"THE BOURNE ULTIMATUM" (2007)

PRODUCTION # 802345

THE BOURNE ULTIMATUM

Screenplay by

Tony Gilroy and Scott Z. Burns and George Nolfi

Screen Story by Tony Gilroy

Based on the novels by Robert Ludlum and Universal's

"The Bourne Identity" and "The Bourne Ultimatum"

Notice:

This material is the property of Beach City Productions LLC (A wholly owned subsidiary of Universal City Studios, Inc.) and is intended and restricted solely for studio use by studio personnel. Distribution or disclosure of the material to unauthorized persons is prohibited. The sale, copying or reproduction of this material in any form is also prohibited.

MOTION -- flat out -- it’s us -- we’re running -- stumbling -- breathing rushed -- blood in the snow...

We are JASON BOURNE and we’re running down an alley...

Supered below: MOSCOW

BLUE LIGHTS -- from the distance -- strobing through the night -- rushing toward us -- POLICE CARS -- three of them - - SIRENS HOWLING as they bear down -- closer -- faster -- until they whip past the alley...

Up against the wall -- BOURNE is hidden in the shadows.

BOURNE is badly wounded -- shot through the shoulder -- bruises and broken bones from the final car chase in SUPREMACY...

With a GROAN, he lifts himself up, staggers across a park toward a PHARMACY...

ROWS of MEDICINE and FIRST AID supplies, and in the background, a DOOR being jimmied...It’s BOURNE...The ALARM goes off...

MACRO ON -- MEDICINE BOTTLE

VICODIN, as BOURNE grabs it...Then PENICILLIN...

Then SURGICAL SUPPLIES:

Scalpel...Forceps...Sutures...Cotton gauze...Betadine...

BOURNE finds a large sink...Rests his gun there...Lays out SURGICAL SUPPLIES...Checks out his back in the mirror...Opens the capsules of penicillin and pours the powder directly into the wound...Begins treating himself...

A POLICE CAR pulls up to the curb, lights flashing. One POLICEMAN goes to the jimmied DOOR. SECOND POLICEMAN sees blood and footprints. He motions to his partner to follow...

BOURNE finishing up -- splashes water on his face -- he seems a man on a mission. He looks up --

A MIRROR.

His face...

FB1 FLASHBACK -- JUMBLED STREAKY IMAGES: FB1

“415” written on a building.

POV Bourne walks down a corridor (corridor #1).

The cops approaching.

FB1A FLASHBACK -- JUMBLED STREAKY IMAGES: FB1A

Daniels leading Bourne down the corridor.

A black sack is thrown over Bourne’s head, then:

(STOCK) A torrent of quick shots of Bourne’s kills: the Professor, Jarda, the blonde guy in Paris, Mr. And Mrs. Neski...

And finally. BANG -- Marie hit in the head. The car off the bridge. She sinks away dead...

The POLICE enter the back room, guns drawn.

POLICEMAN #1 Put your hands on your head and turn around slowly!

BOURNE snaps out of it, doesn’t move. POLICEMAN #1 (older) approaches him. When BOURNE doesn’t respond to his questions, the POLICEMAN starts forward. BOURNE turns and in one motion grabs his gun from the sink and disables the POLICEMAN.

BOURNE freezes POLICEMAN #2 with his gun and a look.

POLICEMAN #2’s gun and radio skittle across the floor.

BOURNE smashes the radio and takes the gun.

BOURNE exits...

BLACK SCREEN

A TITLE fades in --

THE BOURNE ULTIMATUM

SUPER: Six Weeks Later

Establishing shot -- CIA Headquarters

A workman installs a nameplate that reads: Ezra Kramer, Director, CIA.

Kramer listens to a recording with Landy and Cronin. There are unhung pictures and a few other items that indicate he has just moved into this job.

Two other senior CIA officials sit in on the meeting. Kramer looks at a file on Bourne and Abbott.

Kramer glances at a photo of Marie in the file.

Kramer looks at Abbott’s official photo.

THUMP!

He makes a gun with his hand, i.e. Bourne putting his gun to Abbott’s head.

The tape clicks off.

CRONIN puts a picture of MARIE in front of KRAMER.

Kramer looks down at another image. Abbott dead after his suicide.

Landy nods. Kramer shakes his head in disgust at the whole situation.

A look from Kramer...

SUPER: TURIN, ITALY

R15 INT. DAY. ITALIAN CAFE BACKROOM -- TURIN R15

ROSS interviews DANIELS, a TAPE RECORDER on the table between them. ROSS shows DANIELS some of the evidence he’s assembled...WANTED POSTERS of JASON BOURNE.

The charm of old Paris captured in the workings of an elevator operating in a wrought-iron shaft...

A WORK TABLE, covered with sheet music, music paper, pencils. And, sitting on the upright piano against the wall, a framed PHOTO of MARIE...

A KNOCK on a door beautifully, heavily lacquered with centuries of paint...

MARTIN KREUTZ, late 20s, opens the door and finds BOURNE. A long look between them -- like two lost brothers who recognize each other -- each has been waiting for this moment for a long time.

Martin looks out the window.

Bourne nods.

Bourne looks at him for a beat and leaves.

Bourne climbs the stairs.

Bourne rounds a corner and stops, sees a bodyguard at a door up the street hail a car then go back inside.

Bourne walks up to the door, the bodyguard comes out again. Bourne knocks him aside. Grabs the man behind him, ELLATRACHE.

The bodyguard comes back, gun out--

Bourne shoves him against the wall, hard.

ROSS hurries to catch a TAXI as he talks on his cell phone.

Follow this SEQUENCE as...

A LISTENING STATION in England scoops up MILLIONS of CELL PHONE CALLS...Sifts through BILLIONS of words...One word EMERGES from the CHATTER...

BLACKBRIAR

A TECHNICIAN sends the data to NSA back in the States...Where another COMPUTER gathers up the rest of the phone call...As we listen...

TECH#3 “Blackbriar” echelon hit. NSA, please confirm receipt.

R18 EXT. DAY. CIA HEADQUARTERS -- LANGLEY R18

And there in the CRI HUB, another TECHNICIAN receives the DATA. Stops SUPERVISOR and reports.

TECHNICIAN #1 Sir, we intercepted a call from London, keyword “Blackbriar.”

NOAH VOSEN, deft and confident, arrives at CRI Headquarters.

As VOSEN steps out of the elevator and into his office, he is met by his #2, WILLS.

They enter a hallway through double doors towards the HUB.

As they pass through, colleague hands WILLS a file.

They enter the HUB.

BOURNE buys a newspaper, enters the station and gets on the EUROSTAR.

VOSEN and WILLIS listen to the phone call.

VOSEN turns.

VOSEN steps out from DATA ROOM...addresses the HUB.

ROSS’S information come up on the center screen.

This is NSA priority level 4, any questions?

No response from the HUB.

The EUROSTAR winds it’s way to London.

BOURNE reads The Guardian. He sees an article written by Simon Ross. Title: ”RENEGADE ASSASSIN LOSE IN EUROPE”. It mentions BOURNE. There is a photo of Marie--

FB2 FLASHBACK FB2

Marie smiles at him. Marie shot. Marie fades into the depths, dead. Bourne burns Marie’s stuff

BOURNE comes out of the flashback. He is still carrying the pain of her loss

Bourne finds Ross’s name on the masthead, then goes to the name just below it in the news department.

Ross crosses a busy London street -- heads to Guardian office building. A CRI TEAM watches from a parked car.

TECH #1 watches the data arrive.

TECH#1 Copy that. Mr. Vosen, subject is entering his office.

VOSEN watches the feed.

TECH#2 Coming online...Online...Now.

A surveillance picture flashes onscreen -- ROSS works in his office. HUB chatter about ROSS phone.

TECH#3 Take an hour to get his phone...

Off VOSEN.

R34 INT. DAY. GUARDIAN EDITOR OFFICE -- LONDON R34

ROSS reports to his EDITOR.

A REPORTER sticks her head in.

ROSS leaves to pick up the call.

ROSS crosses the busy newsroom...

ROSS picks up the phone.

Ross (CONT’D) Simon Ross.

VOSEN watches as ROSS takes phone call.

WILLS looks confused.

ROSS listens.

Bourne You want to talk to me. Come alone.

BOURNE hangs up.

