>> / The Bourne Identity

/ The Bourne Identity. .

: / The Bourne Identity.

/ The Bourne Identity

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

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

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

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

PHONE MACHINE "You have no messages."

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

THE PHONE stars dialing...

RINGING and...

OPERATOR/PHONE Bonjour, Hotel Marboeuf...

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

BOURNE ...yes -- oui -- uh...

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

BOURNE Paris?

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

BOURNE Yes, I'm...I'm looking for Mr. Jason Bourne.

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

BOURNE D'accord... Merci. (about to hang up--) Un moment -- un moment --

OPERATOR/PHONE -- sir? --

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

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

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

BOURNE (CONT'D) (reading it) Kane. Do you have Mr. John Michael Kane?

OPERATOR/PHONE One moment, sir.

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

THE MASTER BATHROOM

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

THE OFFICE STUDY

Bourne still on hold. And then --

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

BOURNE Yes, I'm here...

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

BOURNE Yes. Is he there?

MANAGER/PHONE You are a friend of his?

BOURNE Yes.

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

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

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

BOURNE ...I understand...

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

BOURNE Who? Who came?

MANAGER/PHONE His brother. You know his brother?

BOURNE Right. Yes. Of course.

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

BOURNE Do you -- his brother -- do you have a phone number?

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

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

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

THE MASTER BATHROOM

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

MARIE (calling out to him--) She wasn't kidding about the water. It's freezing.

THE OFFICE

BOURNE frozen there. On alert. He forces a smile. Decoy mood.

BOURNE Hang on. I'll check the kitchen... (moving out of the office--) Maybe it takes a while to get all the way upstairs.

THE KITCHEN

BOURNE moving to the sink. He's smiling. Upbeat. But it's an act. His eyes are everywhere. Turning on the water. But ignoring it. What he's really doing is searching out a weapon. Pulling A KNIFE very quietly from behind the stove. Holding it. Feels pretty comfortable. Hiding it down by his side. On the move again, now --

BOURNE Yeah, it's cold in here, too... (calling to her as he goes--) Let's give it another minute.

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

Standing still. Taking it all in.

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

MARIE (suddenly--) -- omigod! -- (she's behind him--) -- what're you? -- no -- no --

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

BOURNE -- no -- Marie -- no! -- it's not like that --

MARIE -- please -- Jason -- omigod --

BOURNE -- quiet -- quiet --

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

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

MARIE hesitating and --

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

MARIE about to say something -- he shakes her off -- BOURNE -- knife in one hand -- lightbulb in the other -- putting his foot on a chair in front of him and --

MARIE ...what are you doing?...

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

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

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

As she ducks down --

As it SHATTERS --

EVERYTHING STARTS HAPPENING AT ONCE

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

THE FROSTED WINDOW peppered with holes and --

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

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

BOURNE kicking that chair across the room and --

CASTEL reacting -- instinct -- moving target --

THE CHAIR just strafed to shit and --

BOURNE rolling away and --

CASTEL -- he's coming in -- last pieces of window frame CRASHING AWAY as he swings into the apartment and -- MARIE -- right below him -- shit raining down as he flies in and --

BOURNE throwing the knife and --

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

BOURNE -- in motion -- attacking and --

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

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

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

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

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

THE GUN CLATTERING FREE across the floor and --

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

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

MARIE omigod -- omigod -- what're you doing? -- what're you doing? -- (incoherent fear and confusion, German and English and--) -- what is he? -- what've you? -- omigod -- what is this? --

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

MARIE (CONT'D) -- what're you doing? -- Jason, please, tell me what's happening!

BOURNE Open it -- (tossing Castel's backpack behind him--) -- do it -- what's he got in there?

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

BOURNE (CONT'D) Who are you? (kicking him down--) -- who are you?

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

BOURNE -- who are you? -- tell me who you are -- who sent you? -- (bearing down) -- what is this about? -- YOU'VE GOT TO TELL ME WHAT THIS IS ABOUT! --

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

BOURNE (CONT'D) WHY ARE YOU TRYING TO KILL ME?

MARIE (suddenly from behind) ...omigod, no...

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

BOURNE What? -- what? -- (attention split--) -- what is it?

MARIE ...this is my picture... he's got my picture -- (holding it up, in horror--) -- this is me -- this is Zurich -- this...this...this is yesterday --

BOURNE -- just --

MARIE -- where does this come from? -- (to Castel) How do you have my picture?

BOURNE Marie, just -- (waving her back--) -- just stay there! -- just --

MARIE -- he's got my picture! -- this is yesterday! -- this is me! -- (out of control now--) -- where did you get my picture? --

BOURNE -- let me do this, okay? --

MARIE -- do what? -- what are you doing? -- he's got my picture -- (just apoplectic--) -- he's -- my God -- look at him -- he's bleeding to death -- my picture -- look! -- he was trying to kill us! -- omigod --

Now there's KNOCKING AT THE DOOR and -- THE CONCIERGE (muffled but urgent) (Mister Bourne! Mister Bourne! What's going on? Is everything all right in there? --) (and she keeps banging and--)

MARIE is past the point of rationality and CASTEL is bleeding and shaking and BOURNE is trying to think and it's just impossible and -- Suddenly -- CASTEL is moving! -- and fast -- it's superhuman -- unbelievable -- just enough spring in his good leg and --

BOURNE bracing himself but --

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

THE WINDOW

CASTEL hurling himself into the glass and --

EXT. THE PARIS APARTMENT BUILDING -- DAY

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

Falling and falling and...

