"THE BOURNE IDENTITY" (2002)

The Bourne Identity

Written by

Tony Gilroy and William Blake Herron

Based on the novel by Robert Ludlum

Paris Draft 9/20/00

FOR EDUCATIONAL PURPOSES ONLY

DARKNESS. THE SOUND OF WIND AND SPRAY.

MUSIC. TITLES.

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.

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.

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. GIANCARLO is sixty. A bloodshot soul.

GIANCARLO with an old trunk -- just getting it open, as --

GIANCARLO watching them run out. Snagging a quick pull on a pint of rum he's got stashed and --

Transformed into a makeshift operating room. A light swings overhead. THE MAN layed out across the table. Sounds -- groans -- words -- snatches of them -- all in different languages.

GIANCARLO playing doctor in a greasy kitchen apron. Cutting away the clothes. Turning THE MAN on his side. Two bullet wounds in the back. Probing them, judging them.

Now -- GIANCARLO with a flashlight in his teeth -- TINK -- TINK -- TINK -- bullet fragments falling into a washed-out olive jar.

Now -- something catching GIANCARLO'S EYE -- A SCAR ON THE MAN'S HIP -- another fragment -- exacto knife cutting in -- tweezers extracting A SMALL PLASTIC TUBE, not a bullet at all, and as it comes free --

THE MAN'S HAND SLAMS down onto GIANCARLO'S and we SMASH CUT

6 INTO A -- 6

FIRST PERSON POV -- we are staring up at --

Long dead pause.

The Trawler plows through heavy seas.

GIANCARLO is hunched over a desk -- tweezers and flashlight -- busy working at that strange plastic tube that came out of THE MAN's hip.

THE MAN is bandaged. He's sitting up, and it must hurt like hell, but physical pain is not the thing troubling him right now. He's staring around the room -- at his body -- at the walls -- haunted --

Silence. THE MAN can't rest. Too busy trying to make sense of all this.

GIANCARLO rummaging around -- finding a magnifying glass --

INSERT -- MAGNIFIED POV -- a slip of plastic from the tube -- written there -- 000-7-17-12-0-14-26. GEMEINSCHAFT BANK, ZURICH.

GIANCARLO staring at him now. Different suddenly. Suspicious.

GIANCARLO pulls his pint. Takes a hit.

THE MAN stands at the rail, staring out to sea. So lost. He turns to head inside -- there, a surfcasting rod propped against a locker.

THE MAN picks up the rod -- flips the bail -- traps the line - - now he's casting far out into the darkness. And for the first time, he smiles.

A ratty old espresso machine. THE MAN standing there, staring at the thing like it's a test. Then his hands begin to move -- trying to pack a grind -- trying to fit it in -- turning on the steam and --

The whole thing explodes.

THE MAN alone doing chin-ups on the deck rail. He's still bandaged and the wounds must hurt like hell, but he's pushing himself. Using the pain -- bathing in it -- maybe even hoping that it will hold some answer for him.

A chess board. Wooden pieces jumbled in a box. THE MAN hesitates -- takes a black knight from the box -- lingers for a moment -- and then places it on the board. He's off and running. He knows this. Placing pieces faster and faster -- still setting it up, as we --

One of the ugliest bathrooms on the planet. THE MAN standing before a pitted, tarnished, cataract of a mirror. Staring at himself.

And then he speaks.

And what else is inside there?

SAILORS hauling in the nets. THE MAN -- still bandaged, but healing -- working beside them. Earning his keep. Getting healthy.

A small, colorful fishing village. The trawler motoring in.

THE MAN buttoning up borrowed clothes. GIANCARLO pulling some cash from his pocket --

GIANCARLO gives him a look. Shakes his head, and --

The ticket window. THE MAN and a TICKET AGENT.

A HELICOPTER SHOT -- a bullet train speeds through snow- capped Alps. We move in on a window -- and staring out is...

...THE MAN. People all around him -- families -- businessmen -- normal people going about their lives. THE MAN turns back to the window, but he's not watching the scenery -- he's looking at his reflection. So lost. His face suddenly plunged into darkness as the train bombs into a tunnel...

...and out of the darkness into night and the HELICOPTER SHOT, as the train races toward ZURICH.

A VIDEO MONITOR -- FULL FRAME -- meet WOMBOSI. He's an African ex-dictator, think Idi Amin crossed with Mobutu. He's in some sort of throne room. And he's angry. Bodyguards and a translator hovering nervously around him. What this is, is NEWS FOOTAGE -- an interview conducted by a German TV station.

TWELVE CIA MANDARINS sitting around the table like kids in detention. We will tour the faces as MARSHALL continues, but the guy we're interested in is named WARD ABBOTT. Picture a sawier, slicker John Poindexter.

ABBOTT'S FACE says this is news to him. HIS HANDS suggest otherwise.

Long pause. No hands go up.

THE MAN wandering through the terminal. Passing A PIZZA PLACE closing up for the night.

THE MAN checks his funds. Just enough for one cold slice.

THE MAN walking aimlessly.

THE MAN trying to get comfortable on a bench. It's chilly but this will have to do until morning.

Just settling in, when --

ZURICH COP #1 (OS) (authority German) (Can't you read the signs?) THE MAN turns. TWO ZURICH COPS coming toward him.

ZURICH COP #2 (On your feet. Let's go. Right now.) THE MAN makes his feet. They're on top of him now.

ZURICH COP #1 (The park is closed. There's no sleeping in the park.)

ZURICH COP #2 (Let's see some identification.) THE MAN not sure what to do. Eyes moving. Mouth shut.

ZURICH COP #1 (Come on. Your papers. Let's go.)

ZURICH COP #1 (not sympathetic) (Okay. Let's go. Put your hands up.)

ZURICH COP #2 (pulling his nightstick) (- - come on -- hands up -- up --) THE MAN raising his hand slowly -- ZURICH COP #1 reaching up to pat him down --

THE MAN is in motion.

A single turn -- spinning -- catching COP #2 completely off guard -- the heel of his hand driving up into the guy's throat and --

COP #1 -- behind him -- trying to reach for his pistol, but THE MAN -- still turning -- all his weight moving in a single fluid attack -- a sweeping kick and --

COP #1 -- he's falling -- catching the bench -- trying to fight back but -- THE MAN -- like a machine -- just unbelievably fast -- three jackhammer punches -- down-down- down and -- COP #1 -- head slammed into the bench -- blood spraying from his nose -- he's out cold and --

COP #2 -- writhing on the ground -- gasping for air -- struggling with his holster -- THE MAN -- his foot -- down -- like a vise -- onto COP #2's arm -- shattering the bone -- COP #2 starting to scream, and then silenced because --

THE MAN -- he's got the pistol -- so fucking fast -- he's got it right up against COP #2's forehead -- right on the edge of pulling the trigger -- he is, he's gonna shoot him --

ZURICH COP #2 (gasping, pleading) (-- no -- please God no -- please don't -- please no -- my Go--) (stopping as-- ) THE MAN slams the gun against his temple and --

This fight is over.

THE MAN standing there. In the silence. Two unconscious cops at his feet. Blood on his pants. What just happened? How did he do this? And there's THE GUN in his hand. And God, it just feels so natural -- checking it -- stripping it down -- holding it -- aiming it -- like this is something he's done a million times before...

This is something he definitely knows how to do.

And then he stops cold. Throwing down the gun. Running off into the darkness --

A deep, inner office. An ops office. Operations. Unlabeled and anonymous. A backwater project center hidden deep within the Langley facility. Utilitarian. Several rooms linked like a suite.

Small staff. SEVERAL TECHNICIANS. One or two for communications. A couple for research. People are at their posts. And it's all quiet. But they are busy. Quietly urgent. This is a place under siege.

ZORN is the number two here. Brilliant bloodless lapdog. He's coming through the suite. Coming through quickly. Heading toward the boss's little office at the back --

TED CONKLIN. Ivy League Ollie North. Buttoned down. Square jaw. Everything tucked away. But there's tension in the air. Work on the desk. Cot in the corner.

ABBOTT with coffee. CONKLIN not lingering.

Silence. Pressure drop.

Morning in the financial district. Upscale. Uptight.