ROSS looks bewildered -- hangs up the phone -- gathers his stuff -- puts his notebook in his pocket and leaves.

35H VOSEN 35H

Where’s he going?

The HUB reacts. .

SURVEY ONE has panned down to the entrance of the GUARDIAN building. Because ROSS is on the move...

ROSS hails a BLACK TAXI. The SILVER VAN pulls out behind him...

VOSEN watches as the feed from the SILVER VAN comes through.

BOURNE arrives on the EUROSTAR. Enters the station.

As the taxi moves away, the SILVER VAN pulls out behind it.

A CYCLE COURIER momentarily blocks its path. Looking in on ROSS sifting through documents in the back seat.

BOURNE moving toward the rendezvous...

ROSS pays the DRIVER, exits. Checks his watch. Looks around. Isn’t sure what his next move is--

TECHNICIANS searching for ROSS on the busy street.

TECHNICIAN #2 Mobile One -- give us eyes on the subject.

MOBILE ONE-- two people from the van-- take up a position in an open stairwell three floors up. They focus a camera down on Ross.

BOURNE buys a cell phone. Activates the SIM card on the new phone. Dumps the pay-as-you-go package in a bin. Rounds a corner. Out of sight.

Screens come alive with a POV of ROSS. VOSEN studies the monitors. ROSS arrives at Waterloo, pays TAXI.

TECHNICIAN #1 Sir, subject just arrived at the south entrance to Waterloo Station.

ROSS moves to the entrance.

Behind him, inside the tube station portico, BOURNE arrives.

Sees ROSS. Sees the two survey teams. MOBILE ONE up the stair well and MOBILE TWO at street level.

Commuters coming up the escalators. BOURNE joins them - moving towards Ross.

Closer.

Right on him. ROSS oblivious. Looking out onto the street.

BOURNE brushes past him and PUTS THE PHONE IN HIS POCKET..

ROSS feels the contact. Checking himself -- he’s okay. But now a phone is ringing -- looks around, must be someone else.

But the vibration’s coming from his jacket pocket.

ROSS takes out the phone -- not his -- puzzled.

ROSS hits “answer.”

VOSEN watching...

Wills keys in a CODE...

PAZ, 20s, cool and predatory, drives and waits for instructions...His PHONE buzzes...He reads the code...Accelerates toward Waterloo Station...

BOURNE reaches the top of the stairwell on the other side of the road.

His POV to the left -- a LONDON BUS is approaching.

To the right -- a young man in a hooded top -- speaking on his cell -- walking toward a BUS STOP...

A plan is forming.

SURVEY TWO -- camera zooming in on ROSS.

PANNING TO REVEAL

VOSEN thinking it over as he watches the image of ROSS.

ROSS looking around. Then --

ROSS has clocked him.

The HOODY walks to the bus stop. One hands-free EARBUD swaying down by his side as he moves to a seat.

Sitting down. Checking his watch.

ROSS shifting nervously from one foot to another.

The LONDON BUS approaching.

ROSS begins to move.

Things are beginning to happen.

TECHNICIAN #1 Target is on the move.

Screen POV. ROSS standing next to the HOODY -- head down. Trying to play it cool -- ROSS in clear view of the cameras. “Speaking” with the HOODY. Camera zooming in.

Just then --

A BUS pulling up to the bus stop, blocking both SURVEYS’ views. Rifle mics picking up the bus chatter, instead of ROSS.

VOSEN. Annoyed now.

The crackle of the survey teams as they try and reframe.

POV SCREEN -- SURVEY ONE seeing the bus clear. The HOODY has gone.

POV ANOTHER SCREEN -- SURVEY TWO -- camera finally catching up, picking out the HOODY on the bus as it begins to pull away.

VOSEN? Grab Team B. Grab the hoody and stay with Ross...

TECH’S giving orders...

SURVEY TWO -- three men racing across the road on foot. Weaving through heavy traffic.

BOURNE watching his plan unfold...Only a few seconds to get ROSS out of there...

ROSS rearing this -- Moving away --

The BUS moves up to the traffic light. The AGENTS moving across the street...

VOSEN looking at the screens. Pointing...

R81 EXT DAY. YORK ROAD -- CONTINUOUS R81

One AGENT peeling off, to keep ROSS in check.

The other two AGENTS racing to the bus as it pulls away from the lights. Kicking the doors open, leaping on.

GUNS drawn. So quick. Passengers screaming.

Pushing the HOODY to the floor.

On the HOODY.

The HOOD is pulled back.

An innocent YOUNG MAN -- terrified, bewildered.

ROSS on the move across the walkway.

SURVEY ONE moving up the steps, only to meet-

BOURNE coming down. Three quick moves and he's down- slumped against a wall- just another drunk to step over in the rush hour.

Pulls the feed. Takes the earbud. Then back up and falls into step behind ROSS.

Listening in to the chaos he has caused -- an ocean away.

TECHIES scrambling to restore the feed. VOSEN staring.

TECHNICIAN #2 We’ve lost signal.

TECHNICIAN #1 What happened to Survey One?

PAZ parked up -- gets the call -- pulls out into the traffic.

Slicing through to the target area. Waterloo up ahead.

A SECOND SURVEY TEAM -- out of their vehicles. Furtively they lock and load their side arms.

Fanning out towards the station.

R88 EXT. DAY. WEST ENTRANCE WATERLOO - NEWSTAND R88

Bourne stops Ross, surprising him.

Bourne moves Ross toward the concourse.

SCREENS coming alive again. They are through to MET SURVEILLANCE -- the AREA around WATERLOO.

TECHNICIAN #1 Last sighted heading to the West entrance.

The new SURVEY team moves towards different entrances --

Ready to beat out the quarry.

R88A EXT. DAY. WEST ENTRANCE R88A

CAMERAS suddenly alive. Movement across the footbridge.

The net's been thrown.

Into the station concourse.

ROSS moving fast. Fighting through the crowds of faces. Each one a killer in ROSS’ tormented mind.

BOURNE on the periphery looking out across the throng, picking out the inconsistencies.

One AGENT, then another approaching.

He dials.

ROSS spinning round. Dipping left. BLACK TOP passing in the background missing him.

BOURNE crossing close behind - marshalling the pieces at breakneck speed.

ROSS turning. Weaving through the commuters.

BOURNE seeing cameras turn. ROSS heading into their path.

BOURNE seeing ROSS dip out of view as a group of TOURISTS block the CCTV’s line of sight.

That same scene -- scores of TOURISTS -- from VOSEN’s point of view. The TECHS try to get another angle...

ROSS looking through the sea of legs as he finishes tying his laces. Cameras sweeping past.

ROSS on the move. Sweating. Paranoid.

Seeing a BIN MAN coming toward him -- reaching into his trolley.

But ROSS swerves out of his path as the BIN MAN pulls out -- a bunch of keys.

CCTV CAMERAS turn -- ZOOMING IN ON ROSS.

Ross’ face on all screens.

TECH#1 We got a hit. Middle of the concourse.

VOSEN pacing.

Frenzied teching as they capture and transmit an image of Ross to...

PAZ flipping open his phone. A voice crackling in his earpiece.

VOICE Waterloo concourse. Subject heading east.

Paz jamming the wheel hard right. Doing a high speed U- turn.

Heading towards the east side of the station.

BOURNE realizes ROSS has been seen. Sees the AGENTS starting to form the box...

ROSS moving faster.

VOSEN

64H What’s the status of the asset? 64H

WILLS gives orders...

PAZ pulling into a side street. Out towards a series of arches that lead underneath the terminal. In his ear...

VOICE Target moving towards the stores.

PAZ through the archway. Grabbing a station plan. Studying it.

98 Through a subterranean maze of corridors. Up steps. 98 Through doors.

On his way to the kill zone.

ROSS moving through crowds around the departures board.

BOURNE hearing that last exchange in his earpiece too. Asset in play?

BOURNE’s POV: AGENTS closing the box. The departures board. Platform 7. A train waiting.

Commuters waiting for the platform

Suddenly -- CLICK -- PLATFORM 7 displays.

A wave of commuters flooding away -- sweeping the AGENTS back with them towards platform 7.

BOURNE’S bought them thirty seconds.

PAZ on the move. Earpiece crackling. Through a door. Taking a left down another tunnel.

Opens another security door and moves up some steps. Towards a ladder.

