THE BOURNE ULTIMATUM
Written by
Tony Gilroy, Scott Z. Burns & George Nolfi
Based on the novels by
Robert Ludlum
FINAL SHOOTING SCRIPT
June 20, 2007
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.
1
1 EXT. NIGHT. HOUSING PROJECTS -- MOSCOW 1
SMASH CUT
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...
4 INT. NIGHT. PHARMACY -- MOSCOW 4
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...
5 EXT. NIGHT. PHARMACY -- MOSCOW 5
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...
6 INT. NIGHT. PHARMACY BATHROOM -- MOSCOW 6
BOURNE finishing up -- splashes water on his face -- he
seems a man on a mission. He looks up --
2
A MIRROR.
His face...
FB1 FLASHBACK -- JUMBLED STREAKY IMAGES: FB1
"415" written on a building.
DISEMBODIED VOICE (HIRSCH)
Welcome to the program...
POV Bourne walks down a corridor (corridor #1).
6AA INT. NIGHT PHARMACY -- MOSCOW 6AA
The cops approaching.
FB1A FLASHBACK -- JUMBLED STREAKY IMAGES: FB1A
Daniels leading Bourne down the corridor.
DISEMBODIED VOICE (V.O.)
You'll be saving American lives.
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...
6A INT. NIGHT PHARMACY -- MOSCOW 6A
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.
BOURNE
(in Russian)
Give me your gun and radio.
POLICEMAN #2's gun and radio skittle across the floor.
3
BOURNE
(in Russian)
My argument is not with you.
BOURNE smashes the radio and takes the gun.
BOURNE exits...
BLACK SCREEN
A TITLE fades in --
THE BOURNE ULTIMATUM
SUPER: Six Weeks Later
6B OMITTED 6B
6C OMITTED 6C
6D OMITTED 6D
6E OMITTED 6E
6F OMITTED 6F
6G OMITTED 6G
6F OMITTED 6F
6G OMITTED 6G
8B EXT. DAY. LANGLEY, VA 8B
Establishing shot -- CIA Headquarters
8C INT. CIA -- DAY 8C
A workman installs a nameplate that reads: Ezra Kramer,
Director, CIA.
8C INT. KRAMER'S OFFICE -- DAY 8C
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.
4
Two other senior CIA officials sit in on the meeting.
Kramer looks at a file on Bourne and Abbott.
BOURNE (V.O.)
So we got in the way? Is that
why Neski died? Is that why you
killed Marie?
Kramer glances at a photo of Marie in the file.
ABBOTT (V.O.)
You killed Marie the minute you
climbed into her car. The
minute you entered her life she
was dead!
Kramer looks at Abbott's official photo.
BOURNE (V.O.)
I told you people to leave me
alone! I fell off the grid. I
was half way around the world.
ABBOTT (V.O.)
There's no place it won't catch
up to you. It's how every story
ends. It's what you are, Jason.
A killer! You always will be.
THUMP!
CRONIN
We think that's Bourne hitting
him on the head and then--
He makes a gun with his hand, i.e. Bourne putting his gun
to Abbott's head.
ABBOTT (V.O.)
Go ahead! Go on! Do it!
BOURNE (V.O.)
She wouldn't want me to. That's
the only reason your alive.
The tape clicks off.
KRAMER
Who's "she?"
CRONIN puts a picture of MARIE in front of KRAMER.
LANDY
His girlfriend, Marie. She was
killed in India three weeks ago.
Kramer looks down at another image. Abbott dead after his
suicide.
5
KRAMER
A dirty section chief in league
with a corrupt Russian
Billionaire commits suicide when
confronted by Jason Bourne. You
couldn't make this stuff up.
(holds up the photo of
Abbot dead)
You watched this happen?
Landy nods. Kramer shakes his head in disgust at the whole
situation.
KRAMER
Bourne's last confirmed location
is Moscow, three days ago?
LANDY
Right.
KRAMER
So what does he do now?
LANDY
I think he's looking for
something he hasn't found.
KRAMER
Like what? What's he after?
LANDY
I'm not sure. Maybe he hasn't
gotten his memory back yet. Not
all of it.
A look from Kramer...
KRAMER
Pam, what I need to know is, what
kind of a threat is he to us?
LANDY
If he just wanted to hurt us he
could have sent this tape to CNN.
KRAMER
Maybe he still will. Maybe he
gave it to you because he wants
to throw you in the opposite
direction of his real plan. I
don't know. I just know my
number one rule is "the only way
to stay safe is to assume the
worst." As far as I'm concerned
Bourne is a serious threat until
proven otherwise.
6
8D OMITTED 8D
8E OMITTED 8E
8F OMITTED 8F
8G OMITTED 8G
14A OMITTED 14A
14AA EXT. TURIN, ITALY - ESTABLISHING SHOT 14AA
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.
ROSS
(with poster)
...This one's three years ago --
had half of Interpol after him --
disappeared...Turned up in Naples
-- Berlin -- Moscow --
disappeared again...
(Daniels says nothing)
The girl he was on he run with --
Marie Kreutz -- she turned up
dead halfway around the world,
from a sniper's bullet...
(beat)
What connects the dots? Is it
Treadstone?
DANIELS
Turn off that tape recorder.
15A OMITTED 15A
15B OMITTED 15B
24 INT. DAY. MARTIN'S APARTMENT -- PARIS 24
The charm of old Paris captured in the workings of an
elevator operating in a wrought-iron shaft...
7
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.
INT. CONTINUOUS. MARTIN'S APARTMENT
Martin looks out the window.
MARTIN
Where is my sister?
BOURNE
She's dead. She was killed.
MARTIN
I knew it was going to end this
way. It was always going to end
this way...
BOURNE
I didn't believe that.
MARTIN
Why did she die?
BOURNE
She was shot. A man came for me.
MARTIN
And then you killed him.
Bourne nods.
MARTIN
Now what?
BOURNE
Someone started all this...and
I'm going to find them.
Bourne looks at him for a beat and leaves.
EXT. SUBWAY -- DAY
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.
8
Bourne walks up to the door, the bodyguard comes out again.
Bourne knocks him aside. Grabs the man behind him,
ELLATRACHE.
BOURNE
(in French)
Who started Treadstone?
The bodyguard comes back, gun out--
ELLATRACHE
(in French, to
bodyguard)
It's OK!
(in French, to Bourne)
They're still looking for you.
You are taking a big risk coming
here.
Bourne shoves him against the wall, hard.
BOURNE
(in French)
Just tell me what I want to know!
ELLATRACHE
(in French)
I just provided them weapons. I
don't know who started--
BOURNE
(in French)
You know something. Tell me
where to start looking.
ELLATRACHE
(in French)
There's a journalist in London.
Simon Ross. He seems to know a
lot about you. He has a source
inside the program. Someone
there from the beginning. What
should I tell them if they
contact me?
