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THE BOURNE IDENTITY by Tony Gilroy

Based on the novel by ROBERT LUDLUM

Paris Draft 9/20/00

DARKNESS. MUSIC.

THE SOUND OF WIND AND SPRAY.

TITLES.

EXT. OCEAN -- NIGHT The darkness is actually water. A SEARCHLIGHT arcs across heavy ocean swells. Half-a-dozen flashlights -weaker beams -- racing along what we can see is the deck of an aging FISHING TRAWLER. FISHERMEN struggling with a gaff -- something in the water -A HUMAN CORPSE. EXT. FISHING BOAT DECK -- NIGHT THE BODY sprawled there. The Sailors all talking at once -three languages going -- brave chatter to mask the presence of death -SAILOR #1 -- Jesus, look at him -SAILOR #2 -- what? -- you never saw a dead man before? -SAILOR #3 -- look, look he was shot --

(nudging the body--) SAILOR #1 -- don't, don't do that -SAILOR #2 -- he's dead, you think he cares? -SAILOR #1 -- so have some respect -- it's a -(stopping as--) THE BODY MOVES! -- convulsing -- coughing up sea water -the Sailors -- freaked -- jumping back -standing there, as -THE MAN begins to breathe. INT. FISHING BOAT BUNK ROOM -- NIGHT A wreck. Too small for all the people in here right now -SAILORS sweeping off the table -- rough hands laying THE MAN down -THE CAPTAIN -- brutal and impatient -- watching from the door as -GIANCARLO tears through the clutter -- searching for a medical kit buried in the shambles. is sixty. A bloodshot soul. GIANCARLO

GIANCARLO -- it's here -- hang on -- it's here somewhere -- give me a

(Giancarlo turns back--) We pick him up? Okay. You do what you can.here we go some blankets -. as -THE CAPTAIN Giancarlo.get on him -the kit--) -. FISHING BOAT BUNK ROOM -.minute -. (pure steel now) You understand me? GIANCARLO Yes. but we're not going back. sir.get some blankets (finding -.here it is -- GIANCARLO with an old trunk -. we have to pick him up. He lives? He dies? I don't care.TIME CUTS . CAPTAIN (to the rest of them) Let's get back to work! GIANCARLO watching them run out. Snagging a quick pull on a pint of rum he's got stashed and -INT. But that's as far as it goes.just getting it open. CAPTAIN Fuck that.DAWN -. GIANCARLO He needs a doctor. We've wasted two hours on this shit already.

words -.TINK -TINK -. Now -. Now -.all in different languages. A light swings overhead.Transformed into a makeshift operating room.snatches of them -. I'm trying to help you.GIANCARLO with a flashlight in his teeth -. THE MAN layed out across the table. Probing them. not a bullet at all. judging them. Turning THE MAN on his side. Two bullet wounds in the back.exacto knife cutting in -tweezers extracting A SMALL PLASTIC TUBE. Sounds -groans -. Can you hear me? (we're blinking--) You've been shot. (we're trying to find . Cutting away the clothes.TINK -.we are staring up at -GIANCARLO You're awake. and as it comes free -THE MAN'S HAND SLAMS down onto GIANCARLO'S and we SMASH CUT INTO A -FIRST PERSON POV -. GIANCARLO playing doctor in a greasy kitchen apron.A SCAR ON THE MAN'S HIP -.bullet fragments falling into a washed-out olive jar.another fragment -.something catching GIANCARLO'S EYE -.

From your teeth -. THE MAN How did I get here? GIANCARLO we're lost at sea. (we say nothing) are you? (still nothing) were shot -. (he smiles) It's the cold that saved you. It's clean. The wounds are clean. We're out of Vietri. but the wounds. The water.the dental work -THE MAN Where am I? GIANCARLO You're on a boat. I thought so.in back. You understand me? (we try to nod) are you? You you Who You the Who Long dead pause. . It's okay now.two bullets -.our voice--) You were in the water. shot. They pulled out. I'm not a doctor. A fishing boat. it looks okay. Italian flag. THE MAN Where am I? You've been GIANCARLO (switching to English) You're American.

. He's sitting up. to make sense of all this.DAY GIANCARLO is hunched over a desk -. He's staring around the room -. INT.at the walls -. Silence. OCEAN -. FISHING BOAT BUNK ROOM -. (focusing now--) What are you doing? .haunted -THE MAN What if it doesn't come back? GIANCARLO (still working that tube) I told you. I can count.DAY The Trawler plows through heavy seas.. I can talk.tweezers and flashlight -.THE MAN I don't know. THE MAN is bandaged. You need to rest. EXT. and it must hurt like hell. Too busy trying THE MAN I can read.busy working at that strange plastic tube that came out of THE MAN's hip. I can read that sign on the door.at his body -. but physical pain is not the thing troubling him right now. THE MAN can't rest.

written there -. ZURICH. okay? THE MAN I don't remember Zurich. Whatever this is. GEMEINSCHAFT BANK.a slip of plastic from the tube -. Takes a hit.000-7-17-12-0-14-26. Under the skin. okay? I'm an engineer. (waiting) You remember Zurich? THE MAN No. Different GIANCARLO Look. GIANCARLO (offering the bottle--) You drink rum? . GIANCARLO staring at him now. GIANCARLO pulls his pint. it's not for me to be involved. GIANCARLO It came from your hip.MAGNIFIED POV -.finding a magnifying glass -THE MAN What is that? INSERT -. I'm just on this boat. suddenly. (turning back--) You have a bank in Zurich.GIANCARLO rummaging around -. Suspicious.

Then his hands begin to move -. EXT. He's still bandaged and the wounds must hurt like hell. there.maybe even hoping that it will hold some answer for him.THE MAN I don't know. EXT. he smiles. staring at the thing like it's a test. He turns to head inside -. INT.trying to pack a grind -.DAY THE MAN alone doing chin-ups on the deck rail.there. a surfcasting rod propped against a locker. FISHING BOAT GALLEY -. but he's pushing himself.flips the bail -traps the line -. So lost.NIGHT THE MAN stands at the rail. THE MAN standing .trying to fit it in -turning on the steam and -The whole thing explodes.NIGHT A ratty old espresso machine. And for the first time. THE MAN picks up the rod -.now he's casting far out into the darkness.bathing in it -. Using the pain -. FISHING BOAT DECK -. FISHING BOAT DECK -. staring out to sea.

And then he speaks. cataract of a mirror.and then places it on the board. FISHING BOAT HEAD -.NIGHT A chess board. Wipes away the perspiration just beading on his forehead.INT. Staring at himself. Blinks. Do you know who I am? Do have any idea who I am?) And then he stops. Placing pieces faster and faster -. please stop fucking around and tell me. tarnished. THE MAN (in perfect Dutch) (Tell me who I am. THE MAN (in perfect French) (I don't know who I am.still setting it up. If you know who I am. His face. FISHING BOAT GALLEY -. He knows this. . Who am THE Wooden pieces jumbled in a box.) No answer. THE MAN hesitates -.takes a black knight from the box -. Just that face.NIGHT One of the ugliest bathrooms on the planet.lingers for a moment -. as we -INT. He's off and running. MAN standing before a pitted.

but it should get you to Switzerland. THE FISHING BOAT BUNK ROOM -.DAY SAILORS hauling in the nets. Getting healthy.DAWN A small. Shakes his head. and -INT.DAY The ticket window. THE MAN I won't forget this.SAME TIME THE MAN buttoning up borrowed clothes. GIANCARLO gives him a look. motoring in. The trawler INT.working beside them. THE MAN and a TICKET AGENT. Earning his keep. EXT. colorful fishing village. ITALIAN COASTLINE -.I? And what else is inside there? EXT. GIANCARLO pulling some cash from his pocket -GIANCARLO (offering the money) It's not much.still bandaged. FISHING BOAT -. POKEY ITALIAN TRAIN STATION -. but healing -. TICKET AGENT Una sola via? . THE MAN -.

TGV -.. He's in some sort of throne room.NIGHT .FULL FRAME -.he's looking at his reflection..and staring out is. CIA HEADQUARTERS CONFERENCE ROOM -. INT. Bodyguards and a translator hovering nervously And he's People all around him -.Si. We move in on a window -..families .THE MAN. Una sola via.meet WOMBOSI. EXT....normal people going about their lives.a bullet train speeds through snowcapped Alps. A HELICOPTER SHOT -. TRAIN -. INT. think Idi Amin crossed with Mobutu.DAY THE MAN One way. as the train races toward ZURICH. angry. EXT. His face suddenly plunged into darkness as the train bombs into a tunnel. -businessmen -.and out of the darkness into night and the HELICOPTER SHOT. So lost.DAY . but he's not watching the scenery -.. TGV TRAIN -. THE MAN turns back to the window.. He's an African ex-dictator.DAY A VIDEO MONITOR -.

You will see -. a CIA bigwig has the remote control. And the floor. Wombosi. no. Some of you on the African desks have worked with him over the years. (stopping.. TWELVE CIA MANDARINS sitting around the table like kids in detention. my enemies are too strong. and I'm making a warning to all those peoples out there that think that my powers have become so weak that they can play with me as they wish. freezing on that image. .the time is not right. MARSHALL That's Nykwana Wombosi speaking in Paris the day before yesterday..no. What this is. but the guy we're interested in is named WARD ABBOTT. WOMBOSI (he speaks english) .an interview conducted by a German TV station. I'm telling you to wait for this. no -. I'm sure most of you have a passing knowledge of Mr.. Some of you very closely. My old friends will hear about themselves. Then you will have a story.I will tell you when the evidence is clear..around him. is NEWS FOOTAGE -. We will tour the faces as MARSHALL continues. and--) MARSHALL. you understand? I'm telling you this.

he's writing a book about the Agency's history in Africa -.He was an irritation before he took power.he's going to name names. He was a problem when he was in power. This is an interview we pulled down from a local German television station in Dresden.Picture a sawier. (beat) The overwhelming negative ramifications of this should be obvious. He says it's us. HANDS suggest otherwise.. He says he's got proof. HIS MARSHALL This interview -. It's basically a shakedown.. . (hard and dry) The Director wants to know if there is any possible shred of truth in this accusation.he goes on to claim that he has just survived an assassination attempt.and I'll make the tape available for anyone who wants it -. MARSHALL . slicker John Poindexter.. We've been getting these little broadsides every couple of months.. ABBOTT'S FACE says this is news to him. And he's been a disaster for us in exile. He knows this -he knows that -. (the tape--) Wombosi likes to send us messages through the European media.

) THE MAN makes his feet. him. INT. when -ZURICH COP #1 (OS) (authority German) (Can't you read the signs?) THE MAN turns. ZURICH COP #1 (The park is closed. now. A PIZZA PLACE closing up for the night. Just settling in.NIGHT THE MAN trying to get comfortable on a bench. THE MAN checks his funds. ZURICH COP #2 (On your feet. now. There's no sleeping in the park. It's chilly but this will have to do until morning. ZURICH PARK -.NIGHT THE MAN walking aimlessly. No hands go up. Just enough for one Passing EXT.) They're on top of him TWO ZURICH COPS coming toward Right .Long pause.NIGHT THE MAN wandering through the terminal. Let's go. EXT. ZURICH TRAIN STATION -. cold slice. ZURICH STREETS -.

) THE MAN I've lost them.) THE MAN not sure what to do. Mouth shut.into THE MAN's back -. They are lost.and that's the last thing he'll remember because -- .ZURICH COP #2 (Let's see some identification. Let's go. I'm just trying to sleep okay? -(German again) (-. Let's go.giving a sharp poke with the nightstick -.) ZURICH COP #1 (not sympathetic) (Okay. ZURICH COP #1 (Come on. Eyes moving. Your papers.hands up -. I've.ZURICH COP #1 reaching up to pat him down -THE MAN -.come on -.up --) THE MAN raising his hand slowly -.look. Put your hands up.I just need to sleep --) ZURICH COP #2 has heard enough -.) ZURICH COP #2 (pulling his nightstick) (-. (German now) (My papers.

COP #1 -.head slammed into the bench -.the heel of his hand driving up into the guy's throat and -COP #1 -.THE MAN is in motion.he's out cold and -COP #2 -.trying to reach for his pistol.blood spraying from his nose -. and then silenced because -THE MAN -.he is.he's got it right up against COP #2's forehead -right on the edge of pulling the trigger -.three jackhammer punches -down-downdown and -.a sweeping kick and -COP #1 -.like a vise -.onto COP #2's arm -shattering the bone -.still turning -. but THE MAN -.writhing on the ground -.catching the bench -trying to fight back but -.THE MAN -.gasping for air -struggling with his holster -.his foot -down -.COP #2 starting to scream.like a machine -just unbelievably fast -. he's gonna shoot him -- . A single turn -.THE MAN -.catching COP #2 completely off guard -.he's got the pistol -.spinning -.behind him -.he's falling -.all his weight moving in a single fluid attack -.so fucking fast -.

A backwater project center hidden deep within the Langley facility.no -.. pleading) (-. Utilitarian. An ops office. . THE MAN standing there.checking it -stripping it down -. inner office.like this is something he's done a million times before. And God. What just happened? How did he do this? And there's THE GUN in his hand. And then he stops cold. In the silence.please no -. Blood on his pants.aiming it -. Small staff.holding it -. Two unconscious cops at his feet. Several rooms linked like a suite. it just feels so natural -.ZURICH COP #2 (gasping. Running off into the darkness -INT. Operations. for SEVERAL TECHNICIANS. One or two Throwing down the gun. TREADSTONE -..my Go--) (stopping as--) THE MAN slams the gun against his temple and -This fight is over. Unlabeled and anonymous. This is something he definitely knows how to do.please don't -.DAY A deep.please God no -.

NIGHT ABBOTT with coffee. CONKLIN not lingering. Buttoned ABBOTT Storm clouds are gathering. Cot in the corner. CONKLIN Tell him we're busy. Everything tucked away. ZORN is the number two here. CONKLIN (looking up) What? ZORN Abbott wants to talk. Ivy League Ollie North. People are at their posts. A couple for research. And it's all quiet. Ted. Square jaw. This is a place under siege.communications. It looks like rain and I don't have a thing to wear. But there's tension in the air. INT. Work on the desk. But they are busy. . ZORN I tried. Coming through quickly. CIA COMMISSARY -. down. Quietly urgent. Brilliant bloodless lapdog. Heading toward the boss's little office at the back -TED CONKLIN. He's coming through the suite.

(beat) What am I going to do about that? CONKLIN You'd want to make that go away. Treadstone is a rather sizable line item in my ledger. And I'm asking you if this abortion in Marseille has anything to do with Treadstone.CONKLIN I don't know what we're talking about. You'd want to remind them that Treadstone is a training organization. That it's all . Pressure drop. (silence) Was this Treadstone? CONKLIN You're asking me a direct question? ABBOTT Yes. ABBOTT We're talking about Marseille. Silence. They're going to look through everyone's budgets. CONKLIN I thought you were never going to do that. ABBOTT They're putting together an agency oversight committee. We're talking about Nykwana Wombosi.

does it? (Abbott staring) We'll clean up the field. off on that. Everything just now opening for business. BANK RECEPTION AREA -. Tucked in the shadows. TWO GUARDS unlocking the front door and -THE MAN across the street. You clean up your budgets. You'd want to sign ABBOTT And what if I couldn't do that? CONKLIN Then I'd have to explain Treadstone.theoretical. GEMEINSCHAFT BANK just one of many elegant fortresses on this street. And you'd have to explain how you let me get this far. ZURICH -. (silence) Doesn't sound like much of a Plan-B. formidable and tech at the same time. Uptight.DAY Ornate. Looks clear. RECEPTIONIST (Can I help you?) Upscale. EXT. Checking for cops and trouble.DAY Morning in the financial district. . He's walking and -INT.

