat.NIGHT Massive. heading back toward PAMELA'S OFFICE where -ABBOTT is leaning in the doorway. D193 INT.. CRONIN and THE DELTA BOSS sitting there with her. ZORN (cont'd) I have that number you wanted.he never asked for a number.. Modern. and there.but only a moment -. Pockets the paper. Busy. BMW -. ABBOTT hesitates -.NIGHT 196 KIRILL wearing headphones. listening to a BERLIN POLICE FREQUENCY. THE CAMERA FINDS ZORN moving through the bullpen. intense activity. 196 INT. D193 MILITARY RADIOS CHIRPING here Takes a sip. ABBOTT (glancing at it) She say what time I should call? ZORN The sooner the better.. BERLIN HQ/COMMAND POST -. Looking satisfied as ZORN hands him a slip of paper. ABBOTT nods. were nothing and -E193 INT. But he's playing along.NIGHT Quiet. BOURNE in the back. we can see PAMELA in the midst of a tough phone conversation. carrying a cup of coffee. ..
Written large in * Scrolling. I mean. Freezing. Work light. ZORN and ABBOTT making their way in. 194 INT.NIGHT ZORN and ABBOTT have snuck in here. You know that. but a traitor? I just can't get there. has found another bottom to the abyss. There's even a long article accompanying all this. GLASS OFFICE BUILDING ELECTRICAL CLOSET -.. And (OIL REFORMER MURDERED) There's a photograph of the Berlin Police carrying two body bags out of the Hotel Brecker. GLASS OFFICE BUILDING -. but I wanted to show you before I showed Landy. loud. F193 INT. Conklin was a nut.. There's a caption identifying the dead as Vladimir and Sonya Neski. but it's in German and we don't need to read it anyway. I came out here last night because none of this was making any sense. of repair on the wall.. I'm with you on this. Doing a search HOTEL BRECKER 1997-1999. ABBOTT What do you have. Zorn steering them away toward a stairwell at the back. Danny? ZORN (the electrical riser) You put a four-gam Kel on here and it's gonna take out power to the building. ON THE MONITOR A BERLIN NEWSPAPER ARCHIVE. * . 194 Signs ZORN (nervous) I did my box work. because -BOURNE is reading it.NIGHT Remember the building where Vic was killed? That he F193 We're back. is if it's gonna blow the room with it. And we're reading in his face. tabloid German: There it is.. What you can't know.74. That he is rocked. Because./EXT. then stopping.
ABBOTT And? ZORN There were two charges. it's a subline for the breaker above.. (pointing it out) First of all.. .. What if Bourne didn't have anything to do with this? ABBOTT Keep going. ZORN hesitates. ABBOTT It was staged? ZORN Is it a slam dunk? Jesus... Who's been in Berlin? ABBOTT Lots of people.... ABBOTT No.. ZORN Something's been going on here in Europe. was down here. this is nothing.. The second one. why put the charge all the way down here? If you're good enough to get in here and handle the gear.75. Second. (beat) Bourne would know. Post Conklin. but. the one that didn't go off.. ZORN Including Landy. ZORN (spit-balling) Okay. they were supposed to go off simultaneously. you're good enough to know you don't need this.. And it's still going on. What if someone decided to cover their tracks by blaming Conklin and Bourne. But it's out. It's in the room. (jumping off the cliff) She had access to the archives.
Looking for a place to stash the body.watching the HOTEL across the way -The POV checks its watch -.. foreboding -THE HOTEL Our destiny waiting up there somehow --. Staring at the hotel.a stake-out -.a terrible signal -and as the car suddenly lurches forward and around the corner -- . pulling him close. ABBOTT Who else knows about this? ZORN Nobody.. as he turns the knife and -ZORN is dead.out of nowhere -. right? ABBOTT Show me again. ZORN Okay. when--) ABBOTT -.NIGHT A194 BOURNE across the street. ABBOTT standing there. (turning away.more than his hand. Checking himself for Shifting away from the blood. the street deserted. As a POLICE SIREN edges closer through the empty streets -AA194 FLASHBACK! AA194 We are a POV -.checks the perimeter.76. HOTEL BRECKER -. Letting the body fall.his hand jamming up into ZORN'S RIBCAGE! -. ABBOTT without hesitation. Clenching the younger man's body. (he's scared) I had to tell you.and suddenly a LIGHT COMES ON -. You.. Haunted. as -A194 EXT. because ZORN'S EYES barely have a moment to register shock before they bulge. He's clean. Listening. blood..
CLERK BOURNE (playing it American) Guten Abend. And busy. checking the register. THE CONCIERGE just Nodding hello and -- CLERK I'm sorry.NESKI! -JAMMING BACK TO BOURNE stalled -. that room is occupied. as -Sir? CLERK (cont'd) (CONT'D) BA194 BB194 BB194 (smiling) Do you have a reservation? BOURNE Sorry.coming back. (rallying back) I -.the lobby. .A MAN buttoning a raincoat as he passes -. My wife and I. Would room 644 be okay... it's just across the hall. down the desk glancing over at BOURNE. Guten Abend. THE CLERK nods. but seven years ago -across the room -.NIGHT AB194 Heading toward the hotel. A CLERK behind the reception desk.Is room 645 available? (off the Clerk's look) I stayed there before. CLERK (switching to English) Can I help you? SUDDENLY BA194 FLASHBACK! -. I just got in. Fusty but comfortable.. GUESTS and STAFF doing their thing. HOTEL BRECKER LOBBY -.. AB194 BACK TO: BOURNE muscling up his backpack. B194 And hotel. B194 INT.77. No.
NIGHT BOURNE walking.. B198/200 But across the Then he Listening a moment. He pulls A KNIFE from his pocket. BMW -.the same "wanted" picture and -198 INT. Dread mounting. ROOM #645. HOTEL BRECKER ELEVATOR -. . A198 INT.78. hall and down one. BOURNE That's fine. #618. Nothing. Sure. 194C-D 195 A196 DELETED SHOT Danka. and -- 197 INT.BOURNE'S FACE -. A198 He makes his way down -198 KIRILL sitting up as THE POLICE RADIO starts broadcoasting an ALL-POINTS BULLETIN. 194C-D 195 A196 * INT. HOTEL BRECKER LOBBY -. the words "Hotel Brecker" in there -KIRILL dropping the car into gear and -B198/200 INT. HIS POV THE SIXTH FLOOR HALLWAY.NIGHT 197 THE CONCIERGE coming out of the office with a sheet of fax paper. SIXTH FLOOR HALLWAY/HOTEL BRECKER -. BOURNE steps up.NIGHT BOURNE off the elevator.NIGHT BOURNE riding up. Alone.NIGHT Suddenly scary. There's his room. knocks. SIXTH FLOOR HALLWAY/HOTEL BRECKER -. Placing it quietly down beside THE CLERK and -THE CAMERA FINDS THE FAX -..