GEMEINSCHAFT BANK just one of many elegant fortresses on this street. Everything just now opening for business. TWO GUARDS unlocking the front door and --

THE MAN across the street. Tucked in the shadows. Checking for cops and trouble. Looks clear. He's walking and --

Ornate, formidable and tech at the same time.

THE RECEPTIONIST nods. Pulls a pen and bank card.

THE MAN takes the pen, as we --

A BIO-METRIC SCANNER. A piece of ultra-tech amidst the Baroque. TWO SERIOUS BANK GUARDS manning the equipment.

THE MAN standing there, staring down at this machine. Something ominously decisive about this. What if it's him? What if it's not?

BANK GUARD #1 (they've been waiting) (Your hand, sir...) THE MAN focuses. Here we go -- BANK GUARD #2 guiding his open palm onto the mirrored scanning surface.

THE MAN catching his reflection for a moment before a wave of white light passes beneath his hand and now --

THE MAN being led by A THIRD GUARD to a special elevator.

Elevator doors open. THE MAN steps out. MR. APFEL -- anal Zurich banker -- waiting there.

APFEL nods. Gestures down the corridor --

Sterile and kind of odd. But total privacy. THE MAN sitting there, as A DEPOSIT GUARD places a large SAFETY DEPOSIT BOX before him. THE GUARD leaves the room. Closing the door behind him.

THE MAN is alone. And there it is, right in front of him. This is it. Here are the answers. He lifts the lid.

THE BOX. There's a shallow tray on top. In this tray: a beat-up passport in the name of Jason Bourne. A French driver's license with a Parisian address. Credit cards for Jason Bourne.

THE MAN. Holding these objects close -- as if by holding them he might absorb their essence. Forcing himself to believe. This is him. His picture. There it is. He's Jason Bourne.

BACK TO -- THE BOX -- the shallow tray on top. There's Kleenex. Several sets of contact lenses. A knife. A comb. Three sticks of gum. A ring. A pair of sunglasses. A Rolex.

BOURNE setting these things aside. Lifting the top tray. Staring into THE DEEP BOTTOM TRAY and --

First of all...

MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. Close to a million dollars. There's A GUN. A very good gun. Several clips of ammo. And...

FIVE MORE PASSPORTS. All clean. Crisp. Brand new. All with his photo inside. Five different names. Three different Countries. Each one of these pristine passports clipped to a piece of card stock that says:

NAME:

NATIONALITY:

PLACE OF ISSUE:

And a bar code. Two Dutch passports. A French. A South African. A Belgian.

And...

There's one piece of card stock still with the paper clip in place. And no passport. This card reads:

NAME: John Michael Kane

33 NATIONALITY: U.S.A. 33

PLACE OF ISSUE: Paris, France There's a signature sample. And a bar code. But no passport. This one is missing.

BOURNE sitting there. Trying to push his confusion away.

But there's something hollow about this. He came looking for one identity and now he's faced with six. The money... The gun...

Suddenly, it's all fucked up.

BOURNE into gear. Looking around the room -- there -- there's a pile of red canvas burn bags in the corner. BOURNE grabbing one -- stuffing everything into it -- everything except...

The gun. He doesn't want the gun. No guns.

BOURNE is done. Handing the box back to THE DEPOSIT GUARD --

BOURNE exits the bank. The red bag full to its limit. He's walking briskly now. Looking for a taxi. Nothing in sight.

BOURNE crossing the street. Shit, there's A COP on the corner -- turn -- change pace -- make it look natural --

BOURNE around a corner. And it's looking good for a moment -- but only a moment -- TWO MORE COPS walking a beat -- walking this way -- turn -- cut -- cross the street --

BOURNE heading down a boulevard. Trying to look small. Pulse starting to race. Fighting the paranoia. Where the hell is a cab? Turning back fast as A SIREN starts bleeding in from behind him --

It's just an ambulance.

BOURNE turning back. Forcing himself to focus. And fuck -- there's A METER MAID, and she's stopped writing up a ticket -- she's staring at him and --

BOURNE trying not to panic -- don't run -- smile -- stay small -- get to the corner -- scan the options -- but --

THE METER MAID -- she's watching him go and she's pulling her radio and --

BOURNE hitting this next corner -- banging a right -- forcing himself not to run -- glancing back and --

THERE'S ANOTHER COP -- but this one is jogging -- searching -- he's got his radio out and --

36 FINALLY TO -- 36

BOURNE bailing on the street -- disappearing into --

Big gates. Speed barricades. SEVERAL U.S. MARINES standing guard near a gate house. An American flag. Lots of people coming and going. BOURNE playing it as normal as possible as he heads for the entrance.

The passport and visa office. Big room. No windows. Unpleasant on purpose. Two lines: A short one for U.S. Citizens, a marathon for everyone else. CONSULATE CLERKS stationed in open cubicles along the back wall. And it's a zoo. American tourists who've lost their passports. Foreigners looking for visas. Asylum seekers. Everyone here has a problem.

BOURNE on the U.S. line. Standing there trying to think. What's he gonna say? What can he say? With the cops outside, and the incident in the park, then the bank...

A NEARBY CUBICLE. Meet MARIE KREUTZ. German. Big energy. Real beauty hidden beneath the armor. And armor it is, because this is a warrior in full, crisis battlemode.

A CONSULATE CLERK caught in her headlights.

That shuts her up. Yes. Today she's a student.

Motion -- CONKLIN racing down a staircase -- ZORN chasing after --

BOURNE on line. Fear meter rising by the minute.

BOURNE comes to. Shit. It's his turn.

A WOMAN CLERK waving him forward. BOURNE trying to think -- what the fuck is he doing? -- what's he gonna say? -- now he's at the window, and if he was looking for a friendly face, he came to the wrong place --

But he's already bailing, walking away from the woman, the window, the room -- he's out of here --

BOURNE on the move -- 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 -- ZURICH COPS -- outside -- on the street -- half-a-dozen of them lingering around the entry gate and --

BOURNE stalled for a moment -- options dwindling -- he can't go back to the passport office -- he can't go out the front and --

The lobby looks tough -- there are two other points of entry into the main building, but they're both guarded by MARINES and METAL DETECTORS --

As he gets closer -- it gets worse --

A ZURICH POLICE INSPECTOR near the door, in deep conversation with TWO MARINES and THE EMBASSY SECURITY OFFICER and --

BOURNE trying to burrow through the human traffic -- trying to get to THE LARGER OF THE TWO ENTRY GATES -- this one the farthest from the front door and the passport office corridor, and it's the most crowded -- A COUPLE PEOPLE lined up here -- waiting for one of THE THREE MARINES STAFFING THIS POST to check their bags and pass them through a metal detector and --

BOURNE turns back -- as does everyone else in the lobby --

BOURNE glancing back -- ONE OF THE GATE MARINES BEHIND HIM -- the guy's raising his M-16 --

BOURNE nodding -- total compliance -- starting to drop -- but only starting, because now --

He's swinging the backpack and --

THE GUN MARINE -- nailed -- blind-sided -- no chance and --

BOURNE -- all motion -- all forward -- 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 -- trying to grab him -- making his move -- BOURNE -- almost an afterthought -- his boot -- like a knife -- out of nowhere -- SNAP! -- the guy's arm just shattered and --

THE SECURITY CHIEF -- freaking out -- TWO MARINES WITH HIM -- they're raising their weapons and there's people in the lobby and --

BOURNE -- landing hard on THE GUN MARINE -- rolling away from the gate -- into the building now -- coming up with the backpack and --

And he does -- BOURNE with the M-16! -- coming up with it -- coming up on the move -- swinging it around as he searches for an escape route and THE GUN -- it's like a magic wand of hysteria --

PEOPLE IN THE LOBBY -- SCREAMING -- diving away -- everyone dropping for cover and --

BOURNE -- bailing -- on the run -- sprinting down a hallway -- tossing away the M-16 as he sprints into the building --

Quiet for a second -- offices on either side of a carpeted hallway -- BUREAUCRAT-TYPES doing their thing, when suddenly - -

BUREAUCRAT #1 Excuse me? Can I help you? (but backing up as he says it, because--) Here comes BOURNE -- coming fast -- and he definitely does not belong back here --