THE MAN catching his reflection for a moment before a wave What Pulls a pen and bank . RECEPTIONIST (instant English) If you'll just enter your account number here I'll direct you to the appropriate officer. sir. Something ominously decisive about this. if it's him? What if it's not? BANK GUARD #1 (they've been waiting) (Your hand... THE MAN standing there.DAY A BIO-METRIC SCANNER. as we -INT. BANK SECURITY CHECKPOINT -.BANK GUARD #2 guiding his open palm onto the mirrored scanning surface. Here we go -. staring down at this machine. Looking very out THE MAN I'm here about a numbered account. of place.) THE MAN focuses. THE MAN takes the pen. TWO SERIOUS BANK GUARDS manning the equipment. card. A piece of ultra-tech amidst the Baroque. THE RECEPTIONIST nods.THE MAN standing before her.

BANK HALLWAY -.anal Zurich banker -. THE MAN is alone.. THE GUARD leaves the But total privacy. MR. APFEL -.of white light passes beneath his hand and now -INT. THE MAN . Here are the answers.. I assume you're here about your box. (what now?) The box. Closing the door behind him. sir.DAY Elevator doors open..DAY THE MAN being led by A THIRD GUARD to a special elevator. BANK SAFETY DEPOSIT VIEWING ROOM -. as A DEPOSIT GUARD places a large SAFETY room. right in front of him. This is it. INT.waiting there. APFEL nods. He lifts the lid. Gestures down the corridor -- INT. And there it is.yes.DAY Sterile and kind of odd. THE MAN steps out.. DEPOSIT BOX before him. DEEPER INSIDE THE BANK -. APFEL Good morning. . THE MAN sitting there.

Several sets of contact lenses. A very good gun. MONEY. A pair of sunglasses.THE BOX. THE MAN.the shallow tray on top. Three sticks of gum. There's a shallow tray on top. . BACK TO -. nice to meet you.. I'm Jason. Credit cards for Jason Bourne. (sounds good) Hi. Lots of it. His picture.as if by holding them he might absorb their essence.THE BOX -.. Staring into THE DEEP BOTTOM TRAY and -First of all. Lots of them. Ten thousand dollar stacks of hundreds. French driver's license with a Parisian address. This is him. Lifting the top tray. Jason Bourne. Holding these objects close -. He's Jason Bourne.. BOURNE My name is Jason Bourne. knife. In this tray: a beat-up passport in the name of Jason Bourne.. Forcing himself to believe. A Rolex. A comb. There it is. A A BOURNE setting these things aside. There's Kleenex. And. A ring. Close to a million dollars. There's A GUN. Jason Bourne. Several clips of ammo.

But no passport.. A Belgian. Crisp. African. PLACE OF ISSUE: Paris. Each one of these pristine passports clipped to a piece of card stock that says: NAME: NATIONALITY: PLACE OF ISSUE: SIGNATURE SAMPLE: And a bar code. A South BOURNE Bourne. And a bar code.S. He . Five different names. My name is Jason Bourne.. And. confusion away. Paris. Brand All with his photo inside. BOURNE sitting there.new. All clean. Rue de la Jardin. But there's something hollow about this. France There's a signature sample. I live at 121. Two Dutch passports. This one is missing. Trying to push his A French.A. There's one piece of card stock still with the paper clip in place. And no passport. different Countries. Three FIVE MORE PASSPORTS. This card reads: NAME: John Michael Kane NATIONALITY: U.

.came looking for one identity and now he's faced with six... there's A COP .turn -. The red bag full to its limit. The gun. Looking around the room -- INT. BOURNE grabbing one -. Must be three weeks. on the corner -. No guns. BANK SAFETY DEPOSIT OUTER AREA -. He's walking briskly now.) DEPOSIT GUARD (I'm not sure.. He doesn't want the gun.VARIOUS SHOTS BOURNE exits the bank. Suddenly.change pace -. The gun. it's all fucked up. STREETS OF ZURICH -.DAY BOURNE is done. there -there's a pile of red canvas burn bags in the corner. BOURNE into gear..) EXT. Nothing in sight.DAY -. The money. BOURNE crossing the street..stuffing everything into it -everything except. Looking for a taxi.make it look natural -Shit. DEPOSIT GUARD -Handing the box back to THE BOURNE (I'm trying to think how long it's been since I was here.

scan the options -.but only a moment -.cut -.turn -.she's watching him go and she's pulling her radio and -BOURNE hitting this next corner -.she's staring at him and -BOURNE trying not to panic -. Fighting the paranoia. And fuck -there's A METER MAID.smile -. Pulse starting to race. for a And it's looking good moment -.stay small -.cross the street -BOURNE heading down a boulevard. Forcing himself to focus. small. BOURNE turning back.don't run -.BOURNE around a corner. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him -It's just an ambulance.banging a right -forcing himself not to run -.TWO MORE COPS walking a beat -.get to the corner -. and she's stopped writing up a ticket -.but -THE METER MAID -.walking this way -.but this one is jogging -Trying to look .glancing back and -THERE'S ANOTHER COP -.

Two lines: A short one Big room. a marathon for everyone else. No .. for U.DAY The passport and visa office.. An American flag. What's he gonna say? What can he say? With the cops outside. Everyone here has a problem. then the bank.DAY Big gates. American tourists who've lost their passports.VISA ROOM -. CONSULATE ZURICH -. line.S. CONSULATE CLERKS stationed in open cubicles along the back wall.he's got his radio out and -FINALLY TO -BOURNE bailing on the street -. and the incident in the park. U. And it's a zoo.S. Speed barricades. MARINES standing guard near a gate house. Asylum seekers. Citizens.S. Foreigners looking for visas.S.searching -. SEVERAL U.S. BOURNE playing it as normal as possible as he heads for the entrance. Standing there trying to think. EMBASSY COMPOUND -. INT. Lots of people coming and going.disappearing into -EXT. BOURNE on the U. Unpleasant on purpose. windows. U.

but you entered into a fraudulent marriage in an effort to circumvent the immigration laws of the United States -MARIE You only know that because I told . because this is a warrior in full. I'm gonna have to ask you to keep your voice down..) -. and I have no you keep telling me how you cannot give me! -.all the papers they asked for -.MARIE (O.I brought all the papers -CLERK Miss Kreutz. MARIE now I lost my apartment. Real beauty hidden beneath the armor. CLERK Miss Kreutz. this is not my current address. Big energy. It was my current address two days ago when I started standing in line outside -A NEARBY CUBICLE. Meet MARIE KREUTZ. and much help A CONSULATE CLERK caught in her headlights. MARIE All the papers -. And armor it is.no. please.. address. German.and so I have no visa.S. crisis battlemode. excuse me.

me -. (she's found it--) .I'm the one being ripped off! CLERK So now you're asking for a student visa? That shuts her up..not you -.Mr.I paid him four thousand dollars -my last four thousand dollars to marry me.. CIA OFFICE COMPLEX -.here -.I told this to the case officer last week. Yes.I told him all this myself! -(tearing through the papers now--) CLERK -. okay? -.NIGHT (BUT SAME TIME) .it's on the papers -..I paid this fucking guy -.you! (she's incredulous) Ask the case officer -. INT.not the United States government -.I admitted this! CLERK -. Today she's a student.Miss Kreutz.find his name -. please -MARIE -..it's not the source of the information that's important here -MARIE -.I'm the one that got ripped off! -. I told Mr. Thomas. Thomas I didn't know this guy was already married -.

CONKLIN racing down a staircase -ZORN chasing after -CONKLIN -. It's his turn. CONSULATE -.and they're sure it's him? -ZORN -. Fear meter rising by the .MARIE still in the midst of her madness -A SECURITY CAMERA high on the wall capturing everything -lots of data -. minute.S. BOURNE'S POV Scanning the room -.yes.the perimeter -.A TURKISH MAN almost in tears as he tries to explain his case to a DESK CLERK -. BOURNE comes to. Shit. it's confirmed -INT. U.but it was him -ZORN -.Motion -.DAY BOURNE on line.he accessed the account -CONKLIN -. sir.the people -.too much going on and -MAN ON LINE (OS) (from behind him) You're up.VISA ROOM -.TWO AMERICAN BACKPACKERS that have lost their passports -.

he came to the wrong place -WOMAN CLERK (cold shit) You're a U. Yes. . either you are. Yes. and if he was looking for a friendly face. WOMAN CLERK Sir. maybe I should just. Citizen? BOURNE Yes.. BOURNE trying to think -what the fuck is he doing? -.A WOMAN CLERK waving him forward.. WOMAN CLERK You have your passport? BOURNE I have a passport. (the bag there.. (pause) I mean.S...now he's at the window. WOMAN CLERK Do you have your passport. WOMAN CLERK Well. sir? BOURNE Look. or you aren't. I've got... BOURNE Right. but. you waited on line. I think so.) Actually.what's he gonna say? -. it's a little complicated..

the room -. in deep conversation with TWO MARINES and THE EMBASSY SECURITY OFFICER and -- .DAY BOURNE on the move -. U.there are two other points of entry into the main building.he's out of here -INT.half-a-dozen of them lingering around the entry gate and -BOURNE stalled for a moment -. CONSULATE LOBBY -.he can't go back to the passport office -. I know.it gets worse -A ZURICH POLICE INSPECTOR near the door. walking away from the woman.ZURICH COPS -.options dwindling -. But he's already bailing.he can't go out the front and -The lobby looks tough -...S.BOURNE Yeah.outside -on the street -.hustling back toward the lobby -trying to snag a view out to the street -there's a window just ahead and -BOURNE'S WINDOW POV -. but they're both guarded by MARINES and METAL DETECTORS -As he gets closer -. the window.

red bag -.starting to drop -but only starting. because now -He's swinging the backpack and -- . and it's the most crowded -.total compliance -.YOU -.let's move it! -.down -.stop! -.the guy's raising his M-16 -GUN MARINE -.A COUPLE PEOPLE lined up here -.trying to get to THE LARGER OF THE TWO ENTRY GATES -this one the farthest from the front door and the passport office corridor.the red bag -stop right there! -.BOURNE trying to burrow through the human traffic -.stop right there! -BOURNE turns back -.let's go! -BOURNE nodding -.hands up! -BOURNE glancing back -.waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and -SECURITY CHIEF (OS) -.as does everyone else in the lobby -SECURITY CHIEF (from across the lobby) -.ONE OF THE GATE MARINES BEHIND HIM -.you heard him -.

the guy's arm just shattered and -THE SECURITY CHIEF -.SNAP! -.he's got a gun! -And he does -.all forward -.landing hard on THE GUN MARINE -rolling away from the gate -.almost an afterthought -.like a knife -.swinging it around as he searches .no -.freaking out -.BOURNE -.no -.trying to grab him -making his move -.all perfect -vaulting the metal detector even as he pulls ONE OF THE PEOPLE ON LINE around to shield his back and -ANOTHER GATE MARINE -.right there -.TWO MARINES WITH HIM -.coming up with it -coming up on the move -.into the building now -.hold your fire! -BOURNE -.blind-sided -.they're raising their weapons and there's people in the lobby and -SECURITY CHIEF -.he's got a gun! -.coming up with the backpack and -SOMEONE SCREAMING -.all motion -.nailed -.out of nowhere -.THE GUN MARINE -.his boot -.BOURNE with the M-16! -.no chance and -BOURNE -.

red! -.BUREAUCRAT-TYPES doing their thing.coming fast -.SCREAMING -.DAY . U.everyone dropping for cover and -BOURNE -.for an escape route and THE GUN -.red! -.tossing away the M-16 as he sprints into the building -THE SECURITY CHIEF (frantic on his radio now--) -. when suddenly -BUREAUCRAT #1 Excuse me? Can I help you? (but backing up as he says it.South side entrance! -male -.offices on either side of a carpeted hallway -. brown hair -.red! -.it's like a magic wand of hysteria -PEOPLE IN THE LOBBY -.S.red bag -INT.DAY Quiet for a second -. U.five-ten. CONSULATE OFFICE HALLWAY -.S.black jacket -. CONSULATE LOBBY/SECURITY GATE -.diving away -.and he definitely does not belong back here -INT.bailing -.on the run -.sprinting down a hallway -. because--) Here comes BOURNE -.code red! -.

S. U.what're you talking about? -SECURITY CHIEF -.he's running from the cops.we're evacuating the building -DEPUTY DCM -.people fleeing the lobby -. CONSULATE GROUND FLOOR CORRIDOR -.DAY Door flies open -.BOURNE bombing in -.we're in the middle of a trade meeting! -SECURITY CHIEF -.no way out but up the stairs -INT.THREE MARINES -.DAY SECURITY CHIEF -. a frantic guy in a suit -DEPUTY DCM -. CONSULATE FIRE STAIRWELL -.I want everyone out! -DEPUTY DCM -.S. he's in the building and I don't know where! -- . U.sidearms drawn -. he's got a bag filled with God knows what.you gotta give me more to go on -SECURITY CHIEF -.call the code! -.jogging past the INNER OFFICES -.Panic -.shit! -it's a dead end -.MORE MARINES hustling in from outside and -INT.running beside them.

TRADE CONFERENCEES -. CONSULATE FIFTH-FLOOR GRAND HALLWAY -DAY THE ALARM ringing everywhere -.DAY .S. CONSULATE BACK STAIRWAY -. CONSULATE MAIN STAIRS -.leapfrogging -.INT.momentum stalled for a moment -nothing in here but tableclothes and silverware and coffee cups and -INT. CONSULATE BACK STAIRWAY -.point-to-point assault procedure -INT.DAY THREE MARINES -.S. U.staring up the stairs -.stairs at a time -racing up as a SECURITY ALARM STARTS SCREAMING -. U.he's in a butler's prep area off the main conference room -.spilling out into the corridor -INT.two -. U.S.DAY BOURNE climbing fast -.armed and stoked -.bleet -INT.it's BOURNE -. U. CONSULATE FIFTH FLOOR KITCHENETTE -DAY A NEW DOOR flying open -.three -. but there's nothing -.ready for anything. U.S.bleet -bleet -.sixty confused and frightened people -.S.

the guy yelling was BOURNE -INT.pushing past THE PEOPLE trying to come down and -INT.charging up -. CONSULATE BACK STAIRWELL -.completely freaking out as the door above them on the fifth floor flies open and -LEAD MARINE . CONSULATE FIFTH FLOOR GRAND HALLWAY -DAY Completely clogged now -.S.one more flight to go -.ready for anything -.SECURITY CHIEF with FIVE MARINES NOW -.as they mob back away from the main stairway -.there's a bomb! -And as the crowd reacts -.S.the other way! -. U.take the backstairs! -.weapons out -clean and fast -.THAT ALARM STILL BLARING and -VOICE (OS) -.everyone talking at once -.trying to herd them toward the main stairs -. U.we see -.Carpeted and grand -.no! -.DAY THE ASSAULT MARINES -.PANICKED TRADE PEOPLE all over -EMBASSY TYPES -.the backstairs! -he's on the other side -.still climbing -.holy shit.