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

INT. THE PARIS APARTMENT -- DAY

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

THE CONCIERGE (still outside the door--) (--I'm calling the police, Mr. Bourne -- you give me no choice -- I'm calling them right away! --)

BOURNE -- your shoes -- Marie! -- where? -- where are your shoes? -- Marie --

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

MARIE He's dead isn't he?

BOURNE Marie -- look at me -- there's no time for this --

MARIE He went out the window -- why? -- why would someone do that?

BOURNE -- we can't stay here -- I can't stay here -- it's not safe here --

MARIE He came to kill us.

BOURNE -- we can go -- I can get us out of here -- but we have to go now --

MARIE You knew he was coming.

BOURNE No.

MARIE I trusted you.

BOURNE You're wrong. I didn't know.

MARIE I don't trust anybody and I trusted you!

BOURNE I didn't know this would happen.

MARIE He had my picture! He knew I was here! He came here to kill us!

BOURNE And where is he now? (that gets her quiet) You believe what you want, but I'm telling you the truth -- I never would have brought you here if I thought it was dangerous.

MARIE (totally overwhelmed) Oh, Jesus...

BOURNE You stay -- if you want, you stay -- it's okay -- it's better -- maybe it's better -- I don't know -- (starting to back away--) But I can't stay here. I can't.

MARIE But the police --

BOURNE -- there's no time --

MARIE -- we'll explain it --

BOURNE -- how? --

MARIE -- there's two of us -- we'll tell them -- we'll just --

BOURNE -- forget it --

MARIE -- we'll tell them what happened --

BOURNE I don't know what happened! (huge here) I don't know who he is! I don't know what he wants! I don't even know who I am! The only thing I know is that if I stay here, I'm never gonna find out!

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

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

BOURNE (CONT'D) Come with me. (she turns back, he's waiting--) I can get us out of here. I know it. Then we can think. Then we can work it out. We'll explain it then. Once we're safe. (rock solid) I can protect you.

EXT. THE PARIS APARTMENT BUILDING -- DAY

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

THE CAMERA PULLS BACK TO FIND

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

INT. WOMBOSI COMPOUND MAIN HALLWAY -- DAY

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

WOMBOSI -- No! -- I say, no! -- they go this far -- out a body in the grave -- another body! -- no! -- this isn't over -- these people are not finished -- nothing will make them finish until they have Wombosi! -- the real Wombosi -- until I'm the one in the box! --

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

WOMBOSI -- what are you doing? -- (bearing down on Bodyguard #2--) -- sleeping? -- (to Deauvage--) -- he's sleeping! -- this man is sleeping at his post! -- (kicking the chair out from under him--) -- I've had men killed for this! -- (but he's still moving--) -- you think these people? -- these people who come for me -- you think they sleep? -- they never sleep! -- they spend all the day -- all the night -- all time thinking about how to put Wombosi in that box! -- (he's just gonna keep going, and we're into--)

A MASSIVE ONE-TAKE TRACKING SHOT

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

WOMBOSI -- there is no box for Wombosi! -- they don't have a box that can hold me! -- I know these people -- I know they never sleep! -- I know they never stop! -- they never stop until the knife is at their throat! -- (suddenly distracted--) -- what is the window? -- this window is open! -- who leaves this open! -- (before Deauvage can possibly respond--) -- this is a war, you fool! -- you think these people are like you? -- you think this is stupid people? -- careless people? -- these people see an open window, they reach in with a big hand and grab your heart until you die! -- (still rolling as--)

WE'RE HEADING DOWN TO THE POOL

WOMBOSI -- and it won't just be me! -- they don't just want Wombosi now! -- they want my babies -- they want my children! -- and I say no! -- (grabbing Deauvage--) -- you leave that window open again, you better pray they kill me -- (something's caught his ear in the distance and now he's trying to get there--) -- everything changes here now! -- everyone is a soldier here now! -- this is a fortress now! Are we clear with this?

DEAUVAGE Yes, sir. All clear.

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

WOMBOSI This man is out there. Kane is out there. And they pretend he's dead. That means he's coming back.

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

THE POOL AREA

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

INT. GARE DU NORD -- DAY

BOURNE and MARIE stash the red bag in a locker.

INT. CIA PSYCHOACOUSTICS LAB -- DAY

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

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

BOURNE/TAPE "Okay. Merci." (pause) "Un moment -- un moment --" OPERATOR/TAPE "-- sir? --" BOURNE/TAPE "-- hang on -- I need you to check another name for me -- hang on -- un moment, s'il vous plait --"

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

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

BOURNE/TAPE "Kane. John Michael Kane." OPERATOR/TAPE "One moment, sir."

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

MRS. DOYLE He's not lying. He's very highly stressed, but he's not lying. He's confused. He's aggressively searching for a way out of the chaos. This conversation, the video from the consulate -- the body language, vocal pattern -- it's my sense he's really lost here. (beat) I think he snapped.

CONKLIN Is that a medical term?

She turns. Battle lines drawn.