BOURNE
(in English)
They give me the name I want, or
I burn their entire house down to
get it.
16 EXT. DAY. HEATHROW AIRPORT -- LONDON 16
ROSS hurries to catch a TAXI as he talks on his cell phone.
9
ROSS
...This is big -- a skein of lies
-- you pull at it and it just
keeps coming -- I'll fill you in
when I get home. And it's not
finished, either.
(beat)
They're calling it `Blackbriar'.
Follow this SEQUENCE as...
17 INT. DAY. CIA SUBSTATION -- LONDON 17
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."
SUPERVISOR
Okay, send it to CRI right now.
25D EXT. DAY. THE SKYLINE -- NEW YORK CITY 25D
NOAH VOSEN, deft and confident, arrives at CRI
Headquarters.
25E INT. DAY. CRI OFFICES -- NEW YORK CITY 25E
As VOSEN steps out of the elevator and into his office, he
is met by his #2, WILLS.
WILLS
We tracked the phone. Registered
to a London reporter named Simon
Ross. He works at the Guardian
newspaper.
10
They enter a hallway through double doors towards the HUB.
VOSEN
You tracking him?
As they pass through, colleague hands WILLS a file.
WILLS
Yeah, thanks Mike. We have a
survey team covering him at
work...and a sneak and peek's on
their way to his apartment.
VOSEN
Well, who talked to him? How did
he find out about Blackbriar?
WILLS
We don't know, we pulled his
background and ran a cross check
on any known anomalies, but we've
come up with nothing. But, I
think if we follow Ross, we are
going to be able...
VOSEN
Right. Ross is easy. I want the
source.
They enter the HUB.
26 EXT. DAY. GARE DU NORD -- PARIS 26
BOURNE buys a newspaper, enters the station and gets on the
EUROSTAR.
26A INT. DAY. CRI DATA ROOM (was 25E) 26A
VOSEN and WILLIS listen to the phone call.
ROSS (VOICEOVER)
Have you heard of an Operation
Blackbriar? I'm going to try and
get my head around this, see you
first thing.
VOSEN turns.
VOSEN
Is that all?
WILLS
Yeah.
11
VOSEN
I want rendition protocols and I
want the asset put on standby,
just in case.
26B INT. DAY -- CRI HUB 26B
VOSEN steps out from DATA ROOM...addresses the HUB.
VOSEN
People, listen up, this is a full
priority situation
WILLS
Jimmy, give me Ross's profile on
one.
(points at the big
screen on the wall)
ROSS'S information come up on the center screen.
VOSEN
Our target is a British national,
Simon Ross, a reporter. I want
all his phones, his blackberry,
his apartment, his car, bank
accounts, credit cards, travel
patterns...I want to know what
he's going to think before he
does. Every dirty little secret
he has. And most of all, we want
the name and real time location
of his source.
This is NSA priority level 4, any
questions?
No response from the HUB.
VOSEN (CONT'D)
All right, let's get to it.
26C EXT. DAY. EUROSTAR -- ENGLAND 26C
The EUROSTAR winds it's way to London.
26D INT. DAY. EUROSTAR 26D
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
12
Marie smiles at him. Marie shot. Marie fades into the
depths, dead. Bourne burns Marie's stuff
26D INT. DAY. EUROSTAR 26D
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.
29 EXT. DAY GUARDIAN NEWSPAPER -- LONDON 29
Ross crosses a busy London street -- heads to Guardian
office building. A CRI TEAM watches from a parked car.
35H INT. DAY -- CRI HUB 35H
TECH #1 watches the data arrive.
TECH#1
Copy that. Mr. Vosen, subject is
entering his office.
VOSEN watches the feed.
VOSEN
Where's my picture please?
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...
VOSEN
That's too long.
Off VOSEN.
R34 INT. DAY. GUARDIAN EDITOR OFFICE -- LONDON R34
ROSS reports to his EDITOR.
EDITOR
So how do we know he's not
spinning for someone?
ROSS
There's more. He was scared.
13
EDITOR
Scared of what?
ROSS
Blackbriar.
A REPORTER sticks her head in.
REPORTER
Sorry, a call for you.
ROSS
Who is it?
REPORTER
Won't give hie name.
ROSS leaves to pick up the call.
35Y INT. CONTINUOUS. GUARDIAN -- NEWSROOM 35Y
ROSS crosses the busy newsroom...
REPORTER
He's on my line...
ROSS picks up the phone.
Ross (CONT'D)
Simon Ross.
35H INT. DAY. CRI HUB -- NEW YORK CITY 35H
VOSEN watches as ROSS takes phone call.
VOSEN
Why aren't we hearing this?
WILLS
That's a hard line, Jimmy, why
don't we have it?
JIMMY
We have his line, sir, but he's
not on it.
WILLS looks confused.
35Y INT. DAY GUARDIAN -- NEWSROOM 35Y
ROSS listens.
BOURNE (V.O.)
Waterloo Station, south entrance,
thirty minutes.
14
ROSS
Who is this?
BOURNE (V.O.)
This is Jason Bourne.
35Z INT. DAY -- EUROSTAR TRAVELING 35Z
Bourne
You want to talk to me. Come
alone.
BOURNE hangs up.
35Y INT. DAY. GUARDIAN -- NEWSROOM 35Y
ROSS looks bewildered -- hangs up the phone -- gathers his
stuff -- puts his notebook in his pocket and leaves.
SURVEY ONE (V.O.)
Are you getting an image?
35H VOSEN 35H
Where's he going?
WILLS
Okay, he is on the move. Target
is mobile.
The HUB reacts. .
WILLS
Okay, people, look sharp, give me
eyeballs on the street.
36 INT. DAY. BUILDING -- ACROSS FROM GUARDIAN 36
SURVEY ONE has panned down to the entrance of the GUARDIAN
building. Because ROSS is on the move...
SURVEY ONE
Subject is on the move. Go mobile
One and Two.
WILLS
Where's that audio on the street?
I want to know where he's
going...
36A EXT. CONTINUOUS. LONDON STREET 36A
ROSS hails a BLACK TAXI. The SILVER VAN pulls out behind
him...
15
35H INT. DAY. NEW YORK HUB 35H
VOSEN watches as the feed from the SILVER VAN comes
through.
MOBILE 2
(over radio)
We have the subject confirmed.
VOSEN
Where is he heading?
MOBILE 2
Waterloo Station.
37 EXT. DAY. WATERLOO STATION -- LONDON 37
BOURNE arrives on the EUROSTAR. Enters the station.
38 EXT. CONTINUOUS. STREET 38
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.
HUB (V.O.)
Stand by at Waterloo...
39 EXT. DAY. WATERLOO STATION -- LONDON 39
BOURNE moving toward the rendezvous...
