"THE BOURNE SUPREMACY" (2004)

The Bourne Supremacy

Compiled from drafts Dated 7/11/03 9/17/03 10/13/03 By Tony Gilroy

Dated 11/14/03 11/19/03 By Brian Helgeland

Based on the novel by Robert Ludlum and

The 2002 Universal Film "The Bourne Identity"

GREEN: 1/13/04 YELLOW: 12/11/03 PINK: 11/27/03 BLUE: 10/13/03 WHITE: 9/17/03

FOR EDUCATIONAL PURPOSES ONLY

It's raining...

Light strobes across the wet glass at a rhythmic pace...

Suddenly -- through the window a face -- JASON BOURNE -- riding in the backseat -- his gaze fixed.

A1 INT. MERCEDES -- NIGHT A1

On his knee -- a syringe and a gun --

The eyes of the driver, JARDA, watching --

BOURNE'S POV -- the passenger -- back of his HEAD -- cell phone rings -- the HEAD turns -- it's CONKLIN --

BOURNE returns his stare...

CUT TO --

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

A2 INT. COTTAGE LIVING AREA/BATHROOM -- NIGHT A2

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

One minute later. BOURNE moves out onto the veranda.

MARIE pads in. Watching him for a moment. Concerned. Clearly it's not the first time this has happened.

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

She lays her hands on his shoulders, steadies him.

She smiles. Kisses him. Leads him back in.

MARIE getting BOURNE into the bed. Turning down the light. Getting him settled. Waiting for that pill to kick in. What would he do without her?

He hesitates. But that gets him. He knows she's right. And with that opening, he's letting go. Resistance folding. Almost childlike. She's gathering him in. He's letting her do it...

Silence. She strokes his face. He gives in to her tenderness. He's fading. Two waifs in the dark.

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

A busy market town. Fishing town. Hippie town. Lots of young Western faces. Rundown and happening at the same time.

MARIE shopping. Filling a bag with local produce.

BOURNE still running, leaving the beach behind.

MARIE back from the market, putting the groceries away. Almost done, when she stops for a moment --

A PHOTOGRAPH. There on the windowsill. A snapshot. Jason and Marie on a beach. Her arms around him. As if she were the protector. Big smiles. Young. Alive. In love.

MARIE smiles.

Funky busy. Colonial facades in vivid, sub-continental technicolor. Loud morning traffic.

CAMERA FINDS

BOURNE coming out of a store with a big bottle of water. He's just finished his run. Standing there, chugging away, checking the scene, when something catches his eye --

HIS POV

THE STREET. A SILVER CAR -- something newish -- pulling down the block -- can't quite see who's driving, but --

BACK TO

BOURNE watching this silver car. So serious he's casual. Nobody passing would notice, but we do: He's on alert.

MOVING WITH HIM AS

BOURNE follows THE SILVER CAR on foot -- natural -- cruising the BUSY SIDEWALK -- blending into the mix -- chugging on that water bottle and --

UP AHEAD

THE SILVER CAR making the corner and turning now --

BACK TO

BOURNE slowing as he reaches the corner --

HIS POV

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

BACK TO

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

MR. MOHAN at his desk. He's a crisp, proper man of fifty. He's just been handed something --

A PHOTOGRAPH OF MARIE -- an old passport picture.

KIRILL across the desk.

A NOTE ON THE TABLE: "I'M AT THE BEACH"

BOURNE has just come in -- just read the note -- balling it quickly. In fact, everything is quickly now, because --

BOURNE is bailing.

Fast. Calm. Methodical. Some exfil procedure that he's honed and choreographed. Packing like a machine --

RAPID TIME CUTS

-- BACKPACKS thrown open on the bed. -- HOUSE CASH pulled from a lamp base. -- CREDIT CARDS taped under the counter.

KIRILL coming out of the bank. Mission accomplished. Heading back to the SILVER CAR. Getting in and --

KIRILL starting it up. Glancing around nice and easy. He's cool. Putting the car into gear, he makes a slow pass * through the marketplace. Eyes everywhere. *

14 DELETED 14 *

BOURNE -- done -- the place is stripped -- pulling on the backpacks -- glancing around -- one last thing -- shit, he almost missed it --

THE PHOTOGRAPH -- the one of he and Marie on the beach -- the one we saw her looking at earlier -- there it is on the windowsill -- jamming it into his pocket and --

A16 EXT. SIDE STREET/PARKING AREA -- GOA/BEACHTOWN -- DAY A16 *

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

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

17 DELETED 17 *

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

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

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

BOURNE coming up the beach the opposite way -- one eye on * KIRILL, one eye on MARIE. *

He arrives just as KIRILL looks up and sees them a * hundred yards away -- a hard stare between them -- BOURNE * bends down -- *

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

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

BOURNE driving. MARIE beside him --

She hesitates. One minute ago everything was fine.

KIRILL already back at the SILVER CAR -- following them * out onto the MAIN STREET -- blocked by the local traffic -- * pulling a HUGE AUTOMATIC PISTOL out from his travel bag.

THE JEEP pulling down this narrow little passageway and --

BOURNE'S WINDSHIELD POV *

MAIN STREET packed with traffic and --

BACK TO

BOURNE not liking this. Eyes all over -- trying to decide.

Trying to decide whether to pull out or back up --

KIRILL trapped in some Main Street gridlock. Glancing back for a way out -- freezing suddenly, because there --

HIS POV -- THE JEEP -- THE ALLEY -- right there -- twenty yards back -- a good look at BOURNE and MARIE -- as they disappear and --

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

BOURNE leaning on THE HORN -- shit, now they've got to wait!

MARIE * ...but you're not -- you're not sure... *

BOURNE * We can't wait to be sure. *

MARIE * I don't want to move again...I like it * here. *

BOURNE * Look, we clear out, we get to the shack, * we get safe. We hang there awhile. I'll * come back. I'll check it out. But right * now we can't -- *

MARIE * -- where's left to go? -- *

BOURNE * -- there's places -- we can't afford to * be wrong! *

KIRILL. Calm. Possessed of a familiar tactical patience. He can't get the Hyundai to the alley from where he is and * it doesn't make sense to go on foot. He checks his rearview.

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

BOURNE sees the HYUNDAI move forward into traffic. THE OLD * VAN is still blocking them from behind -- *

BOURNE * You drive. *

MARIE * What? *

BOURNE * (already squeezing over) * Switch! You drive! *

MARIE * -- where? -- *

BOURNE * -- make the left -- toward the bridge -- *

MARIE scrambling over the seat. BOURNE, eyes everywhere, * checks his watch. *

THE JEEP squirts back on the main street and --

MARIE at the wheel -- adrenaline pumping -- clear running for thirty yards ahead and --

MARIE skidding them into the right turn -- clipping another vehicle -- MIRROR SHATTERING! -- speeding up.

BOURNE scanning behind them -- MARIE moving out to pass -- veering back! -- an ONCOMING BUS -- just in time and --

MARIE bearing down -- pulling out -- gives him a quick smile -- BOURNE knowing he's got a good one here -- *

KIRILL stopping short on a rise. Bit of a view from here. * Gets half out the car to look. *

BELOW -- the JEEP headed for A BRIDGE. He's gonna lose * them. KIRILL'S mind racing. Grabs duffle from the back, * abandons car. *

MARIE driving. BOURNE preps his pistol. Eye out for * KIRILL. *

BOURNE * You keep going to the shack. I'll meet * you there in an hour. *

MARIE * (concerned) * Where are you going? *

BOURNE * I'm going to bail on the other side and * wait. This bridge is the only way he can * follow. *

MARIE * What if it's not who you think it is? *

BOURNE * If he crosses the bridge, it is. *

MARIE * There must be another way! *

BOURNE * I warned them, Marie. I told them to * leave us alone. *

MARIE * Jason, please don't do this...it won't * ever be over like this. *

BOURNE * There's no choice. *

HER POV

The old CONCRETE BRIDGE ahead. Almost there.

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

A34 INT. JEEP -- BRIDGE -- DAY A34

BOURNE -- pistol in hand -- spare clip in the other -- * checks his watch. *

BOURNE * At the end make the left, when I roll out * do not slow down. *

MARIE nods, got it. After a beat... *

MARIE * I love you, too. *

BOURNE * Tell me later. *

MARIE looks ahead.

B34 EXT. LOW WALL -- DAY B34

KIRILL. Eye to the scope. *

SNIPER SCOPE POV

There! The JEEP rumbling across the bridge. No clear target, just the back of the full DRIVER'S SIDE HEADREST.

KIRILL'S FINGER

Squeezing. Firing.

The JEEP jerking.

FRONT FENDER tearing into and along the guard rail -- cement shards fill the air --

BOURNE reaching for the wheel -- Too late!

As the JEEP finally crashes through the flimsy guardrail --

Plummets -- splashes hard -- begins to sink out of sight.

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

An OLD WOMAN looking directly at KIRILL from a doorway. Not quite sure what. But an old Indian woman in Goa? So what.

KIRILL drills her with a look. As she sinks back inside --

Swallowed up. BOURNE and MARIE gone. *

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

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

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

SCOPE POV

The surface of the water. Unbroken.

KIRILL

Scans his perimeter. There's the old woman again. But more people with her. People coming out of the woodwork.

KIRILL checks the surface one last time. Nothing.

He breaks down the rifle in moments -- goes. *

BOURNE -- up into an air pocket held by the jeep's canvas top. A big gulp of air --

And he's back to MARIE. Frantic. Trying to unclip her * seatbelt. Pull her out. But it's all jammed up. *

Bag chucked in the back. All he has left is the scope. * One last look to the unbroken surface. Then it's time to go. KIRILL -- drifting away -- disappears.

The red halo growing bigger. BLOOD. *

BOURNE pauses. MARIE'S face is blank. She's dead. *

BOURNE finally pulling back. Realizing this is * goodbye... *

43-68 DELETED 43-68

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

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

BERLIN

As the man comes to a CHINESE RESTAURANT he stops. Squarely. So he can be seen clearly. Then he enters a STARK GLASS OFFICE BUILDING.