HALT! -. CONSULATE MAIN CONFERENCE ROOM -.DAY BOURNE -.HIS MARINES -.STOP WHERE YOU ARE! -MARINE GUNS swinging up -.he's CLOSING A DOOR behind him -. CONSULATE MAIN CONFERENCE ROOM -.he's jamming A CHAIR -.empty now -.coming from the main stairs -.wedging it in tight so the door won't open and -INT.fighting their way through the pandemonium and -INT.DAY BOURNE scanning for options -.trigger fingers tense and -IT'S TRADE PEOPLE! and now THEY'RE SCREAMING and this combined with THE ALARM and THE MARINES YELLING FOR THEM TO GET DOWN and ALL OF IT ECHOING THROUGH THE STAIRWELL and -INT.windows along one wall and -BOURNE rushes to the window staring down and -BOURNE'S WINDOW POV .-. CONSULATE FIFTH FLOOR GRAND HALLWAY -DAY THE SECURITY CHIEF -. U.S.the room is huge -.S.weapons drawn -. U. U.the massive conference table covered with the meeting papers left behind -.S.

U.DAY THE DOOR -.TAT-TATTAT-TATTAT-TAT-TAT-TAT! and -WHAM! HERE THEY COME -.FIVE -.shattering -.dangling fifty-feet above the stone courtyard! -he's gone out the window! -.everything ready and -THE ROOM IS EMPTY! EXT. CONSULATE FIFTH FLOOR GRAND HALLWAY -DAY SECURITY CHIEF -.it's a sheer drop -completely fucked and -INT.S. CONSULATE MAIN CONFERENCE ROOM -.DAY Utter confusion -.shoot it open! -INT. CONSULATE BUILDING WALL -.DAY BOURNE -.SEVEN .blow it -. U.SIX -.S.Fifty feet below there's a courtyard -.through the door -guns -.just outside THE CONFERENCE ROOM DOOR -. U.trying it -.eyes -adrenaline -. CONSULATE MAIN CONFERENCE ROOM -.S.SECURITY CHIEF -.it won't budge and -SECURITY CHIEF -.eaten up by GUNFIRE! -.hanging there -hanging with one hand -.S.one hand clutching the corner of a ledge and -INT. U.TWO MARINES -.

S.crumbling and -BOURNE hesitates.check the closets! -. BOURNE starts climbing down.he has to go down -BOURNE finding a toehold below him -. Dropping to an air-conditioner.ready to rock but there's no one to shoot -. or not? Stalled for a moment.there's no choice -.reaching -. And this is all Does he know how to do this We are watching a master at work.go! -. then.it gives way -.go! -go! TWO MARINES -. ledge. one shot.there's a kitchen back there -. U.looking down -. Handhold to a drain pipe.no target -SECURITY CHIEF -.get those back doors covered -..no way he went down there and -EXT..touching down -.looking down and -MARINE POV -.up -.. No cheating.all clear -. No cutaway.scanning the windows -.. Grabbing a Swinging to a better . CONSULATE BUILDING WALL -.DAY BOURNE still hanging there -.ARMED MARINES all piling in -.

catching a gutter -.pumped-up and listening to -SECURITY . Struggling to keep his balance. Timing his next move and -He's pushing off -. Below.one last grab -. Now he's got to go all the way.holding it just long enough to slow his fall and -Letting go for the last fifteen feet and -EXT. Teetering there. there's an open window on the third floor.reaching -.slowing his descent -.window frame just before the air-conditioner gives way. Now he's on the fourth floor. Into the courtyard. he reaches behind him to shift the weight of the bag. CONSULATE FIFTH FLOOR GRAND HALLWAY -DAY A DOZEN MARINES -. Thump.the drainpipe pulling away from it's housing and -BOURNE letting go -. U.just before he falls backward -. Forget the open window. and as he does -THE RED BAG falls.starting to fall -.there's another drainpipe and he's snagged it -.S.he's got a dragline now -.straining to hold the pipe -.

DAY MARIE storming away. CONSULATE -. AN ALLEYWAY NEAR THE U. A shitty little red car angled in beside a dumpster with a big red Zurich parking ticket on the windshield.-.on the passenger side -BOURNE I need a ride. MARIE (What?) . A beat-to-shit Euro car.tearing it up -tearing the shit out of it -.S. MARIE grabbing the ticket -.we're gonna go room by room until we find him -. illegal -ruined and -Pissed-off -.so let's get teamed up -EXT.blind with misfortune -throwing the pieces on the ground and stomping on them and then -MARIE (looking up--) (What are you looking at?) BOURNE standing across the car -.broke -- MARIE (German) (Motherfucking sonsofbitches!) (a new problem--) A LITTLE RED CAR.

.a stack of hundreds -across the car into her hands -. BOURNE tosses cash -. MARIE Oh.. MARIE Jesus. (backing away and--) BOURNE I don't want to scare you. BOURNE You don't want the police any more than I do.she catches it. MARIE Great. Please.BOURNE I need a ride out of here. BOURNE I've got a situation here and -MARIE Get the fuck away from my car. You know what? I'll give you ten gazillion dollars to get the fuck away from me before I start screaming my head off. MARIE It's a little late for that.. Looks at it. . BOURNE I'll give you ten thousand dollars to drive me to Paris.. Jesus.

BOURNE leaving Freezing the CONKLIN (staring at the monitor) It's him. There it is -.fast forward -a speeding blur of images from a surveillance camera outside the Zurich bank -. him.. INT.it's two days worth of footage -they're scanning for Bourne's arrival and -CONKLIN go -.NIGHT VIDEO PLAYBACK -.BOURNE Get me out of here. TREADSTONE COMMUNICATIONS DESK -.FULL FRAME -. Back at At the money. airline. sir. it's really him. Punching it up. and medical variables. the bank with the red bag. anything else you'd like? ..we got a cross-ref ready to go here.go. and -- Please...keep going -.wait -stop -. we're running hotel. train. ZORN the phones across the room. My God.you went past it -COM TECH #1 working the console. MARIE looking at him. image. his console -COM TECH #2 at COM TECH #2 -.

Run it. I want them all Like the floor just fell away. We've just got to be the first ones there.. (coming to--) Let's get a map.CONKLIN No. him -CONKLIN What? ZORN Zurich police are looking for an American with a red bag.. (still staring at Bourne) Go ahead. So ZORN waiting for .. CONKLIN What the fuck is he doing? ZORN Maybe it's a game. heavy. CONKLIN It doesn't matter now. ZORN (holding the phone) Sir. (decision time) Get everybody up. Silence. let's get a grid map on Zurich.. Apparently he put two cops in the hospital last night. CONKLIN up from the console. Maybe he's trying to send us a message.

CONKLIN breaks away -. fifties. CONKLIN You heard me. listening to a NINEYEAR-OLD STUDENT struggle through the music. COM TECH #2 (from the console--) Sir.. BARCELONA RESIDENTIAL BOULEVARD -.. Late CONKLIN all steel here . A grand house.activated.hum -INT. PIANO MUSIC over this -someone butchering a piece by Haydn and -INT. BARCELONA GRAND HOUSE MUSIC ROOM -. He's sitting here. And then.DAY Meet THE PROFESSOR. now. ZORN All of them? A moment between them. HAMBURG CONFERENCE ROOM -. HIS E-PHONE PAGER starts pulsing -hum -. the cross-ref is coming up cold. Deceptively fit. MIDDLE FIFTEEN He's a piano teacher. marathon business meeting.DAY A boring.back to the console and -EXT.DAY Establishing shot.

Clean-cut. Anything but. Sitting here -And then.MANAGERS are trapped around a German sales presentation. BOURNE poring over a map spread out opver the hood. He's here alone. Sipping espresso. He's thirty-five. Meet MANHEIM. Bald.hum -EXT. BOURNE looks back from the map. HIS E-PHONE PAGER starts pulsing -hum -. Easy to miss. MARIE For twenty thousand dollars. Reading the paper.DAY Meet CASTEL. Slender.DAY The little red car parked. BOURNE I said ten thousand. MARIE pacing around. And then. MARIE So what's in Paris? BOURNE I want to go home. HIS E-PHONE PAGER starts pulsing -hum -. A ROMAN CAF+ -. . Fifty. He looks dumb and piggy.hum -EXT. A ROAD ON THE OUTSKIRTS OF ZURICH -.

this crazy offer. BOURNE Okay. I mean give me a fucking break with this.just wait up -MARIE -. He immediately pulls back.get the fuck out of here -. I swear. MARIE No. MARIE You swear? (cold here) That's great.MARIE You have blood on your pants. Ten No. I want a ride to Paris. this is -(stopping because--) BOURNE just grabbed her.all this money. there. (beat) Twenty thousand. BOURNE Look. (wide open now) That's all I want. . I feel so much better now. Ten now. that was too easy -(pacing away--) BOURNE Wait up -(after her now--) -. Both of them shocked that he's done this.

MARIE You could buy a car for twenty grand. ROME STREET -. Measuring him. BOURNE I won't hurt you. EXT. MARIE And I don't get hurt. Whipping to a stop -. Silence now. Like we're a couple and we're travelling together. I get twenty thousand dollars and I don't get hurt.DAY CASTEL through the streets on a motorcycle. MARIE What if I say no? BOURNE Then I'll find another ride. You could buy this car. INT. STORAGE WAREHOUSE ELEVATOR -. Like we're a couple.DAY . That's all we're doing. She looks back. BOURNE I don't want to go alone. All I want to do is go home.BOURNE I don't want anything but a ride.stepping off the bike in front of -U-STORE-IT STORAGE WAREHOUSE. I want you to drive me to Paris.

Pulling away the top pile and -A METAL LOCK BOX.a timer.rising slowly through the dark warehouse and -INT. What's in here? Like nothing.a key turning -.DAY Darkness -. CASTEL taking off his watch. An LED light stops flashing as CASTEL'S HANDS code in his password and -CASTEL moving to the newspapers stacked in the corner. QUICK TIME CUTS CASTEL working fast. Closing the door. Some shitty plastic chairs. CASTEL pulling rings. Like a stack of old newspapers in the corner. CASTEL'S STORAGE UNIT -. Taking the top book off. An empty tray on top and -Taking off his Hidden here.door opening -light goes on to reveal CASTEL standing there and we're in -CASTEL'S STORAGE UNIT. Some mildewed books piled along one wall. Taking .CASTEL and THE ELEVATOR OPERATOR -. INSIDE THE BOX -. A small bomb. it out. Opening it. A booby-trap. Moving to the pile of books. Opening it.

Emptying his pockets. Five different names.a much larger bottom compartment -. Ten thousand dollar stacks of hundreds. CASTEL going for the Portuguese passport and -EXT. MONEY.and it's deja-vu all over again -. Two Spanish. And FIVE MORE PASSPORTS.setting it aside and -THE METAL LOCK BOX -. Brand new.we're looking at the identical contents we saw Bourne find in the Zurich safe-deposit box. All of this goes into the empty tray and -CASTEL lifting away this top tray -. All clean. Four different countries. A very good gun. His Spanish passport. All with his photo. A GUN. Each one of these pristine clipped to a piece of card stock that says: NAME: NATIONALITY: PLACE OF ISSUE: SIGNATURE SAMPLE: A BAR CODE: Two Italian.there's more -. ALPS HELICOPTER SHOT -.out his wallet. Lots of it.. First of all. Lots of them.DAY . A dozen clips of ammo. A Portuguese..

You've got a bag full . Something. if you're gonna burn me on the money. INT. MARIE staring at him -. BOURNE I know that.almost rear-ending a slow moving truck -MARIE Shit -(trying to settle) Can I tell you how much you're freaking me out? Okay? Because you are -.DUSK BOURNE staring out the window. Really.just in time -. want me to do? What do you MARIE I don't know. Long silence until -MARIE driving.glancing back to the road -. BOURNE I'm sorry. THE RED CAR -. you might as well kill me. MARIE Just so you know.you're completely freaking me out.The little red car driving through The Alps. Sneeze. It's not my car. Smile. (Bourne looks over) I was supposed to have this car back three days ago.

of money and a ride to Paris. Fuck it, I don't know... (the radio) What kind of music do you like? BOURNE I don't know. MARIE What does that mean? BOURNE Listen to what you want. MARIE (out of nowhere) Who pays twenty thousand dollars for a ride to Paris? There it is. And she wants an answer --

BOURNE I don't know. I don't know who I am. MARIE Yeah, well, welcome to the club. BOURNE No. No, I mean, I really don't know who I am. I can't remember anything earlier than two weeks ago. (it's not flying) I'm serious. MARIE Like amnesia?

What?

BOURNE Look, go ahead...put the radio on...

MARIE Amnesia? (total incredulity) You're saying you don't remember anything that happened before two weeks ago? BOURNE That's what I'm saying. MARIE (German) (Give me a fucking break.) BOURNE staring at her. She's furious. She's downshifting -she's accelerating -- pulling out to pass the truck on a blind turn, as we -EXT. ZURICH BANK -- DAY/DUSK APFEL emerges from the bank. Leaving work. Turns the corner into a quiet side street and -Up ahead, here comes another guy in a suit. It's MANHEIM walking toward us, deep into a cell phone conversation. Barely noticing Apfel as they get closer and -As they pass -- MANHEIM -- it's completely out of the blue -- he's jabbing the cellphone down into Apfel's shoulder and -APFEL -- no clue -- already clutching at the coronary

exploding in his chest -- dead before his body hits the street and -MANHEIM -- still walking -- he's never broken stride -- and as he goes he's fiddling with the cellphone and -INSERT -- THE CELLPHONE -- MANHEIM'S HANDS working to retract a syringe into the device and -MANHEIM striding away. Zurich... Disappearing into

INT. PARIS MORGUE -- NIGHT Not the best morgue in town. Cold tile. A wall of freezers. Death lighting. Now add some color. Meet NYKWANA WOMBOSI in the flesh. Meet HIS ENTOURAGE -- eight or ten of his thirty children -two of his wives -- three of his bodyguards -the whole crew spread out in this horrible basement room. THE WIVES are chatting. THE KIDS are playing, fighting and eating candy. THE BODYGUARDS -- three of them here -- are white. These guys are French/Corsican mercs. Not quite the A-Team. The guy in charge of this ugly little unit is named DEAUVAGE. Into it. Too into it.

Monsieur Kane.hands on -literally feeling around this dead.) And he pulls open FREEZER #121.he's made -.. He's seen -.TWO MORGUE ATTENDANTS hanging back.. awful corpse with his bare hands -. standing back as quickly as possible.moves to clear a zone for his boss -WOMBOSI Get the fuck out of my way -(pushing Deauvage aside--) WOMBOSI moves to the freezer box.. BOSS -- THE MORGUE who's clearly suffering this for a bribe -moves to one of the freezer lockers. much worse. because whatever's inside there is clearly horrible.number 121. MORGUE BOSS (French) (Okay.much.lead bodyguard -. . THE MORGUE BOSS barely takes a glance.feeling around for something -feeling and feeling and not finding -Stares down... And thank God we can't see it. As if it were nothing.. DEAUVAGE -. And now he reaches down into the box -.

the personal junk -. INT. He's got the red bag open. A few Alpen-truckers chowing down. A van full of kids and mothers. TRUCKSTOP CAF+ -.the money -.NIGHT A MINI-MOTORCADE driving towards Neuilly. Quiet tonight. .all the shit from the Zurich bank box -. But Eurostyle. Looking haunted.NIGHT It's a weird spot. Two security cars. THE MERCEDES STRETCH LIMO -. Open all night. INT. WOMBOSI (quiet hard fury) So who's crazy now? EXT.he's been showing it to her -And he's got her attention now. And one big Mercedes stretch.NIGHT WOMBOSI alone in the back.WOMBOSI (turning to Deauvage--) It's not him. Drinking coffee. PARIS STREET -. DEAUVAGE looking pale as WOMBOSI slams shut the freezer. A local or two at the bar and -BOURNE AND MARIE at a back table. All the passports -.

before you wake up on the ship.and this -.MARIE And you have no idea -. what do you see? BOURNE It's just not there. this is great. (suddenly flat out--) I think something bad happened.not a clue -.. (hesitating now) But then -. MARIE When you think of it.all these other things I know how to do -. BOURNE I kept trying things.. MARIE Well. I thought if I could find all the things I could do.. I was okay with it. Nothing. I could -MARIE -. before the ship -.there's all these other things -.you could put it together -BOURNE -..which was okay for a while.what came before that? BOURNE No.this stuff from the bank and. (she sits back) I'm sick of myself and you have no idea who you are. .