63 INT/EXT. DAY. BLACK CAB -- YORK ROAD 63
ROSS pays the DRIVER, exits. Checks his watch. Looks
around. Isn't sure what his next move is--
64H INT. DAY. CRI HUB 64H
TECHNICIANS searching for ROSS on the busy street.
TECHNICIAN #2
Mobile One -- give us eyes on the
subject.
16
63 EXT. DAY. YORK ROAD -- LONDON 63
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.
63A EXT. DAY. ENTRANCE -- WATERLOO STATION 63A
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.
63B OMITTED 63B
64H INT. CONTINUOUS. CRI HUB -- NEW YORK CITY 64H
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.
63 INT. DAY. WATERLOO -- ENTRANCE 63
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."
17
ROSS
Hello?
BOURNE (O.S.)
Don't ask questions. Just
listen...
64H INT. CONTINUOUS. NEW YORK HUB 64H
VOSEN watching...
VOSEN
What's he doing? I thought we
blocked his cell? Who the hell
is he talking to???
WILLS
Jimmy, I need that phone!
VOSEN
(beat)
Activate the asset.
WILLS
Sir, we haven't yet become
operational --
VOSEN
I said activate the asset. I
want options.
Wills keys in a CODE...
64 EXT. DAY. BMW -- LONDON STREET 64
PAZ, 20s, cool and predatory, drives and waits for
instructions...His PHONE buzzes...He reads the
code...Accelerates toward Waterloo Station...
70 EXT. CONTINUOUS. FOOTBRIDGE 70
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.
71 INT. CONTINUOUS. WHITE VAN 71
SURVEY TWO -- camera zooming in on ROSS.
18
SURVEY TWO
What's the ROE on this one?
PANNING TO REVEAL
64H INT. CONTINUOUS. NEW YORK HUB 64H
VOSEN thinking it over as he watches the image of ROSS.
75 EXT. DAY. YORK ROAD -- TUBE -- BUS STOP 75
ROSS looking around. Then --
BOURNE (O.S.)
To your left. Blue hooded top.
Walking towards the bus stop
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.
BOURNE (o.s.) (CONT'D)
Go to the bus stop, sit next to
him. Head down...
The LONDON BUS approaching.
ROSS begins to move.
64H INT. DAY. CRI HUB -- NEW YORK 64H
Things are beginning to happen.
TECHNICIAN #1
Target is on the move.
WILLS
Okay, who's the guy in the blue
hood?
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.
VOSEN
Okay, there, he's talking to the
guy with the hood. Take them
down.
Just then --
19
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.
VOSEN
Watch that bus! The bus! --
don't lose them! Stay triangular
and don't get blocked.
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...
77 EXT. ACROSS FROM YORK ROAD -- DAY 77
SURVEY TWO -- three men racing across the road on foot.
Weaving through heavy traffic.
78 EXT. DAY. FOOTBRIDGE AREA 78
BOURNE watching his plan unfold...Only a few seconds to get
ROSS out of there...
BOURNE
Take the footbridge. Go to the
West Entrance. I'll meet you at
the newsstand.
79 EXT. DAY. YORK ROAD -- CONTINUOUS 79
ROSS rearing this -- Moving away --
The BUS moves up to the traffic light. The AGENTS moving
across the street...
64H INT. DAY. NEW YORK -- ENCRYPTED AREA -- CONTINUOUS 64H
VOSEN looking at the screens. Pointing...
20
VOSEN
No, no, look...Ross is not on the
bus. Split up the team -- get
the guy on the bus and send
someone to stay on Ross.
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.
AGENT ONE
(to Hoody)
You. On the floor. Down.
Pushing the HOODY to the floor.
AGENT TWO
Driver, stop the bus!
On the HOODY.
The HOOD is pulled back.
An innocent YOUNG MAN -- terrified, bewildered.
83 EXT. DAY. FOOTBRIDGE AREA 83
ROSS on the move across the walkway.
84 INT. DAY. STAIRWELL 84
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.
64H INT. DAY. NEW YORK HUB 64H
TECHIES scrambling to restore the feed. VOSEN staring.
TECHNICIAN #2
We've lost signal.
21
TECHNICIAN #1
What happened to Survey One?
VOSEN
I don't like this. Patch me
through to Met surveillance.
86 INT/EXT. DAY. CAR -- LONDON STREETS 86
PAZ parked up -- gets the call -- pulls out into the
traffic.
Slicing through to the target area. Waterloo up ahead.
87 EXT. DAY. WATERLOO 87
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
Why do you know so much about me?
ROSS
What?
BOURNE
The article. You talked to
someone from Treadstone. Someone
there at the beginning. What's
his name?
ROSS
I can't tell you that.... Who's
following me?
BOURNE
Whoever they are it's trouble.
ROSS
Are they Blackbriar?
BOURNE
Blackbriar, what's Blackbriar?
ROSS
I don't know. I heard the name
this morning for the first time.
Whatever it is, my source said it
started with you.
22
BOURNE
What? What are you talking
about?
ROSS
Look, just help me get away from
these people...and we can talk
more...we can--
BOURNE
(spotting approaching
operatives)
We have to move.
Bourne moves Ross toward the concourse.
BOURNE
Answer your phone.
64H INT. DAY. CRI HUB 64H
SCREENS coming alive again. They are through to MET
SURVEILLANCE -- the AREA around WATERLOO.
TECHNICIAN #1
Last sighted heading to the West
entrance.
VOSEN
He's got to be close. Seal the
entrances.
90 EXT. DAY. WATERLOO 90
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.
91 INT. CONTINUOUS. CONCOURSE -- WATERLOO 91
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.
23
One AGENT, then another approaching.
He dials.
BOURNE (O.C.)
Three o'clock. Female. Blonde
black top.
ROSS
Has she seen me?
BOURNE
Not yet. Dip left past the photo
kiosk.
ROSS spinning round. Dipping left. BLACK TOP passing in
the background missing him.
BOURNE crossing close behind - marshalling the pieces at
breakneck speed.
BOURNE (CONT'D)
Straight ahead. News kiosk.
ROSS turning. Weaving through the commuters.
BOURNE seeing cameras turn. ROSS heading into their path.
BOURNE (CONT'D)
Change of plan. Stop. Tie your
shoelace.
BOURNE seeing ROSS dip out of view as a group of TOURISTS
block the CCTV's line of sight.
64H INT. DAY. CRI HUB 64H
That same scene -- scores of TOURISTS -- from VOSEN's point
of view. The TECHS try to get another angle...
94 EXT. DAY. CONCOURSE -- WATERLOO 94
ROSS looking through the sea of legs as he finishes tying
his laces. Cameras sweeping past.
ROSS
Are we clear?
BOURNE
Clear. News kiosk. Straight
ahead.
ROSS on the move. Sweating. Paranoid.