Wedges the blade in there 199 201 -. ROOM #645 HOTEL BRECKER -. ROOM #645 HOTEL BRECKER -.Bourne's been found -.one. * 204 205 203 TREADSTONE BOURNE doing the same -204 205 DELETED INT. 199 201 DELETED INT.how far? -- ... Breathing it in. 203 INT. Closing the door behind him.the hotel -. Heart pounding and -206 INT.NIGHT The lights are 202 THE CLERK..NIGHT BOURNE enters a suite.NIGHT 206 Chaos -. THE CONCIERGE and THE MANAGER are huddled in conversation with THREE BERLIN COPS who've just arrived and -Trying to be discreet. HOTEL BRECKER LOBBY -..everybody rushing out -CRONIN (to Teddy) -. this is clearly serious. looks around.go -. He's clear.79.NIGHT BOURNE with his hand on the wall.And TREADSTONE BOURNE.. Pop. on. Checks the hallway. BERLIN HQ/COMMAND POST -.take the van! -PAMELA -. 202 INT. and -. but.two. does the same -BOURNE shakes off the flash.. seven years ago.NIGHT BOURNE just standing there. ROOM #645 HOTEL BRECKER -. As if he can feel it. Like it's all still here. An open suitcase on the bed.
it's raining -BOURNE standing there -.on the phone -.discreetly -by the back loading area. Leaning Just so.NIGHT 209 Just as he was. HOTEL BRECKER COURTYARD -.the Television Tower over the city.happy -.a new flood of Russian -.NIGHT 207 BOURNE standing there..one eye on that mirror and the other on A SYRINGE that he prepped -.a talking in Russian -.watching the lovers bill and coo and -- .but he's very happy to see her -BOURNE pocketing the syringe -.a predator -THE MIRROR -. still wet from the rain -.as NESKI opens the door -. Looking out the window.factoring and -THE MIRROR -.. 208 EXT.NIGHT 208 * The BERLIN POLICE SWAT TEAM TRUCK arrives -. 210 211A DELETED INT. The images -.pistol -quiet -.pacing into view -. 210 211A A MAN in the mirror -. TEDDY -. ROOM #645 BEDROOM -. ROOM #645 -. ROOM #645 -. six minutes -CRONIN -.NESKI gets off the phone -BOURNE tensing -.five.NESKI -. Everything but the rain. and.you're here! -.it's MRS.new weapon -.NIGHT BOURNE flat against the wall. forward to see in THE MIRROR.new element -. NESKI -.a surprise! -.methodical -. There.Treadstone Bourne.FLASHBACK -. 209 INT.keep the comm line open! -207 INT.80.the doorbell rings -.Kurt -.
the Neski family -. THE MIRROR -.our Bourne -. NESKI -.father.Mr.what's just happened? -BOURNE has her wrist in his hand -.this awful blur of desperation and fear -MR.begging for her life in Russian -..NIGHT BOURNE -.with no hesitation -SNAP! -.SNAP! -.but she knows -. NESKI'S FACE right there -.his balance and -THE MIRROR -. 212 pt 213-214 DELETED DELETED Paralyzed by the shame of original sin.seeing him -so freaked she can't even register it yet -BOURNE with the pistol in her face -.one shot -.standing where they fell. ROOM #645 -.happy and -BOURNE staring at the picture -.starts to prep his evac -.undone for a moment -HARD OUT FLASHBACK TO 212 INT.backing away -.his trigger -." -.raising it to her head .finger to his lips -"shhh.MRS.but there's something on the dresser -A PHOTOGRAPH -.her fingers -. Frozen there.arms around each other -.takes her bag -she's hanging up her coat and moving now toward the bathroom and -BOURNE checking the window -.to where he holds the pistol -.he's down -MRS. NESKI turning back to see his wife backing out of the bathroom and BOURNE with the pistol -.into Neski's heart -. 212 pt 213-214 212 .letting the gun fall with her as she drops and -BOURNE starts to move -..the weapon -. mother and a TWELVE-YEAR-OLD GIRL -.81. Neski kisses her -.
B216 Shadows under the door. BOURNE'S POV ROOM #644.W.NIGHT A SWAT CAPTAIN conferring discreetly with the MANAGER. Tell them it's a police order. Taking position. ROOM #645 -. 215 INT. ROOM #645 -. STAIRWELL -.to breathe -216 INT. A215 INT. STREET OUTSIDE THE HOTEL BRECKER -. He INT. HOTEL BRECKER LOBBY -.NIGHT BOURNE backs away -. Then start on the 5th and 8th floors. Tell them to remain in their rooms.PASSERSBY mixing with the COPS and PEOPLE FROM THE HOTEL who've just come out and -THE CAMERA FINDS . MANAGER 215 SWAT CAPTAIN Call all the guests on the 6th floor. Four times and it stops. ROOM #645 -. BOURNE freezes.82.MORE ARRIVING every minute .NIGHT The SWAT team on their way up.HALF-A-DOZEN POLICE VEHICLES already parked here -. He's in 618.trying to stabilize -. B216 GERMAN S. A216 INT.his watch -.NIGHT C216 Quickly turning into a major event -.surveys the room -. TEAM. leans into the peephole.T. Footsteps.NIGHT A216 216 A215 RING! RING! BOURNE snaps back as the phone in his room STARTS TO RING.NIGHT BOURNE -.A.his balance and -C216 EXT.
NIGHT WHAM! -.SWAT TEAM flooding into BOURNE'S EMPTY HOTEL ROOM and -A219 INT.out the bathroom window and -220 INT. a SWAT team member turns -. KIRILL jogging over from THE BMW he's just parked and -217 218 219 DELETED DELETED INT..NIGHT 222 WHAM! The door caves in and the SWAT team moves enters # 645 -. HOTEL BRECKER FACADE -.as he arrives.NIGHT Too many cops and radios -225 223 * * .83. HOTEL BRECKER SIXTH FLOOR HALLWAY -.. 225 INT. ROOM #644 HOTEL BRECKER -.NIGHT BOURNE -.BOURNE pulls him over the edge -fires point blank into the 2nd SWAT member's vest -stunning him.NIGHT KIRILL heading for THE HOTEL ENTRANCE blocked by the exiting guests.scrambling along the roof and into the night.NIGHT 220 A219 217 218 219 * BERLIN SWAT LEADER gives order to search other rooms and -221 EXT. He's moving fast -. HOTEL BRECKER SIXTH FLOOR HALLWAY -. STREET OUTSIDE THE HOTEL BRECKER -.rushing to the window -. ROOM #645 HOTEL BRECKER -. 222 INT.Nobody -.in motion -.No sign of him and -223 EXT. SIXTH FLOOR HALLWAY ROOM #645 -.THE DOOR KICKED OFF ITS HINGES! -.NIGHT 221 * * * * * BOURNE up the water pipe to the roof -.