MARIE Sounds like you were in an accident or something. Americans love guns. Who has a safe deposit box with a gun and all this money and all these passports? MARIE Lots of people have guns. BOURNE I was shot twice in the back.I come in here -instinctively -. BOURNE I fought my way out of an embassy. MARIE Okay. You're American.MARIE What are you talking about? BOURNE I don't know.I'm looking for the exit -- . so you're a victim.first thing I do -. MARIE People do amazing things when they're scared. BOURNE Why do I? -. I knew how to do it. BOURNE There was a gun. I climbed down a fifty-foot wall -I went out the window and I was doing it -.I just did it.

are you? INT. He leans in. Flat out .I know I can't sit with my back to the door -MARIE You're paranoid. first place to look for a gun is the cab of that grey truck outside. best option out of Zurich? How do I know all that? How can I know all that and not know who I am? How is that possible? Long dead pause.I'm catching the sightlines -. I know that at this altitude I can run flat out for half a mile before I lose my edge. I knew that you were my first.DAY BOURNE'S FACE -. TREADSTONE RESEARCH DESK -. She's not listening.it's Bourne looking at the camera -- You were shot. MARIE God. now.a video image frozen on A COMPUTER SCREEN -. It's natural. BOURNE I can tell you the license plate numbers of all three cars out front. I can tell you that the waitress is left-handed and the guy at the counter weighs two-hundred and fifteen pounds and knows how to handle himself. I know that the best. you're not kidding.

CONKLIN What do they have on the streets? The area.twenty different locations -twenty candid perspectives of Bourne and his mad scramble through the consulate -CONKLIN and RESEARCH TECH #1 poring over these surveillance tapes downloaded from Zurich -CONKLIN And that's the best angle of the courtyard? RESEARCH TECH #1 That's the only angle.twenty angles -. RESEARCH TECH #1 Hang on.Bourne looking up at the camera in the consulate passport office and -PULL BACK TO REVEAL HALF A DOZEN COMPUTER MONITORS -.. They must have something. (typing away--) CONKLIN rubbing at the tension in his temples as ZORN enters -CONKLIN What? ..and lots of shots of Bourne -.

Just a plain functional MANHEIM laying on the bed. RESEARCH TECH #1 (he's hit paydirt) Sir.. And there's Bourne. Fully dressed. ZURICH AIRPORT HOTEL ROOM -. CONKLIN (turning back--) What's that? RESEARCH TECH #1 It's an angle of the street -. He knows about the embassy.. .as the image enlarges to fill the screen. Suit and box.THE MONITOR -. He's coming down for a show and tell. CONKLIN Enhance it. ZURICH AIRPORT HOTEL -. And Marie. INSERT -. Practically on the runway.NIGHT One of those rooms. CONKLIN That'll solve all our problems.. And the little red car.ZORN Abbott.some sort of alleyway -. INT..you can just. CONKLIN (OS) Who the hell is that? EXT.NIGHT A drone barn.

Just waiting. It's a visual treat. The decor blends money and nouveau riche materialism with a hard. WOMBOSI MAIN HALLWAY BODYGUARD #1 slouched . how long he's been like this. WOMBOSI'S PARIS COMPOUND -. but flat-out strange and menacing. but carry all that through this next series of quick shots -WOMBOSI HOUSE SECURITY STATION Just inside the door. Home to fifty children and nine wives. A knife.tie. back-home tribal esthetic. before a bank of SECURITY MONITORS. INT. staring at the ceiling. It's late. And the palace is dark and sleepy now. His fresh credentials. It's just a buffet of oddness. Just laying there. But once inside you could be back in Brazzaville.A gun.NIGHT Quick orientation: Picture a heavily-walled palace just off the Bois Du Boulogne. Not condescending or stupid. Who knows ON THE NIGHTSTAND -. And a photo of Jason Bourne. His ephone pager.

Snoozing on a Louis Quatorze chair draped with African cloth.Littered with toys. Deep The red car parked along the And Drinking . A king without a country. asleep. Sitting there.posted outside this imposing set of doors. Children's crap everywhere. With a gun in his lap. FRENCH ROADSIDE -. Reading a spy thriller. BODYGUARD #3. he's sitting there by himself. He's trying to stay awake. Nestled there. FINALLY TO WOMBOSI'S THRONE ROOM And there he is -.the emperor himself -WOMBOSI on his throne.DAWN Beautiful morning. Stewing. WOMBOSI THRONE ROOM DOORS DEAUVAGE -. Except the room is dark and empty. EXT. road. hard from a bottle of Jack Daniels. BOURNE alone in the passenger seat.head bodyguard -.

he wakes suddenly. Same clothes. Freaked for a moment. Gorgeous. (he takes it) So what do you dream about? BOURNE I dream I'm asleep. A soda. Here. BOURNE Where are we? MARIE We're about an hour away.And then. (he takes a hit from her smoke and coughs--) . MARIE You were tired. BOURNE steps out. She's got a loaf of bread. Instantly feeling for the red bag. but her make-up's been washed away. Starts. He looks around and -MARIE sitting away from the car.. Morning legs. Clean. Smoking a butt.. Simple. BOURNE I can't believe I slept. I dream that I'm asleep and I can't wake up. MARIE I needed a break. (bread and soda--) For twenty-thousand I like to throw in breakfast. There it is in his lap.

I don't think I smoke. There might be a step-sister. MARIE You ever think maybe you have a family? BOURNE I thought about it. at the picture -ABBOTT Who is she? ZORN Marie Helene Kreutz. (apologetic) It's tough. huh? INT.she's smiling -. We don't have the mother. She's watching him. TREADSTONE CONKLIN'S OFFICE -. She looks away.DAY MARIE'S FACE -. Father was a welder. answer? MARIE I guess it's like Christmas every day for you. we're trying to track that down. Born outside Munich.really alive and fresh and -CONKLIN behind his desk. He died in '91.she's eighteen -. She's a wanderer.A PASSPORT PHOTO -. Was she hoping for another . Another silence. She's twentysix. She ABBOTT staring grimly I don't know.

And she actually did three months in an Italian detention center for credit card fraud. (tighter by the moment) We are in pursuit. Two shoplifting cases.. Pursuit ends when we know exactly where he is. I'm bringing in some people from . No steady employer. She's got three arrests. ABBOTT I'm assuming we're exploring that possibility. How much more do you want me to tell you? ABBOTT Pursuit would indicate that you know exactly where he is. the last time she paid an electric bill in Europe was '94. CONKLIN We're exploring every possibility. I think we need some fresh eyes on this problem. well.pops up on the grid here and there but. No taxes.. one in Spain. CONKLIN No. ABBOTT Yes. one in Germany. ABBOTT No political affiliations? CONKLIN She's a gypsy.I mean. If it's a cover. it's a great one.

MARIE (looking over) BOURNE checking building numbers Just. CONKLIN This is an operations desk. CONKLIN hesitates. and now? -.upstairs.DAY MARIE driving. Inside he's screaming. No. EXT. INT. We just got our first lead fourteen hours ago.DAY THE LITTLE RED CAR cruising through town.you want to bring planning personnel down here? (real steam) I'd rethink that.. ABBOTT I'm not asking. THE LITTLE RED CAR -. We've been sleeping down here. as they pass -BOURNE Slow down. don't stop. ABBOTT I want a second opinion..now that we finally have something to work with -. CONKLIN We've been down here for two weeks banging our heads against the wall. PARIS STREET NEAR BOURNE'S APARTMENT -. .

No.eyes scanning -taking it all in -MARIE Where? BOURNE Pull in here. Keep going.. (staring back as they pass--) Go around. Elegant BOURNE Four-fifty.. Cuts the engine. MARIE angles into an alleyway.watching him as she does. the street. MARIE Looks familiar? BOURNE No. but cold.. But he's pre-occupied -. MARIE So this is it. Yeah. Dead pause.. He's still scanning .That's it? AN APARTMENT BUILDING. Park it.turning a corner -. right? BOURNE I guess. Is that it? Big building. That's the address. She's waiting. MARIE pulling up -.

She takes it.. Hands it over.. Silence. MARIE Jason. Getting it. BOURNE . She's staring at him. BOURNE The money. He turns back. MARIE You got me pretty fucking curious. He pulls out another stack of hundreds. so. BOURNE I don't remember any of this. BOURNE Thanks for the ride. but she's used to being disappointed. MARIE Okay. I don't know what's up there.. It's not what she wanted. MARIE Anytime. He focuses. BOURNE Look. right? Sorry.MARIE I should go.. Fighting it. Before she can say anything. That moment. he's digging in the backpack.

PARIS APARTMENT BUILDING FOYER -. Or you could wait if you want. Worth waiting for. After a moment. J.Look. A buzzer. INT. Nothing. An intercom. I could go check it out...NIGHT BOURNE and MARIE standing at the directory. MARIE Nah. presses again. Just about to get into it. There it is. We've never seen it before. (hide the pain) With you. BOURNE checking the door. You could wait. I mean. BOURNE presses the buzzer. One per floor. when -How to pop it open? CONCIERGE (OS) . right? BOURNE How could I forget about you? (he smiles) You're the only person I know. Bourne. Five apartments. he MARIE I guess you're not home. you could come up. MARIE smiles. you'd probably just forget about me. Five names.

there you are -.) BOURNE (Great... Bourne..I haven't seen you --) BOURNE (Here I am.) THE CONCIERGE nods.. Instant chilly disapproval. Plump and proper. And she's looking at MARIE like here's the reason her tenant looks like such shit. It's been repaired.) THE CONCIERGE looking at BOURNE like maybe she's never seen him look like this before. We could use a shower.I was wondering -. We had some trouble with the hot water.I'm coming. BOURNE (he tries a smile) (I seem to have lost my key.) THE CONCIERGE is sixty.) THE CONCIERGE steps aside and -- . CONCIERGE (I've been ringing your bell. CONCIERGE (opening the door--) (Mr. It's good you were away.(from the shadows inside--) (Monsieur Bourne.) (they look like shit--) (It was a long drive.

No photographs. Large entry hallway. MARIE It's big. WE'RE MOVING NOW THE LIVING ROOM BOURNE and MARIE exploring. No wife and kids. Large rooms beyond that. (she likes it) This is really yours? BOURNE Struggling to get a feel for the . No mementoes.. PARIS APARTMENT FIFTH FLOOR LANDING -.. MARIE (CONT'D) This is like a real apartment. He INT.DAY A huge.INT. But cold. No human history. rambling flat. No bombs. No one.. has a key now.. Completely impersonal. BOURNE silent. PARIS APARTMENT -. And the door opens.DAY BOURNE and MARIE at the apartment threshold. It's obviously expensive. Nothing. Turning it. place.

BOURNE This is my frying pan. Touching things as he passes. But it's not the decor she's most interested in. Nothing but men's clothes. THE MASTER BATHROOM Lots of props and no sign of . BOURNE seems paralyzed. Checking it out. a smell -something will become familiar. As if a texture. MARIE opening an armoire. (and then--) This is my spoon. Trying to soak it all in.. Willing himself home. She's feeling better by the moment as we go to -THE KITCHEN Like a stage set. (trying harder) I'm Jason Bourne and this is my kitchen. No competition.. MARIE taking it in fast. food.I guess so. BOURNE picking up a frying pan. It's so clean and simple. He's deep into this as we go to -THE BEDROOM MARIE in the doorway...

. Registry catalogs. you live like a monk. Basic. Staring at the bookshelves. MARIE It's starting to come back. Binders. MARIE This is your office? (from the doorway) God. BOURNE alone again.. BOURNE with a folder in his hand. AN OFFICE STUDY There's a desk. reference materials and hardbound volumes -. yeah? (he sort of nods) You mind if I take a bath? BOURNE Go ahead.all of it about maritime law. Standing . BOURNE All this stuff -. MARIE backs out. Dealing with it.tub. Mirror city.it's all about boats. Ship schedules. Chair. (looking up) I think I'm in the shipping business. One toothbrush. See. there for a moment. MARIE still on the prowl. All about boats. Big Phone.

THE DESK TOP -. The room.pressing for the speaker phone -. the desk -.. Pulling out a retractable computer keyboard tray..A PHONE/ANSWERING MACHINE -. Outlines of where a computer used to sit. BOURNE reaching suddenly under the desk... And then. Staring. Taking it Bingo. something catches his eye and -INSERT -. BOURNE sitting there.. ..And then he sits down in a chair. Now he's really confused and -INSERT -.and then hitting redial and -THE PHONE stars dialing. No keyboard. But it's empty. OPERATOR/PHONE Bonjour. BOURNE quick grabbing the receiver." BOURNE leaving that for a moment -.a faint silhouette through the dust and grime.BOURNE pressing the playback button and -PHONE MACHINE "You have no messages.it's all so devoid of personality. RINGING and.new idea -.and then he turns back -. Hotel Marboeuf.about to anyway -.

off speakerphone and -BOURNE .yes -. BOURNE D'accord. sir... Paris. Merci.I'm looking for Mr. (switching to English. Jason Bourne. please.sir? -BOURNE . (about to hang up--) Un moment -. I'm.oui -.... thinking that's his problem--) How can I help you? BOURNE Yes.. I have no one by that name registered. How can I direct your call?) BOURNE Paris? OPERATOR/PHONE Yes.... OPERATOR/PHONE One moment.. (a long pause. OPERATOR/PHONE (Yes.un moment -OPERATOR/PHONE -.uh.. and then--) I'm afraid.. Hotel Marboeuf. sir. sir.

..hang on -. s'il vous plait -BOURNE grabbing the backpack -. BOURNE waiting.that piece of card stock -. John Michael Kane? OPERATOR/PHONE One moment. sir. BOURNE .from the safe-deposit box -.where is it? -.hang on -un moment.I need you to check another name for me -.shit and money falling out and -There it is -. Do you have Mr. holding music and -And then there's muzak -- THE MASTER BATHROOM Water running in the tub.the one with no passport attached to it -BOURNE (CONT'D) (reading it) Kane. boots.where is it? -. And then -MARIE pulling off her MANAGER/PHONE (a new voice suddenly) Bonjour? Monsieur? Allo. Checking the temperature.tearing through it -.-. THE OFFICE STUDY Bourne still on hold.