Panic -- people fleeing the lobby -- MORE MARINES hustling in from outside and --

Door flies open -- BOURNE bombing in -- shit! -- it's a dead end -- no way out but up the stairs --

SECURITY CHIEF -- THREE MARINES -- sidearms drawn -- jogging past the INNER OFFICES -- running beside them, a frantic guy in a suit --

BOURNE climbing fast -- two -- three -- stairs at a time -- racing up as a SECURITY ALARM STARTS SCREAMING -- bleet -- bleet -- bleet --

THE ALARM ringing everywhere -- TRADE CONFERENCEES -- sixty confused and frightened people -- spilling out into the corridor --

A NEW DOOR flying open -- it's BOURNE -- ready for anything, but there's nothing -- he's in a butler's prep area off the main conference room -- momentum stalled for a moment -- nothing in here but tableclothes and silverware and coffee cups and --

THREE MARINES -- armed and stoked -- staring up the stairs -- leapfrogging -- point-to-point assault procedure --

Carpeted and grand -- SECURITY CHIEF with FIVE MARINES NOW -- charging up -- pushing past THE PEOPLE trying to come down and --

Completely clogged now -- PANICKED TRADE PEOPLE all over -- EMBASSY TYPES -- trying to herd them toward the main stairs -- everyone talking at once -- THAT ALARM STILL BLARING and --

VOICE (OS) -- no! -- the other way! -- take the backstairs! -- the backstairs! - - he's on the other side -- there's a bomb! --

And as the crowd reacts -- as they mob back away from the main stairway -- we see -- holy shit, the guy yelling was

52 BOURNE -- 52

THE ASSAULT MARINES -- still climbing -- weapons out -- clean and fast -- one more flight to go -- ready for anything -- completely freaking out as the door above them on the fifth floor flies open and --

54 LEAD MARINE 54

55 -- HALT! -- STOP WHERE YOU ARE! -- 55

MARINE GUNS swinging up -- 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 --

BOURNE -- he's CLOSING A DOOR behind him -- he's jamming A CHAIR -- wedging it in tight so the door won't open and --

THE SECURITY CHIEF -- HIS MARINES -- coming from the main stairs -- weapons drawn -- fighting their way through the pandemonium and --

BOURNE scanning for options -- the room is huge -- empty now - - the massive conference table covered with the meeting papers left behind -- windows along one wall and --

BOURNE rushes to the window staring down and --

59 BOURNE'S WINDOW POV 59

Fifty feet below there's a courtyard -- it's a sheer drop -- completely fucked and --

SECURITY CHIEF -- TWO MARINES -- just outside THE CONFERENCE ROOM DOOR -- trying it -- it won't budge and --

THE DOOR -- shattering -- eaten up by GUNFIRE! -- TAT-TAT- TAT-TATTAT-TAT-TAT-TAT! and --

WHAM! HERE THEY COME -- through the door -- guns -- eyes -- adrenaline -- everything ready and --

62 THE ROOM IS EMPTY! 62

BOURNE -- dangling fifty-feet above the stone courtyard! -- he's gone out the window! -- hanging there -- hanging with one hand -- one hand clutching the corner of a ledge and --

Utter confusion -- SECURITY CHIEF -- FIVE -- SIX -- SEVEN ARMED MARINES all piling in -- ready to rock but there's no one to shoot -- no target --

TWO MARINES -- scanning the windows -- looking down and --

MARINE POV -- all clear -- no way he went down there and --

BOURNE still hanging there -- looking down -- up -- there's no choice -- he has to go down --

BOURNE finding a toehold below him -- reaching -- touching down -- it gives way -- crumbling and --

BOURNE hesitates. Does he know how to do this or not? Stalled for a moment, then...

BOURNE starts climbing down. And this is all one shot. No cutaway. No cheating.

We are watching a master at work...

Handhold to a drain pipe. Swinging to a better ledge.

Dropping to an air-conditioner. Grabbing a window frame just before the air-conditioner gives way. Teetering there. Now he's on the fourth floor.

Below, there's an open window on the third floor. Struggling to keep his balance, he reaches behind him to shift the weight of the bag, and as he does --

THE RED BAG falls. Thump. Into the courtyard. Forget the open window. Now he's got to go all the way.

Timing his next move and --

He's pushing off -- reaching -- there's another drainpipe and he's snagged it -- he's got a dragline now -- starting to fall -- straining to hold the pipe -- slowing his descent -- the drainpipe pulling away from it's housing and --

BOURNE letting go -- just before he falls backward --one last grab -- catching a gutter -- holding it just long enough to slow his fall and --

Letting go for the last fifteen feet and --

A DOZEN MARINES -- pumped-up and listening to --

MARIE storming away. Pissed-off -- broke -- illegal -- ruined and --

MARIE grabbing the ticket -- tearing it up -- tearing the shit out of it -- blind with misfortune -- throwing the pieces on the ground and stomping on them and then --

BOURNE tosses cash -- a stack of hundreds -- across the car into her hands -- she catches it. Looks at it.

MARIE looking at him. At the money. Back at him, and --

VIDEO PLAYBACK -- FULL FRAME -- fast forward -- a speeding blur of images from a surveillance camera outside the Zurich bank -- it's two days worth of footage -- they're scanning for Bourne's arrival and --

COM TECH #1 working the console. Freezing the image. Punching it up. There it is -- BOURNE leaving the bank with the red bag.

ZORN the phones across the room. COM TECH #2 at his console - -

COM TECH #2 -- we got a cross-ref ready to go here, sir, we're running hotel, airline, train, and medical variables, anything else you'd like?

CONKLIN up from the console. ZORN waiting for him --

Silence. Like the floor just fell away. So heavy.

A moment between them. CONKLIN all steel here now.

COM TECH #2 (from the console--) Sir, the cross-ref is coming up cold...

CONKLIN breaks away -- back to the console and --

Establishing shot. A grand house. PIANO MUSIC over this -- someone butchering a piece by Haydn and --

Meet THE PROFESSOR. He's a piano teacher. Late fifties. Deceptively fit. He's sitting here, listening to a NINE- YEAR-OLD STUDENT struggle through the music.

And then, HIS E-PHONE PAGER starts pulsing -- hum -- hum --

A boring, marathon business meeting. FIFTEEN MIDDLE MANAGERS are trapped around a German sales presentation. Meet MANHEIM. Bald. Fifty. He looks dumb and piggy. Anything but. Sitting here --

And then, HIS E-PHONE PAGER starts pulsing -- hum -- hum --

Meet CASTEL. He's thirty-five. Slender. Clean-cut. Easy to miss. He's here alone. Reading the paper. Sipping espresso.

And then, HIS E-PHONE PAGER starts pulsing -- hum -- hum --

The little red car parked. MARIE pacing around. BOURNE poring over a map spread out opver the hood.

BOURNE looks back from the map.

Silence now. She looks back. Measuring him.

CASTEL through the streets on a motorcycle. Whipping to a stop -- stepping off the bike in front of --

75 U-STORE-IT STORAGE WAREHOUSE. 75

CASTEL and THE ELEVATOR OPERATOR -- rising slowly through the dark warehouse and --

Darkness -- a key turning -- door opening -- light goes on to reveal CASTEL standing there and we're in --

CASTEL'S STORAGE UNIT. What's in here? Like nothing. Like a stack of old newspapers in the corner. Some mildewed books piled along one wall. Some shitty plastic chairs.

78 QUICK TIME CUTS 78

CASTEL working fast. Closing the door. Moving to the pile of books. Taking the top book off. Opening it.

INSIDE THE BOX -- a timer. A small bomb. A booby-trap. An LED light stops flashing as CASTEL'S HANDS code in his password and --

CASTEL moving to the newspapers stacked in the corner. Pulling away the top pile and --

A METAL LOCK BOX. Hidden here. CASTEL pulling it out. Opening it. An empty tray on top and --

CASTEL taking off his watch. Taking off his rings. Taking out his wallet. His Spanish passport. Emptying his pockets. All of this goes into the empty tray and --

CASTEL lifting away this top tray -- setting it aside and --

THE METAL LOCK BOX -- there's more -- a much larger bottom compartment -- and it's deja-vu all over again -- we're looking at the identical contents we saw Bourne find in the Zurich safe-deposit box.