TEDDY/RADIO (V.O.) (cont'd) (CONT'D) He's inside.

TWO MEN cross the square to the Chinese Restaurant. VIC is forty -- steel-ass intel operator -- he carries A LARGE SAMPLES CASE. Beside him, MIKE, younger, ex-Navy-Seal.

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

PAMELA LANDY is 46. A Senior C.I.A. Counterintelligence Officer. Hovering over the communications console.

CRONIN -- Pamela's #2 -- early forties, stone-cold facade -- quarterbacking the operation over the radio --

KURT and KIM are the techs here. His and Her headphones. Ruggedized laptops and comm gear spread around them.

Dark. TEDDY at the window. Another military face. Radio rig. Night Scope. Watching VIC and MIKE pass below him --

TEDDY/RADIO (OVER) "Hub, this is Survey One. Mobile One is in motion. Seller is inside and waiting."

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

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

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

MIKE still walking, alone now, heading away from THE GLASS OFFICE BUILDING toward A VAN parked up the block.

MIKE/RADIO (sleeve mike, earpiece) "This is Escort One. I'm clear."

THE COMMAND POST. CRONIN works the communications * board... *

PAMELA, who has been listening. Just as she's about to give * the final word, KIM raises a finger... *

KIM * Langley... *

She hands PAMELA a phone that's patched into her board. *

PAMELA * (a bit surprised) * Martin? *

THREE MEN -- CIA MANDARINS -- sit around a round table. MARTIN MARSHALL, Deputy Vice-Director, he's in charge. * All is tense. *

MARSHALL * I'm here. So is Donnie and Jack Weller. * We understand you're using the full * allocation for this buy? *

PAMELA * That's where we came out. *

MARSHALL * Still... *

PAMELA * For a thief. A mole. I vetted the * source, Marty. He's real. If it does * nothing more than narrow the list of * suspects, it's a bargain at ten times the * price. *

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

PAMELA * Yes, sir. I'm in total agreement. If * they're fakes, they're expensive. * (furious, impatient) * Gentlemen, I've got the seller on site and * in play. Quite honestly, there's not much * more to talk about. *

MARSHALL looks to his MANDARIANS. Not convinced, but * doesn't want to lose the opportunity. Time to wash his * hands. *

MARSHALL * All right Pam, your game, your call... *

77 DELETED 77 *

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

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

VIC has just passed muster with The Security Guard, he's standing alone at AN ELEVATOR BANK.

VIC/RADIO (sleeve mike, earpiece) "On my way up."

VIC pulling his earpiece. Going dark. Waits for an elevator. *

A80 INT. GLASS OFFICE BUILDING ELECTRICAL CLOSET -- NIGHT A80

Dark. A small room full of wiring and infrastructure, lit by the glare of someone's MAG-LIGHT.

GLOVED HANDS quickly pass over racks of gear and wiring and then stopping at -- the main electrical risers.

They carefully place an EXPLOSIVE DEVICE -- no bigger than a pack of cigarettes -- onto the main riser...

Done with that, here comes A SECOND SMALL EXPLOSIVE DEVICE - - but this one's special, it's being taken from A PLASTIC BAG and mounted down by the floor on a sub-panel --

Done, the hands hold up what looks like a piece of tape. It bears a FINGERPRINT. As the tape is pressed down, transferring it onto the charge --

VIC alone with THE SAMPLES CASE. Pressing the button for rises...2...3...4...5...6... And then, it stops. VIC bracing himself, as the door opens and --

IVAN -- Russian -- the guy we saw outside with the briefcase -- standing in an empty, darkened hallway.

VIC Here?

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

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

CASPIEX-PETROLEUM

Cherbourg -- Moscow -- Rome -- Tehran

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

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

VIC This is everything?

Suddenly -- MUSIC -- a radio -- some tinny pop tune just started playing from somewhere down the hall --

VIC -- what the hell is that? -- alone -- you said alone --

Both of them sure they're being double-crossed --

VIC (CONT'D) (cont'd) (reaching for his ankle) -- who? -- who else is here? --

VIC (coming up with a pistol) -- shut up! -- just shut the --

Freaked by the gun, IVAN to his feet -- VIC pushing him back as he rushes past -- THE SAMPLE CASE spilling cash and --

Wrong.

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

REVERSE TO FIND

The GLOVED HANDS unscrewing a SILENCER, tucking away the weapon. Already in motion before we know what's happened -- pulling a climbing duffel out from his back pack -- stuffing in THE SAMPLES CASE and IVAN'S BRIEFCASE -- all the files -- all the money...

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

He's putting this sheet of paper inside the file cover. Now he's slipping them both underneath the desk, tossing them there as if they fell in the struggle and --

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

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

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

TEDDY/RADIO (sudden, urgent) "Hub? -- we just -- we lost power -- the building! -- the whole place just went dark! --"

CRONIN looking at Pamela -- the first whiff of dread as --

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

86-87 DELETED 86-87 *

A87,B87 DELETED A87,B87 *

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

KIRILL. Heading down the hall. *

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

GRETKOV * (Russian) * (You're early) *

GRETKOV * (It's clean?) *

KIRILL * (Would I bring it?) *

GRETKOV taking over now. Tosses some money on the bed, * checks out the photocopy of the files. *

KIRILL stripping quickly -- *

KIRILL * (I'm taking a shower, it's been a long * day.) *

GRETKOV * (Make it fast, my plane is waiting) *

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

A90 EXT. THE BRIDGE -- GOA -- DAY A90

WORKMEN cluster as a cable winches --

The JEEP is raised from the river bottom. As water pours off of it --

BOURNE -- Watching -- From a distance -- Empty --

B90 EXT. BERLIN OFFICE BUILDING -- DAY B90 *

Crime scene. POLICE blocking OFFICE WORKERS from getting * in the building. MEDIA vans clogging the street.

PAMELA and CRONIN, across the street, watching.

The mood is black. Ashes.

PAMELA stands there. Silent. Staring at the disaster across the street.

91-92A DELETED 91-92A

A93 INT. SHACK -- GOA -- DAY A93

BOURNE is bailing.

Exfil procedure, but this is a heartbroken exfil.

-- A FOOTLOCKER open. Bourne's main stash.

BOURNE going through the footlocker. Setting aside his 'work clothes' -- other things he needs.

But he also has to separate.

A GROWING PILE of Marie memories: Bank cards. Phony student IDs. Loose passport photos with a mix of looks and hair-dos. Clothes -- vacuum-packed bags -- spare shoes. *

B93 EXT. NEAR THE SHACK -- DAY B93

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

The PHOTOGRAPH -- the picture of he and Marie at the beach. The one from his desk.

BOURNE hesitates, holds the photo out to the flames. The rules of exfil say drop it -- but he can't -- won't --

He reaches to his bag, sticks the photo on top of his gear.

Then, hefting, the bag, BOURNE strides away. *

A folding table covered with XEROXED BERLIN POLICE * PAPERWORK. PAMELA getting a show-and-tell from CRONIN * and TEDDY. *

CRONIN shaking his head. Nobody knows.

C93 EXT. INDIA COUNTRYSIDE -- DAY C93

BOURNE bouncing around on an old Punjab BUS. Alone in a crush of humanity.

Going only God knows where...

94-96 DELETED 94-96

A97 EXT. CIA HEADQUARTERS -- LANGLEY, VIRGINIA A97

PAMELA'S POV as she drives toward the entrance.

C.I.A. HEADQUARTERS VIRGINIA *

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

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

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

Operations Library Center.

100-102 DELETED 100-102

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

TREADSTONE

PAMELA/PHONE (OVER) Ward?

PAMELA/PHONE Pamela Landy.

103A-104 DELETED 103A-104

WARD ABBOTT at his desk. The cluttered clubhouse HQ of a man who's spent the last thirty-five years in the spy game. * A PICTURE WINDOW offers a commander's view of the BULLPEN.

ABBOTT/PHONE What can I do for you, Pam?

PAMELA/PHONE I was hoping you had some time for me.

ABBOTT/PHONE Time for what?

PAMELA/PHONE I'm free right now actually.

ABBOTT/PHONE That sounds ominous. Let me check my schedule.

ABBOTT holds the phone. Eyes drifting out the window and --

ABBOTT'S POV

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

A cold room. Desk. Two chairs. ABBOTT and PAMELA alone.

She has a piece of paper. She slides it forward.

ABBOTT rocked and trying to hide it.

107 DELETED 107

A107 EXT. BAY OF NAPLES -- LATE AFTERNOON A107

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

NAPLES

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

B107 EXT. FERRY DOCK -- LATE AFTERNOON B107

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

As they were. ABBOTT watching PAMELA pull a photo from her file. Sliding it over. CONKLIN'S FACE peering back.

ABBOTT hesitates. Blindsided. What?

A courtesy knock at the door.

109-114 DELETED 109-114

A115 INT. FERRY BUILDING CUSTOMS HALL -- SUNSET A115

Now at the IMMIGRATION OFFICER booth, BOURNE hands over an OLD BLUE PASSPORT. It reads, JASON BOURNE. What's he up to? Is he giving up?

The OFFICER runs the CODE on the passport through the SCANNER.

A TECH turns as a COMPUTER ALARM begins an incessant BEEPING.

THE SCREEN

As Jason Bourne's PASSPORT DATA begins scrolling through. A sleeper waking up on the grid. Then his PHOTO.

WORK STATION

As an Interpol SUPERVISOR leans in over the TECH'S shoulder to see what's up. After a beat...

As the TECH begins typing and hits send...

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

Looking up from his computer, the IMMIGRATION OFFICER gestures BOURNE to one side.

The IMMIGRATION OFFICER comes out of his booth as a CARABINIERI joins him and they escort BOURNE to a small room at the side of the CUSTOMS HALL.

BOURNE scans the hall as he walks, enters room...