MRS. DOYLE You want clinical terminology? It's called, "conversation hysteria." (to Abbott now--) I don't know exactly how you train these people. I'm not sure I want to know. I'll take a guess there's some extremely rigorous behavior modification going on here.

Silence. The idea dangling for a moment.

ABBOTT Let's assume that's true.

MRS. DOYLE You can only wind people so tight. Even machines break down.

CONKLIN This unit has an unblemished record of success.

MRS. DOYLE Then I guess I'm in the wrong meeting.

EXT. BELLVILLE CAR PARK -- DUSK

BOURNE and MARIE stashing the red car.

INT. CIA HALLWAY UPSTAIRS HALLWAY -- DAY

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

CONKLIN That was two hours -- two hours to get a second opinion -- and nothing changes. He's loose. He's out of control. It's very clear what needs to happen. (point blank) I have work to do.

ABBOTT What if he is working for someone else? What if he turned?

CONKLIN Turn? To who? Where does he turn? What does he have to offer? He's got nothing. He's a killer. He's a piece of equipment for crissake. Where's he gonna turn?

EXT. HOTEL DE LA PRIX -- NIGHT

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

INT. THE HOTEL ROOM BATHROOM -- NIGHT

HAIR DYE washing down a rusted drain. It's MARIE alone in this crappy little bathroom. Jeans and bra. All of it soaking wet.

A new hair color.

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

And then she smells something. Smoke...

INT. THE HOTEL ROOM -- NIGHT

It's a shitty little room. BOURNE sitting on the bed. And the smoke is coming from...

HIS PASSPORT -- the Jason Bourne passport -- on fire. BOURNE holding it as it burns away. Bourne's face -- melting -- bubbling -- finally disappearing, -- BOURNE letting go just before it burns his fingers and --

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

He looks at her. Big moment.

BOURNE No. (he won't do it) You know who you are. You know what that's worth? That's everything. (pause) I can't live like this. I can't do anything until I know who I am. Believe me, you don't want what I have.

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

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

MARIE in front of him now -- she's taking his hand -- and he hesitates -- looking at her -- is this happening? -- she's taking his hand -- moving it down her body -- staring at him -- both of them silent -- his hand -- her skin -- his mind racing -- he wants this -- wants it in every way -- but it's overwhelming -- when was the last time something like this happened? -- he can't remember -- he doesn't care -- he's pulling her toward him -- and they're kissing -- and you know the rest...

INT. CDG AIRPORT -- NIGHT

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

...................................................

HOTEL SEQUENCE -- SKETCHED ONLY

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

And so begins, the investigation...

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

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

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

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

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

...................................................

EXT. STREET OUTSIDE THE HOTEL MARBOEUF -- DAY

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

MARIE You stayed there five times in the past six months. But I didn't have time -- I could only get the bill from the last stay -- you were there for two days. Some room service -- there's half a dozen phone calls here so that's someth--

BOURNE (cutting her off) Who paid the bill?

MARIE It's a company... MPG Capital.

INT. AN EMPTY OFFICE SUITE -- DAY

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

MARIE This can't be it.

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

TELEPHONE VOICE (OVER) (British, female) Destin Navigational, can I help you?

BOURNE'S VOICE (OVER) Hey, how are you. I'm trying to reach Richard? Is he there.

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

TELEPHONE VOICE (OVER) I'm afraid there's no Richard here. (continuing into--)

INT./EXT. SHITBAG PARISIAN PHONE BOOTH -- NIGHT

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

BOURNE Well, where are you? Where am I calling?

TELEPHONE VOICE (OVER) This is an answering service, sir. The company's located in Southampton, but--

BOURNE -- this is a tire dealership, right?

TELEPHONE VOICE (OVER) No sir, this is a navigational chart registry. I'm afraid you have the wrong number.

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

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

NEW VOICE (OVER) (French, male, hassled) (Marseille-Tropez Marina, how can I help you?)

BOURNE (Hey, so this is the Marina, right?)

NEW VOICE (OVER) (Yes, sir. Can I help you?)

BOURNE (he's got the number) (This is the one in Marseille, right?)

NEW VOICE (OVER) (Last time I looked.)

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

OPERATOR RECORDING (OVER) (The number you have dialed has been disconnected. If you think you've reached this message in error--)

TIME CUT -- one minute later -- last call --

RECORDED VOICE (OVER) "You've reached the office of Simon Rawlins at Alliance Security Maritime Division. Paris office hours are from nine a.m. to six p.m. If this is an emergency, please call our twenty-four hour help line at..."

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

INT. TREADSTONE RESEARCH DESK -- NIGHT

CONKLIN and the RESEARCH TECHS jamming on the console --

CONKLIN -- let's check that Interpol window again --

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

CONKLIN -- I want that red car -- the girl -- we gotta get lucky here --

RESEARCH TECH #2 Sir. (Conklin turns--) I've got a code here from NSA -- they're not gonna give us Keyhole satellite clearance unless we have sign-off from upstairs.

CONKLIN turns and --

ABBOTT No. (sitting there tensely) We can't risk it.

CONKLIN Our last sighting was forty-eight hours ago. Even if they stayed in the car, the grid is huge. (please) This is it. He's trained -- conditioned -- they're built to disappear. You give him another day to run and we may never find him.

ABBOTT This doesn't go upstairs.

CONKLIN left hanging. ABBOTT clear on this one.