First of all...

MONEY. Lots of it. Ten thousand dollar stacks of hundreds. Lots of them. A GUN. A very good gun. A dozen clips of ammo. And FIVE MORE PASSPORTS. All clean. Brand new. All with his photo. Five different names. Four different countries. Each one of these pristine clipped to a piece of card stock that says:

NAME:

NATIONALITY:

PLACE OF ISSUE:

A BAR CODE:

Two Italian. Two Spanish. A Portuguese.

CASTEL going for the Portuguese passport and --

The little red car driving through The Alps.

BOURNE staring out the window. MARIE driving. Long silence until --

MARIE staring at him -- glancing back to the road -- just in time -- almost rear-ending a slow moving truck --

There it is. And she wants an answer --

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. Disappearing into Zurich...

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.

TWO MORGUE ATTENDANTS hanging back. THE MORGUE BOSS -- who's clearly suffering this for a bribe -- moves to one of the freezer lockers...

DEAUVAGE -- lead bodyguard -- moves to clear a zone for his boss --

DEAUVAGE looking pale as WOMBOSI slams shut the freezer.

A MINI-MOTORCADE driving towards Neuilly. Two security cars. A van full of kids and mothers. And one big Mercedes stretch.

WOMBOSI alone in the back. Looking haunted.

It's a weird spot. Open all night. But Euro-style. Quiet tonight. A few Alpen-truckers chowing down. A local or two at the bar and --

BOURNE AND MARIE at a back table. Drinking coffee. He's got the red bag open. All the passports -- the personal junk -- the money -- all the shit from the Zurich bank box -- he's been showing it to her --

And he's got her attention now.

She's not listening. He leans in. Flat out now.

Long dead pause.

BOURNE'S FACE -- a video image frozen on A COMPUTER SCREEN -- it's Bourne looking at the camera -- Bourne looking up at the camera in the consulate passport office and --

87 PULL BACK TO REVEAL 87

HALF A DOZEN COMPUTER MONITORS -- and lots of shots of Bourne -- twenty angles -- 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 --

RESEARCH TECH #1 That's the only angle.

RESEARCH TECH #1 Hang on... (typing away--) CONKLIN rubbing at the tension in his temples as ZORN enters --

RESEARCH TECH #1 (he's hit paydirt) Sir...

RESEARCH TECH #1 It's an angle of the street -- some sort of alleyway -- you can just...

INSERT -- THE MONITOR -- as the image enlarges to fill the screen. And there's Bourne. And the little red car. And Marie.

A drone barn. Practically on the runway.

One of those rooms. Just a plain functional box. MANHEIM laying on the bed. Fully dressed. Suit and tie. Just laying there, staring at the ceiling. Who knows how long he's been like this.

Just waiting.

ON THE NIGHTSTAND -- A gun. A knife. His e-phone pager. His fresh credentials. And a photo of Jason Bourne.

Quick orientation: Picture a heavily-walled palace just off the Bois Du Boulogne. But once inside you could be back in Brazzaville. It's just a buffet of oddness. Home to fifty children and nine wives. The decor blends money and nouveau riche materialism with a hard, back-home tribal esthetic. It's a visual treat. Not condescending or stupid, but flat- out strange and menacing.

It's late. And the palace is dark and sleepy now, but carry all that through this next series of quick shots --

91 WOMBOSI HOUSE SECURITY STATION 91

Just inside the door. BODYGUARD #1 slouched before a bank of SECURITY MONITORS.

92 WOMBOSI MAIN HALLWAY 92

Littered with toys. Children's crap everywhere. BODYGUARD cloth.

93 WOMBOSI THRONE ROOM DOORS 93

DEAUVAGE -- head bodyguard -- posted outside this imposing set of doors. He's trying to stay awake. Reading a spy thriller.

94 FINALLY TO 94

95 WOMBOSI'S THRONE ROOM 95

And there he is -- the emperor himself -- WOMBOSI on his throne. Except the room is dark and empty. And he's sitting there by himself. A king without a country.

Sitting there. With a gun in his lap. Drinking hard from a bottle of Jack Daniels.

Stewing.

Beautiful morning. The red car parked along the road. BOURNE alone in the passenger seat. Deep asleep. Nestled there.

And then, he wakes suddenly. Starts. Freaked for a moment. Instantly feeling for the red bag. There it is in his lap. He looks around and --

MARIE sitting away from the car. She's got a loaf of bread. A soda. Smoking a butt. Same clothes, but her make-up's been washed away. Clean. Simple. Gorgeous.

BOURNE steps out. Morning legs.

Another silence. She's watching him.

She looks away. Was she hoping for another answer?

MARIE'S FACE -- A PASSPORT PHOTO -- she's eighteen -- she's smiling -- really alive and fresh and --

CONKLIN behind his desk. ABBOTT staring grimly at the picture --

CONKLIN hesitates. Inside he's screaming.

THE LITTLE RED CAR cruising through town.

MARIE driving. BOURNE checking building numbers as they pass --

AN APARTMENT BUILDING. Big building. Elegant but cold.

MARIE pulling up -- turning a corner -- watching him as she does. But he's pre-occupied -- eyes scanning -- taking it all in --

MARIE angles into an alleyway. Cuts the engine.

Dead pause. She's waiting. He's still scanning the street.

He turns back. She's staring at him.

Before she can say anything, he's digging in the backpack. He pulls out another stack of hundreds. Hands it over. She takes it. It's not what she wanted, but she's used to being disappointed. Fighting it.

Silence. That moment. He focuses. Getting it.

MARIE smiles. We've never seen it before. Worth waiting for.

BOURNE and MARIE standing at the directory. Five apartments. One per floor. Five names. A buzzer. An intercom. There it is.

J. Bourne.

BOURNE presses the buzzer. After a moment, he presses again. Nothing.

BOURNE checking the door. How to pop it open? Just about to get into it, when --

BOURNE and MARIE at the apartment threshold. He has a key now.

Turning it. And the door opens...

Nothing...

No bombs. No wife and kids. No one.

A huge, rambling flat. Large entry hallway. Large rooms beyond that. It's obviously expensive. But cold. Completely impersonal. No photographs. No mementoes. No human history.

103 WE'RE MOVING NOW 103

104 THE LIVING ROOM 104

BOURNE and MARIE exploring.

BOURNE silent. Struggling to get a feel for the place.

MARIE taking it in fast. BOURNE seems paralyzed. Trying to soak it all in. Willing himself home. Touching things as he passes. As if a texture, a smell -- something will become familiar. He's deep into this as we go to --

MARIE opening an armoire...

Nothing but men's clothes. No competition. She's feeling better by the moment as we go to --

105 THE MASTER BATHROOM 105

MARIE still on the prowl. Mirror city. Big tub. One toothbrush.

106 AN OFFICE STUDY 106

There's a desk. Chair. Phone. Basic. BOURNE with a folder in his hand. Staring at the bookshelves. Binders, reference materials and hardbound volumes -- all of it about maritime law. Ship schedules. Registry catalogs. All about boats.

MARIE backs out. BOURNE alone again. Standing there for a moment. Dealing with it.

And then he sits down in a chair.

BOURNE sitting there. Staring. The room, the desk -- it's all so devoid of personality. And then, something catches his eye and --

INSERT -- THE DESK TOP -- a faint silhouette through the dust and grime. Outlines of where a computer used to sit.

BOURNE reaching suddenly under the desk. Bingo. Pulling out a retractable computer keyboard tray. But it's empty. No keyboard. Now he's really confused and --

INSERT -- A PHONE/ANSWERING MACHINE -- BOURNE pressing the playback button and --

BOURNE leaving that for a moment -- about to anyway -- and then he turns back -- new idea -- pressing for the speaker phone -- and then hitting redial and --

THE PHONE stars dialing...

RINGING and...

OPERATOR/PHONE Bonjour, Hotel Marboeuf...

BOURNE quick grabbing the receiver. Taking it off speakerphone and --

OPERATOR/PHONE (Yes, sir. Hotel Marboeuf, Paris. How can I direct your call?)