The AGENTS regrouping. Speaking into their radios.

Voice He’s in the store -- still moving east.

ROSS out into the open again. In front of him another STORE COMPLEX.

BOURNE searching the concourse. Something bothering him. The threat level clicking another notch.

102A/B INT. MAINTENANCE AREA-- SIMULTANEOUSLY -- DAY 102A/B

PAZ heads up some stairs to a service platform.

Climbs a ladder.

ROSS into the store complex. To one side is a service doorway.

BOURNE sees the AGENTS approaching. Looks the other way -- up at the hoardings above.

Something’s not right. Treadstone instinct.

An image of Ross as he enters the store complex appears on the screen.

ROSS through narrow store corridors. Sheer panic now. Two of the AGENTS move in after him.

BOURNE behind them.

BANG - takes the first out silently.

ROSS moving out to the light as another AGENT follows.

ROSS travelling through. The second AGENT right behind as-

BOURNE steps out from behind the store room door. The dull snap of bones as second AGENT falls to the floor.

On a screen VOSEN watches, transfixed, as BOURNE takes out all his agents and then grabs ROBB...

WILLS taps in the order...

PAZ moves cross a narrow walkway.

Now he’s behind a mechanical 'tri-panel' hoarding. The kind that displays a different advert every 15 seconds. He waits for the change and then---

-- A huge field of vision across the concourse stretching out down below him- a sniper's heaven.

PAZ pulling open the motor-casing from the side panel, goes to work on it.

Slowing the rotation. Rearranging the large triangular prisms to give him just the right time-gap to pull the trigger- and just enough cover to disappear.

He takes out rifle parts from his rucksack. Starts to assemble them.

Ross snaps to focus. Looks Bourne in the eye.

Ross nods.

PAZ puts together the rifle.

BOURNE exits from the silver door behind Threshers. He stays on the phone with Ross.

Hidden from the view of the CCTV cameras by the thick crowd, Bourne sees the approaching agents abruptly pulling back.

CCTV view of the silver door behind Threshers that ROSS is behind (not Bourne). Wills is on phone.

On his cell phone Paz receives a text indicating Bourne’s location. Paz finds the silver door and aims his rifle at it.

SCOPE POV

A shape barely visible moving behind the window. (It’s Ross but Paz and the Hub think it’s Bourne.

INTERCUTTING BETWEEN ROSS AND BOURNE:

Bourne spots the agents pulling back per Wills’ orders.

Paz awaiting his shot--

SCOPE POV

The door comes open slightly, but from this angle Paz doesn’t have a clean shot at his target (who he thinks is Bourne).

Bourne searches the rafters, looking for any threats from above.

Bourne is distracted by the last of the agents disappearing. Something is definitely wrong--

Ross suddenly sprints out from behind the door--

110A SCOPE POV 110A

Paz sees the shape emerge--

PAZ fires--

But it’s Ross, not Bourne. Ross is hit by Paz’s shot. He falls, inches from the silver door, dead. Blood has splattered on the door.

Paz snaps his head back to the scope, realizing he’s shot the wrong person. Then he catches a glimpse of Bourne--

Bourne ducks behind the gathering crowd, out of Paz’s line of sight, and goes to the body.

Vosen and Wills stare at the screen. At the image of Ross, dead on the concourse. The room -- normally full of chatter has gone dead silent...

Vosen puts his head in his hands. This is a monumental screw up and everyone here knows it. He just had the wrong man killed....

Then suddenly Vosen snaps back to focus:

On the HUB MONITORS we see Police moving in... Vosen doesn’t need to see anymore.

Bourne feels Ross’ body for something.

110A PAZ’S NEST 110A

Paz is frustrated by the order. He’s itching to get another shot off at Bourne, but after a beat, packs up quickly, as ordered.

Back in Waterloo, Cops run in from all sides.

On the screens and in real life, the aftermath of the hit. PARAMEDICS try helplessly to deal with ROSS -- killed instantly by the head shot meant for BOURNE...POLICE arrive and seal off the crime scene...

BOURNE on the move. Fast --

Past platforms. On his way up to the Tri Panel.

Up stairs. On to a walkway. To his right he sees a figure disappearing...

PAZ.

BOURNE hammers down the walk - way in pursuit.

BOURNE tailing PAZ down on to a parallel platform. PAZ dipping down into the underground entrance.

115/116INT. TUBE STATION -- WATERLOO -- DAY 115/116

PAZ moving deliberately through the evening rush hour-- blending in...

BOURNE in pursuit. Chasing on instinct.

There...A glimpse of PAZ at the bottom of an escalator.

BOURNE fights past people.

PAZ disappears into the crowd.

BOURNE rushes to catch him. Rounding a corner...

A long walkway -- at the end, two staircases lead to different tube lines. BOURNE hesitates-- measures the choice.

The sound of a train fills the station--

BOURNE -- Fast downstairs.

Watches-- just as PAZ gets onto the car at another door.

BOURNE lunges to get on the train...But the doors close...

BOURNE’S POV

Watching PAZ from the platform as he SAGS down onto a seat, nauseated, his skin clammy, his head pounding...He takes out the PILLS and dry-swallows them...Looks up...

CLOSE ON -- BOURNE

Watching PAZ...As if he’s looking in the MIRROR at his old self...The self before THE BOURNE IDENTITY...

CLOSE ON -- PAZ

He looks straight ahead, just another commuter...

BACK ON -- BOURNE

Watching PAZ, as the train pulls away...Then BOURNE is immediately in motion...

Establishing Sewell and Marbury.

DANIELS watches news of ROSS murder on TV. DANIELS panics, opens his safe, packs up papers, takes Blackbriar FILE. Sets alarm. Leaves.

BOURNE sits at a computer, the ROSS notebook open in front of him. He pages through it, finding names, places, “HOW DID THIS ALL START?” -- and Blackbriar. He Googles “Sewell and Marbury”-- finds Paris, Berlin, Madrid. BOURNE continues to search and finds receipt from Madrid.

BOURNE leaves.

LANDY steps out of a TAXI...

Vosen’s sitting.

Landy arrives.

Vosen looks at her, surprised.

She shakes her head, no. She sits, without taking her coat off. She’s not staying long.

Landy looks at him, suspicious.

VOSEN? We don’t know. But just the fact that he was there means he’s up to something, don’t you think? Maybe he’s the source?

Off VOSEN...

AN AVE train pulling into the vast station. BOURNE stepping out, walking up the platform.

Moving out through the station...

TWO NEW TECHS plus the three we met before. All watching VOSEN lead LANDY and CRONIN into the room.

LANDY stepping in before this gets going --

TECH#3 London. Twelve hundred Zulu.

TECH#2 Alive. Mobile. Unknown.

TECH#1 NSA Tactical.

TECH#1 Yes.

TECH#1 We were waiting.

That lights it. They’re moving.

VOSEN watches...

LANDY watches as the screen lights up with ROSS information...

Bourne arrives, begins to recon the area.

He goes to the front door finds “Sewell and Marbury” and rings the bell. No answer. Two cops come around a corner.

Bourne sees them, notes the side of the building and leaves.

TECH#1 Sir, we just hacked Ross’s email account at the Guardian and found a round trip ticket to Turin, yesterday. 0800 arrival, 12:05 departure.

TECHNICIANS start pounding keyboards.

VOSEN stares daggers at her.

TECHNICIANS start tapping.

The names display on the screen: Tom Brewster, Jack Boulin Neal Daniels.

The HUB employees can’t help but be impressed by LANDY. WILLS and VOSEN notice their response.

LANDY turns. CRONIN is leaning down in front of a computer screen. Point to something for the tech --- who puts it on the big screen, blown up.

In a set of handwritten notes by ROSS it says “per N.D.”next to several scrawls.

Off LANDY...

BOURNE in a TAXI turning a corner into a narrow street. The rain has slowed, but the streets are still quiet.

BOURNE gets out and walks past the SEWELL and MARBURY front door, picks the lock and gains entry.

BOURNE up the stairs. Finds the office. Jimmies the door. Disables the alarm.

All the signs of a hurried exit. A half filled cup of coffee -- cigarette burned down in an ashtray but not snubbed out -- a light left on -- files and documents, some shredded, some not.

Vosen paces back and forth. The hub is MUCH quieter than it was in the Waterloo scenes.