Seeing a BIN MAN coming toward him -- reaching into his
trolley.
24
ROSS
Straight toward me. Bin man?
BOURNE
Negative.
ROSS
He's got a gun.
BOURNE
Negative. Keep straight ahead.
But ROSS swerves out of his path as the BIN MAN pulls out --
a bunch of keys.
CCTV CAMERAS turn -- ZOOMING IN ON ROSS.
64H INT. DAY. CRI HUB -- NEW YORK 64H
Ross' face on all screens.
TECH#1
We got a hit. Middle of the
concourse.
VOSEN pacing.
VOSEN
We're losing him! We cannot
afford to lose him!
Frenzied teching as they capture and transmit an image of
Ross to...
96 EXT. DAY. TAXI RANK -- WATERLOO 96
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.
94 EXT. DAY. CONCOURSE 94
BOURNE realizes ROSS has been seen. Sees the AGENTS
starting to form the box...
BOURNE
Get into cover. Now!
25
ROSS moving faster.
VOSEN
64H What's the status of the asset? 64H
WILLS
In place in one minute.
VOSEN
Alright, I want to take him now.
Get him out of there and have the
asset cover it.
WILLS gives orders...
96 INT. CAR TRAVELLING-- MEPHAM STREET -- DAY. 96
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.
ANOTHER VOICE
Asset in play. ETA thirty
seconds. All exits covered.
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.
99 EXT. CONCOURSE-- CONTINUOUS -- DAY 99
ROSS moving through crowds around the departures board.
BOURNE hearing that last exchange in his earpiece too.
Asset in play?
BOURNE
Keep moving...
BOURNE's POV: AGENTS closing the box. The departures board.
Platform 7. A train waiting.
BOURNE (CONT'D)
Faster....
Commuters waiting for the platform
BOURNE (CONT'D)
The front...
26
Suddenly -- CLICK -- PLATFORM 7 displays.
A wave of commuters flooding away -- sweeping the AGENTS
back with them towards platform 7.
BOURNE (CONT'D)
GET IN THE STORE.
BOURNE'S bought them thirty seconds.
100 INT. TUNNELS ABOVE THE CONCOURSE -- DAY 100
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.
100A EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY 100A
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
INSIDE!
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.
101 EXT. CONCOURSE -- CONTINUOUS -- DAY 101
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.
BOURNE
Service doorway -- Now!
27
64H INT. NEW YORK HUB -- SIMULTANEOUS -- DAY 64H
An image of Ross as he enters the store complex appears on
the screen.
TECHY 2
Store. Three means of egress.
VOSEN
Close him down...
105 INT. STORE COMPLEX -- SIMULTANEOUSLY -- DAY 105
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.
BOURNE
Keep moving.
ROSS moving out to the light as another AGENT follows.
BOURNE (CONT'D)
Through the store room.
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.
64H INT. DAY -- CRI HUB 64H
On a screen VOSEN watches, transfixed, as BOURNE takes out
all his agents and then grabs ROBB...
VOSEN
Jesus Christ, that's Jason
Bourne.
WILLS
Maybe he's the source?
VOSEN
It doesn't matter, the asset now
has 2 targets. Take them both
out.
WILLS taps in the order...
102B INT. MAINTENANCE AREA-- DAY 102B
PAZ moves cross a narrow walkway.
28
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.
102C INT. BEHIND THRESHERS (BEHIND THE SILVER METAL DOOR) 102C
BOURNE
I'm going to get you to safety
but you have to stay calm do
exactly what I say.
ROSS
(fear-induced autopilot)
Sure, okay.
BOURNE
No, listen to me: Exactly what I
say this time. Understand?
Ross snaps to focus. Looks Bourne in the eye.
ROSS
Yes.
BOURNE
Stay here while I look for an
escape.
Ross nods.
102B INT. MAINTENANCE AREA 102B
PAZ puts together the rifle.
103 INT. WATERLOO STATION 103
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.
29
ROSS (PHONE V.O.) (CONT'D)
I can see the entrance from here
I can make it out--
BOURNE
No, stay behind that door.
64H INT. HUB 64H
CCTV view of the silver door behind Threshers that ROSS is
behind (not Bourne). Wills is on phone.
WILLS
There. That silver door.
Bourne's behind that door?
TECH
Confirmed.
WILLS
Okay, pull the agents back and
give Bourne's location to the
asset.
107 INT. MAINTENANCE AREA 107
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.
111 INT. BEHIND THRESHERS / WATERLOO CONCOURSE-- DAY 111
INTERCUTTING BETWEEN ROSS AND BOURNE:
Bourne spots the agents pulling back per Wills' orders.
ROSS (INTO PHONE)
If I run now I can make it--
BOURNE (INTO PHONE
No. Something's not right.
107 INT. MAINTENANCE AREA 107
Paz awaiting his shot--
30
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).
111 INT. CONCOURSE -- WATERLOO 111
Bourne searches the rafters, looking for any threats from
above.
ROSS (TEL. V.O.)
I'm going to go for it, okay?
BOURNE
Don't move until I tell you.
Bourne is distracted by the last of the agents
disappearing. Something is definitely wrong--
ROSS
I'm going to go for it.
BOURNE
No, No not now.
Ross suddenly sprints out from behind the door--
110A SCOPE POV 110A
Paz sees the shape emerge--
110A INT. MAINTENANCE AREA -- DAY 110A
PAZ fires--
111 INT. WATERLOO -- SERIES OF ANGLES 111
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.
110A INT. PAZ'S NEST 110A
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.
31
64H INT. HUB 64H
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....
VOSEN
Oh...shit...
Then suddenly Vosen snaps back to focus:
VOSEN (CONT'D)
Get the asset out of there ...
WILLS
What about Bourne?
On the HUB MONITORS we see Police moving in... Vosen
doesn't need to see anymore.
VOSEN
Get him out of there - NOW!
111 INT. WATERLOO -- DAY 111
Bourne feels Ross' body for something.
110A OMITTED 110A
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.
111 INT. WATERLOO -- DAY 111
Back in Waterloo, Cops run in from all sides.
111A INT. DAY. WATERLOO STATION 111A
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...
32
113 EXT. CONCOURSE WATERLOO -- SIMULTANEOUSLY -- DAY 113
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.
114 EXT. PLATFORM AREA -- DAY 114
BOURNE tailing PAZ down on to a parallel platform. PAZ
dipping down into the underground entrance.
115/116 INT. 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...
33
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...
119 INT. DAY. DIRECTOR'S OFFICE -- CIA -- LANGLEY, VA 119
KRAMER
Hello.
VOSEN
It's Vosen. We have a situation.
119B EXT. NIGHT. DANIELS OFFICE -- MADRID 119B
Establishing Sewell and Marbury.