HOTEL BRECKER LOBBY -. LOBBY/THE HOTEL BRECKER -. (pointing now--) He says they're gonna try and corral the guests on the street over there.NIGHT KIRILL hears BOURNE is on the roof. Dark slacks..he can't -.WE'RE CLEARING THE BUILDING! -.NIGHT 226 PAMELA jumping out of A VAN the moment it stops. The searchlights playing across THE HOTEL FACADE...84. 227 INT. The army of cops. It's another disaster. STREET OUTSIDE THE HOTEL BRECKER -. but.ROOM BY ROOM! --) 226 EXT. The crowd.BERLIN COPS trying keep it moving and -228-229 230 DELETED INT. SWAT TEAM BOSS (trying to take charge) (-.NIGHT PAMELA and CRONIN listening to TEDDY who just got the police update -TEDDY Black coat. HOTEL BRECKER LOBBY -.What the hell was he doing here? 231 234 232 228-229 230 * * * * * * * * * . Dark t-shirt. PAMELA (disgusted) Yeah. Seeing it all.. and then check them out. 231 234 232 DELETED DELETED INT. that'll work. possibly leather.TOO MANY GUESTS coming down the stairwell -.NIGHT 227 KIRILL wants to get upstairs -.LISTEN UP! -.
They're in a room upstairs. I was told to wait down here. STREET BEHIND THE HOTEL BRECKER -.85. PAMELA'S in charge now. turning back as -ABBOTT (arriving breathless) They missed him? TEDDY So far. Turns to leave.heads the other way -- A SIDEWALK COP looks over. ABBOTT accepting that. Where's Danny? He should head over there and debrief her. 233 * * * * EXT. checks the BOURNE PHOTO printout in his hand.NIGHT BOURNE coming around the other side of the hotel -Stepping to the left before he spots the SWAT van -BOURNE about-faces -. the fear. Because he has to.NIGHT 234 244 * TEDDY huddled with the HOTEL MANAGER and A GROUP OF HIGHRANKING BERLIN COPS. 234 244 DELETED EXT. STREET OUTSIDE THE HOTEL BRECKER -. (the Hotel) What's here? What was he doing? TEDDY We don't know. But they found Nicky. 233 They enter the elevator. Bourne let her go. Only we see * * * * * * * * * .. She's back at the Westin. (to TEDDY as she goes) Check it out.. ABBOTT He let her go? Great. CRONIN Maybe he just needed a place to spend the night? PAMELA I want to look at the room.
86.going as fast as he can -hearing THE POLICE SIRENS swirling behind him. BIGGER BERLIN STREET -. B237 EXT. SIDE-STREET NEAR THE HOTEL -. BERLIN BRIDGE -..a narrow passageway between TWO MOVING TROLLEY TRAINS and -. 237 EXT.NIGHT B237 THE RIVER SPREE lit by THE TROLLEY that's rumbling past and the running lights of a DOUBLE COAL BARGE up the river. ABBOTT OK. if you see Danny tell him I went back to the hotel. leaps up the stairs..NIGHT BOURNE striding away and -.SPRINTING through -The PATROL CARS skidding into 180's.. as if he can gauge his speed and distance. BOURNE running now. as -All FOUR COP CARS SKID to a stop.NIGHT MOTION -. jumps the walkway curb. when -A THIRD AND FOURTH POLICE CAR AHEAD! BOURNE turns hard for a STAIRWELL. SIDE-STREET NEAR THE HOTEL -.there -.NIGHT A237 237 BOURNE slows to a walk -. STREET NEAR THE HOTEL BRECKER -. BOURNE runs across the bridge -. two at a time.NIGHT A235 235 * * * * Now FASTER.fumbling for his holster.BOURNE tearing away and -A237 EXT. and -A235 EXT.Following -SIDEWALK COP blowing a WHISTLE -. 235 EXT.TWO PATROL CARS heading his way -no choice -. ABBOTT steps out into the street as. slowly at first.. As doors open -- .
BERLIN BRIDGE -.NIGHT A TRAM waiting as the LAST FEW PASSENGERS get on.stands -. 240 TWO OF THEM He RUNS. Back toward them! The barge moving slow -.GUNS appear -BOURNE runs to his left -.87.stops short -The other cops are coming this way -. DASH to watch over the other side.BOURNE disappears under the bridge. 240 EXT.voltage going up one leg -And they're SHOOTING at him.BOURNE looks over the rail -DOWN BELOW A COAL BARGE passing.makes a mad last dash -And he's on! And the doors don't close! And here come the COPS! BOURNE off the tram -. POLICE waiting for a clear shot. He can worry about the leg later. The 238 BOURNE lands hard -. TRAM PLATFORM -. 238 EXT.NIGHT 239 It's not scheduled to go yet. the prow just emerging -BOURNE On the rail and JUMPING even as the FIRST SHOT is fired -239 EXT.SCREAMING at him -Not a lot of options -. DOUBLE COAL BARGE -.NIGHT Guns aimed. . doors seem to stay open in slow motion as -BOURNE appears -.BERLIN BRIDGE -.
. 245 pt INT.HOTEL BRECKER -.down the stairs -Leaving the PASSENGERS on the tram blinking out in shock -And BOURNE -. why would he come here? PAMELA glances around -.SHOUTING IN GERMAN that he's either "in the water" or "hiding on the barge". UNDER THE BRIDGE -.missed again -.BOURNE the other -dodging all the super-structure on deck -.NIGHT 241 Countering -. NEXT BRIDGE DOWN -.NIGHT POLICE converge from both ends -. COPS in the hallway outside. BERLIN BRIDGE -.and off it goes -243 EXT.why.Barge goes under as KIRILL arrives at the center of the bridge -. 245 pt A couple of * * * * * * * 243 CRONIN The room he checked into was across the hall -.88.all the while keeping his cover overhead -And LEAPING to the second barge! And more of the same. a train snakes off into the night.something bothering her about this space -- . 241 EXT.. Off they go -. until -BOURNE running out of barge -LEAPING back onto the BRIDGE FOOTING and -242 EXT.NIGHT PAMELA and CRONIN move into the living room.behind KIRILL. ROOM #645 -.NIGHT 242 THE POLICE watching the barge fully emerge -.the barge going one way -.climbing back over the rail -Limping back on the tram just before -The DOORS CLOSE -.continuing down river -.
PAMELA moves in behind him. GRETKOV arrives by car.take it down.ABBOTT waits on an isolated bridge -. then into the bathroom and -CRONIN He went out the window in here. ROOM #645 -. What? CRONIN CRONIN (CONT'D) PAMELA This stays between you and I. were trained. .scrawled in soap on the glass. * * * * * * * 246-247 245 pt * * * * * * * * * * * * * * * * * * * * 253 * * * * That's how they CRONIN moves around the bedroom. Who's Neski? Both of them staring.. PAMELA He must've had a reason. I don't want to lose it.. Walks through the darkness... (sensing confusion) We finally have an edge. CATHEDRAL PLAZA -. PAMELA (thinking) Alright.NIGHT There on the mirror -. 246-247 245 pt DELETED INT. you need to see this.BATHROOM -.. 253 EXT.NIGHT Very late -. ABBOTT barely glancing over. I KILLED NESKI CRONIN Pam..a lone figure in the shadow of East Berlin.89.