A BLACK CAR moving briskly through traffic and --

HAMMOND at the wheel. KILEY with the map. Shutting off his phone.

BOURNE checks the office. Soon he finds a photo of Daniels with Albert Hirsch.

FB3 EXT. HOSPITAL ANNEX -- OVERCAST DAY -- FLASHBACK FB3

Bourne arrives at a nondescript steel door with two CCTV cameras covering it. He sees 415 written above the door.

The flashback overwhelms Bourne.

FB3A INT. SRD CORRIDOR -- DAY -- FLASHBACK FB3A

POV shots of Bourne walking down the long corridor with Daniels. Other shots revealing that Bourne is in Army dress greens (without hat). Daniels knocks and leads Bourne into- -

Bourne is driven to his knees.

FB3B OMITTED FB3B

FB3C INT. TANK ROOM -- FLASHBACK FB3C

Bourne is dragged into a room with a large water tank.His hands have been bound behind his back, the sack’s drawstring pulled tight, and he has been weighted down. Bourne is shoved into the water.

FB3D UNDERWATER SHOT -- FLASHBACK FB3D

Bourne falls into the water. SPLASH. He starts to sink. The wet sack allows us to see the outlines of his face. Also POVs as Bourne sinks.

FB3E SERIES OF SHOTS FROM ABOVE AND BELOW WATER --FLASHBACK FB3E

Bourne struggles wildly at first. Tries to get out of his restraints. But to no avail. SRD men watch him from the edge of the tank. Perhaps also on monitors. Expressionless.

FB3F UNDERWATER SHOT - FLASHBACK FB3F

Bourne fights every human instinct to draw a breath. Also shot from Bourne’s POV:

Finally Bourne can’t hold his breath for an instant longer. His mouth opens. Water rushes in. He convulses, begins to drown...

FB3G INT. TANK ROOM -- FLASHBACK FB3G

Bourne’s body goes limp. SRD men watch. No reaction.

FB3H UNDERWATER SHOT -- FLASHBACK FB3H

Bourne goes limp. POV of him blacking out.

BOURNE comes out of the FLASHBACK. As he staggers across the room, he notices a car arriving on the monitor...

A car approaches.

Bourne snaps out of it and sees the car on a security monitor.

Agents get out of car and approach building.

TECH#3 Sir, they’re at the front door.

VOSEN watches...

HAMMOND AND KILEY enter the building.

BOURNE runs water into the TEA KETTLE -- sets the trap...

HAMMOND and KILEY enter.

BOURNE listens from his hiding spot.

LANDY paces.

HAMMOND moves quickly into the room -- gun raised.

HAMMOND at the alarm box.

VOSEN already moving to the monitor.

HAMMOND and KILEY -- move cautiously from room to room -- they’ve done it before...

VOSEN pacing impatiently around the speakerphone --

KILEY gestures to a light moving under a door.

Kiley crouching...leaning in...hand on the knob, and --

Pulls the closet DOOR OPEN --

Nothing. Sink, dishes. a small kitchen. And... on the stove...a tea kettle and a spoon...

Which is the last thing they'll remember, because...

BOURNE -- coming around the corner fast -- full stop and --

BOURNE lays out HAMMOND... KILEY turns to find BOURNE -- who takes him out too.

Then it stops.

BOURNE yanks the headsets. Closes the PHONE.

The SCREENS go black. Silence...

TEA KETTLE payoff...

The hub scrambles to answer that... Landy paces in the background. Suspicious of Vosen...

ON A SECURITY MONITOR -- BOURNE sees another figure moving up the stairs...Checking his watch, reloading his gun. Twisting into the path to shoot as the door opens, hesitating because-

It’s NICKY.

A beat -- long unbroken.

The office PHONE goes. Bourne waving her to it. She picks it up. He hits the speaker phone.

Landy reacts to her voice...

Both Vosen and Landy strongly suspect Bourne is there and listening...

Vosen reads her “Duress Challenge” identity check off the screen. It reads:

Challenge: “Sparrow”

Response if Under Duress: “Ruby”

Response if Normal: “Everest”

Vosen looks at the screen to check her response...

VOSEN seething because LANDY has interrupted him...

Vosen hits the mute button.

Landy doesn’t answer. Vosen to Wills:

Wills holds up three fingers. Vosen unmutes.

LANDY piercing VOSEN with a look...

BOURNE continues to hold the gun in her face -- NICKY is very calm considering the predicament she is in.

DIAL TONE as the line gets closed at the other end.

FLASH: TWO SEDANS squeal around a corner. CRI reinforcements.

BOURNE lowers his gun, grabs the phone and dials “1-1-2”

BOURNE answers her in perfect Spanish with a perfect Madrid accent, but worked up, like a civilian would be...

BOURNE pushes the phone off the desk -- fires four shots into the ceiling -- calmly moves Nicky towards the back door...

BOURNE and NICKY rapidly descend.

Bourne and Nicky exit on to the street. Suddenly they hear tires squealing nearby.

They continue to walk down the street towards Nicky’s car.

Vosen and Landy are watching this live.

As they cross the street two MADRID POLICE CARS come around the corner the wrong way and screech to a stop.

Vosen reacts...

Four cops jump out and take aim at the AGENTS.

More sirens closing in. A third police car appears. Then a fourth...

Vosen can’t believe it--

The agents drop their guns and surrender.

BOURNE and NICKY continue around a corner -- they get in her VW GOLF and drive away...

Vosen stares at Landy. A beat, then she walks out.

139AB OMITTED 139AB

139B-C INT. NIGHT -- VOSEN’S OFFICE -- CRI 139B-C

VOSEN on the phone.

R145 INT. NIGHT. TRUCK STOP -- SPAIN R145

BOURNE and NICKY sit over coffee. A long silence...then:

Bourne puts the photo of Daniels and Hirsch on the table between them. She looks at the photo, points.

Nicky looks back at him....not sure what to say.

FB3B FLASHBACK FB3B

QUICK FLASH: Bourne, head in sack, is held underwater, struggling desperately for breath--

R145 INT. NIGHT. TRUCK STOP -- SPAIN R145

Bourne comes out of the flashback. Nicky is looking at him....

She doesn’t finish. And Bourne doesn’t ask her to. Just a long pause.

BOURNE looks up. Another long pause...

NICKY’S face.

Two SPANISH COPS enter the cafe.

They get up and leave...

Vosen goes to his safe.

Then he puts his thumb into a print reader. The safe door pops open. He pulls out a file marked “Top Secret.”

CRONIN makes his way down the hallway.

LANDY works at her desk. CRONIN enters...

Off LANDY. This just keeps getting worse...

Landy enters without knocking.

Vosen holds up the file we saw him pull out of his safe. It is labeled “Blackbriar: Lethal Action Protocol.”

Landy opens up the file. Sees the words “instantaneous lethal action is authorized when...”

BOURNE and NICKY ride the ferry from Gibraltar to Morocco...

They arrive and pass through CUSTOMS...

DANIELS drives...

DESH arrives, grabs a TAXI...

BOURNE and NICKY enter a shabby room. Turn on the fluorescent lights...

BOURNE tosses his BACKPACK on the bed...

NICKY plugs her LAPTOP into the USB port...

ON THE SCREEN, as NICKY hacks into the system...

BLACKBRIAR...

Landy on the phone.

The phone buzzes. Kramer picks it up.

On Kramer...the wheels turning....

Kramer hangs up.

Landy receives the news.... The wheels turning in her head.... She hangs up. A pensive moment, then she gets up and heads for--

LANDY AND CRONIN enter the hub--

VOSEN is in the middle of giving the kill order.

TECHNICIAN #2 Subject is currently on foot and now entering Hotel Velazquez. 45 Route Commerce, Tangier.

DESH looks down at his beeping cellphone. It has a MAP on the screen.

Nicky at her computer.

SHE LOGS IN WITH HER USER I.D.

Bourne looks on.

TIGHT ON MONITOR: 3-D IMAGE OF HOTEL WITH DANIEL’S ICON PINPOINTED

Vosen and Wills. Landy still pacing

TIGHT ON COMPUTER MONITOR: DESH’S ICON STOPS MOVING.

MEDIUM CLOSE UP ON TECH

DESH opens a lock-up and goes in. He comes out with a scooter and drives off.

Nicky types on computer. Enters search parameter: NEAL DANIELS. ACCESS DENIED.