BOURNE takes a seat. CARABINIERI guards the room.

Same table. More faces. MARSHALL back in the throne. * ABBOTT, THREE C.I.A. MANDARINS plus THEIR #2'S, and -- *

PAMELA * ...in Warsaw. This is... *

CLICK -- A PHOTO of the man killed in Berlin fills the * projection screen behind her -- CLICK -- crime scene photo * of dead body -- CLICK -- "PECOS OIL" logo -- *

CLICK -- CONKLIN'S PHOTO -- *

CLICK -- A PHOTOCOPY OF A BANKING CONTRACT -- *

MARSHALL signals for quiet...

As the MANDARINS all start talking at once --

ZORN enters. Stands at the head of the table. Tries to * get their attention. *

ZORN * Hey... * (they look up) * Look, you're not gonna believe this, but * Jason Bourne's passport just came on the * grid in Naples.

ABBOTT blinks. What? *

119-120 DELETED 119-120 *

NEVINS. American. A junior, C.I.A. Field Officer. Walking from the parking lot, talking on his cellphone.

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

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

CRONIN * (looks up from computer * screen) * Looks like he's been detained. *

PAMELA * Who's going? Us? *

CRONIN * There's only a Consulate, they sent a * field officer out half an hour ago -- *

PAMELA * (cuts him off) * Then get a number, they need to know who * they're dealing with. *

CRONIN already on it... *

As NEVINS flashes his credentials to CARABINIERI at door, who gives an unimpressed shrug and lets him in.

NEVINS takes his overcoat off, tosses it on the empty chair. We see a big ass .45 for just a second under his suit jacket.

BOURNE, silent, hands over his passport.

NEVINS studies Bourne's passport...

Silence... *

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

NEVINS cell starts to ring. He shrugs an apology, turns * away and answers: *

PAMELA/PHONE * This is Pamela Landy, a CI Supervisor * calling from Langley, Virginia. Are you * with a Jason Bourne now? *

A123 INT. CIA SITUATION ROOM -- DAY A123 *

PAMELA on the phone. *

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

Whatever Nevins is being told, it's concerning. BOURNE watching him. Knows exactly what this is.

CLOSE ON NEVINS as he steps away, listening intently. His hand just starting to move toward his shoulder holster.

NEVINS flips shut his phone. He reaches for his gun, even as he turns, and --

BOURNE is right there in his face. WHUMP! Momentum and gravity reaching mutual agreement as NEVINS hits the deck.

CARABINIERI barely clears his holster before -- CHOP -- CHOP -- BOURNE has him down in a heap.

BOURNE is back, silent and effective.

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

FINALLY

BOURNE -- exits the door, wedging a desk under the handle so it cannot be opened from the inside and calmly walks away like nothing ever happened --

And now we see the old BOURNE, in his long black coat, purposely striding out of the building. He pauses long enough for the security camera to get a good look at him.

THE RONIN returns.

BOURNE crosses the street and approaches a man putting his suitcase in the trunk of a green Peugeot. BOURNE reaches into his bag, pulls out some cash.

126 DELETED 126 *

NEVINS stirring, the CARABINIERI still out. A phone starts to RING. Nevins' phone. Finally sitting up, he answers.

128-129 DELETED 128-129

PAMELA at the other end of the line.

PAMELA/PHONE Mr. Nevins?

NEVINS/PHONE Who's this?

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

A130 INT. FERRY/SECURITY HOLDING ROOM -- NIGHT A130

Nevins barely knows where he is.

BOURNE sits in the dark car. Headphones. A nest of cool gadgetry -- on the passenger seat. Listening in -- * recording --

He writes: Pamela Landy -- circles it.

NEVINS/PHONE I think... I think he got away. *

PAMELA looks at the faces waiting around the table. Shakes her head no... *

PAMELA * Have you locked down the area? *

NEVINS/PHONE Ah, we're in Italy. They don't exactly * "lock down" real quick...

INTERCUT -- BOURNE -- NEVINS -- PAMELA --

PAMELA/PHONE How long have you worked for the agency?

NEVINS/PHONE Me? Four years.

PAMELA/PHONE If you ever want to make it to five, you're gonna listen to me real close. Jason Bourne is armed and extremely dangerous. A week ago, he assassinated two men in Berlin, one of whom was a * highly-experienced field officer... * (continuing as--)

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

PAMELA/PHONE (CONT'D) I want that area secured, I want any evidence secured and I want it done now. Is that clear?? *

NEVINS/PHONE Yes, sir -- ma'am...

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

BOURNE already turning the key in the ignition -- THE PEUGEOT ROARING TO LIFE, as he writes the number. *

Dropping the car into gear, BOURNE pulls briskly away from the curb.

A131 INT. C.I.A. SITUATION ROOM -- DAY A131

PAMELA finishes, hangs up.

ABBOTT * Berlin! *

PAMELA * I've already got a team there. I doubt * Bourne's in Naples to settle down and * raise a family. *

ABBOTT * You don't know what you're getting into * here. *

PAMELA * And you do? From the moment he left * Treadstone, he has killed and eluded * every person that you sent to find him... *

Before it can come to blows --

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

AA131 INT. CIA HEADQUARTERS HALLWAY -- DAY AA131 *

PAMELA and CRONIN come screaming around a corner and down * a long corridor, ABBOTT and ZORN trying to keep up. *

CRONIN * -- Kurt's reopening all the wyfi and sat * links -- *

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

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

B131 EXT. AUTOSTRADA -- NIGHT B131

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

132 DELETED 132

BOURNE driving -- listening to playback of Pamela's conversation with Nevins.

PAMELA/TAPE "Jason Bourne is armed and extremely dangerous..."

BOURNE'S FACE -- eyes -- tight -- looking weird --

PAMELA/TAPE (cont'd)

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

A133 SUDDENLY A133

FLASHBACK! -- a shard -- pieces -- lightning flash of images GETTING IN THE BACK SEAT OF THE CAR -- rolling BRANDENBURG BERLIN -- A MIRROR -- THE TELEVISION TOWER --

THE DRIVER looks back. We see him. (We'll know him later as Jarda.) Then -- A STEEL CASE on the backseat. Inside a SYRINGE, A DARK VIAL, PISTOL. As we lay hands on them --

B133 BACK TO: B133

BOURNE out of it -- jolted! -- almost losing control of the car for a second -- jerking back into his lane, -- recognition -- toughing it out -- Steady as she goes --

Catching his rhythm again. Accelerating and ---

A BAKERY on the corner. NICKY emerging. Nicky from the old days. Suddenly, she stops --

ABBOTT stands there beside a parked car. The passenger door open. Message clear. Get the fuck in.

Inside a hanger. Inside an office. ABBOTT watching as CRONIN questions NICKY. PAMELA sits on a window sill.

Nicky looks to Abbott. He nods that it's okay to * answer. Pamela bristles at the check-off. *

PAMELA * Amnesia? *

NICKY gets agitated. ABBOTT steps in, fatherly, good * cop. *

ZORN arrives from outside. *

ZORN * The jet's ready. * (points to Nicky) * There's a car for you. *

Everybody moving. NICKY relieved. She's off the hook. * She thinks. She becomes aware of PAMELA considering her. *

NICKY * Good luck. *

PAMELA * You were his local contact. You were * with him the night Conklin died. You're * coming with us. *

Streaks across the sky.

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

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

PAMELA leans away. NICKY looks back out the window. *

Three in the morning as the GULF STREAM lurches to a stop. TWO BLACK SEDANS here for the pickup. TEDDY the greeting party as --

PAMELA, CRONIN, ABBOTT, ZORN and NICKY disembark --

A138 EXT. BERLIN STREET -- NIGHT A138

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

B138 INT. BERLIN HQ/COMMAND POST -- NIGHT B138

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

Everything stops, as THE PHOTO -- blurry, oblique -- begins materializing on HALF-A-DOZEN MONITORS around the room. Suddenly, they're surrounded by Bourne.

Looking closer -- she nods...

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

ABBOTT looks skeptical.

And then, from behind them --

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

C138 EXT. ITALIAN MOUNTAIN HIGHWAY -- NIGHT C138

THE PEUGEOT streaking through the Alps. Passing a sign for the German border. Moonlit glacial peaks whipping past as CLUB MUSIC STARTS PULSING LOUDER AND LOUDER and --

D138 INT. THE PEUGEOT -- NIGHT (CONT.) D138

BOURNE driving hard. Pushing the car through the night. Mission Bourne. As the MUSIC KEEPS JUST BUILDING AND BUILDING, taking us into --

Packed and loud. Skin and smoke. A DOORMAN on the move, taking us with him through THE CROWD. Faces -- voices -- all the Moscow party people and --

AT THE BACK

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

KIRILL stirs. His stupor a futile attempt to escape. Eyes still those of an exceptionally hard man.

A minute later. KIRILL can walk. The most graceful drunk you've ever seen. Making his way through the club. Tuning out everything but the need to get to THE DOOR and --

Yes, day. It's nine a.m. KIRILL suddenly in the sunlight. People going to work. Kids off to school and --

GRETKOV sitting in his Mercedes, not happy.

FOLLOW CAR and SECURITY and ASSISTANT equally unhappy.

KIRILL blinking against the sunlight -- trying to process.

141 DELETED 141

Discreet and chilly. A car pulls up. A MAN gets out.

MUNICH

We don't see his face as he heads in.

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

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

INTO

THE KITCHEN. He drops his briefcase on the table, opens the fridge for a drink. Except what he comes out with is --

A GUN!

Wheeling around. The salaryman is JARDA. JARDA from Bourne's dream. But as he turns --

BOURNE behind him. Bigger gun. Waiting. So ready.

JARDA lets the gun fall, looks his old comrade over a beat.

But Bourne's not interested in a reunion.

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

BOURNE kicks over a chair. Sit.

BOURNE checking JARDA'S briefcase -- tearing through it --

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

BOURNE turns. Cold.

Silence. JARDA down a peg. Or two.