OPERATOR/PHONE Yes, sir... (switching to English, thinking that's his problem--) How can I help you?

OPERATOR/PHONE One moment, please... (a long pause, and then--) I'm afraid, I have no one by that name registered, sir.

OPERATOR/PHONE -- sir? --

BOURNE grabbing the backpack -- tearing through it -- where is it? -- where is it? -- shit and money falling out and --

There it is -- from the safe-deposit box -- that piece of card stock -- the one with no passport attached to it --

OPERATOR/PHONE One moment, sir.

BOURNE waiting. And then there's muzak -- holding music and - -

107 THE MASTER BATHROOM 107

Water running in the tub. MARIE pulling off her boots. Checking the temperature.

108 THE OFFICE STUDY 108

Bourne still on hold. And then --

MANAGER/PHONE (a new voice suddenly) Bonjour? Monsieur? Allo...

MANAGER/PHONE You call about Monsieur Kane? John Michael Kane?

MANAGER/PHONE You are a friend of his?

MANAGER/PHONE I have some very bad news for you, sir. I'm terrible sorry to have to tell you this, but Monsieur Kane has passed away almost two weeks ago...

Silence. BOURNE is rocked. But the Manager, it's natural, he interprets the silence as grief...

MANAGER/PHONE (CONT’D) There was an accident. On the motorway. Apparently, he was killed instantly. Really, I'm terrible sorry to be the one to tell you this...

MANAGER/PHONE ...we actually, we were unaware for several days that this had happened. When they came for his things, it was made known for us, you see?

MANAGER/PHONE His brother. You know his brother?

MANAGER/PHONE It's very bad this. Terrible sad. Such a young man.

MANAGER/PHONE I think not... (quick French to someone in the office there--) No, I'm sorry. It was very sudden. He was here very briefly.

BOURNE just hands up the phone. Just like that. Not even goodbye. Standing there frozen. Stunned. John Michael Kane is dead. And he had the passport.

Suddenly, everything's changed. They shouldn't be here. This is bad. Danger.

109 THE MASTER BATHROOM 109

MARIE playing with her hair in the mirror. Checking the water --

BOURNE like we've ever seen him. Like an animal. Every sound -- every breeze -- everything carries information.

Standing still. Taking it all in.

Real quick layout -- there's big windows along one wall that face out to the street below. The hallway to the bedroom and bath feeds into the living room from one side. There is a large frosted airshaft window along that hallway wall. Simple furniture.

MARIE backing away -- completely freaked -- BOURNE standing there with the knife in his hand and --

MARIE -- frightened -- confused -- paralyzed for a moment --

BOURNE glancing back -- a curtain fluttering behind him -- motioning for MARIE to get down -- do it -- now -- down!

MARIE hesitating and --

BOURNE -- what's he doing? -- he's unscrewing a lightbulb from a lamp beside him and --

MARIE about to say something -- he shakes her off --

BOURNE -- knife in one hand -- lightbulb in the other -- putting his foot on a chair in front of him and --

BOURNE waving her to shut up -- crawl -- now -- back up -- get under the window -- go! --

MARIE -- he seems so sure -- it's weird, but she's doing it -- she's under that frosted window -- down below the sill -- looking back -- what the fuck is he doing now? --

BOURNE -- the lightbulb -- he's tossing it across the room -- over her head -- into that frosted window and --

As she ducks down --

As it SHATTERS --

110 EVERYTHING STARTS HAPPENING AT ONCE 110

PHFT!-PHFT!-PHFT!-PHFT!-PHFT!-PHFT! -- silenced automatic weapons fire -- raking into the apartment and --

THE FROSTED WINDOW peppered with holes and --

MARIE on the floor as THE WINDOW SHATTERS above her and --

CASTEL -- he's in the airshaft! -- hanging from an abseil rope -- but off guard -- FIRING BLIND -- strafing the apartment and --

BOURNE kicking that chair across the room and --

CASTEL reacting -- instinct -- moving target --

THE CHAIR just strafed to shit and --

BOURNE rolling away and --

CASTEL -- he's coming in -- last pieces of window frame CRASHING AWAY as he swings into the apartment and --

MARIE -- right below him -- shit raining down as he flies in and --

BOURNE throwing the knife and --

CASTEL -- turning -- too late -- the knife catching him in the neck and --

BOURNE -- in motion -- attacking and --

CASTEL -- knife impaled in his neck -- clawing for it with one hand -- trying to get off a shot and --

APARTMENT WALL -- PHFT!-PHFT!-PHFT!-PHFT!-PHFT! -- gunfire tearing wildly around the room and --

BOURNE -- full-stop -- kicking the gun -- kicking it up -- ROUNDS TEARING ACROSS THE CEILING and --

MARIE -- SCREAMING NOW -- trying to crawl away and --

CASTEL -- no chance -- off balance -- BOURNE -- his open palm driving up into CASTEL'S JAW -- the body wants to fall backward, but BOURNE has the guy's arm in his free hand -- jerking it like rope -- tearing it from it's socket and --

THE GUN CLATTERING FREE across the floor and --

BOURNE -- his knee -- like a piston -- hard into CASTEL'S GUT -- and then down -- his foot -- down into CASTEL'S KNEE, shattering it and --

CASTEL is on the floor -- stunned -- wiped -- knife pouring blood from his neck -- arm hanging like a rag doll -- bone torn through his pant leg above the knee and --

BOURNE ignoring her -- grabbing the guy's backpack --

CASTEL -- eyes wild -- tries to make his feet --

CASTEL -- crablike against a wall -- bloody hands leaving a mess as he struggles to get to his feet --

111 GOT TO TELL ME WHAT THIS IS ABOUT! -- 111

CASTEL -- staring back -- eyes wild -- mouth shut -- his expression -- is it terror or pure steel? --

MARIE -- the guy's backpack -- something in her hand -- and as freaked out as she was a moment ago -- this is worse --

Now there's KNOCKING AT THE DOOR and --

Suddenly -- CASTEL is moving! -- and fast -- it's superhuman - - unbelievable -- just enough spring in his good leg and --

BOURNE bracing himself but --

CASTEL isn't attacking! -- he's running away -- he's crossing the living room -- but there's nowhere to go -- absolutely nowhere -- except --

WINDOW SHATTERING! -- CASTEL -- in a cloud of broken glass -- sixty feet above the street --

Falling and falling and...

IMPACT! -- landing on the roof of a parked car and --

THE APARTMENT -- BOURNE in motion -- five things at once -- checking the window -- kicking the gun away -- grabbing the red bag -- grabbing what he can -- no time to spare and --

MARIE standing there in utter shock -- paralyzed -- the picture in her hand -- the broken glass -- all of what just happened --

BOURNE -- that's it -- grabbing the backpack -- pulling it on -- just about to make his move --

She's standing there. Just utterly swamped. Lost.

A CROWD is gathered around CASTEL'S BODY. Rubberneckers and people pointing up to the broken window -- THE CONCIERGE running out to the street and getting the news and THE SOUND OF SIRENS bleeding in from the distance and --

115 THE CAMERA PULLS BACK TO FIND 115

THE LITTLE RED CAR pulling out of the alley. Turning away from the scene. Disappearing into the streets of Paris --

THRONE ROOM DOORS flying open -- WOMBOSI exploding out into the hallway --

SIX KIDS -- TWO WIVES -- THREE BODYGUARDS -- all startled by this steamrolling mass of energy and paranoia --

117 A MASSIVE ONE-TAKE TRACKING SHOT 117

DEAUVAGE on his feet -- racing to follow -- KIDS scattering out of the way -- THE WIVES completely unfazed and --

118 WE'RE HEADING DOWN TO THE POOL 118

WOMBOSI stops to look at DEAUVAGE. In the background, we can hear A CHILD CRYING by the pool --

WOMBOSI moving quickly now and WE'RE STILL TRACKING -- taking him into --

119 THE POOL AREA 119

FORTY KIDS going nuts in the water. ONE KID crying. WOMBOSI like a shot -- picking the kid up -- drying his tears -- making a funny face -- getting a smile as --

BOURNE and MARIE stash the red bag in a locker.