Desh works on a bomb.

DESH BOUKSANI’s profile.

“Meet me Tangier Cafe Paris”

The bomb is finished on the Work table.

Desh takes the scooter out.

Bourne and Nicky walk.

Desh rides his scooter.

TIGHT ON COMPUTER SCREEN: DESH’S ICON TURNS OFF COURSE.

BOURNE, recalculating. Looking around him.

A scooter is pulling up and the driver walks toward BOURNE.

TIGHT ON COMPUTER SCREEN: DESH’S ICON IS NOW STATIONARY

NICKY SITS, Desh walks up and snatches the phone off of the table.

A scooter is pulling up and the driver walks toward BOURNE. He brushes past him, taking the key.

Keeping DESH in sight as he returns to his Vespa and pulls out in to traffic.

TIGHT ON COMPUTER SCREEN: DESH’S ICON IS MOVING AGAIN

TECH #1 Sir, the asset is back on course.

VOSEN looks up.

VOSEN looks over at Landy....his wheels turning. A series of cuts between them.

He pauses, deciding what course to take. Landy watches.

VOSEN slams a document on the desk. INSERT SHOT: “Blackbriar: Lethal Action Protocol.”

LANDY turns and storms out...

BRYAN codes in a kill order on NICKY...

As he rides his VESPA, DESH receives additional target information..Pictures of BOURNE and NICKY.

DESH glances in his rearview mirror -- spots BOURNE.

A TECH calls DANIELS.

DANIELS answers phone.

Daniels leaves.

DESH parks the motorbike and walks around the corner, BOURNE follows.

DANIELS’ car coming down the street. BOURNE stops and sees the car -- realizes the danger.

BOURNE turns back to see DESH with the detonator in his hand.

BOURNE locks eyes with DESH. Before BOURNE can react -- DESH detonates.

BOOM! DANIELS is DEAD.

BOURNE is thrown across the street by the blast. He lays MOTIONLESS.

DESH POV. He looks back to see BOURNE not moving, lying in the street.

DESH gets on his motorbike and heads off to kill NICKY.

NICKY still at that café waiting. Taking out her phone- * puzzled. *

She answers. Looking around. *

NICKY * Code in? * (no reply) * Code in? *

Nothing. Just the noise of traffic. *

DESH on the move towards Petit Socco. On the cell - making * that 'silent call'. *

BOURNE'S too late- hearing the 'line busy' tone. Knows this * tactic. *

And those POLICEMEN are getting closer. *

Frenzied teching. A screen comes alive. *

TECHY * We have a trace. *

TECHY 2 * Target heading north. Rue des * Chretiens. Intercept ETA six * minutes. *

VOSEN * Okay, that’s it. Bar her cell. * Tie it off. *

DESH is disappearing from view. *

And the POLICEMEN are surrounding BOURNE. Demanding to see * his papers. *

BOURNE speaking in Spanish - fishing for his papers. * Looking back up the street. Forming a plan. Checking his * watch. *

More POLICE arriving now. *

And DESH has disappeared out of sight. *

No time for this. *

BOURNE breaks away. Through the crowds into the traffic. * Police whistles- shouting. Confusion. *

The chase is on. *

Three policemen turning into his path. No choice. BOURNE * taking them down. Sprinting out across the road. *

A KID and his moped. Caught up in the police dragnet. * BOURNE leaping on the bike - kick-starting it. *

Away into traffic as two squad cars turn and make chase. *

BOURNE weaving through traffic. One hand on the bike the * other on the cell, desperately trying to call NICKY. *

But now, at least he's got a dial tone. *

NICKY grabbing the cell. Answering. *

NICKY * Bourne? *

BOURNE * Nicky? Listen to me. You need * to - *

The line goes dead. Looking at the screen - 'SERVICE * DENIED' *

Really spooked now- looking around. Time to move. *

Dismantling the phone instinctively - scattering it's * components. *

She starts to make her way out of the square. *

DESH through the streets-getting closer - heading towards * the PETIT SOCCO. *

BOURNE picking up the pace. Three more police cars out of a * side road just missing him. *

BOURNE choosing his exit. *

Up ahead- a narrow alleyway - taking it. *

The squad cars crunching to a halt, behind him. *

DESH crossing the SQUARE weaving through a sea of push * bikes. *

Parking his Vespa at the corner of RUE DES CHRETIENS. *

Travelling on foot. *

NICKY - trying to keep calm. Checking each alley. Moving * on. *

BOURNE arriving - seeing NICKY has left. Seeing DESH'S * Vespa parked up. *

More police - on foot now. *

BOURNE parking up. Seeing the crowded streets. Looking up * to the rooftops. He needs to get higher. *

Starts running up steps. *

BOURNE into a riad. Through a courtyard - up more stairs - * up a ladder. Out onto the rooftops. Scanning the skyline. * A beat. Has he misjudged? *

No, there in the distance at the top of a narrow street- * NICKY walking slowly and behind DESH. Moving quickly. *

BOURNE tailing him - trying to close the gap. Dipping down * through another riad - through an alley. Up more stairs. * Back up onto another roof. He's gained a few metres on * DESH. *

Desh goes up to the rooftops now. Bourne has him in sight - * DESH is prepping his gun with a silencer. *

DESH speeding up. BOURNE sees NICKY down below amongst the * crowds. In Desh's sights. *

BOURNE knows he has to gain more ground. *

CABLE CAM shot - Two trained assassins leaping across the * narrow streets - silently effortlessly -- the cops down * below searching the alleyways, oblivious to the chase * unfolding above them. *

BOURNE nearly on terms with him - then -- *

DESH dipping down again into the street below. Avoiding * the police -- he melts into the crowds. *

STEADYCAM SHOT - following BOURNE as he heads downstairs. * More stairs. Through a corridor then a courtyard - * bursting out of a door into the street - *

A police checkpoint. Right in his path. Bourne forced to * dog leg and take another route. *

BOURNE'S lost him- for the moment. *

NICKY - walking fast up the Rue des Chretiens. Wondering * why there are so many police around. *

Suddenly stopping - seeing DESH - knows instantly that he * is coming for her. *

Now we see NICKY'S skills. Has to think on her fee t- * TREADSTONE MINDSET -- *

Checking the alleyways. Slipping out of sight. *

NICKY looking to the rooftops -- taking the advantage.Up * some steps -- into a riad. *

Desh tracking her. *

BOURNE seeing Desh again - further up the street. Heading * in that direction. *

NICKY through one hallway - then another. Moving up all * the time. *

DESH arriving at the steps. Looks up to where Nicky is * going. Takes the entrance to the next building. * Anticipates her next move. Aiming to cut her off. *

NICKY up steps. Out onto the rooftops. Looking for a path * across them. *

Scrabbling across the roof of this crumbling riad. Knows * she can't go back down. *

She makes it across to the next building. *

Where Desh is… *

BOURNE up high. Seeing NICKY on that other roof. *

He can't get across to her. Moving fast now. *

Down steps. Into the riad courtyard. *

BOURNE entering the hallway. *

Moving up the stairs. Towards Nicky. *

And towards Desh. *

Meanwhile NICKY moving down. Looking out into the * courtyard below. The sound of POLICE getting nearer. *

BOURNE hearing the POLICE too as he moves up onto a * landing. *

BOURNE into a main room - something stirring on a couch - a * girl and her little sister having a siesta. *

In another room two small boys fast asleep. TV playing. * One wakes. *

A noise on the stairs above. Quickly arranging a mirror - * getting line of sight - Bourne dipping into a corner. *

It's NICKY. *

She gives him a look -- DESH is in here somewhere. *

The door goes below them. The noise of Police entering the * Riad. *

NICKY signalling to BOURNE - this way. *

They climb narrow stairs to the next floor. *

Down below Police begin searching rooms. Waking the * sleeping family. Shouting, crying. Commotion. *

BOURNE and NICKY creeping up the steps. *

Then - suddenly NICKY spinning round as two silenced * bullets speed past her - And DESH bursting out of a landing * toilet. *

On to Bourne. *

Full on Treadstone fighting in the narrow stairwell. *

Crashing into a tiny disused lift cage- silent constrained- * vicious. *

Downstairs a young POLICEMAN hears the noise- heading for * the lift. *

NICKY seeing the handle turn. Thinking quickly. She sends * the lift up to the next floor. *

The POLICEMAN stepping back from the door -- directing the * other cops out to the courtyard. *

People are spilling out into the atrium. It's pandemonium. *

Bourne and Desh spill out of the elevator and onto the * roof. *

BOURNE kicking the gun - spinning across the floor - he and * DESH facing each other. *

DESH with BOURNE - straight over the edge. *

DESH still on top - just. *

A brutal exchange. Matching each other's moves like * shadows. *

Relentless. Rolling - falling onto another roof level. *

And another. *

The two men tiring now. DESH grabbing for the bag. The * pills. BOURNE kicking them away. *

BOURNE has the upper hand now. DESH'S reaction's slowing. * No longer the match he was. *

BOURNE drags him to the ground. He's finished. Bourne's * won. *

DESH- shivering -- convulsing. *

In the struggle, BOURNE strangles Desh.