Apparently. sir. Really. we were unaware for several days that this had happened. he was killed instantly.. I'm terrible sorry to have to tell you this. BOURNE . I'm terrible sorry to be the one to tell you this. But the Manager. MANAGER/PHONE I have some very bad news for you. MANAGER/PHONE ..... BOURNE is rocked. he interprets the silence as grief. MANAGER/PHONE You call about Monsieur Kane? Michael Kane? BOURNE Is he there? John Yes. it . it's natural.. but Monsieur Kane has passed away almost two weeks ago.we actually..Yes. MANAGER/PHONE You are a friend of his? BOURNE Yes. I'm here...I understand.. MANAGER/PHONE There was an accident... Silence.. When they came for his things.. On the motorway.

You know his brother? BOURNE Yes. John Just like that. It was very sudden. Stunned. be here. everything's changed. And he had the passport. I'm sorry.. THE MASTER BATHROOM MARIE playing with her hair in the mirror. He was here very briefly. Of course. Michael Kane is dead. Danger. Right. This is bad. BOURNE just hands up the phone. Not even goodbye. you see? BOURNE Who came? Who? MANAGER/PHONE His brother. BOURNE Do you -..was made known for us. Terrible sad. They shouldn't Standing there frozen. MANAGER/PHONE It's very bad this. . (quick French to someone in the office there--) No. Such a young man.do you have a phone number? MANAGER/PHONE I think not.his brother -. Suddenly.

He's smiling. Decoy mood. Upbeat. (moving out of the office--) Maybe it takes a while to get all the way upstairs. too. Pulling A KNIFE very quietly from behind the stove. Hiding it down by his side. Feels pretty comfortable. He forces a smile.. Holding it. His eyes are everywhere. But it's an act.Checking the water -MARIE (calling out to him--) She wasn't kidding about the water.. it's cold in here. On the move again.. . But ignoring it.. now -BOURNE Yeah. It's freezing. THE OFFICE BOURNE frozen there. (calling to her as he goes--) Let's give it another minute. BOURNE Hang on. What he's really doing is searching out a weapon. On alert. THE KITCHEN BOURNE moving to the sink. Turning on the water. I'll check the kitchen.

no -MARIE backing away -.there's big windows along one wall that face out to the street below.what're you? -.no -.BOURNE like we've ever seen him.omigod! -(she's behind him--) -. Every sound -. Like an animal.confused -.Marie -. Real quick layout -. Standing still.quiet -MARIE -.it's not like that -MARIE -. Taking it all in. There is a large frosted airshaft window along that hallway wall.frightened -.omigod -BOURNE -.every breeze -.paralyzed for a moment -- .quiet -. The hallway to the bedroom and bath feeds into the living room from one side.everything carries information.completely freaked -BOURNE standing there with the knife in his hand and -BOURNE -. MARIE (suddenly--) -.please -. Simple furniture.no -.Jason -.no! -.

do it -.now -.down! MARIE hesitating and -BOURNE -.over her head -.she's under that frosted window -. BOURNE waving her to shut up -.looking back -. but she's doing it -.knife in one hand -.go! -MARIE -.he seems so sure -.down below the sill -..he's unscrewing a lightbulb from a lamp beside him and -MARIE about to say something -.now -back up -get under the window -.he shakes her off -BOURNE -.lightbulb in the other -putting his foot on a chair in front of him and -MARIE .a curtain fluttering behind him -motioning for MARIE to get down -.what's he doing? -.what are you doing?.crawl -.what the fuck is he doing now? -BOURNE -.BOURNE glancing back -.he's tossing it across the room -.into that frosted window and -As she ducks down -- .it's weird...the lightbulb -..

FIRING BLIND -strafing the apartment and -BOURNE kicking that chair across the room and -CASTEL reacting -.right below him -.last pieces of window frame CRASHING AWAY as he swings into the apartment and -MARIE -.he's coming in -.too late -.but off guard -.turning -.the knife catching him in .moving target -THE CHAIR just strafed to shit and -BOURNE rolling away and -CASTEL -.he's in the airshaft! -.shit raining down as he flies in and -BOURNE throwing the knife and -CASTEL -.instinct -.raking into the apartment and -THE FROSTED WINDOW peppered with holes and -MARIE on the floor as THE WINDOW SHATTERS above her and -CASTEL -.hanging from an abseil rope -.As it SHATTERS -EVERYTHING STARTS HAPPENING AT ONCE PHFT!-PHFT!-PHFT!-PHFT!-PHFT!-PHFT! -.silenced automatic weapons fire -.

tearing it from it's socket and -THE GUN CLATTERING FREE across the floor and -BOURNE -.bone .the neck and -BOURNE -. but BOURNE has the guy's arm in his free hand -jerking it like rope -.knife impaled in his neck -.no chance -.PHFT!-PHFT!-PHFT!-PHFT!-PHFT! -.gunfire tearing wildly around the room and -BOURNE -.full-stop -.stunned -.his knee -.the body wants to fall backward.arm hanging like a rag doll -.off balance -.clawing for it with one hand -.trying to get off a shot and -APARTMENT WALL -.attacking and -CASTEL -.kicking the gun -kicking it up -ROUNDS TEARING ACROSS THE CEILING and -MARIE -.his foot -.hard into CASTEL'S GUT -.in motion -.trying to crawl away and -CASTEL -. shattering it and -CASTEL is on the floor -.BOURNE -his open palm driving up into CASTEL'S JAW -.down into CASTEL'S KNEE.like a piston -.SCREAMING NOW -.and then down -.wiped -knife pouring blood from his neck -.

German and English and--) -.what is he? -. please.torn through his pant leg above the knee and -MARIE omigod -.what're you doing? -.tell me who you are -.crablike against a wall -.do it -.who sent you? -(bearing down) -.bloody hands leaving a mess as he struggles to get to his feet -BOURNE -.what're you doing? -(incoherent fear and confusion.what're you doing? -.what is this about? -.tries to make his feet -BOURNE (CONT'D) Who are you? (kicking him down--) -.eyes wild -.who are you? CASTEL -.what is this? -BOURNE ignoring her -.YOU'VE .what've you? -omigod -.who are you? -.grabbing the guy's backpack -MARIE (CONT'D) -.Jason.what's he got in there? CASTEL -.omigod -. tell me what's happening! BOURNE Open it -(tossing Castel's backpack behind him--) -.

he's got my picture -(holding it up...this is Zurich -this.eyes wild -.and as freaked out as she was a moment ago -..the guy's backpack -. MARIE -.mouth shut -.this is my picture..staring back -.this is me -.what is it? MARIE .just -MARIE -.GOT TO TELL ME WHAT THIS IS ABOUT! -CASTEL -.is it terror or pure steel? -BOURNE (CONT'D) WHY ARE YOU TRYING TO KILL ME? MARIE (suddenly from behind) .his expression -..this is worse -BOURNE What? -.where does this come from? -(to Castel) How do you have my picture? BOURNE .. no. in horror--) -.this...what? -(attention split--) -.this is yesterday -BOURNE -..something in her hand -....omigod.

this is me! -(out of control now--) -.do what? -.look at him -he's bleeding to death -.just -MARIE -.what are you doing? -.just stay there! -.omigod -Now there's KNOCKING AT THE DOOR and -THE CONCIERGE (muffled but urgent) (Mister Bourne! Mister Bourne! What's going on? Is everything all right in there? --) (and she keeps banging and--) MARIE is past the point of rationality and CASTEL is bleeding and shaking and BOURNE is trying to think and it's just impossible and -Suddenly -.he's -.and fast -it's .look! -.my picture -.Marie. just -(waving her back--) -.let me do this.he's got my picture! -.he was trying to kill us! -.he's got my picture -(just apoplectic--) -. okay? -MARIE -.this is yesterday! -.where did you get my picture? -BOURNE -.my God -.CASTEL is moving! -.

but there's nowhere to go -absolutely nowhere -..just enough spring in his good leg and -BOURNE bracing himself but -CASTEL isn't attacking! -.in a cloud of broken glass -.superhuman -.CASTEL -. .DAY WINDOW SHATTERING! -. IMPACT! -. THE PARIS APARTMENT -.five things at once -checking the window -.sixty feet above the street -Falling and falling and. Mr.kicking the gun away -grabbing the red bag -.grabbing what he can -.landing on the roof of a parked car and -INT.BOURNE in motion -.he's running away -he's crossing the living room -.no time to spare and -THE CONCIERGE (still outside the door--) (--I'm calling the police.DAY THE APARTMENT -..unbelievable -.except -THE WINDOW CASTEL hurling himself into the glass and -EXT. THE PARIS APARTMENT BUILDING -.

BOURNE No.I can get us out of here -.we can't stay here -.Marie -MARIE standing there in utter shock -.there's no time for this -MARIE He went out the window -.Bourne -.all of what just happened -MARIE He's dead isn't he? BOURNE Marie -.the broken glass -.look at me -.you give me no choice -I'm calling them right away! --) BOURNE -.it's not safe here -MARIE He came to kill us.why? -why would someone do that? BOURNE -.Marie! -.the picture in her hand -.but we have to go now -MARIE You knew he was coming.paralyzed -.your shoes -.I can't stay here -.where? -where are your shoes? -. .we can go -. BOURNE -.

MARIE . BOURNE You're wrong. I can't.MARIE I trusted you. you stay -. MARIE (totally overwhelmed) Oh.. I didn't know.if you want.I never would have brought you here if I thought it was dangerous. BOURNE You stay -. MARIE He had my picture! He knew I was here! He came here to kill us! BOURNE And where is he now? (that gets her quiet) You believe what you want..it's better -maybe it's better -. MARIE I don't trust anybody and I trusted you! BOURNE I didn't know this would happen. but I'm telling you the truth -.I don't know -(starting to back away--) But I can't stay here.it's okay -. Jesus.

we'll tell them what happened -BOURNE I don't know what happened! (huge here) I don't know who he is! I don't know what he wants! I don't even know who I am! The only thing I know is that if I stay here.grabbing the backpack -pulling it on -.we'll explain it -BOURNE -.that's it -. BOURNE (CONT'D) Come with me.we'll just -BOURNE -.But the police -BOURNE -. I'm never gonna find out! BOURNE -.just about to make his move -She's standing there. he's Just utterly swamped. Lost. (she turns back.there's two of us -.there's no time -MARIE -.we'll tell them -.how? -MARIE -. .forget it -MARIE -.

WOMBOSI exploding out into the hallway -WOMBOSI -.the real Wombosi -until I'm the one in the box! -- . I know it. EXT. Disappearing into the streets of Paris -INT. Turning away from the scene.DAY THRONE ROOM DOORS flying open -.THE CONCIERGE running out to the street and getting the news and THE SOUND OF SIRENS bleeding in from the distance and -THE CAMERA PULLS BACK TO FIND THE LITTLE RED CAR pulling out of the alley. THE PARIS APARTMENT BUILDING -.out a body in the grave -.nothing will make them finish until they have Wombosi! -.these people are not finished -. Once we're safe.they go this far -. Then we can think.waiting--) I can get us out of here.DAY A CROWD is gathered around CASTEL'S BODY. Rubberneckers and people pointing up to the broken window -. WOMBOSI COMPOUND MAIN HALLWAY -.No! -. Then we can work it out. We'll explain it then.another body! -. no! -.I say.no! -this isn't over -. (rock solid) I can protect you.

I've had men killed for this! -(but he's still moving--) -.SIX KIDS -.all time thinking about how to put Wombosi in that box! -(he's just gonna keep going.KIDS scattering out of the way -. and we're into--) A MASSIVE ONE-TAKE TRACKING SHOT DEAUVAGE on his feet -.all the night -.I know .you think these people? -.sleeping? -(to Deauvage--) -.he's sleeping! -.racing to follow -.this man is sleeping at his post! -(kicking the chair out from under him--) -.these people who come for me -.there is no box for Wombosi! -they don't have a box that can hold me! -.TWO WIVES -.THE WIVES completely unfazed and -WOMBOSI -.you think they sleep? -.all startled by this steamrolling mass of energy and paranoia -WOMBOSI -.I know these people -.THREE BODYGUARDS -.what are you doing? -(bearing down on Bodyguard #2--) -.I know they never sleep! -.they never sleep! -they spend all the day -.

this is a war.they don't just want Wombosi now! -they want my babies -.this window is open! -. sir.and I say no! -(grabbing Deauvage--) -.what is the window? -.who leaves this open! -(before Deauvage can possibly respond--) -. All clear.they want my children! -. you better pray they kill me -(something's caught his ear in the distance and now he's trying to get there--) -.they never stop! -.everything changes here now! -everyone is a soldier here now! -this is a fortress now! Are we clear with this? DEAUVAGE Yes. they reach in with a big hand and grab your heart until you die! -(still rolling as--) WE'RE HEADING DOWN TO THE POOL WOMBOSI -.you think these people are like you? -you think this is stupid people? -careless people? -.you leave that window open again.these people see an open window. you fool! -.they never stop until the knife is at their throat! -(suddenly distracted--) -. .and it won't just be me! -.

audio spectrum filters -all of this gear dancing and responding to every nuance of -BOURNE'S VOICE -.DAY AN ELECTRONICS CONSOLE. In the background. Kane is out there.we're listening to a recording of the call he made from the apartment to the Hotel Marbeouf Paris -Super-tech.WOMBOSI stops to look at DEAUVAGE. And they pretend he's dead. WOMBOSI like a shot -. LEDs -wave-form analyzers -. WOMBOSI moving quickly now and WE'RE STILL TRACKING -taking him into -THE POOL AREA FORTY KIDS going nuts in the water.DAY BOURNE and MARIE stash the red bag in a locker. crying.getting a smile as -INT. Meters -ONE KID . GARE DU NORD -. we can hear A CHILD CRYING by the pool -WOMBOSI This man is out there.picking the kid up -drying his tears -. CIA PSYCHOACOUSTICS LAB -. INT.making a funny face -. That means he's coming back.OVER SPEAKERS -.

I need you to check another name for me -. ABBOTT sitting there waiting for analysis from -MRS.sir? --" BOURNE/TAPE "-. She's late sixties. Equipment up the ass.hang on -un moment. A diamond-hard. seen-it-all intelligence. enough. OPERATOR/TAPE "One moment. Five people in this darkened room: AN ENGINEER working the board." (pause) "Un moment -. CONKLIN looking sour. DOYLE nods to THE ENGINEER." "Kane. Merci. An eminence. ZORN in the shadows.hang on -. He's very highly She's heard . s'il vous plait --" PULL BACK TO REVEAL A secret studio buried deep in the Langley facility. BOURNE/TAPE John Michael Kane. MRS." MRS. A long-time spy shrink. DOYLE He's not lying. DOYLE.BOURNE/TAPE "Okay.un moment --" OPERATOR/TAPE "-. sir.

MRS. This conversation. He's confused. DOYLE . The idea dangling for a moment. DOYLE You want clinical terminology? It's called. (beat) I think he snapped. but he's not lying. "conversation hysteria. DOYLE You can only wind people so tight.the body language. CONKLIN This unit has an unblemished record of success. MRS." (to Abbott now--) I don't know exactly how you train these people. vocal pattern -it's my sense he's really lost here. Even machines break down. I'm not sure I want to know. I'll take a guess there's some extremely rigorous behavior modification going on here.stressed. He's aggressively searching for a way out of the chaos. Silence. ABBOTT Let's assume that's true. the video from the consulate -. MRS. CONKLIN Is that a medical term? She turns. Battle lines drawn.