BOURNE -- the gun -- right to Jarda's face --

BOURNE/PHONE Then who runs Treadstone?

-- he's falling! -- landing hard -- BOURNE just kicked the chair out from under him --

Silence. BOURNE pulls back. Unsure.

JARDA makes it to his feet.

BOURNE doesn't know. He backs off.

JARDA hesitates. It's really like Bourne just told him how much he loved her.

Something in the way he said it. Plus Jarda just glanced at his watch.

JARDA shrugs, almost embarrassed. BOURNE looks across to the alarm pad Jarda hit on the way in. Voltage -- like a switch.

THE PHONE JUST STARTED RINGING -- loud -- insistent --

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

JAR #3 (on the phone) -- it's a red flag file! -- so fix it, call them back ASAP! --

JAR #1 (the call) What? What'd they do?

JAR #3 (bad news) She called Munich local.

JAR #2 (slamming home another clip) It's probably just a drill anyway. *

PHONE RINGING -- JARDA in cuffs -- BOURNE scanning out the windows -- everything fast --

BOURNE hesitates -- just a moment --

Wrong.

SLAM! -- out of nowhere -- JARDA swings -- two-hands -- still cuffed -- like a mace -- catching BOURNE hard and --

BOURNE stunned -- JARDA smashing the coffee table, slices the flexcuffs through on a shard of glass -- Free!

JARDA follows up -- knee up in the ribs -- THE GUN KNOCKED FREE FROM BOURNE'S HAND! -- skittering across the floor -- BOURNE -- as JARDA starts to move -- backhanding him and --

TWO MUNICH PATROL CARS rolling and --

Seen from inside, glimpsed through the glass outside.

It's war -- a flat-out, close-quarter death match -- JARDA older and cuffed, but strong and determined -- BOURNE still hammered from that opening sucker-punch -- the two of them braced there -- grappling -- falling --

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

Jamming along through Munich --

JARDA -- BOURNE -- THE GUN on the floor -- struggling for it -- JARDA there first -- BOURNE on him -- pinned there -- four hands, one gun and --

BLAMM!!! -- wild shot -- into the refrigerator --

Still wrestling -- breaking JARDA's nose, until --

The gun knocked away again.

Finally their hands locked into each other's throats. This is as real and up close as it gets. Until, BOURNE finally holds dead weight. Eyes fixed. Staring...

BOURNE jumping back. Blood all over his shirt -- BOURNE'S first kill in a long time. A messy one -- Revulsion.

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

BOURNE -- all business now -- pulling THE STOVE away from the wall -- there -- THE GAS LINE HOSE -- BOURNE ripping it free -- gas running wide open into the room --

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

BOURNE coughing from the gas, turning the toaster on.

Checking his watch.

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

152 DELETED 152 *

They're just turning into the street --

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

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

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

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

Drives away past arriving police... *

158-163 DELETED 158-163

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

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

Everyone rushing to look. Excited, except --

CRONIN * (fuck you, buzzkill) * It's not gonna be like last time. *

ABBOTT * Okay, enough... * (stepping in) * Take a walk, Danny. Get some air. *

Zorn nods. Happy to. *

And for the first time they're all thinking the same thing.

It is pouring rain. Seen from that Hellish car, A HUGE, DISTINCTIVE, NEEDLE-LIKE TOWER dominates the skyline, lights flashing through the dark and wet --

BOURNE'S EYES OPENING! -- heart pounding -- springing up -- alone -- damn, his side hurts -- recoiling from that -- where is he? -- he's in the car -- looking around and --

HIS WINDSHIELD POV

AN AUTOBAHN REST-STOP. Gas station. Sleeping trucks.

BACK TO

BOURNE catching his breath -- shifting away from the pain in his rib -- checking his watch -- but what the hell is that on his sleeve? -- fuck, it's BLOOD -- JARDA's blood --

BOURNE out of the car fast -- careless -- wrong -- not even checking who's watching -- pulling off the shirt -- tearing it off -- throwing it down and --

Standing there. In the weird light. A big bruise ripening on his side. Looking around.

It's okay. Nobody's watching. But, shit, man...

Get it together.

A167 INT. PEUGEOT -- AUTOBAHN -- NIGHT A167

Streaking along. BOURNE back to his mission.

B167 EXT. AUTOBAHN -- NIGHT B167

Roaring by a SIGN: Berlin 75 KM.

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

THE CAMERA FINDS

GRETKOV above. Watching him go.

BOURNE drives up.

170-178 DELETED 170-178

Quiet and forlorn this early. Just like BOURNE who's taking A LOCKER. Stashing A BACKPACK. Prepping the evac. Always ready. He heads outside, we hear:

HOTEL OPERATOR #1 (V.O.) (front desk German) (Berlin Hilton, how can I help you?)

BOURNE/PHONE (V.O.) (I'm trying to reach a guest, Pamela Landy, please.)

HOTEL OPERATOR #1 (V.O.) (I'm sorry but I'm not showing that we have a guest by that name.) (continuing as--)

A179 INT. BERLIN TRAIN STATION PHONE KIOSK -- DAWN A179

BOURNE tucked in with a BERLIN GUIDE BOOK, a felt tip pen, and a Fifty-Euro phonecard. Working it.

BOURNE/PHONE (Pamela Landy, please)

HOTEL OPERATOR #2 (Sorry, I don't see it here.)

Crossing out another Hotel off the list -- four down, forty to go -- as we start TIME CUTTING and...

B179 INT. PAMELA'S HILTON HOTEL SUITE -- DAWN B179

Clean and plain. A bed nobody's slept in. THE PHONE begins ringing. PAMELA, fresh from the shower, rushing out from the bathroom to answer it --

PAMELA/PHONE Hello --

Dial tone. PAMELA hangs up. That was strange --

C179 EXT. BERLIN STREETS/ALEXANDERPLATZ -- DAWN C179

A TAXI driving through the empty early streets and --

D179 INT. BERLIN TAXI -- DAWN (CONT) D179

BOURNE in the backseat. Staring out the window and --

HIS POV

THE FERNSEHTURM looming as they pass, the Berlin TV Tower. That needle in the sky. From the flashback. And then --

E179 SUDDENLY E179

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

CONKLIN! -- yes, Conklin -- he's in the passenger seat -- turning back to us -- handing us something -- A PHOTOGRAPH -- a face -- some guy --

BOURNE -- Treadstone Bourne -- alone in the back -- staring at the photo --

F179 BACK TO F179

BOURNE sitting in the back seat of the cab. Frozen there. Rocked. What's happening to him? No chance to work it out, because the taxi's stopped and --

G179 INT. BERLIN WESTIN GRAND HOTEL LOBBY -- EARLY MORNING G179

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

H179 INT. HEALTH CLUB -- GRAND HOTEL -- DAY H179 *

BOURNE stepping up to the GUY behind the desk. The gym * mostly empty. *

BOURNE * Hi. I think I left my backpack here * yesterday. Black, Nike. *

The guy disappears in back to check. *

BOURNE leans across the counter, scrolling the COMPUTER -- * the guest list -- his finger stabbing down on... *

SCREEN: Landy, Pamela 413.

BOURNE clears the screen, walks away.

J179 INT. CONCENTRIC RINGS -- GRAND HOTEL -- DAY J179

Because of the set-up, Bourne, pretending to talk on a house phone, has a view of ROOM 413 across the way. The door opens, PAMELA exits, carrying an overnight bag -- *

BOURNE watches.

K179 INT. LOBBY -- THE GRAND -- DAY K179

ELEVATOR DOORS OPENING. PAMELA coming out into the lobby. Heading toward the exit and --

L179 EXT. GRAND HOTEL ENTRANCE -- EARLY MORNING L179

A BLACK SUBURBAN at the curb. CRONIN standing there * waiting, as she emerges --

PAMELA * Are we locked up? *

CRONIN * I told everyone they had an hour -- eat, * sleep, shave, whatever they want, but * once we're back, we're back for good. *

As they pile in, and -- *

THE CAMERA FINDS

BOURNE walking right past them -- he's got the whole thing scoped -- heading quickly across the street and --

M179 EXT. HILTON HOTEL TAXI STAND -- EARLY MORNING M179

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

N179 INT. BERLIN TAXI #2 -- EARLY MORNING (CONT) N179

THE DRIVER starting up the car, as --

THE DRIVER smiles and --

179I pt. INT. BERLIN AIRPORT HOTEL -- EARLY MORNING 179I pt.

KIRILL walks down the same hallway Gretkov came to meet him last time.

A GUY carrying a briefcase toward him. Stopping for a moment to light a smoke. Letting KIRILL take charge of the briefcase. Smooth. Like it never happened --

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

A180 INT. CAB -- DAY A180

BOURNE looking back out the rear window.

HIS POV

As they pile out of the van, start inside. Acknowledged by a SECURITY DETAIL pretending to loiter outside. As we hear:

179I pt. INT. BERLIN HOTEL ROOM -- DAY 179I pt.

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

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

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

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

BOURNE -- eyes locked on the target. Scanning. Waiting.

And then, something changes. Suddenly, there's something down there that's clearly a great deal more electric than what he's seen so far --

A184 TELESCOPIC POV A184

NICKY! -- she's just come into the kitchenette -- pouring herself a cup of coffee. Nicky who he knows. And --

BOURNE lowering the telescope. Yes. Now he's getting somewhere. Thinking it through, as --

185 DELETED 185 *

NICKY is joined by PAMELA who goes for the coffee.

Before PAMELA can pour, her cell phone rings. She * answers. *

BOURNE/PHONE I was at the Westin this morning. I could * have killed you. *

INTERCUT WITH ROOFTOP

BOURNE * It's me. *

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

He wants to come in! -- it's like a bomb going off -- NICKY back in with Conklin -- PAMELA waving for a pencil.

AND NOW WE STAY WITH

PAMELA -- her eyes flicker over to NICKY.

BOURNE/PHONE It's easy. She's standing right in front of you.