EXT. EST. SHOT -- LA DEFENSE -- DAY

Monolithic tech. Reflection city.

INT. ELEVATOR -- LA DEFENSE -- DAY

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

INT. OFFICE LOBBY -- DAY

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

INT. ALLIANCE SECURITY -- DAY

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

INT. PETER RAWLINS' OFFICE -- DAY

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

RAWLINS Mr. Kane... (hastily tidying up) Come right in...please...have a seat.

BOURNE Thanks.

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

RAWLINS Well... (really thrown) I must admit, when my assistant told me you were here I was, really -- I was quite -- I was surprised.

BOURNE Really.

RAWLINS We thought you were gone for good.

BOURNE Did you?

RAWLINS Well, I mean it's a tough business, isn't it? Cutthroat.

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

RAWLINS (CONT'D) (finally) Look, our bid -- it was competitive -- but definitely at the high end of competitive -- when we didn't hear back from you, we did some re-analysis of the numbers, and honestly, we'd really like a chance to do a bit better. (pitching now) I'm assuming you're still in the market. It's the same vessel?

BOURNE Yes.

RAWLINS We just picked up a job quite like the one we were bidding for you. Gorgeous boat, hundred-and-seventy- five-foot pleasure cruiser. I think we learned a few things that might allow us to make our proposal for your job, as I said, a bit more competitive.

BOURNE Okay.

Another beat. Rawlins holding back until now...

RAWLINS Was it the break-in?

BOURNE Excuse me?

RAWLINS We also thought we hadn't heard from you -- we've had a bit of a publicity nightmare, people have been talking. (the meat) Our offices were broken into -- vandalism mostly -- shortly after we last spoke.

BOURNE I hadn't heard.

RAWLINS smiles. Reset. Sales mode.

RAWLINS Let me get you a new copy of the proposal.

BOURNE That'd be great.

INT. A CAF NEAR LA DEFENSE -- DAY

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

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

MARIE I found it. (standing there) It took six calls. (she's creeped out) I found Kane. I found the body.

BOURNE Let's go -- (already standing--) We got to get away from this phone.

INT. PARIS MORGUE FRONT DESK -- NIGHT

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

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

BOURNE Kane. John Michael Kane.

ATTENDANT #2 (It's number 121.)

BOURNE (I want to see the body.)

ATTENDANT #1 (Our boss could come back. We're not supposed to.)

BOURNE pulling out another hundred and --

MORGUE FREEZER ROOM

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

BOURNE sags. ATTENDANT #1 looking baffled.

MARIE What?

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

MORGUE BOSS (OS) (from behind them--) (What the hell's going on here?)

Here comes the boss back from his break -- a little drunk?

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

MORGUE BOSS (They came last night. His brother.)

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

MORGUE BOSS (Who are these people?) (now English to Bourne) Who are you? What's going on here?

BOURNE Where did this body go?

MORGUE BOSS I said, someone came last night -- (big attitude now) Look, this isn't a carnival -- people call and they make an appointment and they follow the rules -- everyone signs in and out -- this is a serious place -- serious work -- it's not just to come in whenever you like --

BOURNE (like a shot) Shit, we didn't sign in.

MORGUE BOSS So get the hell out of here.

BOURNE Fine. But I'd like to sign in. In fact, I insist on it. Where's the book? I gotta sign in -- (off and running now--)

Everybody following -- all of them confused -- and into --

FRONT DESK AREA

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

BOURNE Is this it? -- (the book) -- this is it, right? --

MORGUE BOSS -- slow down -- you can't just take the book like that --

BOURNE -- don't sweat it, I have a pen -- no problem -- just let me find the page -- (then quick to Marie) -- honey, why don't you wait for me outside, okay? --

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

MORGUE BOSS -- we have rules here, this is a very serious place -- I'm the one who decides who gets in here, okay? --

BOURNE -- what do I? -- I put the name of the person I came to see? --

MORGUE BOSS -- this is serious business down here and we cannot have people coming and going -- BOURNE -- here we go -- I found it --

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

MORGUE BOSS (-- what are you? -- what are you doing? -- you crazy fuck -- you ripped the book! -- you stupid fucki--) (no chance to finish this, because--)

BOURNE just slammed him against the wall. Hard. Like a tractor hit him. And fast.

And that shuts up the room.

THE TWO ATTENDANTS rushing to help their boss --

BOURNE grabbing MARIE and pulling her out the door --

EXT. PARIS STREET -- NIGHT

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

MARIE What are you doing? -- (he's scaring her) -- Jason -- stop -- talk to me...

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

MARIE -- I don't know what you're doing and you're scaring me -- what are you looking for? -- what just happened in there? --

BOURNE Nykwana Wombosi. (he stops, holding up the brochure--)

MARIE What is that?

BOURNE It's a name. Mr. Wombosi owns a thirty million dollar yacht. He's the proud owner of an Alliance Security package. (handing her the brochure--) He also paid a visit to the morgue to see John Michael Kane. (the ripped-out page--) MARIE What does that mean? (but he's walking again--) Jason, what does that mean? (she's trying to catch up, but he's walking really fast--) Jason, please...who is he?

BOURNE I don't know. (he's not turning back again--) MARIE So what are we doing?

BOURNE Go back to the hotel.

MARIE just stops. Reeling.