194 BOURNE and NICKY hide DESH's body. 194

NICKY CODES into DESH’S PDA -- BOTH OBJECTIVES ACHIEVED...In the CRI HUB the message comes up...VOSEN and LANDY believe NICKY and BOURNE are both DEAD...

The code from DESH remains on screen -- BOTH OBJECTIVES ACHIEVED -- like an EPITAPH for BOURNE and NICKY...VOSEN packs his briefcase. Turns to WILLS.

Off WILLS...

Cronin enters.

Landy looks at him.

Landy looks away...thinking. Wheels turning.

Bourne and Nicky enter.

BOURNE scrubs the blood from his hands. REVEAL Nicky watching him from the bedroom.

Landy sits at her desk reviewing files on Treadstone.Open on her desk we see the file she will be looking at in the Supremacy phone call.

The way she examines the papers we get the sense she thinks something is missing, some piece, some file.

Bourne scrubbing the blood from his hands. Nicky comes in, touches his shoulder. There’s a tenderness to it, a re- assurance. For a moment it looks like Bourne might react...but the moment passes....

Landy opens a new file. Bourne’s operations.

Bourne is toweling off.

Landy looks at Bourne’s kills. The faces Bourne remembers. But there names are here, and who they were, why they were killed.

Bourne and Nicky sitting together.

A beat.

Bourne takes her words in. But who he is is eating him alive from the inside...

Another moment passes between them...then:

She gets up.

Nicky dies her hair BLACK. Starts cutting it shorter.

Bourne walks with a now dark-haired Nicky. They exchange looks for a long beat. She turns towards the bus.

Landy finds a denotation in Bourne’s file that he was “recruited to Treadstone by Neal Daniels.” Further down the page it says “Bourne was inducted into Treadstone at the Special Research Department facility at 415 E 71st, New York, NY.” Then “Facility closed by order of Director, June 2002.”

Bourne looks at the tattered remains of Daniels’ body and belongings.

He goes through his briefcase and finds a nearly destroyed piece of paper with “Noah Vosen - Director of Operations - CRI” written on it. Bourne slips the morgue attendant a bribe.

Vosen is shaving.

On final approach to JFK. Bourne looks out the window to see the Verizano Narrows bridge. And beyond it, Manhattan. Bourne is coming home.

A202 EXT. NEW YORK A202

Establishes skyline.

Landy follows CRONIN into--

BOURNE’S PASSPORT is displayed on the computer monitor.

Bourne moves through the airport.

202 SERIES OF SHOTS 202

Bourne over the 59th Street Bridge -- arrives at CRI -- goes into the adjacent building --

Bourne uses his monocular to zoom in on a file Vosen is looking at -- he sees the word “Blackbriar.” Vosen puts the file back in the safe.

LANDY’S cell phone rings. She answers it.

LANDY puts down her pencil. CRONIN watches.

His phone rings. He picks it up.

Vosen jumps up, sprints toward the hub--

Vosen rushes in--

She opens a file on her desk.

Bourne listening--

Vosen realizes--

She spins to look for Bourne--

Vosen moving across the floor.

Landy takes out her gun. Checks it.

HIGH ANGLE: Landy leaves CRI.

Wills walks over to Vosen. The look in his eye indicates that he thinks there’s something odd about this:

Vosen looks at Wills.... A beat, Vosen’s suspicion building, though he can’t quite put his finger on what he suspects...

Landy receives a text message.

Vosen leans in to the Hub’s back monitoring room.

Landy heads for someplace -- now with purpose.

VOSEN confers with WILLS.

VOSEN paces anxiously.

TECH points at big screen: “Tudor City Pl & 42nd. Ten minutes. Come alone. Come on foot.”

LANDY walks east toward Tudor City. She looks around her for any signs of surveillance but finds nothing out of the ordinary.

Vosen and AGENTS come running out of the front door. Others leave through a side entrance. They jump in sedans.

Landy still being trailed by foot.

Vosen and agents race to Tudor city. An electronic map on the dash.

LANDY walks east through the crowded streets.

BOURNE walks down the street, enters a building.

Spotter on a rooftop.

LANDY is on the east side now, walking toward Tudor City. An agents trails her on foot. Another parallels her from across the street.

SERIES OF SHOTS: CRI cars arrive, careful to stay several blocks from the meet site. They jump out and try to set up surreptitious surveillance posts.

Bourne climbs stairs.

Landy walks, agents are everywhere looking for her. Vosen is still in car.

She becomes clear to AGENT 3.

Bourne climbs stairs. Walks down a dank hallway.

Landy stands on a corner waiting for Bourne.

TIGHT SHOT on Bourne’s face. FAST TILT to TIGHT ON his hands, pulling up what seems like a piece of clear tape. We can’t tell where we are or what he’s doing.

Landy looks around.

TIGHT ON Bourne’s hands placing the clear tape on a piece of clear plastic. Again we can’t tell what’s going on.

Agents watch Landy.

Vosen’s cell phone rings.

VOSEN reels for a beat. Then quickly scans the streets, trying to see if he can spot BOURNE.

REVEAL that BOURNE is inside VOSEN’S office.

BOURNE hangs up. Puts a portable dictaphone up to VOSEN’S SAFE and his play:

As he places the plastic slide we saw in the ECUs into the fingerprint reader. The safe pops open--

VOSEN stunned.... Is it possible? Is it a trick?

From the safe, BOURNE scoops out the “TREADSTONE: Blackbriar” folder Bourne saw Vosen putting into his safe.”

He flips it open. He scans down the page. His eye stopping at the words “US Citizen.”

He flips to another page -- another photo, and again “US Citizen.”

BOURNE shoves the folders in his backpack and leaves.

Bourne rushes down with his back pack.

Wills grabs the phone and hits a speed-dial:

Bourne onto the street with back pack.

SERIES OF SHOTS -- VOSEN’S SUV races, lights and sirens, across town. 2) Other CRI cars race back across town.

BOURNE walks out of a building, backpack over his shoulder. CAMERA BEGINS TO CRANE UP...

BOURNE walks around a corner near CRI. He hears a siren turn on a few blocks away. Then another. He starts to run.

A SEDAN pulls to a stop as a door comes open. CRONIN’S inside. REVEAL Landy on the sidewalk. She jumps in.

Cronin pulls out.

Cronin puts it together.

BOURNE walking away from CRI.

Agents leaving a building. Getting into unmarked sedans and peeling out.

As Vosen races across town.

The passenger side agent sees BOURNE, points--

BOURNE cuts to the south side of the road so the passenger- side agent doesn’t have a shot, while controlling the car makes it almost impossible for the driver to fire accurately.

The westbound car cuts sharply and drives up on the sidewalk. But Bourne is too fast. He’s already past them. The passenger side agent jumps out. But he’s still got to get around the door and then move a few steps to get a bead over the hood of his car on Bourne.

The other CRI car races the wrong way on the street but gets immobilized and trapped by the onrushing tunnel traffic.

Vosen and Wills race West on 41st.

242B SERIES OF SHOTS 242B

CRI cars close in -- on 42nd, on 39th, on 10th Ave.

Bourne races through the tunnel traffic and onto 40th street. He rushes east toward the spaghetti of concrete ramps leading into and out of Port Authority.

He runs across 10th Avenue as a third CRI car screams up the street at him.

Several radios blare.

Bourne runs up a one lane outgoing ramp.