Then I guess I'm in the wrong meeting. EXT. BELLVILLE CAR PARK -- DUSK BOURNE and MARIE stashing the red car. INT. CIA HALLWAY UPSTAIRS HALLWAY -- DAY ABBOTT and CONKLIN walk and talk. They want to get loud, but they can't. Too many people passing by -CONKLIN That was two hours -- two hours to get a second opinion -- and nothing changes. He's loose. He's out of control. It's very clear what needs to happen. (point blank) I have work to do. ABBOTT What if he is working for someone else? What if he turned? CONKLIN Turn? To who? Where does he turn? What does he have to offer? He's got nothing. He's a killer. He's a piece of equipment for crissake. Where's he gonna turn? EXT. HOTEL DE LA PRIX -- NIGHT Funky. Out of the way. Cash and carry. Noquestions-asked kind of flop. Our establishing shot somehow includes THE PROPRIETOR and HIS DOG.

INT. THE HOTEL ROOM BATHROOM -- NIGHT HAIR DYE washing down a rusted drain. It's MARIE alone in this crappy little bathroom. Jeans and bra. All of it soaking wet. A new hair color. A MIRROR. herself and wonder. There she is. Her turn to stare at

And then she smells something. INT. THE HOTEL ROOM -- NIGHT

Smoke...

It's a shitty little room. BOURNE sitting on the bed. And the smoke is coming from... HIS PASSPORT -- the Jason Bourne passport -- on fire. BOURNE holding it as it burns away. face -melting -- bubbling -- finally disappearing, -BOURNE letting go just before it burns his fingers and -BOURNE sits back. And there's MARIE standing And she's holding out her passport -He looks at her. Big moment. BOURNE No. (he won't do it) Bourne's

there.

You know who you are. You know what that's worth? That's everything. (pause) I can't live like this. I can't do anything until I know who I am. Believe me, you don't want what I have. He looks away. His shoulder. Silence. And then, she touches

him.

BOURNE almost recoils. Almost. what to do. Doesn't know how to react.

He doesn't know

MARIE in front of him now -- she's taking his hand -- and he hesitates -- looking at her -- is this happening? -- she's taking his hand -- moving it down her body -staring at him -- both of them silent -- his hand -- her skin -- his mind racing -- he wants this -- wants it in every way -- but it's overwhelming -- when was the last time something like this happened? -- he can't remember -- he doesn't care -he's pulling her toward him -- and they're kissing -- and you know the rest... INT. CDG AIRPORT -- NIGHT THE PROFESSOR arriving in Paris. the terminal as his pager goes off -- never even Coming through

....... The rules of the scene..... This is the place that John Michael Kane was staying when he "died.is still up in the air... since the presence of danger -.... and since we're not exactly sure where we stand with page count -this scene is not finished....." And so begins. he's not the guy to do whatever "social engineering" needs doing. If he was Kane and Kane stayed here....ie Wombosi's guys and/or Treadstone -.SKETCHED ONLY HOTEL MARBOEUF PARIS.. HOTEL SEQUENCE -.............stopping as he reads and -.. Somehow there's a threat from Treadstone Bourne sets the table and Marie . This is the place that answered the phone when Bourne hit redial in his apartment... however.. the investigation. Now.. Long version? gets the goods........ seem to be thus: Bourne would have to be very nervous about being recognized... or Wombosi.. and since this scene could either play very quickly or very long..

. MARIE is already in the hotel... EXT.....she did it! -.......you were there for two days..I could only get the bill from the last stay -...... We do a quick cut outside to Bourne waiting and -.... In a hotel uniform? Posing as a guest? In any case.....we see them execute a plan rather than work it up.. In the confusion -MARIE -.... We see that some sort of improvised booby-trap has been set inside the hotel to start a fire.. STREET OUTSIDE THE HOTEL MARBOEUF -.. BOURNE calls the desk from a pay phone.. She gets close to the office... And she's excited and pumped -.. But I didn't have time -.Fast version? It's all results -. she looks very much different than we've ever seen her before... Asks for something.always on alert now -.making sure they're not being watched..she's got the hotel record in hand -MARIE You stayed there five times in the past six months. Some room .DAY Walk and talk..... Waits...very bravely -.gets into the office... Hides. He's on alert -... . BOURNE and MARIE leaving the hotel fast.

anyway. female) Destin Navigational. MARIE This can't be it. BOURNE and MARIE standing there staring.and what's he doing? -BOURNE with a piece of paper and pencil -. She turns around -. AN EMPTY OFFICE SUITE -. Carpet pulled up.there's half a dozen phone calls here so that's someth-BOURNE (cutting her off) Who paid the bill? MARIE It's a company.service -. we're hearing -TELEPHONE VOICE (OVER) (British. Completely stripped out.. MPG Capital.DAY Vacancy wasteland. he's doing something ingenious with the glass door -And as he's doing this. can I help you? BOURNE'S VOICE (OVER) .maybe it's breaking the glass on the door and holding it up to the light -.. Dead phone lines hanging.or a rubbing -.or something/ anything resourceful and handy -.maybe it's carpet lint -. INT.

Dial tone. (continuing into--) INT. The company's located in Southampton. does -TIME CUT -. I'm afraid you have the wrong number.Hey. MARIE behind him at the bar. He's got a pad and paper.NIGHT BOURNE on the pay phone. I'm trying to reach Richard? Is he there.this is a tire dealership. how are you. SHITBAG PARISIAN PHONE BOOTH -./EXT. as we hear -TELEPHONE VOICE (OVER) I'm afraid there's no Richard here. BOURNE Well. right? TELEPHONE VOICE (OVER) No sir. And as he . this is a navigational chart registry. This is all business.one minute later -. where are you? calling? Where am I TELEPHONE VOICE (OVER) This is an answering service. We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react. sir. but-BOURNE -.call number two -BOURNE making a note.

to six p. Paris office hours are from nine a. Scribbles down the number.. so this is the Marina. male..one minute later -. how can I help you?) BOURNE (Hey.m. Can I help you?) BOURNE (he's got the number) (This is the one in Marseille. please call our twenty-four hour help line at. If you think you've reached this message in error--) TIME CUT -.m." BOURNE hangs up. right?) NEW VOICE (OVER) (Yes.) TIME CUT -. right?) NEW VOICE (OVER) (Last time I looked.call number three -OPERATOR RECORDING (OVER) (The number you have dialed has been disconnected. hassled) (Marseille-Tropez Marina.NEW VOICE (OVER) (French.last call -RECORDED VOICE (OVER) "You've reached the office of Simon Rawlins at Alliance Security Maritime Division. If this is an emergency. sir.one minute later -. .

Even if they stayed in the car.I'm on it -CONKLIN -. TREADSTONE RESEARCH DESK -.I want that red car -. He's trained -- .let's check that Interpol window again -RESEARCH TECH #1 -.we gotta get lucky here -RESEARCH TECH #2 Sir. (please) This is it. the grid is huge.the girl -.Backing away and -INT. (Conklin turns--) I've got a code here from NSA -they're not gonna give us Keyhole satellite clearance unless we have sign-off from upstairs.NIGHT CONKLIN and the RESEARCH TECHS jamming on the console -CONKLIN -. (sitting there tensely) We can't risk it. CONKLIN turns and -ABBOTT No. CONKLIN Our last sighting was forty-eight hours ago.

pink Suit. tankers and luxury sailboats. Reflection city.DAY Meet RAWLINS. jolly Brit -. You give him another day to run and we may never find him. Catching his reflection in the elevator's mirrored ceiling.DAY A SECRETARY leading BOURNE through a suite of offices and into -INT. Sucking it up. CONKLIN left hanging. EXT.DAY BOURNE dressed for success. EST. BOURNE standing there. ELEVATOR -. Nerves on edge. SHOT -. INT. OFFICE LOBBY -.conditioned -. and He's a young. ABBOTT clear on this one. Glossy posters of yachts. ABBOTT This doesn't go upstairs.they're built to disappear. Cleaned up . God knows what he's walking into here and -INT.DAY Monolithic tech. PETER RAWLINS' OFFICE -.LA DEFENSE -.LA DEFENSE -.DAY ALLIANCE SECURITY MARITIME DIVISION. good. INT. ALLIANCE SECURITY -.

(really thrown) I must admit. RAWLINS We thought you were gone for good... really -. isn't it? Cutthroat.. (hastily tidying up) Come right in. our bid -.. RAWLINS Well. BOURNE Did you? RAWLINS Well.it was Neither of them sure where .please.I was surprised. RAWLINS (CONT'D) (finally) Look. to go. Kane.. BOURNE Thanks. BOURNE Really.. BOURNE just trying to feel his way through this....have a seat.overfed -. I mean it's a tough business.. A long awkward beat. when my assistant told me you were here I was.and quite shocked to see.I was quite -. RAWLINS Mr...

RAWLINS We just picked up a job quite like the one we were bidding for you. Gorgeous boat. hundred-and-seventyfive-foot pleasure cruiser.we've had a bit of a publicity nightmare. RAWLINS Was it the break-in? BOURNE Excuse me? RAWLINS We also thought we hadn't heard from you -. and honestly.competitive -. Rawlins holding back until now. we did some re-analysis of the numbers.when we didn't hear back from you. (pitching now) I'm assuming you're still in the market. I think we learned a few things that might allow us to make our proposal for your job. Another beat. as I said. we'd really like a chance to do a bit better.. (the meat) ..but definitely at the high end of competitive -. a bit more competitive. It's the same vessel? BOURNE Yes. people have been talking. BOURNE Okay.

A CAFÉ NEAR LA DEFENSE -. Pictures of yachts and various security blurbs and a list of references for huge yachts -. And there's MARIE in the back working a payphone -..shortly after we last spoke. (she's creeped out) I found Kane. Reset. Flipping through it. . BOURNE I hadn't heard. I found the body. BOURNE That'd be great. INT. RAWLINS Let me get you a new copy of the proposal. Pulls out the Alliance Security Brochures and literature.DAY BOURNE entering. Sales mode. (standing there) It took six calls. Water.Our offices were broken into -vandalism mostly -.she's onto something. BOURNE sits.. Boats. RAWLINS smiles. MARIE I found it. He's getting closer.waving for him to sit -.jobs they've done in the past.

ATTENDANT #1 pulling open the freezer and. ATTENDANT #2 (It's number 121. not supposed to. MARIE back by the door.. . BOURNE right on it. ATTENDANT #1 (picking up the cash) (What was the name again?) BOURNE John Michael Kane.) BOURNE (I want to see the body. PARIS MORGUE FRONT DESK -. Kane. ATTENDANT #1 looking baffled.) We're BOURNE pulling out another hundred and -MORGUE FREEZER ROOM It's showtime. BOURNE sags.) ATTENDANT #1 (Our boss could come back..BOURNE Let's go -(already standing--) We got to get away from this phone.she will not be comfortable in the morgue. INT. MARIE standing a little off -.NIGHT THE TWO MORGUE ATTENDANTS watching BOURNE put down a hundred dollar bill.

someone came last night -(big attitude now) Look.) . MORGUE BOSS (OS) (from behind them--) (What the hell's going on here?) Here comes the boss back from his break -.this is a serious place -serious work -.it's not just to His brother.) MORGUE BOSS (They came last night.everyone signs in and out -.) MORGUE BOSS (Who are these people?) (now English to Bourne) Who are you? What's going on here? BOURNE Where did this body go? MORGUE BOSS I said.a little drunk? ATTENDANT #1 (This guy.FREEZER #121 -. this isn't a carnival -people call and they make an appointment and they follow the rules -. ATTENDANT #2 (It's not in the book.MARIE What? INSERT -. he came to see the American.it's empty. but the body. it's missing.

In fact. BOURNE Fine.this is it.don't sweat it.slow down -. we didn't sign in. why don't you wait for me outside.come in whenever you like -BOURNE (like a shot) Shit. okay? -- . I have a pen -no problem -. MORGUE BOSS So get the hell out of here.just let me find the page -(then quick to Marie) -.all of them confused -and into -FRONT DESK AREA BOURNE there first -. I insist on it.all forward motion here -balls out -BOURNE Is this it? -(the book) -. right? -MORGUE BOSS -. Where's the book? I gotta sign in -(off and running now--) Everybody following -.you can't just take the book like that -BOURNE -. But I'd like to sign in.honey.

here we go -.we have rules here. but she's curious what he's doing -MORGUE BOSS -.what are you? -. Like a tractor hit him.I found it -But he's not writing -.this is serious business down here and we cannot have people coming and going -BOURNE -. because--) BOURNE just slammed him against the wall.you crazy fuck -.you stupid fucki--) (no chance to finish this.you ripped the book! -.he's ripping -.what do I? -.I'm the one who decides who gets in here. this is a very serious place -. Hard. And fast.I put the name of the person I came to see? -MORGUE BOSS -. okay? -BOURNE -.tearing the page out of the book -MORGUE BOSS (-. And that shuts up the room.what are you doing? -. .MARIE trying to take the hint.

what are you looking for? -. now -zoning in -. PARIS STREET -.talk to me. BOURNE ignoring her -.stop -. MARIE struggling to keep up. Wombosi owns a thirty million dollar yacht. He's And BOURNE is different BOURNE striding away.Jason -.. (he stops..ripping through the Alliance Security brochures -. .he's hardening -MARIE What are you doing? -(he's scaring her) -.THE TWO ATTENDANTS rushing to help their boss -BOURNE grabbing MARIE and pulling her out the door -EXT.he's close -.NIGHT Moments after the morgue. Mr. holding up the brochure--) MARIE What is that? BOURNE It's a name.what just happened in there? -BOURNE Nykwana Wombosi.I don't know what you're doing and you're scaring me -.scanning them as he walks -MARIE -.

see -ZORN On the phone.. CONKLIN'S TREADSTONE OFFICE -.who is he? BOURNE I don't know. what does that mean? (she's trying to catch up. please. Into Paris night and -- BOURNE walking away. but he's walking really fast--) Jason. INT. (the ripped-out page--) MARIE What does that mean? (but he's walking again--) Jason. Reeling.the proud owner of an Alliance Security package. (handing her the brochure--) He also paid a visit to the morgue to see John Michael Kane.DAY/NIGHT? ABBOTT alone here.. (he's not turning back again--) MARIE So what are we doing? BOURNE Go back to the hotel. Looking up to . MARIE just stops.

Staring up at a security camera.NIGHT BOURNE live.NIGHT VIDEO MONITOR -. what is this?) INT. WOMBOSI'S SECURITY ROOM -.They found him. .staring up and -DEAUVAGE (Jesus fuck.there's BOURNE -. ABBOTT jumps off the call. EXT.there's BOURNE just standing there and -ABBOTT Omigod. WOMBOSI COMPOUND -. Bathed in a streetlight.NIGHT VIDEO MONITOR -.but same deal -. Eyes never leaving ZORN You better come in.screaming through traffic and -INT. EXT. On the street. ZORN. ABBOTT Where? They found Bourne.NIGHT THE PROFESSOR -. TREADSTONE RESEARCH DESK -.different angle -. L'ETOILE -.A MOTORCYCLE -.more clandestine -.

minutes -. TREADSTONE COMMUNICATIONS ROOM -.ABBOTT -. He's walking in -INT.NIGHT BOURNE standing there as the FRONT GATE opens. WOMBOSI'S COMPOUND -. The big deep breath.NIGHT CONKLIN -. I'm waiting. The moment.WOMBOSI -.NIGHT Confusion to say the least -.he's close -EXT.closing in fast and -EXT.THE TECHS -everyone plugged into the tension here -CONKLIN -.racing for THE SECURITY ROOM -INT. NEUILLY STREETS -. TREADSTONE COMMUNICATIONS DESK -.Total hero moment. I'm here. EXT.NIGHT .how long? -COMM TECH #1 -.pistol in hand -moving as fast as he can through the clutter -KIDS scattering as he follows DEAUVAGE -.ZORN -. I know you're watching. WOMBOSI COMPOUND -.NIGHT THE PROFESSOR on the speeding cycle -.

we've got to move! INT.just a surgical strike.he went inside! -CONKLIN (to Abbott) -. BOURNE .inside the house? -CONKLIN -. CONKLIN What do you want to do? ABBOTT We don't know what we're into! CONKLIN We're in the shitter.desperation madness -ABBOTT -. Maybe he's in there to finish the job.NIGHT DEAUVAGE and BODYGUARD #1 giving BOURNE a serious pat down. man! Pick your poison. Every possibility sucks -. Maybe they want to go on TV together. WOMBOSI COMPOUND MAIN HALLWAY -.if we can get a clean shot -ABBOTT -. ABBOTT Forget it. Maybe he's working for Wombosi.Uglier by the second -.that's what they're trained for -.