BOURNE walking away. Into Paris night and --

INT. CONKLIN'S TREADSTONE OFFICE -- DAY/NIGHT?

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

ZORN They found him. They found Bourne.

ABBOTT jumps off the call. Eyes never leaving ZORN.

ABBOTT Where?

ZORN You better come in.

EXT. L'ETOILE -- NIGHT

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

INT. WOMBOSI'S SECURITY ROOM -- NIGHT

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

DEAUVAGE (Jesus fuck, what is this?)

INT. TREADSTONE RESEARCH DESK -- NIGHT

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

ABBOTT Omigod.

EXT. WOMBOSI COMPOUND -- NIGHT

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

Total hero moment.

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

EXT. WOMBOSI COMPOUND -- NIGHT

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

INT. TREADSTONE COMMUNICATIONS ROOM -- NIGHT

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

CONKLIN -- how long? --

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

EXT. NEUILLY STREETS -- NIGHT

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

EXT. WOMBOSI'S COMPOUND -- NIGHT

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

INT. TREADSTONE COMMUNICATIONS DESK -- NIGHT

Uglier by the second -- desperation madness --

ABBOTT -- he went inside! --

CONKLIN (to Abbott) -- if we can get a clean shot --

ABBOTT -- inside the house? --

CONKLIN -- that's what they're trained for -- just a surgical strike.

ABBOTT Forget it.

CONKLIN What do you want to do?

ABBOTT We don't know what we're into!

CONKLIN We're in the shitter, man! Pick your poison. Maybe he's in there to finish the job. Maybe he's working for Wombosi. Maybe they want to go on TV together. Every possibility sucks -- we've got to move!

INT. WOMBOSI COMPOUND MAIN HALLWAY -- NIGHT

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

BOURNE Is he here?

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

INT. TREADSTONE COMMUNICATIONS ROOM -- NIGHT

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

CONKLIN You don't have the stones for this. You people come down here and wink and whisper and we send these guys out and get it done. And you're clear. And the guys upstairs get what they want. And the whole bunch of you are so stuffed on deniability it's coming out of your ears. (gauntlet) Well, you know what? You're here now. What do you want to do?

ABBOTT just shaking his head no.

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

EXT. NEUILLY ROOFTOPS -- NIGHT

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

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

INT. WOMBOSI'S COMPOUND HALLWAY -- NIGHT

BOURNE being marched toward the throne room doors -- DEAUVAGE and BODYGUARD #1 flanking him -- KIDS and WIVES staring as he passes -- the way you'd look at a prisoner on the way to the gallows --

THE BIG DOORS thrown open wide and --

WOMBOSI on the throne.

WOMBOSI Come in. (an imperial gesture) Please...

BOURNE steps up to the plate.

WOMBOSI Did you bring investment advice for me tonight? It was tax shelters, wasn't it? Swiss debenture-swaps.

BOURNE MPG Capital.

WOMBOSI I think investment advice from a dead man, it's a bad idea. (beat) How does it feel to be dead?

BOURNE It's a lot more stressful than I thought.

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

WOMBOSI -- no -- no, let them in! -- let them in. (to the kids) Come in -- on y va -- come in... (to Bourne) I think everyone wants to see the dead man.

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

WOMBOSI What do you do? (on his feet now--) You get an appointment with me? You make sure it's on the boat? You come visit me -- you pitch me this bullshit investment package. You drink my water -- eat my bread -- play with my children -- and what? -- two nights later you come back and you put this death -- (slamming something down onto the throne--) -- you put this in my engine room!

There is A BOMB on the throne now.

WOMBOSI So this is a different kind of meeting. (steam building) Maybe now we talk some truth, okay? One dead man to another.

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

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

WOMBOSI You see this? (calling to Deauvage--) I told you my shot was better!

DEAUVAGE (He went in the water -- how did he live?)

WOMBOSI No, no no... (and he means this--) This is a strong killer. This is a crazy strong killer. Oh, yeah... (circling) To make a killer that looks like you? This young? This face? (he means this) It's bloody fucking amazing.

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

BOURNE Who do you think sent me?

WOMBOSI I know who sent you. I don't know why. (this could get physical at any moment now--) I learned many, many things from the CIA. Many things. I learned the way they think. (beat) Was the bomb on my boat supposed to go off or not?

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

WOMBOSI You didn't set the bomb. Why?

BOURNE not sure -- about any of it --

WOMBOSI Was this a game or a fuck up?

BOURNE I don't know.

WOMBOSI Get the kids out!

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

WOMBOSI And the door.

DEAUVAGE closing the doors and as he does --

THE PROFESSOR ATTACKS...

...................................................

THIS SCENE HAS NOT BEEN WRITTEN

It's a shootout.

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

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

No children are harmed.

As the Professor rallies -- he will shoot Wombosi -- he will find Bourne's jacket left on the floor (in which later he will find a clue leading him to Belleville) and last but hardly least, he will take a parting shot at the bomb still sitting there on the throne.

There will be a huge, trailer-worthy explosion.

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

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

All of that happens and we cut to --

...................................................

INT. TREADSTONE COMMUNICATIONS DESK -- NIGHT

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

CONKLIN -- code him again -- punch it in --

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

CONKLIN -- the paging unit must be damaged --

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

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

ABBOTT What are you doing?