AN ELECTRONICS CONSOLE. Super-tech. Meters -- LEDs -- wave- form analyzers -- audio spectrum filters -- all of this gear dancing and responding to every nuance of --

BOURNE'S VOICE -- OVER SPEAKERS -- we're listening to a recording of the call he made from the apartment to the Hotel Marbeouf Paris --

BOURNE/TAPE "Okay. Merci." (pause) "Un moment -- un moment --"

OPERATOR/TAPE "-- sir? --"

BOURNE/TAPE "-- hang on -- I need you to check another name for me -- hang on -- un moment, s'il vous plait --"

122 PULL BACK TO REVEAL 122

A secret studio buried deep in the Langley facility. Equipment up the ass. Five people in this darkened room: AN ENGINEER working the board. CONKLIN looking sour. ZORN in the shadows. ABBOTT sitting there waiting for analysis from - -

MRS. DOYLE. She's late sixties. A long-time spy shrink. An eminence. A diamond-hard, seen-it-all intelligence.

BOURNE/TAPE "Kane. John Michael Kane."

OPERATOR/TAPE "One moment, sir."

MRS. DOYLE nods to THE ENGINEER. She's heard enough.

She turns. Battle lines drawn.

Silence. The idea dangling for a moment.

BOURNE and MARIE stashing the red car.

ABBOTT and CONKLIN walk and talk. They want to get loud, but they can't. Too many people passing by --

Funky. Out of the way. Cash and carry. No-questions-asked kind of flop. Our establishing shot somehow includes THE PROPRIETOR and HIS DOG.

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. There she is. Her turn to stare at herself and wonder.

And then she smells something. 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. Bourne's face -- melting -- bubbling -- finally disappearing, -- BOURNE letting go just before it burns his fingers and --

BOURNE sits back. And there's MARIE standing there. And she's holding out her passport --

He looks at her. Big moment.

He looks away. Silence. And then, she touches him. His shoulder.

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

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...

THE PROFESSOR arriving in Paris. Coming through the terminal as his pager goes off -- never even stopping as he reads and - -

129 ................................................... 129

130 HOTEL SEQUENCE -- SKETCHED ONLY 130

HOTEL MARBOEUF PARIS. This is the place that answered the phone when Bourne hit redial in his apartment. This is the place that John Michael Kane was staying when he "died."

And so begins, the investigation...

Now, since the presence of danger -- ie Wombosi's guys and/or Treadstone -- is still up in the air, and since this scene could either play very quickly or very long, and since we're not exactly sure where we stand with page count -- this scene is not finished.

The rules of the scene, however, seem to be thus: Bourne would have to be very nervous about being recognized.If he was Kane and Kane stayed here, he's not the guy to do whatever "social engineering" needs doing.

Long version? Bourne sets the table and Marie gets the goods. Somehow there's a threat from Treadstone or Wombosi.

Fast version? It's all results -- we see them execute a plan rather than work it up. MARIE is already in the hotel. In a hotel uniform? Posing as a guest? In any case, she looks very much different than we've ever seen her before.

She gets close to the office. Hides. Waits. BOURNE calls the desk from a pay phone. Asks for something. We see that some sort of improvised booby-trap has been set inside the hotel to start a fire. In the confusion -- MARIE -- very bravely -- gets into the office. We do a quick cut outside to Bourne waiting and --

131 ................................................... 131

Walk and talk. BOURNE and MARIE leaving the hotel fast. He's on alert -- always on alert now -- making sure they're not being watched. And she's excited and pumped -- she did it! -- she's got the hotel record in hand --

Vacancy wasteland. Dead phone lines hanging. Carpet pulled up. Completely stripped out. BOURNE and MARIE standing there staring.

She turns around -- and what's he doing? -- BOURNE with a piece of paper and pencil -- or something/anything resourceful and handy -- maybe it's carpet lint -- maybe it's breaking the glass on the door and holding it up to the light -- or a rubbing -- anyway, he's doing something ingenious with the glass door --

And as he's doing this, we're hearing --

We're watching the MPG LOGO emerge and seeing BOURNE and MARIE react, as we hear --

BOURNE on the pay phone. MARIE behind him at the bar. He's got a pad and paper. This is all business.

Dial tone. BOURNE making a note. And as he does --

TIME CUT -- one minute later -- call number two --

BOURNE hangs up. Scribbles down the number. Backing away and --

CONKLIN and the RESEARCH TECHS jamming on the console --

RESEARCH TECH #1 -- I'm on it --

RESEARCH TECH #2 Sir. (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.

CONKLIN turns and --

CONKLIN left hanging. ABBOTT clear on this one.

Monolithic tech. Reflection city.

BOURNE dressed for success. Suit. Cleaned up good. Catching his reflection in the elevator's mirrored ceiling. Nerves on edge.

ALLIANCE SECURITY MARITIME DIVISION. Glossy posters of yachts, tankers and luxury sailboats. BOURNE standing there. Sucking it up. God knows what he's walking into here and --

A SECRETARY leading BOURNE through a suite of offices and into --

Meet RAWLINS. He's a young, jolly Brit -- pink and overfed -- and quite shocked to see...

BOURNE just trying to feel his way through this...

A long awkward beat. Neither of them sure where to go.

Another beat. Rawlins holding back until now...

RAWLINS smiles. Reset. Sales mode.

BOURNE entering. And there's MARIE in the back working a payphone -- waving for him to sit -- she's onto something.

BOURNE sits. Pulls out the Alliance Security Brochures and literature. Flipping through it. Boats. Water. He's getting closer. Pictures of yachts and various security blurbs and a list of references for huge yachts -- jobs they've done in the past...

THE TWO MORGUE ATTENDANTS watching BOURNE put down a hundred dollar bill. MARIE standing a little off -- she will not be comfortable in the morgue.

ATTENDANT #1 (picking up the cash) (What was the name again?)

ATTENDANT #2 (It's number 121.)

ATTENDANT #1 (Our boss could come back. We're not supposed to.) BOURNE pulling out another hundred and --

143 MORGUE FREEZER ROOM 143

It's showtime. MARIE back by the door. BOURNE right on it. ATTENDANT #1 pulling open the freezer and...

BOURNE sags. ATTENDANT #1 looking baffled.

INSERT -- FREEZER #121 -- it's empty.

ATTENDANT #1 (This guy, he came to see the American, but the body, it's missing.)

ATTENDANT #2 (It's not in the book.)

144 FRONT DESK AREA 144

BOURNE there first -- all forward motion here -- balls out --

MARIE trying to take the hint, but she's curious what he's doing --

But he's not writing -- he's ripping -- tearing the page out of the book --

And that shuts up the room.

THE TWO ATTENDANTS rushing to help their boss --

BOURNE grabbing MARIE and pulling her out the door --

Moments after the morgue. BOURNE striding away. MARIE struggling to keep up. And BOURNE is different now -- zoning in -- he's close -- he's hardening --

BOURNE ignoring her -- ripping through the Alliance Security brochures -- scanning them as he walks --

MARIE just stops. Reeling.

BOURNE walking away. Into Paris night and --

ABBOTT alone here. On the phone. Looking up to see --

ABBOTT jumps off the call. Eyes never leaving ZORN.

THE PROFESSOR -- A MOTORCYCLE -- screaming through traffic and --

VIDEO MONITOR -- there's BOURNE -- staring up and --

VIDEO MONITOR -- different angle -- more clandestine -- but same deal -- there's BOURNE just standing there and --

BOURNE live. On the street. Bathed in a streetlight. Staring up at a security camera.

Total hero moment.

I'm here. I'm waiting. I know you're watching.

Confusion to say the least -- WOMBOSI -- pistol in hand -- moving as fast as he can through the clutter -- KIDS scattering as he follows DEAUVAGE -- racing for THE SECURITY

152 ROOM -- 152

CONKLIN -- ZORN -- ABBOTT -- THE TECHS -- everyone plugged into the tension here --

COMM TECH #1 -- minutes -- he's close --

THE PROFESSOR on the speeding cycle -- closing in fast and --

BOURNE standing there as the FRONT GATE opens. The moment. The big deep breath. He's walking in --

Uglier by the second -- desperation madness --

DEAUVAGE and BODYGUARD #1 giving BOURNE a serious pat down.