One last push. You owe me. GRETKOV There was a mistake. . Uri.. GRETKOV And the Landy woman? ABBOTT She's done everything I wanted.. ABBOTT I'll say. GRETKOV One last push. ABBOTT You told me Bourne was dead. no fortune. Now they're onto Neski... GRETKOV Will it track back to us? ABBOTT No. ABBOTT (the paper) There's a body in the basement.into GRETKOV'S hand. * * * * * * * * * * * * * * * * * * * * * * ABBOTT (CONT'D) Neski was a roadblock. You killed his goddam girlfriend instead. The files are spotless. Without me. They're at the Brecker Hotel even as we speak. But get the goddamn body out of there. Clean and fast. there's no company. Whatever they find. Give me twenty-four hours.and ADDRESS -. He's got to disappear. Nicky. One. She bit on Conklin so fast it was laughable.90. I'll think it up. I'll put him in bed with Conklin and Bourne. it's just going to make Conklin look worse. GRETKOV Anything else? ABBOTT shoves a piece of paper -. She even found his bogus Swiss account. It's getting late. Danny Zorn. Even the girl. For good. A taxi now and then.
91. 255 INT. * EXT.) KIRILL nods. 254 ABBOTT watches him go. As they pull away.) (to Kirill) (We're done here.. GRETKOV getting in slowly. he was due to speak to a group of European Oil ministers here at the hotel. GRETKOV leaves.NIGHT Seconds later. Gretkov to the DRIVER. LOBBY -. ABBOTT walks. 254 * 255 Waiting. they are met by TEDDY. ABBOTT turns and walks into the foggy night..NIGHT Late. By who? PAMELA * * * * * * * . He never did. (reads) Remember Vladimir Neski? Russian politician? Seven years ago. the shadows -Mr. Abbott? A lonely figure. A248 EXT.HOTEL BRECKER -... MERCEDES -. GRETKOV (Airport. BERLIN STREET -. BOURNE A248 Past someone in * * * * * * * * * * 248 * * * He turns to answer when BOURNE firmly guides him into a side street. ***BOURNE/ABBOTT SCENE*** 248 INT. He was murdered. TEDDY Here's what I've got.NIGHT As PAMELA and CRONIN exit the elevator. MERCEDES -.NIGHT KIRILL slouched in back.
big overcoat. PAMELA follows with * * * * * * * * * * * * * * * * * * * 249 * * 250 PAMELA (CONT'D) (confidentially to Cronin) And I want you to go through and cross reference our buy that went bad.. Changed his clothes.. As he continues for the INT.. station -250 Limping.NIGHT BOURNE'S ARRIVED.. 251 INT.NIGHT A busy midnight departure. TEDDY goes to get in the van. Big train. BERLIN TRAIN STATION LOCKER AREA -. Kurt and Kim to stay on Bourne. (Pamela and Cronin share a look) PAMELA (to Teddy) Alright. and Treadstone -As they get in. 252 INT.limping out -. under the sign: 252 BOURNE climbing MOSCOW EXPRESS . CRONIN. In room 645..BOURNE has changed clothes. Then she shot herself. BERLIN TRAIN STATION MEN'S ROOM -. knit cap. TEDDY His wife. the Neskis.NIGHT BOURNE retrieving the exfil bag he stashed in the locker.NIGHT 251 A Bag slung -. BERLIN TRAIN STATION PLATFORM -. on the train. 249 EXT.92. PAMELA (CONT'D) -.. track everything that's out there.they have to be related. BERLIN TRAIN STATION -.I want you.
KIM. digital security cameras.NIGHT CONDUCTORS moving quietly through the dark cars. snow -257 INT.NIGHT 258-259 A260 * * * * * 4:00 am. KURT & KIM all gathered around. TEDDY at center briefing PAMELA. MOSCOW TRAIN -. tickets and visas and -257 Checking BOURNE -. . anything? CRONIN It's starting to link up -.off the grid -258-259 A260 DELETED INT. TEDDY We're looking at all Berlin outbound. desolate. NEW BERLIN HQ/COMMAND POST -.Pecos Oil -. KURT. 253-255 A256 MOVED INT.NIGHT 253-255 A256 * * * * * * * * A BLUEPRINT spread across a table.the leak -. Just about ready to raise the white flag. TEDDY In that order.93. 256 EXT. Good news is. * PAMELA And what about you. NEW BERLIN HQ/COMMAND POST -.Cold. Common feed. PAMELA Are we hacking or asking? Yes. CRONIN works the TREADSTONE files on another table. NICKY. every train station in Berlin has thirty to forty fixed.NIGHT 256 * * * * Crossing the border into Poland -.hands over his ticket and RUSSIAN PASSPORT -. MOSCOW TRAIN/PASSENGER CAR -. and TEDDY spread around the room. They've been running laptop train station videos for hours.one last bit is Treadstone.the hijacked money -.
looks away out the window. right there.no big deal -Hey. but it's the right leg. or walking toward you? CRONIN jumping on that. over TEDDY'S shoulder That's him. BOURNE He * * She smiles. that? 260 CRONIN It's the coat! What train is * * * * * * * * * * * * * * * * * * * * * * * * * * 260 But INT. . KURT The leg's definitely hurt. A beat.something weird about the light out there -. MOSCOW TRAIN/PASSENGER CAR -. KURT (worn out) Maybe he's still in there.asleep in his chair -. so let's find somebody coming out with a bad left leg. there's no window in the men's room. Looks out the window -. All they have so far is an isolated loop of BOURNE limping into the men's room.94. TEDDY I've got a limping guy. KIM Walking away. She comes around.rocked by the rhythm. CRONIN Does it look like he's faking? TEDDY On the way in? Forget it.looking at him over the back of his chair in front of him -. CRONIN (the blueprint) Well. Cronin watches it stutter along.DAWN BOURNE -. something wakes him up.then up to see: MARIE -. folks.. sits beside him..
95. MARIE (softly. * * * MARIE It wouldn't have changed the way you feel. closes his eyes. BOURNE looks back at her. BOURNE can't meet her gaze for long. She smiles. And it's morning outside. I don't know what to do without you. MARIE But you found another choice. Whispers -* * * * * * BOURNE (CONT'D) God. A LITTLE GIRL smiles at him from over the back of the chair in front. BOURNE (CONT'D) I know it's a dream. BOURNE (CONT'D) I wanted to kill him. BOURNE opens his eyes. And Marie is gone. serenely) Jason. is your mission now. As he looks back out the window -261-262 DELETED 261-262 That * . BOURNE It might have. MARIE leans over. I did. You do? MARIE BOURNE I only dream about people who are dead. kisses his forehead. BOURNE * * * * * * * * * * * He accepts it. You know exactly what to do. leans back. I miss you.
What's up? ABBOTT * * * * * * * PAMELA Bunch of stuff. MOSCOW TRAIN/PASSENGER CAR -. they were all released to one petroleum company. is exKGB.96.the CEO. PAMELA looks to CRONIN -.DAWN 263 BOURNE watching the birch trees rush past. * * * * * * * * * * * * * * I remember that. Forging something within. Eyes locked. ABBOTT (waves off apology) I wasn't sleeping. CRONIN He championed the equal distribution of oil leases in the Caspian Sea. BERLIN WESTIN HOTEL LOBBY -. (to Nicky as he passes) You OK? NICKY Yeah. ABBOTT (playing along) Neski. . The reformer. A Russian couple.EARLY MORNING ABBOTT coming through. When he died. CRONIN We tied the room Bourne visited tonight to a murder/suicide seven years ago. 263 INT. one final mission.him first. It's empty this early. not quite hiding the smokestacks beyond. Uri Gretkov. Guess what? -. Pecos Oil. thanks. PAMELA Sorry to wake you. but -* 264 Here's PAMELA. NICKY. the Neskis. as we -264 INT. CRONIN and the TEAM waiting to report.