CONKLIN grabbing shit -- like a madman --

CONKLIN I'm going to Paris.

ABBOTT No you're not. You're not going anywhere. I'm shutting this down.

CONKLIN You're not doing shit. You're so scared you can't even think.

ABBOTT You just blew up a house in Paris! This program is over. Call it off.

CONKLIN I can't call it off. He's not responding. Get out of my way.

CONKLIN splits and --

INT. THE HOTEL ROOM -- NIGHT

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

Silence. Not a word.

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

THE BATHROOM

His hands shaking as he tries to wash them. He bags it. THE ROOM

BOURNE comes out. And there's a long silence until --

MARIE It doesn't matter who you were before. It's who you want to be. That's all that matters. (is he listening?) We have this money. We have what we have. I had nothing before and now, I don't know, maybe I have more, maybe it's nothing, but... (he looks over) I say we leave here. We leave this place. We go until we can't go anymore.

BOURNE You could do that?

MARIE Yes. That's who I want to be.

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

INT. PARIS SOMEWHERE -- NIGHT

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

INT. HOTEL ROOM -- DAWN

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

...................................................

DOUG'S ROUGH DRAFT OF THE BIG ACTION SEQUENCE

INT. HOTEL DE LA PAIX -- LOBBY -- DAY

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

CLERK xxxxxx...

MARIE xxxxxx

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

BOURNE xxxxxx.

MARIE xxxxxx

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

BOURNE Stop where you are.

MARIE What?

Bourne turns back to the CLERK.

BOURNE Where's the dog?

CLERK My husband's out looking for him.

BOURNE He run away often?

CLERK That old beast? Miss his breakfast? Not a chance. (returning to cleaning) It's always something, right?

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

BOURNE Get in the basement.

CLERK What?

BOURNE (to Marie) Get everyone down in the basement.

Now MARIE doesn't need a second warning --

CLERK What the hell're you talking about?

BOURNE You're in danger. All of you. I have no time to explain.

CLERK Wait a minute --

BOURNE I'm sorry.

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

MARIE Jason...

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

MARIE (CONT'D) Who is it? Who's out there?

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

BOURNE xxxxxx

MARIE xxxxxx

BOURNE I won't let that happen.

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

EXT. HOTEL DE LA PAIX -- COURTYARD -- DAY

THE HOTEL BACK DOOR -- kicked open -- BOURNE coming out of the house -- coming hard -- and --

The small courtyard is empty -- but now the ALARM is going off -- and BOURNE turns back to MARIE -- races to grab her as --

RATATATAT -- The FRONT DOOR -- WINDOWS -- ARE SHREDDED and -- here comes the PROFESSOR.

BOURNE xxxxxx

MARIE xxxxxx

And now they are running, across this little courtyard. To a wall -- BOURNE is up, on it -- reaching down for MARIE -- grabbing her -- swinging her over the wall as --

BAM!!! The PROFESSOR SHOOTS.

BOURNE Go!

MARIE takes off running. BOURNE leans over the wall, FIRES BACK TWICE -- RATATAT -- The WALL IS SHREDDED. BOURNE takes off running -- reloading on the fly.

Rounds a bend, is chambering two rounds when he sees -- a WOMAN is in her kitchen -- staring at him -- no time to explain -- he turns back --

The PROFESSOR is just vaulting over the wall. BOURNE FIRES TWICE -- BAM! BAM! But the spray is too wide from this distance. Windows are shattered to both sides of him but -- the PROFESSOR stumbles but keeps going -- blood on his face now -- RATATAT --

BOURNE has to move. Reloading his almost useless gun. Reaching MARIE -- facing a choice and they climb a wall -- FLOWER POTS EXPLODE around them but they make it -- now --

RUNNING IN A LABYRINTH -- right -- then left -- through a small staircase. LEAPING a wall -- landing on a STEEP ROOF -- sliding, falling, crashing to the ground in -- A SMALL COURTYARD -- steep walls on all sides. But there's a large window -- and it's open. And they step through and find themselves --

INT. CHINESE RESTAURANT -- BATHROOM -- DAY

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

MARIE Did we lose them?

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

MARIE (CONT'D) Who is it?

BOURNE We have to keep moving.

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

INT. CHINESE RESTAURANT -- DAY

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

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

EXT. BELLEVILLE -- COMMERCIAL STREET -- DAY

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

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

BOURNE xxxxxx

MARIE xxxxxx

EXT. BELLEVILLE -- QUIET STREET -- DAY

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

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

MARIE What are you doing?

And BOURNE is on the offensive. BAM! BAM! Moving towards the PROFESSOR who is ducking behind cars on the other side. They are shredding the street -- FIRING ruthlessly at each other and -- NOW THE POLICE ARE HERE -- BLOCKING both ends of the street. GUNS are drawn -- BOURNE's vulnerable on two flanks. The COPS are YELLING. And now --

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

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

INT. SMALL EPICERIE -- DAY

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

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

INT. SMALL SWEATSHOP -- DAY

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

INT. SMALL AFRICAN SHOP -- DAY

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

The PROFESSOR FIRES as BOURNE and MARIE dive into -- INT. LIVE POULTRY SHOP -- DAY

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

EXT. BELLEVILLE -- STREET -- DAY

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

BY MARIE's CAR

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

THERE'S A COP -- yelling at them and -- BOURNE hits the gas -- they fly out of their parking space -- BAM!! The COP fires, shattering their windshield and there -- up ahead -- THE PROFESSOR coming out -- about to FIRE -- BOURNE aims for him -- forces him to dive out of the way and --

ONE QUICK MOVE around a TRUCK and they are free.