DEAUVAGE doesn't answer -- spinning BOURNE around -- they're really going over him --

CONKLIN on his feet -- ABBOTT beet red -- this is getting loud --

ABBOTT just shaking his head no.

And CONKLIN snaps -- suddenly he's over the console -- there's the button -- and he's pressing it and --

THE PROFESSOR in position -- roof of the house next door -- hum -- hum -- hum --

It's the E-PHONE PAGER -- he's just been activated and --

BOURNE being marched toward the throne room doors -- DEAUVAGE and BODYGUARD #1 flanking him -- KIDS and WIVES staring as he passes -- 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.

BOURNE steps up to the plate.

KIDS have started sneaking into the room -- DEAUVAGE is trying to scoot them out but --

BOURNE watching the kids -- they are all staring --

There is A BOMB on the throne now.

BOURNE -- caught off guard as -- WOMBOSI suddenly rips away his jacket -- so hard that he tears straight through to the shirt --

BOURNE'S BACK -- bare -- two bullet scars -- still raw --

BOURNE imploding -- this news -- the kids staring at him -- the bomb -- it's all getting loud around him --

BOURNE distracted by the kids -- these faces -- it's...

BOURNE not sure -- about any of it --

He doesn't have to say it twice -- they know the drill -- they're gone.

DEAUVAGE closing the doors and as he does --

161 THE PROFESSOR ATTACKS... 161

162 ................................................... 162

163 THIS SCENE HAS NOT BEEN WRITTEN 163

It's a shootout.

The Professor is infinitely more talented at this than the bodyguards.

Bourne needs to get out of there -- without looking wimpy --

No children are harmed.

As the Professor rallies -- he will shoot Wombosi -- 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, he will take a parting shot at the bomb still sitting there on the throne.

There will be a huge, trailer-worthy explosion.

This might not want to be very long. There is an extensive action sequence just around the corner.

So Bourne escapes. Physically he's just weary. Emotionally he's fucked.

All of that happens and we cut to --

164 ................................................... 164

CONKLIN flipping out -- THE PROFESSOR is not responding --

COM TECH #1 -- he's not responding --

COM TECH #2 -- we just ran a remote diagnostic, sir, it's not the unit --

ABBOTT looks like he might puke. ZORN watching his career burn to the ground around him.

CONKLIN grabbing shit -- like a madman --

CONKLIN splits and --

It's really late. BOURNE enters the room. MARIE in the corner. Smoked out. Cried out. Lifed out.

Silence. Not a word.

His shirt is torn to shit. He scraped-up -- blood here and there. He moves past her into --

BOURNE nods. Turns off the light. Takes her hand. And they lay in bed. Just laying there.

THE PROFESSOR cooping somewhere. Tending to his wounds. Ignoring his pager. He's slipped off the grid.

BOURNE and MARIE packing up to hit the road. Together.

169 ................................................... 169

170 DOUG'S ROUGH DRAFT OF THE BIG ACTION SEQUENCE 170

MARIE dropping off the key. Hope hangs in the air --

BOURNE enters. He's got the black duffel. Car keys.

And now they're headed for the door. Something doesn't feel right for BOURNE -- and then he notices --

Bourne turns back to the CLERK.

Suddenly -- just like that -- everything's different --

Now MARIE doesn't need a second warning --

-- those words -- the way he said it -- she's grabbing her purse, clearing out of the room. Slamming the door behind her -- click -- it's locked.

No answer -- too busy -- reaching under the check-in desk, coming up with -- A SHOT GUN, an old one, but nonetheless a gun --

And now BOURNE is moving, pulling open a drawer. A box of shells. Filling his pockets.

And he is moving down the small hallway. Away from the front door -- towards the back door under the stairs.

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.

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.

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 --

They close the window behind them -- catch their breath --

BOURNE shakes his head. Tucks the gun under his coat.

And now he is opening the door -- they step into --

STARTLED KITCHEN WORKERS stare as BOURNE and MARIE calmly walk out of the bathroom and head towards the front door of the empty restaurant. Quiet.

And then they open the door to the street and --

The first thing we notice is noise. The street is burgeoning with life. The second thing we notice are SIRENS. POLICE CARS approaching. BOURNE and MARIE head down the street, blending in.

Up ahead -- TWO POLICE CARS snaking through traffic.BOURNE steers them off this crowded street.

And BOURNE and MARIE are hurrying down this street when -- BAM -- The PROFESSOR comes out of a building -- across and down the street. No time to hide -- he's seen them -- he's FIRING.

BOURNE tackles MARIE to the ground behind a car. RATATAT -- The PROFESSOR is literally shredding it. And now BOURNE is moving --

And BOURNE is on the offensive. BAM! BAM! Moving towards the PROFESSOR who is ducking behind cars on the other side.

They are shredding the street -- FIRING ruthlessly at each other and -- NOW THE POLICE ARE HERE -- BLOCKING both ends of the street. GUNS are drawn -- BOURNE's vulnerable on two flanks. The COPS are YELLING. And now --

THE PROFESSOR BLASTS the COPS -- And now things have changed.

THREE WAY FIREFIGHT and BOURNE grabs MARIE and they dive into --

And the PROFESSOR shreds the store as BOURNE attemps to fire back. SHIT flying everywhere in here -- hard to see and -- The PROFESSOR is advancing on them -- cops are no match for his fire power. They move to the back -- kick open a door --

BOURNE and MARIE cross this small courtyard, the PROFESSOR is right on their heels. CRASH through a door -- and now they are in --

COUPLE of ASIAN WOMEN sewing in here. One MAN in charge -- and BOURNE and MARIE charging through -- the MAN about to say something -- but now the PROFESSOR is on their tail and --

Making god knows what in here -- vats of something. Small grouping of workers -- BOURNE shutting the door behind him -- it's shredded with BULLET HOLES. BOURNE and MARIE racing to the next door as -- BAM -- the PROFESSOR kicks the door open - - BOURNE about to fire -- but there is a WOMAN right behind the PROFESSOR! Can't do it -- turns to run as -- RATATATAT --

The PROFESSOR FIRES as BOURNE and MARIE dive into --

And now CHICKEN feathers are flying everywhere -- the glass at the front of the door is shattering. BOURNE and MARIE make it through the gauntlet.

And BOURNE and MARIE are running. And he is reaching into his pocket -- fishing around -- and just as he pulls out the car keys -- we recognize this as the street they parked their car on and --

BY MARIE's CAR

BOURNE unlocks the door -- pops MARIE's open. And --

THERE'S A COP -- yelling at them and -- BOURNE hits the gas -- they fly out of their parking space -- BAM!! The COP fires, shattering their windshield and there -- up ahead -- THE PROFESSOR coming out -- 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.

BOURNE and MARIE looking back nervously -- so far all over --

184 ON THE STREET 184

The PROFESSOR looking around. PEOPLE staring at him -- covered in blood -- the COP racing up -- yelling -- not yelling for long because the PROFESSOR is firing at him and --

Now the PROFESSOR is moving -- not running -- just a swift walk and now he's past the truck -- and --

A MOTORCYCLIST comes flying down the street -- oblivious -- going way too fast for these streets and -- the PROFESSOR swings his gun stock like a bat -- takes him out -- clean and smooth -- 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 --

HIGH SPEED CAR CHASE. And BOURNE better do some fancy driving because here comes the PROFESSOR -- and he's a lot faster -- much better armed.

BOURNE driving. MARIE looking back -- seeing the PROFESSOR gain on them --

And -- THE PROFESSOR FIRES -- SHREDS the back off their car --

And now she's got his shotgun, leaning out the window.

