









                          THE BOURNE IDENTITY

                                   by

                              Tony Gilroy


                           Based on the novel

                                   by

                             ROBERT LUDLUM












                                                  Paris Draft
                                                      9/20/00




       

        DARKNESS.  THE SOUND OF WIND AND SPRAY.

        MUSIC.  TITLES.

        EXT. OCEAN -- NIGHT

        The darkness is actually water.  A SEARCHLIGHT arcs across
        heavy ocean swells.  Half-a-dozen flashlights -- weaker
        beams -- racing along what we can see is the deck of an
        aging FISHING TRAWLER.

        FISHERMEN struggling with a gaff -- something in the water --

        A HUMAN CORPSE.

        EXT. FISHING BOAT DECK -- NIGHT

        THE BODY sprawled there.  The Sailors all talking at once --
        three languages going -- brave chatter to mask the presence
        of death --

                             SAILOR #1
                   -- Jesus, look at him --

                             SAILOR #2
                   -- what? -- you never saw a dead
                   man before? --

                             SAILOR #3
                   -- look, look he was shot --
                        (nudging the body--)
 
                             SAILOR #1
                   -- don't, don't do that --

                             SAILOR #2
                   -- he's dead, you think he cares? --

                             SAILOR #1
                   -- so have some respect -- it's a --
                        (stopping as--)

        THE BODY MOVES! -- convulsing -- coughing up sea water --
        the Sailors -- freaked -- jumping back -- standing there, as --

        THE MAN begins to breathe.

        INT. FISHING BOAT BUNK ROOM -- NIGHT

        A wreck.  Too small for all the people in here right now --
        SAILORS sweeping off the table -- rough hands laying THE MAN
        down --

        THE CAPTAIN -- brutal and impatient -- watching from the 
        door as --

        GIANCARLO tears through the clutter -- searching for a
        medical kit buried in the shambles.  GIANCARLO is sixty.  A
        bloodshot soul.

                             GIANCARLO
                   -- it's here -- hang on -- it's 
                   here somewhere -- give me a
                   minute -- get some blankets -- get
                   some blankets on him --
                        (finding the kit--)
                   -- here we go -- here it is --

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

                             THE CAPTAIN
                   Giancarlo.
                        (Giancarlo turns
                         back--)
                   We pick him up?  Okay, we have to
                   pick him up.  But that's as far as it
                   goes.

                             GIANCARLO
                   He needs a doctor.

                             CAPTAIN
                   Fuck that.  He lives?  He dies?  I
                   don't care.  We've wasted two hours
                   on this shit already.  You do what
                   you can, but we're not going back.
                        (pure steel now)
                   You understand me?

                             GIANCARLO
                   Yes, sir.

                             CAPTAIN
                        (to the rest of them)
                   Let's get back to work!

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

        INT. FISHING BOAT BUNK ROOM -- DAWN -- TIME CUTS

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

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

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

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

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

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

                             GIANCARLO
                   You're awake.  Can you hear me?
                        (we're blinking--)
                   You've been shot.  I'm trying to
                   help you.
                        (we're trying to find
                         our voice--)
                   You were in the water.  You've been
                   shot.  It's okay now.

                             THE MAN
                   Where am I?

                             GIANCARLO
                       (switching to English)
                   You're American.  I thought so.
                   From your teeth -- the dental work --

                             THE MAN
                   Where am I?

                             GIANCARLO
                   You're on a boat.  A fishing boat.
                   Italian flag.  We're out of Vietri.
                        (he smiles)
                   It's the cold that saved you.  The
                   water.  The wounds are clean.  I'm
                   not a doctor, but the wounds, it
                   looks okay.  It's clean.

                             THE MAN
                   How did I get here?

                             GIANCARLO
                   You we're lost at sea.  They pulled
                   you out.
                        (we say nothing)
                   Who are you?
                        (still nothing)
                   You were shot -- two bullets -- in
                   the back.  You understand me?
                        (we try to nod)
                   Who are you?

        Long dead pause.

                             THE MAN
                   I don't know.

        EXT. OCEAN -- DAY

        The Trawler plows through heavy seas.

        INT. FISHING BOAT BUNK ROOM -- DAY

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

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

                             THE MAN
                   What if it doesn't come back?

                             GIANCARLO
                        (still working that tube)
                   I told you.  You need to rest.

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

                             THE MAN
                   I can read.  I can read that sign
                   on the door.  I can count.  I can
                   talk...
                        (focusing now--)
                   What are you doing?

        GIANCARLO rummaging around -- finding a magnifying glass --

                             THE MAN
                   What is that?

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

                             GIANCARLO
                   It came from your hip.  Under the
                   skin.
                        (turning back--)
                   You have a bank in Zurich.
                        (waiting)
                   You remember Zurich?

                             THE MAN
                   No.

        GIANCARLO staring at him now.  Different suddenly.  Suspicious.

                             GIANCARLO
                   Look, I'm just on this boat, okay?
                   I'm an engineer.  Whatever this is,
                   it's not for me to be involved, okay?

                             THE MAN
                   I don't remember Zurich.