Busted. *

PAMELA * Okay, Jason, your move. *

BOURNE * Alexanderplatz. 30 minutes. Under the * World Clock. Alone. Give her your * phone. *

Click. The line goes dead -- Pamela steps away from the * window, realizing he's on one of the roofs out there! *

A186 EXT. BERLIN ROOFTOP -- DAY A186

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

B186 INT. BULLPEN -- BERLIN HQ/COMMAND POST -- DAY B186

Everyone gathered. A big, detailed MAP of ALEXANDERPLATZ * spread on the table.

ZORN * Here's the clock -- shit -- he's put her * in the middle of everything. *

CRONIN * -- it's a nightmare -- we'll never get her * covered. *

PAMELA looks to NICKY.

PAMELA gestures to ABBOTT, CRONIN, TEDDY.

187 DELETED 187 *

A187 EXT. BERLIN STATION/MOTORPOOL -- DAY A187

The rear of THE OFFICIAL BERLIN C.I.A. HQ -- and here they come -- TEN DELTA DUDES in civvies, sprinting to A COUPLE VEHICLES with DRIVERS ready and engines running and -- *

B187-C187 DELETED B187-C187 *

D187 INT. BULLPEN -- BERLIN HQ/COMMAND POST -- DAY D187

NICKY, her hands overhead as -- ZORN tapes a TRANSMITTER and BATTERY between her shoulder blades -- TEDDY and CRONIN * plot the area with TWO MEN plainclothed DELTA TEAM -- KIM * and KURT on their own lines. *

KIM * (this just in) * They got the number. Bourne's calls came * from Nevins' phone. The field agent in * Genoa. *

TEDDY * Nevins is Bourne? *

ABBOTT * (losing it) * Are you an idiot?! Bourne must've cloned * his phone! *

An embarrassed silence. Abbott mad at himself for losing * his temper -- looking up to find Pamela's eyes on his. *

E187-F187 DELETED E187-F187 *

G187 EXT. ALEXANDERPLATZ -- DAY G187

In all its vastness -- Alone -- there's the WORLD CLOCK -- * NICKY waiting on the periphery, TWO PLAIN-CLOTHED DELTAS nearby.

IN QUICK SUCCESSION -- NICKY -- BINOCULAR POV -- SNIPER SCOPE POV -- on a VIDEO MONITOR.

H187 INT. BULLPEN -- COMMAND POST -- DAY H187 *

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

J187 EXT. ALEXANDERPLATZ -- WORLD CLOCK -- DAY J187

NICKY'S (Pamela's) PHONE rings. She answers as a yellow * TRAM approaches... *

BOURNE * See that tram coming around the corner? *

NICKY * Yes. *

BOURNE * Get on it. *

She turns and walks as the TRAM arrives. The DELTA DUDES * start moving... *

K187 EXT. ALEXANDERPLATZ -- DAY K187 *

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

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

BOURNE * Walk. *

BOURNE takes her arm and they just get off as the doors * close leaving the DELTA DUDE behind. They disappear down * into the PEDESTRIAN SUBWAY. *

L187-M187 DELETED L187-M187 *

N187 INT. BULLPEN -- BERLIN H.Q. -- DAY N187 *

A madhouse, a video feed on a monitor.

As they realize she's gone --

He cranks the speaker.

O187 DELETED O187 *

P187 INT. PEDESTRIAN SUBWAY -- DAY P187

Q187 INT. BULLPEN -- BERLIN H.Q. -- DAY Q187 *

PAMELA all ears.

R187 INT. PEDESTRIAN SUBWAY -- DAY R187

Nicky looks at him like he's crazy.

As BOURNE tries to process --

S187 INT. BULLPEN -- BERLIN H.Q. -- DAY S187 *

Radio chatter going wild. Panic.

T187 INT. PEDESTRIAN SUBWAY -- DAY T187

Still walking. BOURNE knowing he must be driving them * nuts.

She looks at him. Is he crazy? What?

BOURNE * Last week? When? *

Is she supposed to answer? -- Nicky shrugs -- on quicksand.

SUDDENLY --

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

U187 INT. BULLPEN -- BERLIN H.Q. -- DAY U187 *

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

V187 EXT. ALEXANDERPLATZ -- DAY V187

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

W187 INT. PEDESTRIAN SUBWAY -- SECTION TWO -- DAY W187

An INTERSECTION of THREE TUNNELS.

BOURNE leads NICKY far left. She looks really scared.

GRETKOV has landed. Just coming off the flight --

189-A189 DELETED 189-A189 *

190 DELETED 190 *

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

Suddenly he rips the microphone out from under her shirt -- he knew of course -- dropping it as he yanks her along.

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

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

KURT and KIM work their stuff. *

Gloomy, deserted. A mausoleum. Here come NICKY and BOURNE. She knows she's on her own now. BOURNE dead serious. Looks at his watch. *

NICKY * Please -- I'm only here because of Paris -- * because they can't figure out what you're * doing -- I'm here because of Abbott -- *

BOURNE * Abbott? *

NICKY * He closed down Treadstone -- he took care * of me after Paris... *

BOURNE * So when was I here? *

NICKY * What do you mean? *

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

He's so ready to kill her. NICKY starting to cry -- hands over her face -- covering up -- bracing for the bullet she knows is coming --

BOURNE -- about to pull the trigger --

SUDDENLY

A193 FLASHBACK! -- a moment -- a shard -- A WOMAN'S FACE -- A193 backing away -- begging -- begging us -- begging the camera -- PLEADING FOR HER LIFE IN RUSSIAN -- this awful blur of desperation and panic -- fear -- too fast -- too panicked --

B193 JAM BACK TO B193

BOURNE swamped -- thrown -- hesitating --

CLOSE ON NICKY

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

BOURNE IS GONE!

C193 INT. BERLIN HQ/COMMAND POST -- NIGHT C193

An hour later. Whole new vibe. Siege mode. Curtains drawn.

THREE DELTA DUDES parked around the room. KURT and KIM * working the phones and screens.

The mood is dark. PAMELA, ABBOTT, CRONIN all in here, the "safe" zone, away from the windows --

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

PAMELA turns, looking at the photo of BOURNE in Naples. * Introspective. *

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

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

ABBOTT agrees...

194 DELETED 194 *

A BMW parked in the shadows.

KIRILL wearing headphones, listening to a BERLIN POLICE FREQUENCY. There's an INTERPOL "WANTED" PICTURE OF JASON BOURNE there on the seat. He's in play.

D193 INT. BERLIN HQ/COMMAND POST -- NIGHT D193

Quiet, intense activity. MILITARY RADIOS CHIRPING here and there.

THE CAMERA FINDS

ZORN moving through the bullpen, carrying a cup of coffee, heading back toward PAMELA'S OFFICE where --

ABBOTT is leaning in the doorway. Past him, inside, we can see PAMELA in the midst of a tough phone conversation. CRONIN and THE DELTA BOSS sitting there with her.

ABBOTT nods. Takes a sip. Looking beat.

ABBOTT hesitates -- but only a moment -- he never asked for a number. But he's playing along. Looking satisfied as ZORN hands him a slip of paper.

ABBOTT nods. Pockets the paper. Turning back, as if it were nothing and --

E193 INT. BERLIN CYBER CAFE -- NIGHT E193

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

Doing a search HOTEL BRECKER 1997-1999. Scrolling. And then stopping. Freezing. Because...

ON THE MONITOR

A BERLIN NEWSPAPER ARCHIVE. There it is. Written large in loud, tabloid German:

(OIL REFORMER MURDERED) *

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

BOURNE is reading it.

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

F193 INT./EXT. GLASS OFFICE BUILDING -- NIGHT F193

Remember the building where Vic was killed? We're back.

ZORN and ABBOTT making their way in. Zorn steering them away toward a stairwell at the back...

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

ZORN hesitates. But it's out. It's in the room.

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

ZORN is dead.

ABBOTT without hesitation. Shifting away from the blood.

Letting the body fall.

ABBOTT standing there. Listening. Checking himself for blood. He's clean.

Looking for a place to stash the body, as --

A194 EXT. HOTEL BRECKER -- NIGHT A194

BOURNE across the street. Staring at the hotel. Haunted. As a POLICE SIREN edges closer through the empty streets --

AA194 FLASHBACK! AA194

We are a POV -- a stake-out -- watching the HOTEL across the way --

The POV checks its watch -- checks the perimeter, the street deserted, foreboding --

THE HOTEL

Our destiny waiting up there somehow --

-- and suddenly a LIGHT COMES ON -- a terrible signal -- and as the car suddenly lurches forward and around the corner --

AB194 BACK TO: AB194

BOURNE muscling up his backpack. Heading toward the hotel.

B194 INT. HOTEL BRECKER LOBBY -- NIGHT B194

And hotel. Fusty but comfortable. And busy. GUESTS and STAFF doing their thing. A CLERK behind the reception desk.

SUDDENLY

BA194 FLASHBACK! -- the lobby, but seven years ago -- BA194 across the room -- A MAN buttoning a raincoat as he passes -- NESKI! --

BB194 JAMMING BACK TO BB194

BOURNE stalled -- coming back, as --

THE CLERK nods, checking the register. THE CONCIERGE just down the desk glancing over at BOURNE. Nodding hello and --

194C-D DELETED 194C-D

195 SHOT 195 *

A196 INT. HOTEL BRECKER ELEVATOR -- NIGHT A196

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

THE CONCIERGE coming out of the office with a sheet of fax paper. Placing it quietly down beside THE CLERK and --

THE CAMERA FINDS

THE FAX -- BOURNE'S FACE -- the same "wanted" picture and --

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

HIS POV

THE SIXTH FLOOR HALLWAY. Suddenly scary.

A198 INT. BMW -- NIGHT A198

KIRILL sitting up as THE POLICE RADIO starts broadcoasting an ALL-POINTS BULLETIN, the words "Hotel Brecker" in there --

KIRILL dropping the car into gear and --

B198/200 INT. SIXTH FLOOR HALLWAY/HOTEL BRECKER -- NIGHT B198/200

BOURNE walking. There's his room, #618. But across the hall and down one...