The driver pilots his car up the ramp behind Bourne. He jams the accelerator down. He’ll be on top of Bourne -- running him over -- in seconds--

A New Jersey-bound bus exits the complex and heads around the corner of the ramp -- it skids to a stop when it sees Bourne and the CRI car giving chase heading right at the bus.

The driver has to skid to a stop to avoid hitting the bus. Bourne slides between the side of the bus and concrete guard rail. The driver calls it in--

261 SERIES OF SHOTS 261

Cops and CRI cars close in on Port Authority. One agent jumps out of his car on 8th Avenue and rushes for the stairs.

Bourne races up a set of stairs the rooftop parking lot. He surveys every aspect of his environment on the fly (which includes his taking a quick peak over the concrete railing at the east end of the roof.

Next Bourne rushes toward the parked cars. Smashes the window of one to set off its alarm. Then a second and a third, setting off their alarms.

The fourth window Bourne smashes in doesn’t set off an alarm. Bourne pulls the door open and climbs in.

Inside the car Bourne reaches under the dash and yanks handful of wires off the steering column and starts to expertly hotwire the car.

264 SERIES OF SHOTS 264

Agents race up stairwells. Two CRI cars careen up the ramp to the passenger parking (a separate ramp to the bus ramp we saw Bourne on earlier.) A third CRI car races through the parking level just below the roof and up the circular ramp to the roof.

Bourne works to hotwire the car.

A CRI car gets to the roof. Two agents come from the elevator lobby. The three car alarms distract them.They search for Bourne, but can’t find him at first...

Bourne gets the car engine on - but, given the wonders of modern anti-theft technology his steering wheel is still locked.

A second CRI car arrives.

Bourne slams the car into low gear and backs up at high speed.

He smashes into the car across the aisle from him. With a sharp metallic snap the wheel in Bourne’s car is suddenly free, he jams the car into drive pulls out into lane and stops.

Three CRI cars here now. Two head straight for him. A third blocks the exit ramp.

Bourne checks the rearview and sees two more agents pour from the elevator lobby, one carrying the serious firepower of an M-4 (an M-16 variant whose bullets can penetrate metal and concrete). They move into position to get a bead on him.

Bourne assesses. But he doesn’t move. The agents swarm toward him. What the hell is he doing? Why is he waiting?

The agents clear their obstructions and drop their barrels toward Bourne--

But before they can get a bead--

Bourne slams the car into reverse again. Petal to the metal in reverse--

The agents open fire.

Bourne ducks the lead slugs ripping through the windshield. But there’s no dodging the shower of broken glass.

As Bourne disappears below the dashboard, the CRI agent adjusts his fire into the car’s grill.

Virtually blind, Bourne races the hard-pressed vehicle backwards as the agent’s fire decimates the car’s driveline.

Bourne slips the car into neutral and takes a quick peek behind him.

Steers still speeding but quickly dying car towards a small gap between two parked cars at the edge of the parking structure.

Bourne’s car splits the gap between the parked cars, hits the base of a low angled wall that slams the back of his car up and over the wall.

Bourne is pounded as his car jounces onto the wall, a second later the front end seesaws over the top, the sudden angle change exposes for an instant the bottom of Bourne’s car, to the shooters.

Several rounds rip through the floorboard and tear past Bourne’s head just before his car drops upside down for 25 feet and slams onto a row of parked cars.

The impact rips Bourne from the seat and slams him hard against the roof.

Bourne struggles out of the car, knowing he has only a moment before the armed agents will fire down into his over- turned car.

The CRI agents race to the spot where Bourne’s car disappeared over the railing and reflexively fire into Bourne’s car but they’re too late! Bourne’s already out. He disappears from sight under the covered parking structure.

As it speeds toward the spaghetti of ramps leading in and out of Port Authority -- two blocks away.

One of the agents scrambles over the edge and starts to climb down. Other agents race for the stairs.

Clearly there is no one down there. Bourne’s car jump from the roof has completely flat-footed them.

A274A OMITTED A274A

Two CRI cars race down from the roof to try to get to the level Bourne’s on.

Bourne cuts off a guy cruising for a parking space and pulls him from his car and races away as the agent from the roof lands hard behind him.

Bourne’s race to the exit is cut off as a 3rd CRI sedan slides into view and it’s occupants open fire on Bourne in a head on charge.

The just stolen vehicle takes heavy fire as Bourne reacts instantaneously; thumbing on the cruise control, shouldering his door open, and slamming the gas pedal to the floor as he dives out of the car.

The agents react as Bourne’s sedan torpedoes them head on. Hit hard they’re taken out of the fight as metal collapses, glass shatters, and airbags explode.

Bourne tumbles to a stop at the rear of a parked car as his car implodes against the oncoming agents.

Instantly Bourne is on his feet, moving between the parked cars to engage another CRI sedan traveling parallel to the course of the wrecked one.

The agents in this sedan are distracted by the still echoing crash and are caught off-guard as Bourne steps out and points his gun at the driver.

The driver ducks and floors his gas pedal in a desperate effort to save his own life. As the sedan suddenly accelerates, Bourne deliberately shifts his aim to the sedan’s front tire and fires.

The tire explodes and the car suddenly veers left and slams into a parked car, pitching the driver violently against the unyielding interior of the sedan.

An instant later Bourne rips the radio off the dazed drivers belt just before he cold cocks him with it.

With the wreck still echoing through the garage Bourne has to deal with the arrival of the first NYPD sedan.

Bourne takes on the persona of an alarmed witness as the on edge cop climbs out of his car but Bourne’s performance is cut short as the agent running from his drop from the roof, arrives and opens fire.

The police officer goes down in the hail of gunfire as Bourne turns and expertly drops the gunman with a single shot.

The increasing volume of squealing tires alerts Bourne to a new threat, he pulls the officer into some cover and grabs the officer’s radio.

Bourne rips a piece of his sweater off and ties a makeshift tourniquet for the officer. Then he hands the cop his radio back.

Bourne disappears.

We pick him up as he jumps into the cops car and guns the engine and heads for the exits.

CRI agents are confused for a second -- until they pick up the NYPD car exiting Port Authority on one of the ramps. But that’s all the time Bourne needs--

Bourne turns on his lights and siren and speeds east, followed closely by a CRI sedan.

As cars yield to Bourne’s siren a taxi tries to jump into Bourne’s wake but a CRI sedan punches the taxi back to the right. It ricochets off several parked cars before regaining control.

Bourne struggles to keep his over-matched vehicle ahead of the more powerful CRI Sedan which tries to spin Bourne out by hitting his bumper.

Bourne tacks right quickly and barely avoids a stopped car. The CRI sedan flanking Bourne’s slams into the rear of that car, spinning it 180 degrees into the path of the trailing CRI sedan which destroys itself in the resulting collision and blocks the path of the other CRI sedan.

Bourne is home free. He looks around and spots a sign that indicates a right turn and says “To Holland Tunnel / US 95.” Bourne turns right--

Suddenly the window next to his head explodes as two more shots rip through his door to tear a jagged wound into the top of Bourne’s leg.

REVEAL Paz, his SUV racing along the curb lane. As Bourne’s car crosses in front of a small car stopped at the intersection Paz swerves his car into that car and punches it into the side of Bourne’s car.

Bourne’s car is knocked spinning, Paz keeps charging forward and slams into the back of Bourne’s car. With his front tires spinning wildly Bourne fights to straighten his car as another CRI sedan appears and tries to box Bourne’s car by sliding into his path.

Bourne just manages to punch his car into the right rear of the CRI Sedan and race down the Avenue with Paz and the slightly damaged sedan in pursuit.

Paz gains on him and Bourne is forced to swerve violently to deny Paz the kill shot he is all too capable of.

Just ahead of Bourne, two government SUVs slide into the intersection completely blocking his path.

Bourne instantly spins his car 180 degrees and continues on, barreling into the roadblock backwards.

As Bourne’s car plows through the SUV’s he whips the wheel and his car spins through a reverse 180 as Paz and the other sedan race through the wreckage in Bourne’s wake.

Paz and the CRI sedan are all over Bourne as he slides a right hand turn onto South St. as Paz and the CRI sedan overwhelm Bourne’s battered vehicle.

On his police radio, Bourne singles out an NYPD officer (call sign Alpha-2503) racing toward the intersection just ahead.

Bourne slows, then speeds up quickly to time it right:

The CRI car almost hits his bumper, then has to accelerate through the upcoming intersection. As he does, the cop car Bourne was listening to on the radio slams broadside into the CRI sedan drafting the bumper of the mangled cop car.