PAMELA We'll know for sure when we get the security tapes.I'm sorry. Dead in the basement at the building where my people got hit the first time.. ABBOTT reeling. ABBOTT Moscow? What the Hell's he going to Moscow for? He's * * * * * . ABBOTT It must have been Bourne.. straight. God. We tracked him.. ABBOTT Conklin. on a train to Moscow. * PAMELA Did he say anything to you? ABBOTT No. Pamela. Oh. What? ABBOTT PAMELA They found Danny Zorn's body. It must have been Bourne... CRONIN But we can relax. it's okay. NICKY Someone was using Treadstone as a private cleaning service. hiding it. PAMELA.97. but -PAMELA There's something else.... Abbott can see by their faces: this hits closer to home. * * * * * * * * * I guess you Pamela waves him off. were right all along. (a beat) It's -.
And Abbott just direct dialed Moscow from his room. 266 Imploding. he's got news -CRONIN (phone to his ear) You're sure? What? PAMELA The tapes? * CRONIN (nodding but) Hold on.. * .. 265 INT. PAMELA I'm sorry. (holding the phone) Yep. Zorn..... They watch as he goes.98.. But you can't buy taste. Tell them.MORNING Palatial. WESTIN GRAND HOTEL LOBBY -. 266 GRETKOV working his * * 265 * INT. CRONIN answering his cell phone -motioning to them.. Uri. GRETKOV (matter of fact) This is not a clean phone.DAWN ABBOTT in the rising elevator.. GRETKOV'S OFFICE -.. computer -. WESTIN ELEVATOR -. I have to call his family. ABBOTT Jesus. GRETKOV ABBOTT/PHONE You didn't stay. Da. PAMELA (shrugs) Don't know..answers his PHONE.DAWN 267 * * Everyone still here.. 267 INT. I. Ward.
He's probably just getting in now. GRETKOV Leaving was a business decision. And they're moving -268 INT. ABBOTT He left yesterday on the night train.. ABBOTT'S WESTIN HOTEL ROOM -.. A wasteland of rust and gray that seems to go on forever -- . I'll have a brass band waiting for you.DAWN A268 * * * * Speeding East through the Russian countryside. still on the phone. (he drinks) You'll have to hurry. The forest is gone.ABBOTT simply ignores it. pouring a vodka. Get a plane. wishes it wasn't true. What? GRETKOV We're There's a KNOCKING AT HIS DOOR -. come enjoy it. GRETKOV Bourne comes here? Why? More KNOCKING. MOSCOW TRAIN -. both rich. ABBOTT What do you mean? GRETKOV Go to the airport. Good luck.DAWN 268 * ABBOTT at his desk. replaced by factories and refineries. she's set a trap and Abbott's walked in. Now we realize. All the same.99. ABBOTT Save it for Bourne. A268 ABBOTT EXT. Pamela shakes her head.
They go. . PAMELA The door clicking shut behind them.100. WESTIN HALLWAY OUTSIDE ABBOTT'S ROOM -. TEDDY and CRONIN behind her. 269 INT.stop short -- ABBOTT at his desk. A269 INT. Yes. PAMELA I'd rather stand if it's all the same to you. ABBOTT You stay. ABBOTT'S WESTIN HOTEL ROOM -. calmly pointing a PISTOL -. CRONIN shakes his head 'no'.NIGHT PAMELA leading -. Why not? ABBOTT It was just money. ABBOTT I'm not a traitor. Sit down..I'm sorry. PAMELA 'Why' would be enough for me. Open it. country.NIGHT PAMELA knocking again. 269 * NICKY. I've served my * * * * * PAMELA And pocketed a fair amount of change while doing it.they enter -.. ABBOTT I don't exactly know what to say -. PAMELA TEDDY prepped and -A269 * CRONIN with a pass key. She looks back. Now.at Pamela. ABBOTT They reluctantly obey.
270 INT. PAMELA And Danny Zorn. He raises the gun.dead at the desk -. PAMELA No good options left? ABBOTT (shrugs) In the end.presses her lips together. . Welcome to the whole mad Moscow scene. 271 Unremarkable in THE CROWD and -271 * INT. it's hubris. Arrivals and departures. in a way. PLATFORM -. with some help from Bourne.DAY 270 THE TRAIN easing to a stop.he's shot himself -also. BOOM! She opens them. Hawkers. you're probably right.MOSCOW TRAIN STATION -. Travellers.DAY BOURNE on the move. A jumble of faces and voices. that's all that hubris is. PAMELA You lost your way. You reach a point in this game when the only satisfaction left is to see how clever you are.101. Families. No. closes her eyes. The platform busy with people waiting and -. what was that? ABBOTT Had to be done. honestly. MOSCOW TRAIN STATION -. Beggars.PASSENGERS disembarking. BOURNE among them. Simple hubris. Drunk war vets. I guess * * * * * * * * * * * * * * * ABBOTT Well. PAMELA -. And as CRONIN flies back through the door -- There's ABBOTT -.
. MOSCOW TAXI -. He motions to his cab. BOURNE pulls a slip of paper from his pocket.DAY Lots of cars. A grizzled TAXI DRIVER right beside him. MOSCOW GARAGE -. 273 As they get in and pull away -273 It's INT. KIRILL pulling his keys as he sprints past and -- 274 275 DELETED INT. in the plaza.102.DAY 274 275 * BOURNE and THE TAXI DRIVER looking over as THREE MOSCOW POLICE CARS speed by -.SIRENS WAILING -TAXI DRIVER (It's always something.) BOURNE turns. But someone running.a convoy -. 272 EXT.DAY 272 There. MOSCOW TRAIN STATION CAB STAND -. as we -- .. when suddenly -.followed by TWO MORE -all three cars with BLUE LIGHTS STROBING on the dashboards . finally grunts affirmative. BOURNE hobbling across the street. No people.A CAR HORN! -. right?) BOURNE just nods. BOURNE (his Russian is basic) (You know this address?) THE TAXI DRIVER squints.he turns and -Look out! A BIG BLACK BMW speeding past -.whipping by like they own the place and -TAXI DRIVER (OS) (Gangster bastards don't care what they do.
. But not for long. MOSCOW TRAIN STATION CAB STAND -. You wait. TAXI DRIVER (happy to pocket the cash) Sure.) 279 INT. 278 277 Flashing it around. MOSCOW TAXI -. BLACK BMW -. I sit.DAY MOSCOW COPS with the picture. They just left. BOURNE crosses the street and -HIS POV AN ABANDONED WOODEN HOUSE. "Have you seen him?" 278 EXT. This is it.DAY They've stopped. BACK TO BOURNE crestfallen.DAY MOSCOW COPS fanning through the crowd showing BOURNE'S INTERPOL PICTURE. One more thing./EXT.103.DAY 276 KIRILL at the wheel. Paint all but gone. A guy in a hurry who knows what he's doing. 280 EXT. MOSCOW TRAIN STATION -. No problem.TWO BIG AUTOMATIC PISTOLS -277 EXT. on the passenger seat -. until -- YOUNG CABBY (the moment he sees it) (He was just here.DAY 280 Old Moscow. OLD MOSCOW STREET -. Windows shattered and boarded up. Checking the address. there's new construction metastasizing all around it. 276 INT. Roof and gables all failing. 279 BOURNE flashes a FIFTY DOLLAR BILL -BOURNE You understand? Stay.