ROOM #645. BOURNE steps up. Listening a moment. Then he knocks. Nothing.

He pulls A KNIFE from his pocket.

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

199 DELETED 199

BOURNE enters a suite. Closing the door behind him.

-- And TREADSTONE BOURNE, seven years ago, does the same --

BOURNE shakes off the flash, looks around. The lights are on. An open suitcase on the bed.

THE CLERK, THE CONCIERGE and THE MANAGER are huddled in conversation with THREE BERLIN COPS who've just arrived and --

Trying to be discreet, but... this is clearly serious.

BOURNE just standing there. Breathing it in.

TREADSTONE BOURNE doing the same -- *

204 DELETED 204

BOURNE with his hand on the wall. As if he can feel it. Like it's all still here. Heart pounding and --

Chaos -- Bourne's been found -- everybody rushing out --

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

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

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

210 DELETED 210

A MAN in the mirror -- pacing into view -- NESKI -- on the phone -- a talking in Russian -- it's raining --

BOURNE standing there -- Treadstone Bourne, still wet from the rain -- one eye on that mirror and the other on A SYRINGE that he prepped -- a predator --

THE MIRROR -- the doorbell rings -- NESKI gets off the phone --

BOURNE tensing -- new element -- factoring and --

THE MIRROR -- as NESKI opens the door -- a new flood of Russian -- happy -- it's MRS. NESKI -- a surprise! -- but he's very happy to see her --

BOURNE pocketing the syringe -- new weapon -- pistol -- quiet -- methodical -- watching the lovers bill and coo and --

THE MIRROR -- Mr. Neski kisses her -- takes her bag -- she's hanging up her coat and moving now toward the bathroom and --

BOURNE checking the window -- the weapon -- his balance and --

THE MIRROR -- MRS. NESKI'S FACE right there -- seeing him -- so freaked she can't even register it yet --

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

MR. NESKI turning back to see his wife backing out of the bathroom and BOURNE with the pistol -- with no hesitation --

SNAP! -- one shot -- into Neski's heart -- he's down --

MRS. NESKI -- what's just happened? --

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

BOURNE starts to move -- starts to prep his evac -- but there's something on the dresser --

A PHOTOGRAPH -- the Neski family -- father, mother and a TWELVE-YEAR-OLD GIRL -- arms around each other -- happy and --

BOURNE staring at the picture -- undone for a moment --

HARD OUT FLASHBACK TO

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

Frozen there. Paralyzed by the shame of original sin.

212 pt DELETED 212 pt

213-214 DELETED 213-214

A SWAT CAPTAIN conferring discreetly with the MANAGER.

A215 INT. ROOM #645 -- NIGHT A215

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

The SWAT team on their way up.

A216 INT. ROOM #645 -- NIGHT A216

RING! RING! BOURNE snaps back as the phone in his room STARTS TO RING. Four times and it stops.

BOURNE freezes. Footsteps. Shadows under the door. He leans into the peephole.

BOURNE'S POV

ROOM #644. GERMAN S.W.A.T. TEAM. Taking position.

B216 INT. ROOM #645 -- NIGHT B216

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

C216 EXT. STREET OUTSIDE THE HOTEL BRECKER -- NIGHT C216

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

THE CAMERA FINDS

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

217 DELETED 217 *

218 DELETED 218

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

A219 INT. ROOM #645 HOTEL BRECKER -- NIGHT A219

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

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

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

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

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

Too many cops and radios --

PAMELA jumping out of A VAN the moment it stops. Seeing it all. The crowd. The army of cops. The searchlights playing across THE HOTEL FACADE. It's another disaster.

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

228-229 DELETED 228-229 *

KIRILL hears BOURNE is on the roof. *

231 DELETED 231 *

234 DELETED 234 *

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

PAMELA'S in charge now. They enter the elevator. *

BOURNE coming around the other side of the hotel --

Stepping to the left before he spots the SWAT van --

BOURNE about-faces -- heads the other way --

A SIDEWALK COP looks over, checks the BOURNE PHOTO print- out in his hand.

234 DELETED 234 *

TEDDY huddled with the HOTEL MANAGER and A GROUP OF HIGH- RANKING BERLIN COPS, turning back as --

TEDDY * So far. But they found Nicky. She's * back at the Westin. Bourne let her go. *

ABBOTT accepting that. Because he has to. Only we see the fear. Turns to leave... *

ABBOTT steps out into the street as...

BOURNE striding away and -- Following -- *

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

BOURNE running now, slowly at first, and --

A235 EXT. SIDE-STREET NEAR THE HOTEL -- NIGHT A235

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

MOTION -- BOURNE tearing away and --

A237 EXT. BIGGER BERLIN STREET -- NIGHT A237

BOURNE slows to a walk -- TWO PATROL CARS heading his way -- no choice -- there -- a narrow passageway between TWO MOVING TROLLEY TRAINS and -- SPRINTING through --

The PATROL CARS skidding into 180's.

B237 EXT. BERLIN BRIDGE -- NIGHT B237

THE RIVER SPREE lit by THE TROLLEY that's rumbling past and the running lights of a DOUBLE COAL BARGE up the river.

BOURNE runs across the bridge -- going as fast as he can -- hearing THE POLICE SIRENS swirling behind him, when --

A THIRD AND FOURTH POLICE CAR AHEAD!

BOURNE turns hard for a STAIRWELL, jumps the walkway curb, leaps up the stairs, two at a time, as --

All FOUR COP CARS SKID to a stop. As doors open --

A TRAM waiting as the LAST FEW PASSENGERS get on. The doors seem to stay open in slow motion as --

BOURNE appears -- makes a mad last dash --

And he's on!

And the doors don't close! It's not scheduled to go yet.

And here come the COPS!

BOURNE off the tram -- GUNS appear --

BOURNE runs to his left -- stops short --

The other cops are coming this way -- SCREAMING at him --

Not a lot of options -- BOURNE looks over the rail --

DOWN BELOW

A COAL BARGE passing, the prow just emerging --

BOURNE

On the rail and JUMPING even as the FIRST SHOT is fired --

BOURNE lands hard -- stands -- voltage going up one leg --

And they're SHOOTING at him.

He can worry about the leg later. He RUNS.

Back toward them!

The barge moving slow -- BOURNE disappears under the bridge.

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

Countering -- the barge going one way -- BOURNE the other -- dodging all the super-structure on deck -- all the while keeping his cover overhead --

And LEAPING to the second barge!

And more of the same, until --

BOURNE running out of barge --

LEAPING back onto the BRIDGE FOOTING and --

THE POLICE watching the barge fully emerge -- continuing down river -- SHOUTING IN GERMAN that he's either "in the water" or "hiding on the barge".

Off they go -- down the stairs --

Leaving the PASSENGERS on the tram blinking out in shock --

And BOURNE -- climbing back over the rail --

Limping back on the tram just before --

The DOORS CLOSE -- and off it goes --

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

245 pt INT. ROOM #645 -- HOTEL BRECKER -- NIGHT 245 pt

PAMELA and CRONIN move into the living room. A couple of * COPS in the hallway outside. *

CRONIN * The room he checked into was across the * hall -- why, why would he come here? *

PAMELA glances around -- something bothering her about * this space -- *

PAMELA * He must've had a reason. That's how they * were trained. *

CRONIN moves around the bedroom, then into the bathroom * and -- *

CRONIN * He went out the window in here... *

246-247 DELETED 246-247 *

245 pt INT. ROOM #645 -- BATHROOM -- NIGHT 245 pt *

There on the mirror -- scrawled in soap on the glass... *

I KILLED NESKI *

CRONIN * Pam, you need to see this. *

PAMELA moves in behind him. *

Both of them staring. *

PAMELA * (thinking) * Alright...take it down. *

CRONIN * What? *

PAMELA * This stays between you and I. * (sensing confusion) * We finally have an edge. I don't want to * lose it. *

Very late -- ABBOTT waits on an isolated bridge -- a lone * figure in the shadow of East Berlin. *

GRETKOV arrives by car. Walks through the darkness. * ABBOTT barely glancing over. *

GRETKOV * Anything else? *

ABBOTT shoves a piece of paper -- and ADDRESS -- into * GRETKOV'S hand. *

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

GRETKOV leaves. ABBOTT watches him go. *

Seconds later. GRETKOV getting in slowly. *

KIRILL slouched in back. Waiting. Gretkov to the DRIVER.

KIRILL nods. As they pull away, ABBOTT turns and walks * into the foggy night... *

A248 EXT. BERLIN STREET -- NIGHT A248 *

Late. ABBOTT walks. A lonely figure. Past someone in * the shadows -- *

BOURNE * Mr. Abbott? *

He turns to answer when BOURNE firmly guides him into a * side street... *

***BOURNE/ABBOTT SCENE*** *

As PAMELA and CRONIN exit the elevator, they are met by * TEDDY. *

PAMELA * By who? *

PAMELA * (to Teddy) * Alright...I want you, Kurt and Kim to stay on * Bourne, track everything that's out * there... *

TEDDY goes to get in the van. PAMELA follows with * CRONIN. *

As they get in... *

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

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

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

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

MOSCOW EXPRESS

253-255 MOVED 253-255 *

A256 INT. NEW BERLIN HQ/COMMAND POST -- NIGHT A256

A BLUEPRINT spread across a table. NICKY, KURT & KIM all gathered around. CRONIN works the TREADSTONE files on * another table. TEDDY at center briefing PAMELA. *

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

TEDDY * Yes. In that order.