120 INT. NIGHT. DANIELS OFFICE 120
DANIELS watches news of ROSS murder on TV. DANIELS panics,
opens his safe, packs up papers, takes Blackbriar FILE.
Sets alarm. Leaves.
120C EXT. NIGHT. INTERNET CAFE -- LONDON. 120C
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.
123 EXT. DAY. POSH HOTEL -- NEW YORK CITY 123
LANDY steps out of a TAXI...
123A INT. DAY. POSH HOTEL -- NEW YORK CITY 123A
Vosen's sitting.
VOSEN
(to waiter)
Sparkling. And a "Heart-Healthy"
omelet with goat cheese and
peppers.
Landy arrives.
34
VOSEN
You're late. Traffic?
WAITER
(handing her the menu)
Ma'am?
LANDY
Nothing for me.
Vosen looks at her, surprised.
VOSEN
I'm buying.
She shakes her head, no. She sits, without taking her coat
off. She's not staying long.
VOSEN
When the Director called, it was
suggested we bring you on--
LANDY
Suggested?
(beat)
Are you sure it was just a
suggestion?
VOSEN
Funny how different things look
depending on where you sit. I
look at this as doing a favor for
you. Giving you an opportunity
to complete some unfinished
business.
LANDY
Meaning?
VOSEN
Jason Bourne.
LANDY
Bourne's finished.
VOSEN
Really?
LANDY
It was finished the moment I
realized I was chasing him for
something he didn't do. The
case is closed.
35
VOSEN
So what do you make of this?
(handing her
surveillance photos of
Bourne in Paris)
French intel picked up Bourne
meeting Pierre Elattrache on
Tuesday. He threatened to burn
our house down if you didn't tell
him who started Treadstone.
That's a big problem, wouldn't
you agree?
LANDY
This doesn't feel like Bourne to
me.
VOSEN
Why's it so hard for you to
believe?
LANDY
Probably because it's coming from
you, Noah.
VOSEN
Lets try and be adults okay? We
all thought he was done, off the
grid. But Bourne's back. Maybe
he's a threat. We both want the
same thing here.
LANDY
So what happened at Waterloo?
VOSEN
We have a leak. Bourne showed up
in our surveillance. We had very
little time to react.
LANDY
And the reporter ended up dead?
VOSEN
Bourne saw us coming.
Landy looks at him, suspicious.
LANDY
So what was he doing?
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?
36
LANDY
The real question is how you
managed to get in a fire fight in
the middle of a public train
station.
VOSEN
Don't second guess an operation
from an armchair, Pam. It's not
fair.
LANDY
I'm going to the office now.
I'll make my own introductions.
Off VOSEN...
125 EXT. DAY. ATOCHA TRAIN STATION -- MADRID 125
AN AVE train pulling into the vast station. BOURNE stepping
out, walking up the platform.
Moving out through the station...
125A INT. DAY -- CRI HUB 125A
TWO NEW TECHS plus the three we met before. All watching
VOSEN lead LANDY and CRONIN into the room.
WILLS
This is Pamela Landy. She's
gonna be quarterbacking our
search effort. I think what we
oughta do, just to get started,
let's go around the room, say who
you are and what your spec is.
LANDY stepping in before this gets going --
LANDY
Let's do names later.
(she's got the floor)
What's Bourne's last fixed
position?
(impatient)
Anybody.
TECH#3
London. Twelve hundred Zulu.
LANDY
Status? Wounded? Armed?
TECH#2
Alive. Mobile. Unknown.
37
LANDY
Where are your grids coming from?
TECH#1
NSA Tactical.
LANDY
You have an Echelon package?
TECH#1
Yes.
LANDY
Why isn't it on?
TECH#1
We were waiting.
LANDY
For what?
(no takers)
You're nine hours behind the
toughest target you've ever
tracked. I want everyone to sit
down, strap in, and turn on all
you've got.
(beat)
That would mean now.
That lights it. They're moving.
LANDY (CONT'D)
Thank you.
VOSEN watches...
LANDY (CONT'D)
I want everything you've got on
Ross on screen one.
LANDY watches as the screen lights up with ROSS
information...
125B EXT. DAY. SEWELL AND MARBURY -- MADRID 125B
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.
38
125E INT. DAY. CRI HUB -- NEW YORK CITY 125E
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.
LANDY
I think we can be pretty certain
that Bourne's not your source
then?
VOSEN
How?
LANDY
Ross's call to his editor, where
he said he just met the source on
Blackbriar, took place just after
his flight landed. His met his
source in Turin.
VOSEN
So?
LANDY
So, what, Bourne met Ross for
breakfast and then, at noon the
same day Bourne calls Ross to
demand a meet at Waterloo?
CRONIN
(Needling Wills)
Maybe they were even on the same
flight?
VOSEN
Cross check the secure cell phone
usage of everyone with Blackbriar
SCI clearance against all calls
in and out of Turin during the
morning Ross was there
TECHNICIANS start pounding keyboards.
LANDY
The guy you're after is a CIA
operative with clearance above
Top Secret. He was committing
treason by talking to Ross. Do
you really think, while doing
that, he used a cell phone he
knows we can track?
TECH 3 (JIMMY)
Zero results on the cross check.
39
VOSEN stares daggers at her.
WILLS
Do you have a better idea?
LANDY
Yeah, I'd look at all the people
whose cell phones were switched
off the entire period Ross was in
Turin.
WILLS
Do it Jimmy.
TECHNICIANS start tapping.
LANDY
(looks at Cronin)
I mean if your people use their
cell phones as much as mine do,
the list should be pretty small
TECHNICIAN 3 JIMMY
Three names: Tom Brewster, Jack
Boulin, Neal Daniels.
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
Now check everything in Ross's
apartment against those names.
Look for common patterns, look
for -
CRONIN
Initials .....Bring that up on
main.
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.
LANDY
Neal Daniels. He's Station
Chief in Madrid now, isn't he?
WILLS
Jesus Christ.
40
VOSEN
Call the RSO at the Embassy and
have them take Daniels into
custody if he's there. If he's
not, get a grab team to the
Calle Norte safe house. Send
them in heavy and tell them we'll
assist with entry.
LANDY
"Heavy?" Daniels isn't--
VOSEN
I'm worried about Bourne. If he's
not Ross's source, then he must
be after Ross's source -- just
like us.
Off LANDY...
125F EXT. MADRID STREETS -- NIGHT 125F
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.
126B INT. SEWELL AND MARBURY. -- NIGHT 126B
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.
127H INT. HUB 127H
Vosen paces back and forth. The hub is MUCH quieter than
it was in the Waterloo scenes.
TECH 1. (LUCY)
Parque Vasquez is clean. No sign
of subject.
VOSEN
Team two, ETA Callee Norte?
FILTERED V.O. (KILEY)
Three minutes.