.American -.everybody waiting on it -282 EXT.104.DAY 285 THE TAXI DRIVER on the phone -. peering around the side. 282 Finding the sweetest smile he's got -283 INT.when suddenly.she's pointing like she's giving directions -. MOSCOW TAXI -.DAY THE TAXI DRIVER still parked there -HIS POV BOURNE and the OLD LADY -. ABANDONED WOODEN HOUSE -.. BOURNE starts over...he's right here! --) .I'm looking at him -. trying to see if there's anything around back and -OVER THERE AN OLD WOMAN on the steps next door. 281 EXT.not so happy anymore -TAXI DRIVER (-.) (searching his pockets) 285 INT.DAY 281 MORE COPS. but she's BOURNE (A pen. 283 Watching him.?) 284 TAXI DRIVER/PHONE EXT.. MOSCOW TRAIN STATION CAB STAND -.DAY BOURNE off the sidewalk now.to write. charmed nonetheless -- 284 His Russian is limited.one minute. MOSCOW TAXI -.. Everything focused on ANOTHER TAXI DRIVER who's making a call on a cell phone -.DAY BOURNE and the OLD LADY... ABANDONED WOODEN HOUSE -. the Driver's CELL PHONE RINGS (Hello.
Pulls away. 290 Reaching for his RINGING PHONE and -290 288 289 287 EXT.DAY MOSCOW POLICE CARS tearing away and -288 289 DELETED INT.105.slamming on the brakes -fishtailing a U-TURN and -291 EXT. MOSCOW TRAIN STATION -.DAY 291 BOURNE hustling past all the new construction.a moment later -.everyone turning as -THE RED LEXUS speeds past them and -294 DELETED 294 . 286 EXT.DAY 293 292 TWO POLICE CARS just stopped there -. MOSCOW STREET -.COPS -. BOURNE reacting as the TAXI drops into gear.DAY KIRILL skidding around another corner and -293 EXT.DAY THE OLD LADY scribbling on a piece of paper.DAY KIRILL DRIVING.the OLD LADY pointing -. BLACK BMW -. MOSCOW BUILDING PROJECT -. and -287 EXT. Glancing back as POLICE SIRENS start rising behind him and -292 INT. Wait! Hey! BOURNE 286 But THE TAXI only speeds up. ABANDONED WOODEN HOUSE -. RED LEXUS -.DAY THE BLACK BMW -. ABANDONED WOODEN HOUSE -.
THERE! -.BANG! -. FOOTPATH -.leaning over the rail -just as the TWO MOSCOW POLICE CARS come screaming up -MOSCOW COPS jumping out with guns drawn and -303 EXT. CONCRETE STAIRS -. RED LEXUS -.just ahead there's A FOOTPATH BENEATH A FOUR LANE OVERPASS -.no clue -. FOOTPATH -.his shoulder! -.DAY 299 BOURNE -.DAY 302 KIRILL with no shot suddenly -. FOOTPATH -.he's moving and -- . OVERPASS -.DAY KIRILL shifting for a better second shot and -301 EXT.a neighborhood on the other side -.as he passes it -THE OVERPASS -.DAY 298 KIRILL jumping out of the Lexus with A PISTOL in hand and -299 EXT.back under the embankment and -302 EXT.he's hit! -he throws himself forward and -300 EXT.DAY 296 KIRILL driving and scanning -.DAY 297 BOURNE hobbling out in the open -.he's up -. OVERPASS -. 295 EXT.106.he could disappear there -296 INT.DAY 303 BOURNE -.DAY 295 * BOURNE coming down as fast as he can -. OVERPASS -.slamming on the brakes and -297 EXT.twenty yards to go -298 EXT. FOOTPATH -.pure instinct -.he's bleeding -.he's diving! -.DAY 301 300 BOURNE -.rolling! -.
MOSCOW OUTDOOR MARKET -.HE'S GETTING AWAY! --) * * * * * * * * * They let KIRILL go -.hears the commotion -. Hardware.107. OVERPASS -.FIVE MOSCOW COPS behind him.KIRILL with his hands in the air -. A305 INT. 304 EXT.pull THEIR KIDS out of the way -. MOSCOW ENCLOSED MARKET -.jogs out and -307 308 DELETED EXT.KEEP THEM UP! -.I'M KGB. Clothes. NEARBY MOSCOW STREET -.he looks back at the footpath -BOURNE is gone -.MOSCOW COPS coming toward him -.a few beats later -.DAY A305 BOURNE hurriedly makes his way to the other end -.KIRILL on the hunt -305 EXT.DAY 304 CHAOS -.HANDS UP! -. And crowded.DAY A304 GRETKOV strolls along. 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 -. MOSCOW CITY STREET -. can't keep up and -- .DAY 307 308 KIRILL running toward the market -.DAY 306 A SECURITY GUARD -.UP! -.DAY 305 A labyrinth of stalls.SOME WOMAN STARTS SCREAMING and -306 INT. ASSHOLES! -WE'RE CHASING THE SAME GUY! . Food.everyone screaming -MOSCOW COPS (-.as A304 EXT.DROP THE GUN! -DROP IT! --) MOCK-BOURNE (-. suddenly two black sedans pull up and he is arrested. PEDESTRIAN TUNNEL -.
108.DAY KIRILL sprinting out toward the stalls and -313-314 315 DELETED INT.SMASH!!! -.hey you! -.DAY KIRILL fighting his way through THE FLEEING CROWD -317 DELETED 317 * 316 * 313-314 315 * 312 * 311 * . MOSCOW OUTDOOR MARKET -.DAY BOURNE back on the march.KIRILL sprinting through -. 309 INT.they jump -.DAY 310 Crazy -.no warning -. MOSCOW OUTDOOR MARKET -. except now he's shopping! -Grabbing -.THERE! -.A ROLL OF DUCT TAPE and --. MOSCOW OUTDOOR MARKET -.hey! -. MOSCOW OUTDOOR MARKET -. THE SECURITY GUARD right behind him and -309 * BOURNE -.stop! --) BOURNE turns. MOSCOW OUTDOOR MARKET -. MOSCOW ENCLOSED MARKET -.right into THE SECURITY GUARD'S FACE and -BOURNE takes HIS PISTOL and -THE CROWD -.where did Bourne go? -311 INT.A BUNDLE OF TUBE SOCKS and -312 INT.DAY THE SECURITY GUARD coming up fast behind BOURNE -SECURITY GUARD (-.A BOTTLE OF VODKA and -316 INT.DAY BOURNE -.his good arm -.holy shit! 310 INT.