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

CONDUCTORS moving quietly through the dark cars. Checking tickets and visas and --

BOURNE -- hands over his ticket and RUSSIAN PASSPORT -- off the grid --

258-259 DELETED 258-259 *

A260 INT. NEW BERLIN HQ/COMMAND POST -- NIGHT A260 *

4:00 am. KURT, KIM, and TEDDY spread around the room. * They've been running laptop train station videos for * hours. Just about ready to raise the white flag. *

All they have so far is an isolated loop of BOURNE limping * into the men's room. Cronin watches it stutter along. *

CRONIN * Does it look like he's faking? *

TEDDY * On the way in? Forget it. *

KURT * The leg's definitely hurt. *

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

KURT * (worn out) * Maybe he's still in there. *

TEDDY * I've got a limping guy, but it's the right * leg. *

KIM * Walking away, or walking toward you? *

CRONIN jumping on that, right there, over TEDDY'S shoulder - * - *

CRONIN * That's him. It's the coat! What train is * that? *

BOURNE -- asleep in his chair -- rocked by the rhythm. But something wakes him up.

Looks out the window -- something weird about the light out there -- then up to see:

MARIE -- looking at him over the back of his chair in front of him -- no big deal --

She smiles. A beat. She comes around, sits beside him. He * looks away out the window. *

MARIE * But you found another choice. *

BOURNE * I did. *

MARIE * It wouldn't have changed the way you * feel. *

BOURNE * It might have. *

BOURNE looks back at her. She smiles. He accepts it, * leans back, closes his eyes. *

MARIE leans over, kisses his forehead. Whispers --

BOURNE opens his eyes.

And it's morning outside.

And Marie is gone.

A LITTLE GIRL smiles at him from over the back of the chair in front. BOURNE can't meet her gaze for long. As he looks back out the window --

261-262 DELETED 261-262 *

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

ABBOTT coming through. It's empty this early, but --

Here's PAMELA, NICKY, CRONIN and the TEAM waiting to * report.

NICKY * Yeah, thanks. *

ABBOTT * What's up? *

PAMELA looks to CRONIN -- him first. *

CRONIN * We tied the room Bourne visited tonight to a murder/suicide seven years ago. A Russian couple, the Neskis. *

ABBOTT * (playing along) * Neski. The reformer. I remember that. *

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

NICKY * Someone was using Treadstone as a private * cleaning service. *

ABBOTT * Conklin... * (a beat) * It's -- I'm sorry, Pamela. I guess you * were right all along. *

Pamela waves him off, it's okay, but --

Abbott can see by their faces: this hits closer to home.

PAMELA, straight...

CRONIN * But we can relax. We tracked him. He's * on a train to Moscow. *

ABBOTT reeling, hiding it.

They watch as he goes.

ABBOTT in the rising elevator. Imploding.

Palatial. But you can't buy taste. GRETKOV working his * computer -- answers his PHONE. *

ABBOTT/PHONE You didn't stay, Uri.

Everyone still here. CRONIN answering his cell phone -- * motioning to them, he's got news --

Now we realize, she's set a trap and Abbott's walked in. All the same, Pamela shakes her head, wishes it wasn't true.

And they're moving --

ABBOTT at his desk, still on the phone, pouring a vodka.

There's a KNOCKING AT HIS DOOR -- ABBOTT simply ignores it.

More KNOCKING...

A268 EXT. MOSCOW TRAIN -- DAWN A268 *

Speeding East through the Russian countryside. The forest * is gone, replaced by factories and refineries. A * wasteland of rust and gray that seems to go on forever -- *

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

CRONIN with a pass key. TEDDY prepped and --

A269 INT. ABBOTT'S WESTIN HOTEL ROOM -- NIGHT A269 *

PAMELA leading -- they enter -- stop short --

ABBOTT at his desk, calmly pointing a PISTOL -- at Pamela.

She looks back. CRONIN shakes his head 'no'.

They reluctantly obey. The door clicking shut behind them.

PAMELA * No good options left? *

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

PAMELA * No. You lost your way. *

ABBOTT * Well, you're probably right. I guess * that's all that hubris is. *

He raises the gun.

PAMELA -- presses her lips together, closes her eyes. BOOM!

She opens them. And as CRONIN flies back through the door --

There's ABBOTT -- dead at the desk -- he's shot himself -- also, in a way, with some help from Bourne.

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

BOURNE among them. Unremarkable in THE CROWD and -- *

BOURNE on the move. Welcome to the whole mad Moscow scene. A jumble of faces and voices. Travellers. Arrivals and departures. Families. Beggars. Drunk war vets. Hawkers.

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

Look out!

A BIG BLACK BMW speeding past -- followed by TWO MORE -- all three cars with BLUE LIGHTS STROBING on the dashboards - - a convoy -- whipping by like they own the place and --

BOURNE turns. A grizzled TAXI DRIVER right beside him.

BOURNE pulls a slip of paper from his pocket.

THE TAXI DRIVER squints, finally grunts affirmative.

He motions to his cab. As they get in and pull away --

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

274 DELETED 274 *

BOURNE and THE TAXI DRIVER looking over as THREE MOSCOW POLICE CARS speed by -- SIRENS WAILING --

BOURNE just nods, as we --

KIRILL at the wheel. A guy in a hurry who knows what he's doing. One more thing, on the passenger seat -- TWO BIG AUTOMATIC PISTOLS --

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

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

They've stopped. BOURNE flashes a FIFTY DOLLAR BILL --

Old Moscow. But not for long, there's new construction metastasizing all around it. BOURNE crosses the street and --

HIS POV

AN ABANDONED WOODEN HOUSE. Windows shattered and boarded up. Paint all but gone. Roof and gables all failing.

BACK TO

BOURNE crestfallen. Checking the address. This is it.

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

BOURNE off the sidewalk now, peering around the side, trying to see if there's anything around back and --

OVER THERE

AN OLD WOMAN on the steps next door. Watching him.

BOURNE starts over. Finding the sweetest smile he's got --

THE TAXI DRIVER still parked there --

HIS POV

BOURNE and the OLD LADY -- she's pointing like she's giving directions -- when suddenly, the Driver's CELL PHONE RINGS - -

TAXI DRIVER/PHONE (Hello...?)

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

THE TAXI DRIVER on the phone -- not so happy anymore --

THE OLD LADY scribbling on a piece of paper. BOURNE reacting as the TAXI drops into gear. Pulls away.

But THE TAXI only speeds up, and --

MOSCOW POLICE CARS tearing away and --

288 DELETED 288

KIRILL DRIVING. Reaching for his RINGING PHONE and --

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

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

KIRILL skidding around another corner and --

TWO POLICE CARS just stopped there -- COPS -- the OLD LADY pointing -- everyone turning as --

THE RED LEXUS speeds past them and --

294 DELETED 294

BOURNE coming down as fast as he can -- just ahead there's A FOOTPATH BENEATH A FOUR LANE OVERPASS -- a neighborhood * on the other side -- he could disappear there --

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

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

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

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

KIRILL shifting for a better second shot and --

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

KIRILL with no shot suddenly -- leaning over the rail -- just as the TWO MOSCOW POLICE CARS come screaming up -- MOSCOW COPS jumping out with guns drawn and --

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

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

MOSCOW COPS MOCK-BOURNE

(-- UP! -- HANDS UP! -- KEEP (-- I'M KGB, ASSHOLES! -- THEM UP! -- DROP THE GUN! -- WE'RE CHASING THE SAME GUY! - * DROP IT! --) - HE'S GETTING AWAY! --)

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

A304 EXT. MOSCOW CITY STREET -- DAY A304 *

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

A305 INT. PEDESTRIAN TUNNEL -- DAY A305 *

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

A labyrinth of stalls. Food. Hardware. Clothes. And crowded. Even this hard-to-impress CROWD noticing --

BOURNE hobbling through. Nothing like a limping madman with a fresh gunshot wound to get attention --

PEOPLE back off -- pull THEIR KIDS out of the way -- SOME WOMAN STARTS SCREAMING and --

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

307 DELETED 307

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

THE SECURITY GUARD coming up fast behind BOURNE --

BOURNE turns. THE SECURITY GUARD right behind him and --

BOURNE -- no warning -- his good arm -- SMASH!!! -- right into THE SECURITY GUARD'S FACE and --

BOURNE takes HIS PISTOL and --

THE CROWD -- they jump -- holy shit!

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

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

Grabbing -- A BUNDLE OF TUBE SOCKS and --

KIRILL sprinting out toward the stalls and --

313-314 DELETED 313-314

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

-- A BOTTLE OF VODKA and --

KIRILL fighting his way through THE FLEEING CROWD --

317 DELETED 317 *

318 pt 1 EXT. MOSCOW OUTDOOR MARKET -- DAY 318 pt 1 *

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

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

318 pt 2 EXT. MARKET PARKING LOT -- DAY 318 pt 2 *

Another CAB STAND. CABBIE by a YELLOW CAB, looks up to see * -- *

BOURNE -- coming toward him -- and also -- *

The TWO COPS. As BOURNE nears, the CABBIE shakes his head. *

Bourne pivots -- casually -- like he doesn't know they're * coming until -- HE SPITS! -- VODKA -- into one of the cop's * face! -- blinded as BOURNE takes him and his PARTNER out. *

The CABBIE raises his hands in surrender, steps aside as * BOURNE takes his car -- *

318 pt 3 INT./EXT. CAB -- DAY 318 pt 3 *

BOURNE IN THE YELLOW CAB -- starting THE ENGINE -- peeling * away! -- careening into the street and -- *

KIRILL sprinting into the parking lot, just in time to see - * - *

318 pt 4 INT. CAB -- DAY 318 pt 4 *

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

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

320-335 INT./EXT. MOSCOW STREETS/CARS/FACES -- DAY 320-335 *

THE CAB speeding across A BOULEVARD into an older * neighborhood of rising narrow streets and -- *

TWO MOSCOW POLICE CARS PULLING U-TURNS on the BOULEVARD -- * whipping around to give chase and -- *

THE G-WAGON in full pursuit now and -- *

BOURNE DRIVING -- up this curving little hill and -- *

THE TWO MOSCOW POLICE CARS starting to climb and -- *

KIRILL DRIVING and he's on the hill now -- *

BOURNE -- bad hand on the wheel -- holding on -- trying to * find something in passenger seat -- TUBE SOCKS? *