And the guys upstairs get what they want.Is he here? DEAUVAGE doesn't answer -.suddenly he's over the console -there's the button -.hum -. And the whole bunch of you are so stuffed on deniability it's coming out of your ears. And you're clear.he's just been . And CONKLIN snaps -. What do you want to do? ABBOTT just shaking his head no.hum -It's the E-PHONE PAGER -. (gauntlet) Well.ABBOTT beet red -.spinning BOURNE around -.roof of the house next door -hum -.NIGHT CONKLIN on his feet -. You people come down here and wink and whisper and we send these guys out and get it done.and he's pressing it and -EXT.this is getting loud -CONKLIN You don't have the stones for this. NEUILLY ROOFTOPS -. you know what? You're here now. TREADSTONE COMMUNICATIONS ROOM -.NIGHT THE PROFESSOR in position -.they're really going over him -INT.

BOURNE MPG Capital. .the way you'd look at a prisoner on the way to the gallows -THE BIG DOORS thrown open wide and -WOMBOSI on the throne.. (an imperial gesture) Please. WOMBOSI Did you bring investment advice for me tonight? It was tax shelters. WOMBOSI I think investment advice from a dead man. WOMBOSI Come in. BOURNE steps up to the plate..NIGHT BOURNE being marched toward the throne room doors -DEAUVAGE and BODYGUARD #1 flanking him -.activated and -INT. it's a bad idea.KIDS and WIVES staring as he passes -. wasn't it? Swiss debenture-swaps. (beat) How does it feel to be dead? BOURNE It's a lot more stressful than I thought. WOMBOSI'S COMPOUND HALLWAY -.

WOMBOSI So this is a different kind of meeting.they are all staring -WOMBOSI What do you do? (on his feet now--) You get an appointment with me? You make sure it's on the boat? You come visit me -.KIDS have started sneaking into the room -DEAUVAGE is trying to scoot them out but -WOMBOSI -. okay? .play with my children -and what? -.you pitch me this bullshit investment package. (to Bourne) I think everyone wants to see the dead man. You drink my water -.let them in.come in.no -. let them in! -.eat my bread -.no.on y va -.you put this in my engine room! There is A BOMB on the throne now. (to the kids) Come in -. (steam building) Maybe now we talk some truth.two nights later you come back and you put this death -(slamming something down onto the throne--) -. BOURNE watching the kids -...

BOURNE imploding -.two bullet scars -still raw -WOMBOSI You see this? (calling to Deauvage--) I told you my shot was better! DEAUVAGE (He went in the water -. no no. yeah. (and he means this--) This is a strong killer.the kids staring at him -the bomb -.so hard that he tears straight through to the shirt -BOURNE'S BACK -. I don't know ..WOMBOSI suddenly rips away his jacket -. (circling) To make a killer that looks like you? This young? This face? (he means this) It's bloody fucking amazing.caught off guard as -. This is a crazy strong killer.this news -.how did he live?) WOMBOSI No.bare -... BOURNE -.One dead man to another.it's all getting loud around him -BOURNE Who do you think sent me? WOMBOSI I know who sent you. Oh..

.. (beat) Was the bomb on my boat supposed to go off or not? BOURNE distracted by the kids -.... DEAUVAGE closing the doors and as he does -THE PROFESSOR ATTACKS.they know the drill -they're gone..................... .. WOMBOSI And the door.. I learned the way they think.... WOMBOSI You didn't set the bomb. BOURNE not sure -.. Many things.... many things from the CIA.these faces -it's..about any of it -WOMBOSI Was this a game or a fuck up? BOURNE I don't know.... Why? ....why.... (this could get physical at any moment now--) I learned many........ WOMBOSI Get the kids out! He doesn't have to say it twice -.

THIS SCENE HAS NOT BEEN WRITTEN It's a shootout.... The Professor is infinitely more talented at this than the bodyguards.... trailer-worthy explosion.without looking wimpy -No children are harmed.... he will take a parting shot at the bomb still sitting there on the throne.he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least.. All of that happens and we cut to -..... Bourne needs to get out of there -... As the Professor rallies -. .......... There will be a huge...... There is an extensive action sequence just around the corner..............he will shoot Wombosi -... This might not want to be very long. So Bourne escapes. .. Physically he's just weary....... Emotionally he's fucked.

sir. CONKLIN You're not doing shit.like a madman -CONKLIN I'm going to Paris. You're not going anywhere. ABBOTT No you're not. You're so scared you can't even think.he's not responding -CONKLIN -.code him again -. TREADSTONE COMMUNICATIONS DESK -. I'm shutting this down. it's not the unit -ABBOTT looks like he might puke.the paging unit must be damaged -COM TECH #2 -.INT.NIGHT CONKLIN flipping out -.THE PROFESSOR is not responding -CONKLIN -. ABBOTT You just blew up a house in Paris! ZORN watching .punch it in -COM TECH #1 -. ABBOTT What are you doing? CONKLIN grabbing shit -. his career burn to the ground around him.we just ran a remote diagnostic.

(he looks over) And there's a long silence He . CONKLIN I can't call it off. That's all that matters.. (is he listening?) We have this money.NIGHT It's really late. MARIE in the corner. BOURNE enters the room. bags it. THE HOTEL ROOM -. Get out of my way. I had nothing before and now. It's who you want to be. maybe I have more. His shirt is torn to shit.This program is over. Smoked out. Lifed out. He scraped-up -blood here and there. CONKLIN splits and -INT. but. until -MARIE It doesn't matter who you were before. He moves past her into -THE BATHROOM His hands shaking as he tries to wash them. Call it off. maybe it's nothing. I don't know. Cried out.. Silence. We have what we have. Not a word. He's not responding. THE ROOM BOURNE comes out.

......... hand. air -CLERK xxxxxx. Together..LOBBY -...NIGHT THE PROFESSOR cooping somewhere... DOUG'S ROUGH DRAFT OF THE BIG ACTION SEQUENCE INT...DAY MARIE dropping off the key. Tending to his wounds... INT... Just laying there.. BOURNE nods...... Yes. MARIE xxxxxx Hope hangs in the . Takes her And they lay in bed.... We go until we can't go anymore.. .... We leave this place...... HOTEL ROOM -.... BOURNE You could do that? MARIE That's who I want to be.....DAWN BOURNE and MARIE packing up to hit the road. Ignoring his pager... INT.. HOTEL DE LA PAIX -.I say we leave here. He's slipped off the grid. Turns off the light... . PARIS SOMEWHERE -..

right? Suddenly -. BOURNE Where's the dog? CLERK My husband's out looking for him. (returning to cleaning) It's always something.everything's different -- . Something doesn't feel right for BOURNE -.just like that -.BOURNE enters. keys. MARIE xxxxxx And now they're headed for the door. Car BOURNE xxxxxx.and then he notices -BOURNE Stop where you are. He's got the black duffel. MARIE What? Bourne turns back to the CLERK. BOURNE He run away often? CLERK That old beast? Miss his breakfast? Not a chance.

those words -.reaching under the check-in desk.A SHOT GUN.she's grabbing her purse. coming up with -. CLERK Wait a minute -BOURNE I'm sorry. clearing out of the room. CLERK What? BOURNE (to Marie) Get everyone down in the basement..BOURNE Get in the basement. All of you. Now MARIE doesn't need a second warning -CLERK What the hell're you talking about? BOURNE You're in danger. -.the way he said it -. an old one. MARIE Jason.it's locked. have no time to explain.too busy -. No answer -. Slamming the door behind her -.. but nonetheless a gun -- I .click -.

MARIE (CONT'D) Who is it? Who's out there? And now BOURNE is moving, pulling open a drawer. A box of shells. Filling his pockets. BOURNE xxxxxx MARIE xxxxxx BOURNE I won't let that happen. And he is moving down the small hallway. from the front door -- towards the back door under the stairs. EXT. HOTEL DE LA PAIX -- COURTYARD -- DAY THE HOTEL BACK DOOR -- kicked open -- BOURNE coming out of the house -- coming hard -- and -The small courtyard is empty -- but now the ALARM is going off -- and BOURNE turns back to MARIE -- races to grab her as -RATATATAT -- The FRONT DOOR -- WINDOWS -- ARE SHREDDED and -- here comes the PROFESSOR. BOURNE xxxxxx Away

MARIE xxxxxx And now they are running, across this little courtyard. To a wall -- BOURNE is up, on it -- reaching down for MARIE -grabbing her -- swinging her over the wall as -BAM!!! The PROFESSOR SHOOTS. BOURNE Go! MARIE takes off running. BOURNE leans over the wall, FIRES BACK TWICE -- RATATAT -- The WALL IS SHREDDED. BOURNE takes off running -- reloading on the fly. Rounds a bend, is chambering two rounds when he sees -- a WOMAN is in her kitchen -- staring at him -- no time to explain -- he turns back -The PROFESSOR is just vaulting over the wall. BOURNE FIRES TWICE -- BAM! BAM! But the spray is too wide from this distance. Windows are shattered to both sides of him but -the PROFESSOR stumbles but keeps going -- blood on his face now -- RATATAT -BOURNE has to move. Reloading his almost useless gun. Reaching MARIE -- facing a choice and they climb a wall --

FLOWER POTS EXPLODE around them but they make it -- now -RUNNING IN A LABYRINTH -- right -- then left -through a small staircase. LEAPING a wall -- landing on a STEEP ROOF -- sliding, falling, crashing to the ground in -A SMALL COURTYARD -- steep walls on all sides. But there's a large window -- and it's open. And they step through and find themselves -INT. CHINESE RESTAURANT -- BATHROOM -- DAY They close the window behind them -- catch their breath -MARIE Did we lose them? BOURNE shakes his head. coat. MARIE (CONT'D) Who is it? BOURNE We have to keep moving. And now he is opening the door -- they step into -INT. CHINESE RESTAURANT -- DAY STARTLED KITCHEN WORKERS stare as BOURNE and MARIE calmly Tucks the gun under his

BOURNE xxxxxx MARIE xxxxxx EXT. The second thing we notice are SIRENS.TWO POLICE CARS snaking through traffic.DAY The first thing we notice is noise. Up ahead -. And then they open the door to the street and -EXT. The street is burgeoning with life. RATATAT -The PROFESSOR is literally shredding it. No time to hide -. BOURNE tackles MARIE to the ground behind a car.walk out of the bathroom and head towards the front door of the empty restaurant.The PROFESSOR comes out of a building -across and down the street.COMMERCIAL STREET -. And now BOURNE is .he's seen them -he's FIRING. BELLEVILLE -.DAY And BOURNE and MARIE are hurrying down this street when -BAM -. Quiet. BELLEVILLE -. BOURNE and MARIE head down the street. blending in. BOURNE steers them off this crowded street.QUIET STREET -. POLICE CARS approaching.

DAY And the PROFESSOR shreds the store as BOURNE attemps to fire back. The COPS are YELLING.DAY BOURNE and MARIE cross this small courtyard. HIGHWALLED COURTYARD -.NOW THE POLICE ARE HERE -. SMALL EPICERIE -. They are shredding the street -. the . SHIT flying everywhere in here -hard to see and -.The PROFESSOR is advancing on them -cops are no match for his fire power. And now -THE PROFESSOR BLASTS the COPS -.BLOCKING both ends of the street.FIRING ruthlessly at each other and -. They move to the back -.And now things have changed.BOURNE's vulnerable on two flanks.moving -MARIE What are you doing? And BOURNE is on the offensive. GUNS are drawn -. BAM! BAM! Moving towards the PROFESSOR who is ducking behind cars on the other side.kick open a door -INT. THREE WAY FIREFIGHT and BOURNE grabs MARIE and they dive into -INT.

SMALL AFRICAN SHOP -.but now the PROFESSOR is on their tail and -INT.vats of something.RATATATAT -The PROFESSOR FIRES as BOURNE and MARIE dive into -INT. -.DAY Making god knows what in here -.BOURNE about to fire -. LIVE POULTRY SHOP -. BOURNE and MARIE racing to the next door as -.but there is a WOMAN right behind the PROFESSOR! Can't do it -turns to run as -. BOURNE and MARIE make it through the gauntlet.it's shredded with BULLET HOLES.the MAN about to say something -. Small grouping of workers -.the PROFESSOR kicks the door open -.the glass at the front of the door is shattering. SMALL SWEATSHOP -. One MAN in charge -and BOURNE and MARIE charging through -.DAY And now CHICKEN feathers are flying everywhere -.BAM -. .BOURNE shutting the door behind him -.PROFESSOR is right on their heels.DAY COUPLE of ASIAN WOMEN sewing in here.and now they are in -- CRASH through a door INT.

and just as he pulls out the car keys -.yelling -.fishing around -.DAY And BOURNE and MARIE are running. INT.they fly out of their parking space -BAM!! The COP fires.we recognize this as the street they parked their car on and -BY MARIE's CAR BOURNE unlocks the door -.not yelling for long because the PROFESSOR is firing PEOPLE staring at .pops MARIE's open. BELLEVILLE -.about to FIRE -BOURNE aims for him -.forces him to dive out of the way and -ONE QUICK MOVE around a TRUCK and they are free.yelling at them and -.BOURNE hits the gas -.STREET -. And he is reaching into his pocket -. shattering their windshield and there -up ahead -THE PROFESSOR coming out -. And -THERE'S A COP -.so far all over -ON THE STREET The PROFESSOR looking around. THE LITTLE RED CAR BOURNE and MARIE looking back nervously -.EXT. him -covered in blood -.the COP racing up -.

THE PROFESSOR FIRES -.takes him out -. BELLEVILLE BLVD -. MARIE'S CAR BOURNE driving.clean and smooth -.and he's a lot faster -.DAY HIGH SPEED CAR CHASE.and -A MOTORCYCLIST comes flying down the street -oblivious -going way too fast for these streets and -.seeing And BOURNE better do some MARIE xxxxxx BOURNE xxxxxx And -.at him and -Now the PROFESSOR is moving -. the PROFESSOR gain on them -MARIE looking back -.bike crashing to the ground and -The PROFESSOR grabs the bike and takes off -SHOOTING at TWO POLICE CARS just racing to the scene and we are into -EXT.the PROFESSOR swings his gun stock like a bat -.SHREDS the back .much better armed. fancy driving because here comes the PROFESSOR -.not running -just a swift walk and now he's past the truck -. INT.

right into the windshield of an oncoming car and -He gets up. BOURNE swerves. grabs his gun and works his way towards his bike and now we see -EXT. BOURNE just makes it through -the PROFESSOR tries to squeeze through -skidding and -CRACK! The PROFESSOR hits the front of a car sideways on his bike -. VARIOUS SHOTS AROUND PARIS -. leaning out the window.racing towards an intersection and -IN THE INTERSECTION CARS coming the other way.DAY COPS are mobilizing -.swarming into this area and -- .he is THROWN clear through the intersection. up on the sidewalk back onto the street -slaloms through the traffic -.off their car -MARIE Give me the gun -And now she's got his shotgun. BOURNE Wait 'till he's close.