CAB -.casually -. 318 pt 1 EXT. MARKET PARKING LOT -./EXT.DAY 318 pt 4 BOURNE concentrating away the pain -. the CABBIE shakes his head. CAB -.taking a swig of VODKA and -.DAY 319 TWO LADIES ducked behind a BIG BLACK G-WAGON -. Bourne pivots -.and also -The TWO COPS.109.* Continues -.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 -320-335 . MARKET PARKING LOT -.like he doesn't know they're coming until -.knows there are TWO NEW COPS on his ass. MOSCOW OUTDOOR MARKET -.peeling away! -. steps aside as BOURNE takes his car -318 pt 3 INT.VODKA -.trying to drive -319 EXT. looks up to see BOURNE -.starting THE ENGINE -.DAY Another CAB STAND.DAY 318 pt 3 BOURNE IN THE YELLOW CAB -.blinded as BOURNE takes him and his PARTNER out. 318 pt 2 EXT. The CABBIE raises his hands in surrender. MOSCOW STREETS/CARS/FACES -. As BOURNE nears.leaving the market -. -318 pt 2 * * * * * * * * * * * * * * * * * * * * * * * * * * CABBIE by a YELLOW CAB. just in time to see 318 pt 4 INT.DAY 318 pt 1 * BOURNE -./EXT.careening into the street and -KIRILL sprinting into the parking lot.into one of the cop's face! -.freaked out as KIRILL grabs their keys and -320-335 INT.coming toward him -.HE SPITS! -.
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 -.swerving -.CRASHING AGAINST A BUILDING ON THE CORNER and -KIRILL -.wide ride -.the other cutting hard into A SIDE STREET.A BOULEVARD -.No! -.right behind that guy -.the street banks downhill to left and -THERE! -.pedal down -.two choices -.in pain as he packs his shoulder wound with the socks -.lots of traffic and -THE CAB rocketing into the flow and -BEHIND HIM -.Wrists flicking the wheel.it's a whale -.TUBE SOCKS? THE TWO MOSCOW POLICE CARS splitting up! -.no choice -.because down the hill there's A POLICE CAR just about to angle in from THE SIDE-STREET and BOURNE -.FLOORING IT! -THE CAB -.knifing the front end of THE POLICE CAR and -THE POLICE CAR -.SPARKS FROM THE WALL AS HE SCRAPES! -. flanking him and -BOURNE -.bad hand on the wheel -.totally on it -.he's got THE PISTOL in his hand -closing the gap and -THE BLACK G-WAGON -.trying to find something in passenger seat -.spun back! -. through the slower traffic and -THE CAB screaming * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * KIRILL -.POLICE CAR #1 with THE G-WAGON right on his ass and -BOURNE -.skidding into a turn down the hill and -JUST MISSING THE FIRST POLICE CAR bombing right past him! BOURNE -.right or left? RIGHT! -.Ahead -.hanging in -.wind blowing -.110.onto the sidewalk -.one on Bourne's ass -.wrong -.blowing past POLICE CAR #1 and -- .topping the hill -. THE G-WAGON in full pursuit now and -BOURNE DRIVING -.holding on -.passenger window open -.SLAM! -.
Not to mention the COMMUTERS -.into the oncoming lanes -.FOUR POLICE CARS -.that's not a cop! .wavering again -.what the fuck?! -.into THE TUNNEL and -THE TWO LEAD POLICE CARS -.reacting -.starting right and -THE TWO LEAD POLICE CARS right on his ass and -BOURNE -.now the BLACK G-WAGON and -BOURNE -.barely -.open road -KIRILL back in the hunt and -THE RIVER BELTWAY -.as he tears a few strips of DUCT TAPE to finish his triage -BLAM! -.swinging wide -.looking for room --.rallying and -UP AHEAD -.Both hands on the wheel -.CRASH!!!! -.CAB SCREAMING PAST -.wrong -.THE BOULEVARD opens into THE RIVER BELTWAY -big -.BLAM!! -.veering left! -.fast -.shit! -.last second -.through the carnage and into -336-337 DELETED 336-337 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * .Finding it -.left is a TRANSIT TUNNEL and -BOURNE -.fake out -.111.CRASH!!! The Police are out of the race.swerving again and -THE CAB -.steering -.but no time to clock Kirill because -KIRILL -.ANOTHER CHOICE -.A TRUCK! -. BOURNE -.KREMLIN in the BG and -FOUR NEW POLICE CARS screaming down from RED SQUARE and -BOURNE skidding onto THE BELTWAY -.then ONE -. KIRILL -.not fooled -. trying to change -.checking his rearview -.and it's not just them -A THIRD POLICE CAR caught in the clutter -.TWO .He's already forgotten about his shoulder -THE BELTWAY -.SPINNING -.right beside him! -BOURNE -.wide -.THE G-WAGON -.right takes you up to the city -.THREE -.and worse.up ahead -.can't keep shooting -.threading the needle -.
odd angle -BOURNE -.spots a MAINTENANCE TRUCK up ahead -KIRILL -.roaring after him.shoots ahead -KIRILL -.two way -.who the Hell is that guy? -KIRILL -.DAY FOUR LANES -.squibbing past SLOWER CARS and -KIRILL on him -.FIRING BACK -.Gaining -.and long -. 338 * * * * * * * * * * KIRILL -.checks the mirror -.nearly pulling level.ducking for meager cover as bullets stitch through the roof -TUNNEL -. BOURNE -.jerking hard and right into the rear of the CAB -BOURNE -.there's -THE CAB -.As the two vehicles scrape along each other -KIRILL -.gaining -.nowhere to go -. BOURNE -.in a controlled fury -THE SUV -.follow the leader and -BOURNE -.he's lost them all but the G-WAGON -.trying to keep control -. World Championship Belt up for grabs. THE TUNNEL -.turns two lanes into three as sparks his way through a lane split -THE G-WAGON -.checks the rearview -.FIRING through his passenger window.banging away as his quarry straightens -MAINTENANCE TRUCK -.looming -- . 338 INT.who the hell is that? -The Heavyweights.closer -.move for move -.finally -THE CAB -.112.BRAKES -TUNNEL -.he carves a path -.that's never stopped him before .The G-WAGON crushes the CAB against the wall -sparks showering the windshield -. BOURNE -.
frowns -THE TRUCK -.jerks the wheel to the right -TUNNEL -.front bumpers locking on rear fenders as -TUNNEL -.113.The G-WAGON hurtling forward -.concrete victorious -.taking deadly aim -BOURNE -.a hard left -TUNNEL -. KIRILL -.the cab continues -SPINNING around the G-WAGON -DETAILS -.steel vs.staring back at him -.spinning to a stop out of harm's way -.as BOURNE sits up -.really unloading now -BOURNE -.firing into the CAB -.the CAB wrapping around the front of the SUV -WHAM! -.focused -.intense -BOURNE -.the cars unlock -.WHUMP-WHUMP-WHUMP -SUV TIRE -."I know something you don't know.shredding.just below the window knob -.a tornado overhead -KIRILL -.locked together -KIRILL -.a bone compressing.eyes go wide -WHALLOP! -.slaps in a new clip -.the CAB ass end first -. concrete -.whipping the wheel -CAB -.gun against his door -.fights the wheel -ANOTHER TRUCK -." KIRILL -.pushing it to the right -.down on the floor -.swerves to reveal the PILLAR to Kirill's POV -KIRILL -.looming large -BOURNE -.looking between the seats out the rear window -a LANE DIVIDING PILLAR ahead -CAB -. BOURNE -.spin away from each other -KIRILL -.door opening -* * * * * * * * * * * * * * * * * * * * . truly horrendous impact! BOURNE -.calm -.