THE TWO MOSCOW POLICE CARS splitting up! -- one on Bourne's * ass -- the other cutting hard into A SIDE STREET, flanking * him and -- *

BOURNE -- topping the hill -- two choices -- right or left? *

RIGHT! -- No! -- wrong -- because down the hill there's A * POLICE CAR just about to angle in from THE SIDE-STREET and - * - *

BOURNE -- no choice -- FLOORING IT! -- *

THE CAB -- it's a whale -- SLAM! -- knifing the front end * of THE POLICE CAR and -- *

THE POLICE CAR -- spun back! -- CRASHING AGAINST A BUILDING * ON THE CORNER and -- *

KIRILL -- right behind that guy -- swerving -- onto the * sidewalk -- SPARKS FROM THE WALL AS HE SCRAPES! -- hanging * in -- skidding into a turn down the hill and -- *

JUST MISSING THE FIRST POLICE CAR bombing right past him! *

BOURNE -- in pain as he packs his shoulder wound with the * socks -- Ahead -- the street banks downhill to left and -- *

THERE! -- A BOULEVARD -- wide ride -- lots of traffic and -- *

THE CAB rocketing into the flow and -- *

BEHIND HIM -- POLICE CAR #1 with THE G-WAGON right on his * ass and -- *

BOURNE -- Wrists flicking the wheel. THE CAB screaming * through the slower traffic and -- *

KIRILL -- totally on it -- pedal down -- passenger window * open -- wind blowing -- he's got THE PISTOL in his hand -- * closing the gap and -- *

THE BLACK G-WAGON -- blowing past POLICE CAR #1 and -- *

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

BLAM! -- BLAM!! -- THE G-WAGON -- right beside him! -- *

BOURNE -- reacting -- what the fuck?! -- that's not a cop! - * - but no time to clock Kirill because -- *

KIRILL -- shit! -- can't keep shooting -- into the oncoming * lanes -- swinging wide -- A TRUCK! -- swerving again and -- *

THE CAB -- wavering again -- rallying and -- *

UP AHEAD -- THE BOULEVARD opens into THE RIVER BELTWAY -- * big -- wide -- fast -- KREMLIN in the BG and -- *

FOUR NEW POLICE CARS screaming down from RED SQUARE and -- *

BOURNE skidding onto THE BELTWAY -- looking for room -- *

-- Finding it -- open road -- *

KIRILL back in the hunt and -- *

THE RIVER BELTWAY -- CAB SCREAMING PAST -- then ONE -- TWO - * - THREE -- FOUR POLICE CARS -- now the BLACK G-WAGON and -- *

BOURNE -- Both hands on the wheel -- He's already forgotten * about his shoulder -- *

THE BELTWAY -- up ahead -- ANOTHER CHOICE -- right takes * you up to the city -- left is a TRANSIT TUNNEL and -- *

BOURNE -- checking his rearview -- starting right and -- *

THE TWO LEAD POLICE CARS right on his ass and -- *

BOURNE -- fake out -- veering left! -- last second -- into * THE TUNNEL and -- *

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

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

336-337 DELETED 336-337

FOUR LANES -- two way -- and long -- there's -- *

THE CAB -- squibbing past SLOWER CARS and -- *

KIRILL on him -- move for move -- follow the leader and -- *

BOURNE -- checks the rearview -- he's lost them all but the * G-WAGON -- who the hell is that? -- *

The Heavyweights. World Championship Belt up for grabs. *

KIRILL -- gaining -- nearly pulling level. *

BOURNE -- nowhere to go -- that's never stopped him before - * - he carves a path -- turns two lanes into three as * sparks his way through a lane split -- *

THE G-WAGON -- roaring after him.

BOURNE -- checks the mirror -- closer -- who the Hell is that guy? --

KIRILL -- Gaining -- FIRING through his passenger window.

BOURNE -- BRAKES --

TUNNEL -- As the two vehicles scrape along each other --

KIRILL -- FIRING BACK -- odd angle --

BOURNE -- ducking for meager cover as bullets stitch through the roof --

TUNNEL -- The G-WAGON crushes the CAB against the wall -- sparks showering the windshield -- finally --

THE CAB -- shoots ahead --

KIRILL -- in a controlled fury --

THE SUV -- jerking hard and right into the rear of the CAB --

BOURNE -- trying to keep control -- spots a MAINTENANCE TRUCK up ahead --

KIRILL -- banging away as his quarry straightens --

MAINTENANCE TRUCK -- looming --

BOURNE -- a hard left --

TUNNEL -- the CAB wrapping around the front of the SUV -- WHAM! -- pushing it to the right -- the cab continues -- SPINNING around the G-WAGON --

DETAILS -- front bumpers locking on rear fenders as --

TUNNEL -- The G-WAGON hurtling forward -- the CAB ass end first -- locked together --

KIRILL -- firing into the CAB -- really unloading now --

BOURNE -- down on the floor -- a tornado overhead --

KIRILL -- slaps in a new clip -- intense --

BOURNE -- gun against his door -- just below the window * knob -- WHUMP-WHUMP-WHUMP -- *

SUV TIRE -- shredding. *

KIRILL -- fights the wheel -- *

ANOTHER TRUCK -- looming large -- *

BOURNE -- looking between the seats out the rear window -- * a LANE DIVIDING PILLAR ahead -- *

CAB -- as BOURNE sits up -- jerks the wheel to the right -- *

TUNNEL -- the cars unlock -- spin away from each other -- *

KIRILL -- focused -- taking deadly aim -- *

BOURNE -- staring back at him -- calm -- "I know something * you don't know." *

KIRILL -- frowns -- *

THE TRUCK -- swerves to reveal the PILLAR to Kirill's POV -- *

KIRILL -- eyes go wide -- *

WHALLOP! -- steel vs. concrete -- concrete victorious -- a * bone compressing, truly horrendous impact! *

BOURNE -- whipping the wheel -- *

CAB -- spinning to a stop out of harm's way -- door opening * -- *

Gun ready -- BOURNE heads over.

Ahead -- Spam in a can. BOURNE crouches down -- looks in.

KIRILL -- bloody, beat-to-crap -- barely alive -- but -- trapped -- entombed alive by the metal crushed around him --

BOURNE -- watches. Not here to help.

KIRILL -- looks over -- calms a moment as the two men consider each other --

BOURNE looks at him long and hard.

Kirill dies.

And BOURNE stands -- and just walks away --

340-350 DELETED 340-350 *

A351 EXT. MOSCOW AIRPORT TARMAC -- DAY A351 *

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

Huge, awful Soviet-era housing towers fill the horizon.

A CITY BUS grinds to a stop. PEOPLE trundle off. Working people at the end of their day. Tired. Cold.

THE CAMERA FOLLOWS

A GIRL. Trudging a man-made wasteland. Twenty. A proud little waif. Sad eyes. Home from some job. IRENA.

Grimmer up close. Rusted steel mesh over the windows. DRUNK TEENAGERS. A haze of cigarette smoke.

IRENA pushing through. Doesn't want to talk to anyone --

IRENA climbing. A JUNKIE here. Flickering light there.

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

It's dark. And she's barely through the door when --

IRENA jumps -- chokes back a CRY --

BOURNE is standing there -- propped there actually -- behind her -- gun in hand -- motioning for her to be quiet --

IRENA nods. Scared. Gun in hand, BOURNE pushes the door the last few inches so it's fully closed.

And now she can really see him. He's a disaster. Shivering. Bloody. Eyes more hollow than hers are.

BOURNE staring at her. Nods. Gestures for her to sit.

So she does. And here they are.

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

A change in BOURNE as he studies her, measures her. Some moment of truth is here. IRENA braces, unsure.

She really looks at him now. Fear overwhelmed by curiosity.

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

Body blows, but he has her attention. She wipes a tear.

BOURNE nods, that's right.

IRENA * How...how can...how can you be here and * say this? *

BOURNE * I don't want you to forgive me. *

She stands suddenly. Stands because if she doesn't she'll burst into tears. Because she knows if she starts crying she won't be able to make sense of this.

BOURNE pushes himself to his feet. A real effort.

There they are. Two people standing in a room. Squared off.

And now she starts crying. Really crying.

And he's taking it.

She hesitates. Stunned. He's leaving. He's opening the * door. *

IRENA * Is this really happening? *

BOURNE * (empty) I'm sorry.

And she sags. Back into the chair, as -- *

THE CAMERA FINDS *

THE PHOTOGRAPH on the table. The sound of the door * closing and Irena crying, as -- *

BOURNE trudging along. Across the snow. He's done it.

And he really can't take another step.

There's a bench. He sits down. Out of gas.

He just might die here. We slowly tilt up to the multi- * colored Moscow tenements. *

FADE OUT: *

BOURNE waking up -- sitting up -- where is he? -- trying to get his bearings -- but it's so bright -- white walls -- sheets -- SUNSHINE through clean windows and --

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

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

Long moment. He's taking it in. Trying to.

They study each other a beat.

PAMELA nods. Very calm here. No sudden movements.

BOURNE * What's that? *

PAMELA * Do you think you can read? Are you well * enough? *

She has a folder. A PHOTOGRAPH -- Bourne's face -- stapled to the cover.

He waves it off.

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

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

Long, sterile hallway. CRONIN and NICKY standing there with an AIR FORCE SENTRY assigned to guard the room.

CRONIN and NICKY trying to play it cool, but now, as they get some distance down the hallway --

PAMELA * (to the sentry) * Let's give him half an hour. *

A chill in the air. Both of them going quiet because there's A NURSE carrying a tray of food. She's coming toward us. They're walking away.

THE CAMERA

Staying with THE NURSE now. Coming up the hall.

THE SENTRY smiles -- opens the door and she enters --

Empty bed. Open window. Bourne is gone.

As THE MUSIC STARTS PUMPING, and we...

Off he goes. Disappearing into thin air... *

FADE OUT. *