41
127A EXT. MADRID STREETS -- NIGHT 127A
A BLACK CAR moving briskly through traffic and --
127A INT. MOVING BLACK CAR -- NIGHT 127A
HAMMOND at the wheel. KILEY with the map. Shutting off his
phone.
127B INT. SEWELL AND MARBURY -- NIGHT 127B
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.
127B INT. SEWELL AND MARBURY -- NIGHT 127B
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-
-
127B INT. SEWELL AND MARBURY -- NIGHT 127B
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.
42
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:
HIRSCH (FILTERED, EERIE)
You're going to drown. There is
nothing you can do to prevent
this. Stop struggling and accept
it.
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.
127B INT. SEWELL AND MARBURY -- NIGHT 127B
BOURNE comes out of the FLASHBACK. As he staggers across
the room, he notices a car arriving on the monitor...
127C EXT. STREET 127C
A car approaches.
127B INT. SEWELL AND MARBURY 127B
Bourne snaps out of it and sees the car on a security
monitor.
127C EXT. STREET. 127C
Agents get out of car and approach building.
43
127H INT. DAY -- CRI HUB 127H
TECH#3
Sir, they're at the front door.
VOSEN watches...
127C EXT. NIGHT. MADRID SAFEHOUSE 127C
HAMMOND AND KILEY enter the building.
127D INT. NIGHT. SAFEHOUSE 127D
BOURNE runs water into the TEA KETTLE -- sets the trap...
128A INT. NIGHT. SAFEHOUSE 128A
HAMMOND and KILEY enter.
HAMMOND
We're in.
BOURNE listens from his hiding spot.
127H INT. DAY. CRI HUB 127H
LANDY paces.
VOSEN
Okay, put it live.
129 INT. NIGHT. SAFEHOUSE 129
HAMMOND moves quickly into the room -- gun raised.
HAMMOND at the alarm box.
HAMMOND
Alarm's down.
127H INT. DAY -- CRI HUB 127H
VOSEN
That has to be Bourne.
VOSEN already moving to the monitor.
131 INT. NIGHT. MADRID SAFEHOUSE 131
HAMMOND and KILEY -- move cautiously from room to room --
they've done it before...
44
HAMMOND
(into mike)
Safe's cleaned out.
127H INT. CRI/GRID ROOM 127H
VOSEN pacing impatiently around the speakerphone --
VOSEN
Shit... Track the passports.
133 INT. NIGHT/RAIN -- SAFEHOUSE 133
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.
127H INT. DAY. CRI HUB 127H
The SCREENS go black. Silence...
VOSEN
Goddamn it! Get a back-up team
in there!
127D INT. MADRID SAFEHOUSE - NIGHT 127D
TEA KETTLE payoff...
127H INT. HUB 127H
VOSEN
How long till back-up arrives?
The hub scrambles to answer that... Landy paces in the
background. Suspicious of Vosen...
45
VOSEN
How long?
(beat, loud, to the
entire hub)
Stop! Hang on. I have an
idea...
136 INT. NIGHT. MADRID SAFEHOUSE 136
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.
BOURNE
What are you doing here?
NICKY
I was posted here after Berlin.
BOURNE
Where's Daniels?
The office PHONE goes. Bourne waving her to it. She picks
it up. He hits the speaker phone.
127H INT. HUB 127H
NICKY (V.O.)
Hello.
VOSEN
Who is this?
NICKY (V.O.)
This is Nicky Parsons. Who's
this?
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"
46
VOSEN
Nicky, I need to do an ID
challenge first. Code in:
"Sparrow."
Vosen looks at the screen to check her response...
NICKY
Response: "Everest".
VOSEN
Nicky, this is Noah Vosen. How
long have you been on site?
NICKY (V.O.)
I just walked in.
VOSEN
We have two officers on site.
Are you in contact with them?
NICKY (V.O.)
They're down. Unconscious, but
alive.
VOSEN
Is there any sign of Daniels?
NICKY (V.O.)
No.
LANDY
Nicky, this is Pam Landy. We
have reason to believe there is a
connection between Neal Daniels
and Jason Bourne.
NICKY (V.O.)
Bourne, are you still looking for
Bourne? I thought the case was
closed.
LANDY
No, some people are convinced
he's still a threat. I disagree
but to find out I need to talk to
him.
VOSEN seething because LANDY has interrupted him...
VOSEN
Hold on Nicky.
Vosen hits the mute button.
VOSEN
What are you doing? You know
Bourne's probably listening.
47
Landy doesn't answer. Vosen to Wills:
VOSEN
How long till back up arrives.
Wills holds up three fingers. Vosen unmutes.
VOSEN (CONT'D)
(into microphone again)
Listen, Nicky. I want you to
stay put and secure the premises.
It could be an hour until another
team arrives.
LANDY piercing VOSEN with a look...
138 INT. SAFEHOUSE - NIGHT 138
BOURNE continues to hold the gun in her face -- NICKY is
very calm considering the predicament she is in.
NICKY
Okay.
DIAL TONE as the line gets closed at the other end.
NICKY
They know you're here.
BOURNE
How long do I have?
NICKY
Three minutes...
138A EXT. NIGHT. MADRID STREET 138A
FLASH: TWO SEDANS squeal around a corner. CRI
reinforcements.
138AA INT. NIGHT. CRI SEDAN -- MADRID STREET 138AA
DELTA DUDE
2 minutes to safehouse.
138B INT. NIGHT. MADRID SAFEHOUSE 138B
NICKY
My car's outside. I know where
Daniels is.
BOURNE lowers his gun, grabs the phone and dials "1-1-2"
48
SPANISH OPERATOR (SUBTITLE)
Emergency operator. Where is
your emergency?
BOURNE answers her in perfect Spanish with a perfect Madrid
accent, but worked up, like a civilian would be...
BOURNE (SUBTITLE)
334 Calle Norte. I hear gunfire.
And men shouting. I think
they're Americans --
BOURNE pushes the phone off the desk -- fires four shots
into the ceiling -- calmly moves Nicky towards the back
door...
127H INT. HUB 127H
VOSEN
You "disagree" he's a threat? He
just took out two more of my men.
Not to mention his ultimatum to
Ellatrache?
LANDY
The only way this has a happy
ending, Noah, is if we find a way
to bring Bourne in voluntarily.
VOSEN
He wants revenge, Pam. The only
realistic way to deal with this
is to eliminate the threat.
139 INT. NIGHT. BACKSTAIRS 139
BOURNE and NICKY rapidly descend.
BOURNE
Okay, where is Daniels headed?
NICKY
8 o'clock this morning, he wired
$100,000. to a numbered bank
account in Tangier.
BOURNE
Okay, Tangier is about 300 miles
away, we can make the morning
ferry.
NICKY
And then what?