114. 339 INT. TUNNEL -- DAY Gun ready -- BOURNE heads over. Ahead -- Spam in a can. BOURNE crouches down -- looks in. 339
KIRILL -- bloody, beat-to-crap -- barely alive -- but -trapped -- entombed alive by the metal crushed around him -BOURNE -- watches. Not here to help.
KIRILL -- looks over -- calms a moment as the two men consider each other -BOURNE looks at him long and hard. Kirill dies. And BOURNE stands -- and just walks away -340-350 A351 DELETED EXT. MOSCOW AIRPORT TARMAC -- DAY Snow swirls. PAMELA disembarks from the G-5 (or US military plane). She is met by RUSSIAN OFFICIALS. 351 EXT. MOSCOW HOUSING PROJECT -- TWILIGHT 351 340-350 A351 * * * *
Huge, awful Soviet-era housing towers fill the horizon. A CITY BUS grinds to a stop. PEOPLE trundle off. people at the end of their day. Tired. Cold. THE CAMERA FOLLOWS A GIRL. Trudging a man-made wasteland. Twenty. A proud little waif. Sad eyes. Home from some job. IRENA. 352 EXT./INT. PROJECT BUILDING ENTRANCE -- EVENING 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 -352 Working
115. 353 INT. PROJECT BUILDING STAIRWELL -- EVENING IRENA climbing. 354 A JUNKIE here. 353
Flickering light there. 354
INT. SIXTH FLOOR HALLWAY -- EVENING
IRENA -- her key at the door. Domestic disturbance playing across the hall. She opens up and -355 INT. IRENA'S APARTMENT -- EVENING It's dark. And she's barely through the door when -355
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. you want?) No drugs. Is that what
And now she can really see him. He's a disaster. Shivering. Bloody. Eyes more hollow than hers are. BOURNE Can you... (trying to conjure the Russian--) (The chair. Have the chair.) Sit. IRENA (accented) I speak English. BOURNE staring at her. Please... So she does. Nods. BOURNE Gestures for her to sit.
And here they are.
116. BOURNE (CONT'D) (cont'd) 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)
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. 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. What? IRENA Fear overwhelmed by Some
* * *
She really looks at him now. 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.. Your father was supposed to be alone. Doesn't it? (wary) Yes. Then what? IRENA BOURNE I killed them. That knowledge.how can you be here and say this? BOURNE I don't want you to forgive me.. She wipes a tear. IRENA BOURNE That's not what happened to your parents.. BOURNE They loved you. My first time. Stands because if she doesn't she'll burst into tears... (beat) And I killed them. that's right.. BOURNE (CONT'D) (cont'd) It changes things. Because she knows if she starts crying she won't be able to make sense of this. She stands suddenly. she came out of nowhere. * BOURNE (CONT'D) It was my job. IRENA How. They don't.how can. Body blows.. Thinking that. * * * * * . but he has her attention.. (beat) You understand me? (does she?) You don't have to live like that anymore. BOURNE nods.117. But then your mother. IRENA You killed them. (a little shrug) I had to change my plan.
if it's true you should die. IRENA Because you're afraid! No. * Your life is hard Two people standing in a room. IRENA YOU'RE A LIAR! Look at me. Really crying. BOURNE * (starting for the door) Because you don't want to know how it feels. off. He's leaving. enough. He's opening the * * * * * * BOURNE (CONT'D) I have to go now. BOURNE You know I'm not. And he's taking it.... IRENA You're a liar.I should kill you now! BOURNE I can't let you do that either. Stunned. IRENA I should kill you. door. IRENA For who? (he doesn't answer) KILLED FOR WHO? BOURNE pushes himself to his feet. BOURNE Squared A real effort. And now she starts crying. IRENA Is this really happening? . There they are.. BOURNE It doesn't matter.118. She hesitates.
where is he? -. There's a bench. David. HOSPITAL ROOM -. (smiles) Before the wall fell you would have woken up in a Russian prison hospital. And she sags. Across the snow. The sound of the door closing and Irena crying. HOUSING PROJECT PLAYGROUND -. Standing at the foot of his bed.tries to move -.sitting up -.. We slowly tilt up to the multicolored Moscow tenements.. He sits down. shit. Oh. There she is.. * * * He just might die here. FADE OUT: 357 INT. Out of gas. And he really can't take another step. as -356 EXT..DAY BOURNE trudging along.SUNSHINE through clean windows and -PAMELA (OS) Hello.119. BOURNE (empty) I'm sorry. Back into the chair. BOURNE * Where am I? PAMELA Ramstein Air Base.but it's so bright -. BOURNE PAMELA * * . He looks around -.DAY 357 BOURNE waking up -.trying to get his bearings -. Careful. THE CAMERA FINDS THE PHOTOGRAPH on the table.white walls -sheets -.hammered by pain. Germany. as -* * * * * 356 He's done it.
PAMELA leaves the file. Trying to. I'm sorry about Marie. of your life. He's taking it in. BOURNE You didn't answer my question. A summary BOURNE Don't need it. BOURNE I know who you are. He waves it off. No sudden movements. PAMELA Why you're alive? (beat) You're alive because you're special. I remember everything. BOURNE Why am I alive? PAMELA Are you disappointed? They study each other a beat. PAMELA nods. (she smiles) Because we want you back on our side.stapled * PAMELA (CONT'D) It's all in here. Very calm here. to the cover. A PHOTOGRAPH -. Long moment. What's that? BOURNE PAMELA Do you think you can read? enough? She has a folder. .Bourne's face -. All of it. PAMELA (smiles again) Sounds like a threat. * * * Are you well * * * PAMELA Thank you for your gift. But hearing it. BOURNE silent.120. Because she kept you alive. Treadstone.
NICKY (quietly) * * * So? PAMELA Felt promising. Coming up the hall. They're walking away. HOSPITAL ROOM -. and we. sterile hallway. THE CAMERA Staying with THE NURSE now. MUSEUM ISLAND BRIDGE -. A chill in the air.opens the door and she enters -359 INT. FADE OUT..121. CRONIN and NICKY standing there with an AIR FORCE SENTRY assigned to guard the room. Both of them going quiet because there's A NURSE carrying a tray of food. We'll talk later. * THE SENTRY smiles -. THE END Disappearing into thin air. HOSPITAL CORRIDOR -. 358 INT...DAY Empty bed. She's coming toward us. It's a start.DAY Off he goes. Bourne is gone.BERLIN -.. 359 As THE MUSIC STARTS PUMPING. Open window. 360 * * * . BOURNE watching her back away.DAY As she exits into -358 Long. as they get some distance down the hallway -PAMELA (to the sentry) Let's give him half an hour. but now. CRONIN and NICKY trying to play it cool. 360 EXT. PAMELA (cont'd) (CONT'D) Take a look at it.
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