Swerving wildly Paz avoids the pileup and slams his heavy SUV into the back of Bourne’s car, pushing him into the oncoming traffic.

Several cars swerve left and right as Paz pushes Bourne sideways onto the ramped end of a K-Rail dividing the street ahead.

The nearly upended car grinds down the K-Rail until the rear of Bourne’s car strikes an obstruction which punches it back into the lane as it slams against the front of Paz’s SUV, knocking the SUV sideways, into a row of parked cars.

Bourne’s car hits parked cars on the other side of the road.

SMOKE and STEAM -- SIRENS -- CHAOS

BOURNE kicks the window out of the police car. Gun up... Ready--

NEARBY

287A PAZ in the car. Still. Bloody from the crash, really 287A fucked up. He comes to...and Bourne is there. Gun pointed at his head...

The two assassins look at each other...then Bourne lowers his gun...and disappears...

ON PAZ -- as the wheels start to turn...

Vosen reacts--

Bourne exits from the subway. Bourne walks north.

A288A INT. HUB A288A

Wills pacing... Bourne’s profile is up on Screen 2. It says “David Webb (AKA Jason Bourne)” on the profile. A tech comes to Wills.

Wills looks at the profile. Bourne’s birthdate is listed as 9/13/70.

Wills gets it instantly.

Wills grabs his headset--

A CRI agent approaches Vosen.

It sinks in for Vosen...oh...shit...

BOURNE emerges into the crowed street, headed uptown.

Wills watches the techs work.

TECH #3 -- if you plug them in as variants of latitude and longitude you get Cameroon -- Peru -- Colombia --

TECH #2 -- San Francisco’s got a four-one- five area code --

TECH #1 -- 41571 is the zip code for Varney, Kentucky --

TECH #4 -- there’s no 415 West 71st Street, but there is a 415East 71st --

TECH #1 -- if it’s a substitution code, we’re way short on variables, which I -- (no chance to finish as-- )

TECH #4 That’s correct.

Wills like he’s been hit. Like hard. As we cut to --

They race uptown.

Vosen steely eyed as they race uptown. He dials a number--

Bourne reaches 71st street and 2nd Ave. He looks up at the sign...

AFTERNOON

Hirsch’s office is located in the SRD’s “front office”, which is located covertly on a floor of the new building of the hospital. He is the longtime head of SRD and a powerful behind-the-scenes official at CIA.

THE CAMERA FINDS

DR. HIRSCH, 70, is, put simply, not a man to be trifled with. He’s a 45 year CIA veteran. One of the great brains in the Agency’s history, but also a man who knows how to wield power silently, invisibly, and to tremendous effect. His phone buzzes.

VOSEN at the other end of the line --

Dead pause.

There’s a wistfulness in the way he says it. But also the sense that this was absolutely inevitable. And he’s calm about it, doesn’t show any fear, doesn’t reach for a gun.

Bourne arrives at the “Johnston Medical Center.” He looks up to see “415”.

FB5 FLASHBACK FB5

The image of “415” that has been haunting his dreams.

This is the place... When he looks down Landy steps out of the lobby to meet him on the sidewalk.

Bourne hands her the black bag and enters the hospital.

She watches the doors close behind him.... Landy lets him go.

QUICK SHOTS of six different CRI sedans and SUVs rushing toward the hospital.

Landy looks in the backpack.

JUMPCUTS:

--She unzips the backpack and looks in at the the Blackbriar Operations File.

--A cover page inside: “utmost secrecy”... “potentially explosive public reaction would jeopardize the program”...

--Another page: “Terminated” stamped across the photos of victims. Next to the victim from the inciting incident, the words: “US citizen”...

--A third page, more photos, no “terminated” on these. Future victims. “US citizen” stamped next to each one...

Bourne uses the card reader he took from Vosen’s safe to enter a “restricted access elevator.” A guard comes. Bourne aims his pistol at him as the elevator door closes.

Landy walks down the street. She looks up to spot two black sedans speeding east on 71st, turns south -- two SUVs coming up York. Shit--

A block south of the hospital, stuck in traffic, Vosen points.

Bourne flips up the elevator stop button and uses the access card to enter a secure corridor--

Landy runs across the lobby.

Vosen’s SUV careens to a stop behind a bunch of traffic. Still a half block from the entry door but it’s close enough--

Bourne rushes down a nondescript corridor--

Vosen and CRI agents rush into the lobby.

A security guard comes over.

Landy looks around. Finds an open office. She pushes open the door and runs to the fax machine. She starts faxing the Blackbriar documents Bourne took from Vosen’s safe.

Vosen enters.

AFTERNOON

Bourne stares down the corridor from his dreams, the corridor Daniels lead him down in his flashback.

We see Bourne go into--

FBA3 FLASHBACK FBA3

That first day, Bourne’s POV being led down this corridor by Daniels.

322 BACK TO SCENE 322

Bourne moves down the corridor.

AFTERNOON

Bourne reaches the end of the hall. He looks around “flashback style” --

FBB3 FLASHBACK FBB3

Bourne was standing at this door....

Vosen enters the room. The last pages have been faxed...

She exits...

322 BACK TO SCENE 322

Then spins, gun up--

Hirsch is there, halfway down the corridor behind him.

Hirsch moves toward Bourne, completely unfazed by the gun.

Bourne grabs Hirsch and slams him against the wall

Bourne grabs Hirsch and pushes him to the wall. Searches him for weapons.

CLOSE ON Bourne’s face--

Bourne stands with Hirsch.

A beat...

Hirsch uses his free hand to hit the keypad on the wall. The “room in use” sign lights up.

Bourne looks up “flashback style”--

FBA1 FLASHBACK FBA1

Bourne remembers that keypad, that “room in use” sign from the first day...

Bourne and Hirsch enter...

Hirsch removes a pair of dog tags from his jacket pocket. Holds them out to Bourne.

Bourne takes the dog tags. Stares at them.

INSERT of the dog tags:

Webb, David

946610190

O Negative

Catholic

FB9 FLASHBACK FB9

Bourne hands over his dog tags....

FBB3 FLASHBACK FBB3

Bourne raises the gun to Hirsch.

FB9 FLASHBACK FB9

FB10 FLASHBACK: FB10

Bourne sitting in a chair, looking terrible. Hirsch looks at him from behind the desk...

Bourne looks down, a gun in his hand. He gets to his feet swiftly and fires the pistol several times into a hooded figure. The man slumps over.

Bourne stares at what he’s done.

Daniels pulls the hood off the figure to show that he is dead.

Just then Kramer walks through the door.

322 PRESENT 322

And now, in real time, Bourne comes out of the flashback. He stares back at Hirsch....

Bourne lowers the gun.

Just then Bourne spins -- agents arrive at the door. It’s locked.

The agents fire at the door handle to get it open.

Bourne looks out a window. Sees the layout of a roof several stories below. Then he turns and shoots out the room’s mirrored observation window. Bourne dives through it just as agents rush in and open fire at him.

SERIES OF SHOTS

Bourne races through corridors, loosing the CRI agents.

Bourne runs out onto the roof. Rushes across it to look over the edge. It’s a straight drop to the FDR -- 12 stories down.

He races to another ledge -- the East River below him.But he has to clear a 10 foot supporting wall at the base of the building to hit the water. He backs up to get a running leap.

As he does, he turns and sees Paz, who is holding a gun on him.

Bourne looks at him.

Bourne turns and runs off the roof.

Paz fires into the air...

FOLLOW Bourne as he drops fourteen stories into the freezing river--

MULTIPLE ANGLES -- Bourne goes into the river...

352 UNDERWATER 352

Bourne in a dead man’s float...as his clothes soak through he begins to sink....

PULL BACK...farther and farther from Bourne’s dead still sinking....as OVERLAPPING, INTERWEAVING VOICE OVERS begin:

Nicky goes to the bar of at a low end tourist bar with several other customers. She stands there, eyes fixed on a TV behind the bar:

PUSH in on the smile that develops on Nicky’s face. As we CUE the Moby “Extreme Ways” sting---

352 UNDERWATER 352

Bourne’s body sinking toward the bottom...when all of a sudden it comes to life -- arms together, legs kick powerfully--

And Bourne swims away...