Past the Louvre. And now one quick move and they are -EXT. Both swerving to avoid oncoming cars and -- . QUAI -. but not the PROFESSOR. And now -The PROFESSOR is pulling up along side them -one lane over.DAY Racing against traffic up the Seine. MARIE and the PROFESSOR leave a trail of totaled cars that the cops have to try and navigate through -finally saying fuck it and hitting a few cars themselves and now we are into -CAR CHASE THROUGH NARROW STREETS MARIE'S CAR and the MOTORCYCLE can pass where the police cars cannot. BOURNE and the PROFESSOR leaving behind a trail of carnage. COPS pursuing on the other side of the river. And now we are into -CRAZY CAR CHASE WITH COPS RIGHT ON THEIR TAIL BOURNE.the last car goes into an EXPLOSIVE FLIP -the PROFESSOR is now right behind them.shed all of them -.BACK TO THE CAR CHASE -BOURNE and MARIE pick up a few cops on their tail -. BOURNE may be able to shed the cops.

across the river dozens of police cars are racing alongside.skidding hard.crashes over the sidewalk and flies down a side street.one of the pellets nailed his tank. A POLICE CAR pulls out behind them -the PROFESSOR can't stop -.TAKES out a few windshields.a road block ahead -running out of options and -BOURNE turns hard -.No problem -.the PROFESSOR is gaining -. .TWICE -.MARIE'S CAR DOOR -GONE -.the side of the car is completely gone -.MARIE FIRES -. turning the bike sideways.sliding across the ground and BAMMM!!! SMASHING into a GLASS PHONE BOOTH which shatters. skidding out -.he's unwrapping a piece of duct tape from the barrel of his gun -.his BIKE is SPOUTING GAS -.she's totally exposed but -THE PROFESSOR -. The PROFESSOR fires at the same time -.BOURNE AND MARIE -. BOURNE AND MARIE -MARIE xxxxxx THE PROFESSOR -.two seconds and the hole is patched and -. Many more can be seen on their side -.

no way he's following.And he's up -. Gotta act quick and -.cops with guns. Running out of options and in the background -THE PROFESSOR is back in the game -.T-BONES the first car -. SKIDDING to a halt -.more joining.BAM!!! -.passing the police cars and up ahead -THE ROAD IS BLOCKED. POLICE ROAD BLOCK -. THE PROFESSOR -.SKIDDING sideways -gonna stop in time -.just at the edge of the steps and then -THE SECOND POLICE CAR isn't braking -. SLAMMING on his brakes.BOURNE turns hard left -there's a metro staircase -.heading for a .he's turning -.sends it rolling sideways down the steps until it crashes to a halt at the bottom -upside down. Every street they look down has POLICE CARS racing in parallel. CRASH through the THE FIRST POLICE CAR -.only way out and -THEY BOUNCE down the stairs.lifting up his bike and -BOURNE AND MARIE SIX POLICE CARS on their tail -. doors down below.

different set of stairs. BOURNE AND MARIE -- crashing through the turnstiles -- people diving out of their way and -AT THE STAIRCASE -- THE WINDOW of the POLICE CAR is kicked out and -- TWO VERY ANGRY COPS emerge -- pull their guns out -- head into the station. BOURNE and MARIE's world just got a lot more dangerous and -THE PROFESSOR is racing down the other staircase -- an up escalator -- people diving out of the way as -BOURNE and MARIE slalom through the station -suddenly -there's the PROFESSOR -- parallel corridor -metal barricades keep them separated. PROFESSOR FIRING. UP AHEAD -- a horizon line -- BOURNE guns it -a steep staircase and -- THEY FLY down the steps -landing on -THE METRO PLATFORM The PROFESSOR lands on the other side -- both racing down the platform -- PROFESSOR tearing up the wall behind them and -- HERE COMES A TRAIN -- on BOURNE and MARIE's side -travelling the opposite way -- temporary refuge. Not for

long -- there's no way out on this end of the platform. They skid to a halt -- just as -THE TRAIN DOORS OPEN -- STARTLED STRAPHANGERS stare at BOURNE and MARIE as they stop onto the platform -- take off running. THE PROFESSOR has to turn his bike around. quick -but it gives BOURNE and MARIE a two second head start. BOURNE AND MARIE almost at the other end of the platform -gunfire ripping up the windows behind them. Gonna go for the steps -- but here come -THE ANGRY COPS -- remember them? -- the ones who took the ride down the steps -- they're firing now and -BOURNE AND MARIE turn back -- the PROFESSOR is firing and there is only one option -INT. METRO CAR -- DAY BOURNE and MARIE into the conductor booth. People diving off the train as BOURNE hits the YELLOW BUTTON and -- the TRAIN STARTS ROLLING -- doors still open -- they disappear into the protection of the tunnel walls -- then BOURNE hits the button to close the doors and -- THE He's

PROFESSOR -watching the trains accelerate out of the station -- and now he's racing his bike down the platform -opposite the motion of the train and -- here comes the end of the train and -THE PROFESSOR throws his bike into a skidding 180 and skids off the platform all in one move -- landing hard on the tracks but facing the right direction and now he's accelerating towards the train -- just as an oncoming train is racing into the station and -HE LEAPS onto the back of the train in the nick of time. His GUN CLATTERS to the tracks. IN THE LAST METRO CAR The window is shattered and the PROFESSOR lets himself in -wind whipping through his hair from the shattered windows. And -IN THE FIRST METRO CAR BOURNE and MARIE finally getting a breather. BOURNE keeps looking back -- nothing -- the train is deserted. Finally -MARIE xxxxxx

all of Paris laid out behind them.it clatters to the ground and now we have a beat -.both looking at the gun -realizing there's no chance for either one of them to get it and -The PROFESSOR grabs BOURNE through the .daylight -. swings the door open and CRUSHES the PROFESSOR -. pulls up the shotgun and -. BOURNE and the PROFESSOR squaring off -.BOURNE xxxxxx MARIE xxxxxx BOURNE xxxxxx And ahead -.the train tracks go above ground and as the train hits daylight -.THE TRAIN CAR races across the Bir Hakeim bridge -. ramming his head into the metal as -BOURNE grabs the knob.we see the PROFESSOR directly behind BOURNE on the other side of the glass and -CRASH! glass.the PROFESSOR kicks it out of his hands -.CRUSHES him again and now he is free and -BOURNE turns.

..standing there -reloading -. MOVING METRO CAR -. ...his whole side ravaged with shot -.his arm shredded -... Like a puppet that's been propped up......blood flowing fast -BOURNE Who else is coming? THE PROFESSOR staring up at the gun.. BOURNE's motivated -the PROFESSOR's crazy -. ...... Looks like it could go on for a little while when suddenly -BAM!!! The PROFESSOR drops to the ground -behind him -MARIE wields the shot gun..... Doomed.... MARIE xxxxxx BOURNE xxxxxx And BOURNE takes the gun from her -........both barrels -.makes it a pretty even match....raising the gun -aiming it -. He's fucked -.......hand barely there -.....DAY THE PROFESSOR sitting there. Like a dummy.A BRUTAL RUTHLESS FIGHT breaks out. INT...... Stunned.

. BOURNE Treadstone? PROFESSOR ...head swimming -BOURNE I live in Paris..both of us..... BOURNE What do you mean? PROFESSOR Who are you? Rome? Paris? (Bourne is just staring--) Treadstone.. Paris.... PROFESSOR I work alone....... (confused beat) .I was warned but.I get such bad headaches... Eyes struggling to make sense of the BOURNE I won't ask again.we always work alone. Like you. PROFESSOR .Mouth dry.which one are you?. BOURNE Yes.you have that....headaches.. PROFESSOR . chaos. BOURNE lowering the weapon -.

. BOURNE Why? THE PROFESSOR -.things inside him seizing up -BOURNE Treadstone.. BOURNE I think so.a spasm -........ PROFESSOR ..helpless ...doesn't seem..it's a problem.someone said caffeine -. (circuits exploding) .pills.... BOURNE What is Treadstone? PROFESSOR .for a headache... He's losing blood fast -.what did you do?... BOURNE What do they want me to do? PROFESSOR .......something with the headlights... right? Treadstone had those pills. PROFESSOR .or in a car..when it's dark...coughing -.they won't let you go.you must've really fucked up...

.BOURNE'S HAND wiping at the blood that covers the display -BOURNE staring at it. Very familiar to him. Sitting there.BOURNE reaching into THE PROFESSOR'S POCKET and -INSERT -.. METRO CAR -. (all the blood--) .can't..DAY THE SHATTERED TRAIN pulling into the station -- ..this pulsing hum -. because there's this sound -.hum -. BOURNE looks paralyzed too. ABOVE-GROUND METRO PLATFORM -.. And Kneeling there.DAY BOURNE and MARIE racing back through the cars -away from the scene of the crime and -EXT. BOURNE doesn't answer -.hum -hum -.least you have a woman..covered in blood -.-PROFESSOR Look at this.THE E-PHONE PAGER -. MARIE We've got to go. Like that... MARIE Stalled out. Jason. And he's gone. INT..

Stay low. (it's hanging there) Take it.beat -Everything all at once -BOURNE Take this.SCREAMS ECHOING through the station from up the platform and -BOURNE and MARIE getting off the last car and -EXT. (beat) There's enough in there to make a life. She turns. But she doesn't move. He's holding the locker key. to cry. STREET/ALLEY NEAR THE PLATFORM -.doors opening -. BOURNE and MARIE -exhausted -. (beat) Take it. BOURNE Take it. Simply refusing . Just get out now. Staring at him.DAY Two minutes later. She takes it. Any life. Get low. MARIE And that's it? BOURNE If you're lucky.

THE ZURICH AIRPORT MOTEL ROOM -. There's a keypad Like a missing organ. And she's running -- BOURNE hangs there a moment -. (beat) I can't protect you.and then he pulls out THE E-PHONE PAGER.listening to her go -. TREADSTONE PARIS -. and -He's still there waiting. BOURNE flips open the shell.CONKLIN filling a burn bag -racing -everything's going -EXT. right? BOURNE I can't protect you anymore. in there. INT.DAY Remember MANHEIM? And his pager goes off. TREADSTONE PARIS -. INT. MARIE takes one last look.MARIE What was I thinking. MARIE What about you? BOURNE I'm gonna find the end of this.NIGHT A safehouse -.NIGHT . And it's pulsing like crazy. Holding it.

hum -. Right CONKLIN What did I do? What've you done? Do you have any idea? Any conception? What you've destroyed? Do you have any idea how much time and work -.how many people have their lives wrapped up in this? So now you know. BOURNE Are you Treadstone? CONKLIN Am I Treadstone? Me? (peering at him .picks it up -And now -BOURNE What did you do to me? CONKLIN wheels around.there's one of his E-PHONE PAGERS -He goes down -.he hears a sound -. There he is.a familiar sound -.CONKLIN done with the dirty work -. behind him.out into the street -As he's about to leave -.hum -He cross the street -.hum -.looks down to the Quai below -Holy shit -.

CONKLIN They're right about you. (on it now) You really don't know what's going on. CONKLIN Of course. do you? BOURNE I know you've been trying to kill me. We had to try.four years training you -(incredulous) What did I do? (staring now) What in the name of God have you been doing.or is he trying too hard not to? BOURNE What did you do to me? CONKLIN What did I do? I spent thirty million dollars on you. BOURNE .closely now--) What the hell're you talking about? BOURNE showing nothing -. We didn't know what was wrong. (warming to this--) We didn't know you were in trouble. Jason? BOURNE I don't know. aren't they? You're fried. I spent three years finding you -.

So now you know. (and he's walking--) CONKLIN Jason. We can give it back to you. CONKLIN We have to go home. BOURNE I don't think so.. BOURNE That'll be their second worst mistake. (trying to follow--) They can't let you go. .. CONKLIN So it's time to go home. We can do that.... (that gets him) You have to come with me. It's the only way. BOURNE That's all I get? CONKLIN We'll make you better. Jason. CONKLIN There never was a Jason Bourne. We can put the pieces back. BOURNE Jason Bourne is dead.. BOURNE Keep it.

NIGHT BOURNE walking away -. Opening it. BOURNE scrambles up a wall -like it's nothing -.A CAR PARKED IN THE DARKNESS -sitting alone with his briefcase.deeper into the darkness and -MANHEIM -.on the Quai -.stepping out of the car -. BANKS OF THE SEINE NEARBY -.faster and faster -EXT.in the dark -EXT.walking and -MANHEIM -.closing the door quietly -.the darkest part of the path just ahead and -MANHEIM -.calm -steady -.raising the gun and -THE CAMERA SPINS TO HIS TARGET AND -IT'S CONKLIN! -.deep in the shadows and -BOURNE -.And with that.walking -.still coming -.in the dark car -.CONKLIN just left there -. BANKS OF THE SEINE -. BOURNE -.loading the weapon -. There's his gun.methodical and -BOURNE -.just climbing back up from the .NIGHT MANHEIM -.

) The Treadstone project has actually already been terminated.phftt -. MANHEIM walks over. phftt -that makes it four and -INT. Point blank -- ABBOTT (O.heart -.phftt -CONKLIN -.head -. EXT. After a moment.Quai -MANHEIM -.his body dropping like a stone beside his car.three holes -. light begins pulsing on the console. TREADSTONE COMMUNICATIONS DESK -. on going. A cadre of And he's just gonna keep As a red Looks down.the gun -.NIGHT ABBOTT and ZORN alone in the dark.NIGHT BOURNE still walking.S.gut -. INTEL HONCHOS. BANKS OF THE SEINE -. That red light means Conklin's dead. ZORN moves to the console and shuts the light off.DAY MARSHALL at the head of the table. It was .phftt -. CIA OPERATIONS CONFERENCE ROOM -. as we -DISSOLVE TO INT.

communications program that we really feel has good traction to it. Blackbriar is a joint. The cost-benefit ratio was just too high. DOD. MARTHA'S VINEYARD -. but quite honestly. we thought it was far too expensive. what's next? ZORN handing ABBOTT the next hundred pages. ABBOTT in the hot seat. A SCOOTER RENTAL SHACK ZORN right there beside SIX MONTHS LATER MARIE coming out of the shack with two helmets. ABBOTT . ABBOTT is just gonna go on and on and on. him. ..DAY Gorgeous Summer day.. near the beach. for a strictly theoretical exercise.. this is Blackbriar. MARSHALL All right. EXT. It's been all but decommissioned at this point.We'd hoped it might build into a good training platform. ABBOTT Okay. Handing them to A HAPPY COUPLE waiting there on their scooters..designed primarily as a sort of advanced game program.

THE HAPPY COUPLE rides off. MARIE It's not a problem. Beat. MARIE Can I help you? BOURNE This your store? MARIE Yes. MARIE turns back and -There's BOURNE. He smiles. BOURNE Think I could rent a scooter? MARIE You have ID? BOURNE Not really. THE END . Her turn to smile. FADE OUT And we.. A new look. A smile..

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