BOURNE swerves, up on the sidewalk back onto the street -- slaloms through the traffic -- racing towards an intersection and --

187 IN THE INTERSECTION 187

CARS coming the other way, 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 -- he is THROWN clear through the intersection, right into the windshield of an oncoming car and --

He gets up, grabs his gun and works his way towards his bike and now we see --

COPS are mobilizing -- swarming into this area and --

BOURNE and MARIE pick up a few cops on their tail -- shed all of them -- the last car goes into an EXPLOSIVE FLIP -- the PROFESSOR is now right behind them. And now we are into --

189 CRAZY CAR CHASE WITH COPS RIGHT ON THEIR TAIL 189

BOURNE, 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 --

190 CAR CHASE THROUGH NARROW STREETS 190

MARIE'S CAR and the MOTORCYCLE can pass where the police cars cannot. BOURNE may be able to shed the cops, but not the PROFESSOR. And now one quick move and they are --

Racing against traffic up the Seine. Past the Louvre. COPS pursuing on the other side of the river. BOURNE and the PROFESSOR leaving behind a trail of carnage. And now --

The PROFESSOR is pulling up along side them -- one lane over. Both swerving to avoid oncoming cars and --

MARIE FIRES -- TWICE -- TAKES out a few windshields.The PROFESSOR fires at the same time -- MARIE'S CAR DOOR -- GONE - - she's totally exposed but --

THE PROFESSOR -- his BIKE is SPOUTING GAS -- one of the pellets nailed his tank.

192 BOURNE AND MARIE -- 192

THE PROFESSOR -- No problem -- he's unwrapping a piece of duct tape from the barrel of his gun -- two seconds and the hole is patched and -- BOURNE AND MARIE -- the side of the car is completely gone -- the PROFESSOR is gaining -- across the river dozens of police cars are racing alongside.Many more can be seen on their side -- a road block ahead -- running out of options and --

BOURNE turns hard -- crashes over the sidewalk and flies down a side street. A POLICE CAR pulls out behind them -- the PROFESSOR can't stop -- skidding hard, turning the bike sideways, skidding out -- sliding across the ground and BAMMM!!! SMASHING into a GLASS PHONE BOOTH which shatters.

And he's up -- lifting up his bike and --

193 BOURNE AND MARIE 193

SIX POLICE CARS on their tail -- more joining. Every street they look down has POLICE CARS racing in parallel. Running out of options and in the background --

THE PROFESSOR is back in the game -- passing the police cars and up ahead --

THE ROAD IS BLOCKED. POLICE ROAD BLOCK -- cops with guns. Gotta act quick and -- BOURNE turns hard left -- there's a metro staircase -- only way out and --

THEY BOUNCE down the stairs. CRASH through the doors down below.

THE FIRST POLICE CAR -- no way he's following. SLAMMING on his brakes. SKIDDING to a halt -- SKIDDING sideways -- gonna stop in time -- just at the edge of the steps and then --

THE SECOND POLICE CAR isn't braking -- T-BONES the first car - - BAM!!! -- sends it rolling sideways down the steps until it crashes to a halt at the bottom -- upside down.

THE PROFESSOR -- he's turning -- heading for a 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 --

194 THE METRO PLATFORM 194

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. He's 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 --

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 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.

196 IN THE LAST METRO CAR 196

The window is shattered and the PROFESSOR lets himself in -- wind whipping through his hair from the shattered windows. And --

197 IN THE FIRST METRO CAR 197

BOURNE and MARIE finally getting a breather. BOURNE keeps looking back -- nothing -- the train is deserted. Finally --

And ahead -- daylight -- the train tracks go above ground and as the train hits daylight -- we see the PROFESSOR directly behind BOURNE on the other side of the glass and --

CRASH! The PROFESSOR grabs BOURNE through the glass, ramming his head into the metal as --

BOURNE grabs the knob, swings the door open and CRUSHES the PROFESSOR -- CRUSHES him again and now he is free and --

BOURNE turns, pulls up the shotgun and -- the PROFESSOR kicks it out of his hands -- it clatters to the ground and now we have a beat -- THE TRAIN CAR races across the Bir Hakeim bridge -- all of Paris laid out behind them. BOURNE and the PROFESSOR squaring off -- both looking at the gun -- realizing there's no chance for either one of them to get it and --

A BRUTAL RUTHLESS FIGHT breaks out. BOURNE's motivated -- the PROFESSOR's crazy -- makes it a pretty even match. 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.

And BOURNE takes the gun from her -- standing there -- reloading -- both barrels -- raising the gun -- aiming it --

198 ................................................... 198

THE PROFESSOR sitting there. Like a dummy. Like a puppet that's been propped up. He's fucked -- his whole side ravaged with shot -- his arm shredded -- hand barely there -- blood flowing fast --

THE PROFESSOR staring up at the gun. Stunned. Doomed. Mouth dry. Eyes struggling to make sense of the chaos.

BOURNE lowering the weapon -- head swimming --

He's losing blood fast -- things inside him seizing up --

THE PROFESSOR -- coughing -- a spasm -- helpless --

And he's gone. Like that. Sitting there. And BOURNE looks paralyzed too. Kneeling there. Stalled out.

BOURNE doesn't answer -- can't, because there's this sound -- this pulsing hum -- BOURNE reaching into THE PROFESSOR'S POCKET and --

INSERT -- THE E-PHONE PAGER -- covered in blood -- hum -- hum -- hum -- BOURNE'S HAND wiping at the blood that covers the display --

BOURNE staring at it. Very familiar to him.

BOURNE and MARIE racing back through the cars -- away from the scene of the crime and --

THE SHATTERED TRAIN pulling into the station -- doors opening -- SCREAMS ECHOING through the station from up the platform and --

BOURNE and MARIE getting off the last car and --

Two minutes later. BOURNE and MARIE -- exhausted -- beat -- Everything all at once --

She turns. He's holding the locker key.

But she doesn't move.

She takes it. Staring at him. Simply refusing to cry.

MARIE takes one last look. And she's running --

BOURNE hangs there a moment -- listening to her go -- and then he pulls out THE E-PHONE PAGER. And it's pulsing like crazy.

BOURNE flips open the shell. There's a keypad in there.

Holding it. Like a missing organ.

Remember MANHEIM? He's still there waiting. And his pager goes off, and --

A safehouse -- CONKLIN filling a burn bag -- racing -- everything's going --

CONKLIN done with the dirty work -- out into the street --

As he's about to leave -- he hears a sound -- a familiar sound -- hum -- hum -- hum --

He cross the street -- looks down to the Quai below --

Holy shit -- there's one of his E-PHONE PAGERS --

He goes down -- picks it up --

And now --

CONKLIN wheels around. There he is. Right behind him.

So now you know.

BOURNE showing nothing -- or is he trying too hard not to?

And with that, BOURNE scrambles up a wall -- like it's nothing -- CONKLIN just left there -- on the Quai -- in the dark --

BOURNE walking away -- faster and faster --

MANHEIM -- A CAR PARKED IN THE DARKNESS -- sitting alone with his briefcase. Opening it. There's his gun.

BOURNE -- walking -- deeper into the darkness and --

MANHEIM -- in the dark car -- loading the weapon -- calm -- steady -- methodical and --

BOURNE -- walking and --

MANHEIM -- stepping out of the car -- closing the door quietly -- deep in the shadows and --

BOURNE -- still coming -- the darkest part of the path just ahead and --

MANHEIM -- raising the gun and --

208 THE CAMERA SPINS TO HIS TARGET AND -- 208

IT'S CONKLIN! -- just climbing back up from the Quai --

MANHEIM -- the gun -- phftt -- phftt -- phftt --

CONKLIN -- three holes -- head -- heart -- gut -- his body dropping like a stone beside his car.

MANHEIM walks over. Looks down. Point blank -- phftt -- that makes it four and --

ABBOTT and ZORN alone in the dark. As a red light begins pulsing on the console.

That red light means Conklin's dead.

After a moment, ZORN moves to the console and shuts the light off.

BOURNE still walking. And he's just gonna keep on going, as we --

DISSOLVE TO

MARSHALL at the head of the table. A cadre of INTEL HONCHOS.

ABBOTT in the hot seat. ZORN right there beside him.

ZORN handing ABBOTT the next hundred pages.

ABBOTT is just gonna go on and on and on.

Gorgeous Summer day. A SCOOTER RENTAL SHACK near the beach.

THE HAPPY COUPLE rides off.

MARIE turns back and --

There's BOURNE. A new look. A smile.

Beat. He smiles.

Her turn to smile. And we...

213 THE END 213