49
139A EXT. NIGHT -- MADRID SAFEHOUSE STREET 139A
Bourne and Nicky exit on to the street. Suddenly they hear
tires squealing nearby.
NICKY
They're coming.
They continue to walk down the street towards Nicky's car.
127H INT. HUB 127H
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...
139A EXT. MADRID -- NIGHT 139A
Four cops jump out and take aim at the AGENTS.
SPANISH POLICE
Manos Arriba! Manos Arriba!
More sirens closing in. A third police car appears.
Then a fourth...
127H INT. HUB 127H
Vosen can't believe it--
139A EXT. MADRID -- NIGHT 139A
The agents drop their guns and surrender.
BOURNE and NICKY continue around a corner -- they get in
her VW GOLF and drive away...
127H INT. HUB 127H
Vosen stares at Landy. A beat, then she walks out.
VOSEN
Issue a standing kill order on
Jason Bourne, effective
immediately.
139AB OMITTED 139AB
50
139B-C INT. NIGHT -- VOSEN'S OFFICE -- CRI 139B-C
VOSEN on the phone.
VOSEN
We lost Bourne.
KRAMER
You still think he's after
Daniels?
VOSEN
Yeah. Nicky's just the means.
But if we find Daniels, we'll
find Bourne.
KRAMER
Daniels knows way too much.
Daniels knows everything. We
can't let them meet.
VOSEN
I'll take care of it.
KRAMER
Good.
(beat)
And fill Hirsch in. Just in
case.
R145 INT. NIGHT. TRUCK STOP -- SPAIN R145
BOURNE and NICKY sit over coffee. A long silence...then:
NICKY
What are you after, Jason? Why
are you looking for Daniels?
BOURNE
Do you know who this is?
Bourne puts the photo of Daniels and Hirsch on the table
between them. She looks at the photo, points.
NICKY
That's Daniels.
(points at Hirsch)
I don't know who that is.
BOURNE
I have to get back to the
beginning...or I'll never be free
of this.
NICKY
Who is he?
51
BOURNE
I think he started Treadstone. I
remember meeting him. I
remember the first day...
(beat)
Daniels brought me to him.
Nicky looks back at him....not sure what to say.
NICKY
What happened?
BOURNE
An initiation...I guess...
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....
NICKY
Jason...that wasn't some one-off
initiation. Daniels said they
did that to you over and over
again. That's how they...
She doesn't finish. And Bourne doesn't ask her to. Just
a long pause.
BOURNE
Why are you helping me?
NICKY
It was difficult for me...with
you.
BOURNE looks up. Another long pause...
NICKY (CONT'D)
You really don't remember
anything?
BOURNE
No.
NICKY'S face.
Two SPANISH COPS enter the cafe.
BOURNE (CONT'D)
We should move.
52
They get up and leave...
145A INT. VOSEN'S OFFICE -- DAY 145A
Vosen goes to his safe.
VOSEN
(to voiceprint mic)
Noah Vosen.
Then he puts his thumb into a print reader. The safe door
pops open. He pulls out a file marked "Top Secret."
145B INT. DAY. LANDY'S OFFICE -- CRI 145B
CRONIN makes his way down the hallway.
LANDY works at her desk. CRONIN enters...
CRONIN
They tracked Daniels' passport to
a hotel in Tangier. They're
holding up a bank transfer he
made to keep him in place while
they move an asset in from
Casablanca.
Off LANDY. This just keeps getting worse...
145C INT. VOSEN'S OFFICE 145C
Landy enters without knocking.
LANDY
Since when do you have
authorization for lethal action
against Daniels?
VOSEN
Since he cleaned out a Blackbriar
safe and fled to Morocco!
LANDY
So grab him--
VOSEN
I don't have the people on the
ground to do that and I'm not
going to risk that file falling
into the wrong hands.
LANDY
What's going on? What's Daniels
got?
53
VOSEN
What's he got? He ran all of
Blackbriar's operations in
Southern Europe and North Africa.
LANDY
I think the world's well aware we
have a rendition and lethal
action capability at this point,
Noah.
VOSEN
For Christ's sake, Pam, he's got
our entire playbook. Names,
dates, ghost sites, how we train
our assets.....
LANDY
You still don't have the
authority to kill him.
VOSEN
Oh, yes I do, Pam.
Vosen holds up the file we saw him pull out of his safe.
It is labeled "Blackbriar: Lethal Action Protocol."
VOSEN
That's what makes us special. No
red tape. No more getting
badguys in our sights and then
watching them escape while we
wait for some bureaucrat to issue
the order.
Landy opens up the file. Sees the words "instantaneous
lethal action is authorized when..."
LANDY
You just decide? No oversight.
No checks and balances.
VOSEN
Come on, Pam, you've seen the raw
intel. You know how real the
threat is. We can't afford to
have our hands tied like that
anymore.
148 EXT. DAY. FERRY -- ESTABLISHING 148
BOURNE and NICKY ride the ferry from Gibraltar to
Morocco...
54
150 EXT. DAY. TANGIER HARBOR 150
They arrive and pass through CUSTOMS...
150A EXT. DAY. TANGIER 150A
DANIELS drives...
148H OMITTED 148H
148A EXT. DAY. TANGIER 148A
DESH arrives, grabs a TAXI...
148B INT. DAY. PENSIONE -- TANGIER 148B
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...
148C OMITTED 148C
148CA INT. LANDY'S OFFICE -- DAY 148CA
Landy on the phone.
LANDY
It's Pamela Landy for him.
Would you tell him it's urgent?
148CB INT. KRAMER'S OFFICE -- DAY 148CB
The phone buzzes. Kramer picks it up.
ASSISTANT (PHONE V.O.)
It's Pam Landy. She says it's
urgent.
On Kramer...the wheels turning....
KRAMER
Tell her I'm unreachable.
Kramer hangs up.
55
148CA INT. LANDY'S OFFICE -- DAY 148CA
Landy receives the news.... The wheels turning in her
head.... She hangs up. A pensive moment, then she gets
up and heads for--
148H INT. DAY -- CRI HUB 148H
LANDY AND CRONIN enter the hub--
VOSEN is in the middle of giving the kill order.
VOSEN
Give me the subject's location.
TECHNICIAN #2
Subject is currently on foot and
now entering Hotel Velazquez. 45
Route Commerce, Tangier.
VOSEN
Get an elevation and a floor
plan, tic-tac-toe. Locate the
room. Give the asset Daniels's
location and the route between
Daniel's hotel and the bank.
149B INT. TAXI 149B
DESH looks down at his beeping cellphone. It has a MAP on
the screen.
149C INT. HOTEL 149C
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
148H INT. HUB 148H
Vosen and Wills. Landy still pacing
VOSEN
Do we have that room yet?
TECH 2(ARKI)
Yes sir Room 117.