INT. THE LITTLE RED CAR

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

ON THE STREET

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

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

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

The PROFESSOR grabs the bike and takes off -- SHOOTING at TWO POLICE CARS just racing to the scene and we are into --

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

INT. MARIE'S CAR

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

MARIE xxxxxx

BOURNE xxxxxx

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

MARIE Give me the gun --

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

BOURNE Wait 'till he's close.

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

IN THE INTERSECTION

CARS coming the other way, BOURNE just makes it through -- the PROFESSOR tries to squeeze through -- skidding and --

CRACK! The PROFESSOR hits the front of a car sideways on his bike -- he is THROWN clear through the intersection, right into the windshield of an oncoming car and --

He gets up, grabs his gun and works his way towards his bike and now we see -- EXT. VARIOUS SHOTS AROUND PARIS -- DAY

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

BACK TO THE CAR CHASE --

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

CRAZY CAR CHASE WITH COPS RIGHT ON THEIR TAIL

BOURNE, MARIE and the PROFESSOR leave a trail of totaled cars that the cops have to try and navigate through -- finally saying fuck it and hitting a few cars themselves and now we are into --

CAR CHASE THROUGH NARROW STREETS

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

EXT. QUAI -- DAY

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

The PROFESSOR is pulling up along side them -- one lane over. Both swerving to avoid oncoming cars and -- MARIE FIRES -- TWICE -- TAKES out a few windshields. The PROFESSOR fires at the same time -- MARIE'S CAR DOOR -- GONE -- she's totally exposed but --

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

BOURNE AND MARIE --

MARIE xxxxxx

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

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

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

BOURNE AND MARIE

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

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

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

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

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

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

THE PROFESSOR -- he's turning -- heading for a different set of stairs. BOURNE AND MARIE -- crashing through the turnstiles -- people diving out of their way and --

AT THE STAIRCASE -- THE WINDOW of the POLICE CAR is kicked out and -- TWO VERY ANGRY COPS emerge -- pull their guns out -- head into the station. BOURNE and MARIE's world just got a lot more dangerous and --

THE PROFESSOR is racing down the other staircase -- an up escalator -- people diving out of the way as --

BOURNE and MARIE slalom through the station -- suddenly -- there's the PROFESSOR -- parallel corridor -- metal barricades keep them separated. PROFESSOR FIRING.

UP AHEAD -- a horizon line -- BOURNE guns it -- a steep staircase and -- THEY FLY down the steps -- landing on --

THE METRO PLATFORM

The PROFESSOR lands on the other side -- both racing down the platform -- PROFESSOR tearing up the wall behind them and -- HERE COMES A TRAIN -- on BOURNE and MARIE's side -- travelling the opposite way -- temporary refuge. Not for long -- there's no way out on this end of the platform. They skid to a halt -- just as --

THE TRAIN DOORS OPEN -- STARTLED STRAPHANGERS stare at BOURNE and MARIE as they stop onto the platform -- take off running.

THE PROFESSOR has to turn his bike around. He's quick -- but it gives BOURNE and MARIE a two second head start.

BOURNE AND MARIE almost at the other end of the platform -- gunfire ripping up the windows behind them. Gonna go for the steps -- but here come --

THE ANGRY COPS -- remember them? -- the ones who took the ride down the steps -- they're firing now and --

BOURNE AND MARIE turn back -- the PROFESSOR is firing and there is only one option -- INT. METRO CAR -- DAY

BOURNE and MARIE into the conductor booth. People diving off the train as BOURNE hits the YELLOW BUTTON and -- the TRAIN STARTS ROLLING -- doors still open -- they disappear into the protection of the tunnel walls -- then BOURNE hits the button to close the doors and -- THE PROFESSOR -- watching the trains accelerate out of the station -- and now he's racing his bike down the platform -- opposite the motion of the train and -- here comes the end of the train and --

THE PROFESSOR throws his bike into a skidding 180 and skids off the platform all in one move -- landing hard on the tracks but facing the right direction and now he's accelerating towards the train -- just as an oncoming train is racing into the station and --

HE LEAPS onto the back of the train in the nick of time. His GUN CLATTERS to the tracks.

IN THE LAST METRO CAR

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

IN THE FIRST METRO CAR

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

MARIE xxxxxx

BOURNE xxxxxx

MARIE xxxxxx

BOURNE xxxxxx

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

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

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

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

A BRUTAL RUTHLESS FIGHT breaks out. BOURNE's motivated -- the PROFESSOR's crazy -- makes it a pretty even match. Looks like it could go on for a little while when suddenly --

BAM!!! The PROFESSOR drops to the ground -- behind him -- MARIE wields the shot gun.

MARIE xxxxxx

BOURNE xxxxxx

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

...................................................

INT. MOVING METRO CAR -- DAY

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

BOURNE Who else is coming?

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

BOURNE I won't ask again.

PROFESSOR I work alone. Like you... (confused beat) ...we always work alone.

BOURNE What do you mean?