56
VOSEN
Get the hotel's trunk line. Run
all calls through here with an
iso on 117
TIGHT ON COMPUTER MONITOR: DESH'S ICON STOPS MOVING.
MEDIUM CLOSE UP ON TECH
TECH
Sir, the asset is acquiring the
materials.
154 INT. LOCK-UP GARAGE. DAY 154
DESH opens a lock-up and goes in. He comes out with a
scooter and drives off.
149C INT. HOTEL 149C
Nicky types on computer. Enters search parameter: NEAL
DANIELS. ACCESS DENIED.
NICKY
His location's being blocked.
BOURNE
Now they found Daniels, do you
know where he is?
NICKY
They'll get one of the operatives
to terminate him.
BOURNE
Find out who.
154 INT. LOCK-UP GARAGE. DAY 154
Desh works on a bomb.
NICKY (O.C.)
Desh.
149C INT. HOTEL 149C
DESH BOUKSANI's profile.
BOURNE
Tell him you're going to meet him
and that you have a new phone for
him.
57
NICKY
If you stop Desh they'll just get
someone else.
BOURNE
We're not going to stop him.
We're going to follow him. He'll
take us right to Daniels.
154 INT. LOCK-UP GARAGE. DAY 154
CU DESH (AND INSERT PHONE) HE RECEIVES NEW ROUTING
INFORMATION FROM NICKY.
"Meet me Tangier Cafe Paris"
The bomb is finished on the Work table.
154 EXT. LOCK-UP GARAGE. DAY 154
Desh takes the scooter out.
154 EXT. TANGIER ESTABLISHING 154
155 EXT. STREET. 155
Bourne and Nicky walk.
Desh rides his scooter.
TIGHT ON COMPUTER SCREEN: DESH'S ICON TURNS OFF COURSE.
148H INT. HUB 148H
TECH (LUCY)
Sir, the asset is deviating.
VOSEN
Find out why.
157 EXT. ACROSS FROM CAFE DE PARIS. DAY 157
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
58
148H INT. HUB 148H
TECH (LUCY)
Asset unscheduled stop.
159 EXT. CAFE DE PARIS 159
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
Sir, the asset is on the move, in
route to subject.
148H INT. HUB - DAY 148H
TECH #1
Sir, the asset is back on course.
VOSEN looks up.
WILLS
Sir, we have an unauthorized
breach. Someone with active
system knowledge has penetrated
out protocols. Information was
passed to the asset at 14.11.
(beat)
The trace is confirmed and valid.
It comes from a computer
belonging to Nicky Parsons.
VOSEN looks over at Landy....his wheels turning. A series
of cuts between them.
VOSEN
Where did the course deviation
occur?
TECH (LUCY)
South to Rue Belgique.
Stationery at Place de France.
VOSEN
That's where Parson's is.
He pauses, deciding what course to take. Landy watches.
59
VOSEN
When we're finished with Daniels
send the asset after her. We
find Parsons, we find Bourne.
LANDY (OVERLAPPING)
(going to Vosen, firm)
Noah, what are you doing?
VOSEN
Not now.
LANDY
Now. I want to know what's going
on.
VOSEN
Not now.
LANDY
I'm asking on what basis you're
continuing this operation.
VOSEN
On the basis that Nicky Parsons
has compromised a covert
operation. She is up to her neck
in it.
LANDY
This is about Daniels, not Nicky!
VOSEN
She has betrayed us!
LANDY
You don't know the circumstances!
VOSEN
She's in league with Jason Bourne
for Chrissake!
LANDY
You don't have the authority to
kill her or Bourne!
VOSEN
Yes, I do Pam, it's right here
and it's legal.
VOSEN slams a document on the desk. INSERT SHOT:
"Blackbriar: Lethal Action Protocol."
LANDY
She's one of our own. You start
down this path...where does it
end?!
60
VOSEN
It ends when we've won.
LANDY turns and storms out...
VOSEN
Notify the asset of the
additional target.
BRYAN
Yes, sir.
BRYAN codes in a kill order on NICKY...
164A EXT. DAY. TANGIER 164A
As he rides his VESPA, DESH receives additional target
information..Pictures of BOURNE and NICKY.
DESH glances in his rearview mirror -- spots BOURNE.
148H INT. DAY. HUB -- MEDIUM CLOSE UP: 148H
VOSEN
Have the bank release the funds.
A TECH calls DANIELS.
167 INT. DAY. VELASQUEZ HOTEL 167
DANIELS answers phone.
BANK OFFICER (FRENCH, SUBTITLED)
Mr. Daniels, Bank of Tangier.
Your funds are now available.
Daniels leaves.
168 EXT. DAY. TANGIER STREET 168
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.
61
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.
EXT. PETIT SOCCO -- CONTINUOUS *
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. *
EXT. VESPA TRAVELLING *
DESH on the move towards Petit Socco. On the cell - making *
that 'silent call'. *
EXT. AVENUE D'ESPAGNE -- THAT MOMENT *
BOURNE'S too late- hearing the 'line busy' tone. Knows this *
tactic. *
And those POLICEMEN are getting closer. *
INT. NEW YORK HUB -- ENCRYPED AREA -- CONTINUOUS *
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. *
EXT. RUE D'ESPAGNE -- CONTINUOUS *
DESH is disappearing from view. *
62
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. *
EXT. PETIT SOCCO -- CONTINUOUS *
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. *
EXT. STREETS -- CONTINUOUS *
DESH through the streets-getting closer - heading towards *
the PETIT SOCCO. *
63
EXT. MOPED TRAVELLING *
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. *
EXT. PETIT SOCCO -- CONTINUOUS *
DESH crossing the SQUARE weaving through a sea of push *
bikes. *
Parking his Vespa at the corner of RUE DES CHRETIENS. *
Travelling on foot. *
EXT. RUE DE CHRETIENS -- CONTINUOUS *
NICKY - trying to keep calm. Checking each alley. Moving *
on. *
EXT. PETIT SOCCO -- CONTINUOUS *
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. *
INT./EXT. RIAD/ROOFTOPS -- CONTINUOUS *
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. *
64
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. *
EXT. RUE DE CHRETIENS -- CONTINUOUS *
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. *
EXT. RUE DE CHRETIENS -- CONTINUOUS *
BOURNE seeing Desh again - further up the street. Heading *
in that direction. *
INT. RIAD -- CONTINUOUS *
NICKY through one hallway - then another. Moving up all *
the time. *
65
EXT. RIAD -- CONTINUOUS *
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. *
EXT. RIAD ROOFTOP *
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... *
EXT. ANOTHER ROOFTOP -- CONTINUOUS *
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. *
INT. RIAD *
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. *
66
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. *
INT./EXT. -- NARROW STAIRWELL *
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. *
EXT. ROOFTOP -- CONTINUOUS *
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. *
67
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 t |