PROFESSOR Who are you? Rome? Paris? (Bourne is just staring--) Treadstone...both of us...I was warned but...

BOURNE Treadstone?

PROFESSOR ...which one are you?...

BOURNE lowering the weapon -- head swimming --

BOURNE Paris. I live in Paris...

PROFESSOR ...headaches...you have that...I get such bad headaches...

BOURNE Yes.

PROFESSOR ...it's a problem...

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

BOURNE Treadstone.

PROFESSOR ...or in a car...when it's dark...something with the headlights... (circuits exploding) ...pills, right? Treadstone had those pills...

BOURNE What is Treadstone?

PROFESSOR ...what did you do?...you must've really fucked up...

BOURNE I think so.

PROFESSOR ...someone said caffeine -- for a headache...doesn't seem...

BOURNE What do they want me to do?

PROFESSOR ...they won't let you go...

BOURNE Why?

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

PROFESSOR Look at this... (all the blood--) ...least you have a woman....

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

MARIE Jason...

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

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

BOURNE staring at it. Very familiar to him.

MARIE We've got to go.

INT. METRO CAR -- DAY

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

EXT. ABOVE-GROUND METRO PLATFORM -- DAY

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

BOURNE and MARIE getting off the last car and --

EXT. STREET/ALLEY NEAR THE PLATFORM -- DAY

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

BOURNE Take this.

She turns. He's holding the locker key.

BOURNE Take it.

But she doesn't move.

MARIE And that's it?

BOURNE If you're lucky. (it's hanging there) Take it. (beat) There's enough in there to make a life. Any life. Just get out now. Get low. Stay low. (beat) Take it.

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

MARIE What was I thinking, right?

BOURNE I can't protect you anymore.

MARIE What about you?

BOURNE I'm gonna find the end of this. (beat) I can't protect you.

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

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

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

Holding it. Like a missing organ.

INT. THE ZURICH AIRPORT MOTEL ROOM -- DAY

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

INT. TREADSTONE PARIS -- NIGHT

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

EXT. TREADSTONE PARIS -- NIGHT

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

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

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

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

He goes down -- picks it up --

And now --

BOURNE What did you do to me?

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

CONKLIN What did I do? What've you done? Do you have any idea? Any conception? What you've destroyed? Do you have any idea how much time and work -- how many people have their lives wrapped up in this?

So now you know.

BOURNE Are you Treadstone?

CONKLIN Am I Treadstone? Me? (peering at him closely now--) What the hell're you talking about?

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

BOURNE What did you do to me?

CONKLIN What did I do? I spent thirty million dollars on you. I spent three years finding you -- four years training you -- (incredulous) What did I do? (staring now) What in the name of God have you been doing, Jason?

BOURNE I don't know.

CONKLIN They're right about you, aren't they? You're fried. (on it now) You really don't know what's going on, do you?

BOURNE I know you've been trying to kill me.

CONKLIN Of course. We had to try. We didn't know what was wrong. (warming to this--) We didn't know you were in trouble.

BOURNE So now you know.

CONKLIN So it's time to go home. BOURNE That's all I get?

CONKLIN We'll make you better. We can put the pieces back. We can do that.

BOURNE I don't think so.

CONKLIN We have to go home, Jason.

BOURNE Jason Bourne is dead.

CONKLIN There never was a Jason Bourne. (that gets him) You have to come with me. It's the only way. We can give it back to you...

BOURNE Keep it. (and he's walking--) CONKLIN Jason... (trying to follow--) They can't let you go...

BOURNE That'll be their second worst mistake.

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

EXT. BANKS OF THE SEINE -- NIGHT

BOURNE walking away -- faster and faster --

EXT. BANKS OF THE SEINE NEARBY -- NIGHT

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

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

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

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

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

MANHEIM -- raising the gun and --

THE CAMERA SPINS TO HIS TARGET AND --

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

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

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

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

INT. TREADSTONE COMMUNICATIONS DESK -- NIGHT

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

That red light means Conklin's dead.

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

EXT. BANKS OF THE SEINE -- NIGHT

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

DISSOLVE TO

INT. CIA OPERATIONS CONFERENCE ROOM -- DAY

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

ABBOTT (O.S.) The Treadstone project has actually already been terminated. It was designed primarily as a sort of advanced game program...

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

ABBOTT ...We'd hoped it might build into a good training platform, but quite honestly, for a strictly theoretical exercise, we thought it was far too expensive. The cost-benefit ratio was just too high. It's been all but decommissioned at this point.

MARSHALL All right, what's next?

ZORN handing ABBOTT the next hundred pages.

ABBOTT Okay, this is Blackbriar. Blackbriar is a joint, DOD, communications program that we really feel has good traction to it.

ABBOTT is just gonna go on and on and on.

EXT. MARTHA'S VINEYARD -- DAY

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

SIX MONTHS LATER

MARIE coming out of the shack with two helmets. Handing them to A HAPPY COUPLE waiting there on their scooters.

THE HAPPY COUPLE rides off.

MARIE turns back and --

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

MARIE Can I help you?

BOURNE This your store?

MARIE Yes.

BOURNE Think I could rent a scooter?

MARIE You have ID?

BOURNE Not really.

Beat. He smiles.

MARIE It's not a problem.

Her turn to smile. And we...

FADE OUT

<<<

/ The Bourne Identity.
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