        GIANCARLO pulls his pint.  Takes a hit.

                             GIANCARLO
                        (offering the
                         bottle--)
                   You drink rum?

                             THE MAN
                   I don't know.

        EXT. FISHING BOAT DECK -- NIGHT

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

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

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

        The whole thing explodes.

        EXT. FISHING BOAT DECK -- DAY

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

        INT. FISHING BOAT GALLEY -- NIGHT

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

        INT. FISHING BOAT HEAD -- NIGHT

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

        And then he speaks.

                             THE MAN
                        (in perfect French)
                   (I don't know who I am.  Do you
                   know who I am?  Do have any idea 
                   who I am?)

        And then he stops.  Blinks.  Wipes away the perspiration
        just beading on his forehead.

                             THE MAN
                        (in perfect Dutch)
                   (Tell me who I am.  If you know who
                   I am, please stop fucking around
                   and tell me.)

        No answer.  Just that face.  His face.  Who am I?

        And what else is inside there?

        EXT. FISHING BOAT -- DAY

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

        EXT. ITALIAN COASTLINE -- DAWN

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

        INT. THE FISHING BOAT BUNK ROOM -- SAME TIME

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

                             GIANCARLO
                        (offering the money)
                   It's not much, but it should get
                   you to Switzerland.

                             THE MAN
                   I won't forget this.

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

        INT. POKEY ITALIAN TRAIN STATION -- DAY

        The ticket window.  THE MAN and a TICKET AGENT.

                             TICKET AGENT
                   Una sola via?

                             THE MAN
                   Si.  One way.  Una sola via.

        EXT. TGV -- DAY

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

        INT. TGV TRAIN -- DAY

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

        EXT. TRAIN -- NIGHT

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

        INT. CIA HEADQUARTERS CONFERENCE ROOM -- DAY

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

                             WOMBOSI
                        (he speaks english)
                   ...no, no, no -- the time is not
                   right, my enemies are too strong.
                   I'm telling you to wait for this,
                   you understand?  I'm telling you
                   this, and I'm making a warning to
                   all those peoples out there that
                   think that my powers have become so
                   weak that they can play with me as 
                   they wish.  You will see -- I will
                   tell you when the evidence is clear.
                   Then you will have a story.  My old
                   friends will hear about themselves.
                        (stopping, freezing
                         on that image, and--)

        MARSHALL, a CIA bigwig has the remote control.  And the floor.

                             MARSHALL
                   That's Nykwana Wombosi speaking in
                   Paris the day before yesterday.  
                   I'm sure most of you have a passing
                   knowledge of Mr. Wombosi.  Some of 
                   you on the African desks have
                   worked with him over the years.
                   Some of you very closely...

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

                             MARSHALL
                   ...He was an irritation before he
                   took power.  He was a problem when
                   he was in power.  And he's been a
                   disaster for us in exile.
                        (the tape--)
                   Wombosi likes to send us messages
                   through the European media.  This
                   is an interview we pulled down from
                   a local German television station
                   in Dresden.  We've been getting
                   these little broadsides every
                   couple of months.  He knows this --
                   he knows that -- he's writing a
                   book about the Agency's history in
                   Africa -- he's going to name names.
                   It's basically a shakedown...

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

                             MARSHALL
                   This interview -- and I'll make the
                   tape available for anyone who wants
                   it -- he goes on to claim that he
                   has just survived an assassination
                   attempt.  He says it's us.  He says 
                   he's got proof.
                        (beat)
                   The overwhelming negative 
                   ramifications of this should be
                   obvious.
                        (hard and dry)
                   The Director wants to know if there
                   is any possible shred of truth in
                   this accusation.

        Long pause.  No hands go up.

        INT. ZURICH TRAIN STATION -- NIGHT

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

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

        EXT. ZURICH STREETS -- NIGHT

        THE MAN walking aimlessly.

        EXT. ZURICH PARK -- NIGHT

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

        Just settling in, when --

                             ZURICH COP #1 (OS)
                        (authority German)
                   (Can't you read the signs?)

        THE MAN turns.  TWO ZURICH COPS coming toward him.

                             ZURICH COP #2 
                   (On your feet.  Let's go.  Right now.)

        THE MAN makes his feet.  They're on top of him now.

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

                             ZURICH COP #2
                   (Let's see some identification.)

        THE MAN not sure what to do.  Eyes moving.  Mouth shut.

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

                             THE MAN
                   I've lost them.  I've.
                        (German now)
                   (My papers.  They are lost.)

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

                             ZURICH COP #2
                        (pulling his nightstick)
                   (-- come on -- hands up -- up --)

        THE MAN raising his hand slowly -- ZURICH COP #1 reaching up
        to pat him down --

                             THE MAN
                   -- look, I'm just trying to sleep
                   okay? --
                        (German again)
                   (-- I just need to sleep --)

        ZURICH COP #2 has heard enough -- giving a sharp poke with
        the nightstick -- into THE MAN's back -- and that's the last
        thing he'll remember because --

        THE MAN is in motion.

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

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

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

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

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

                             ZURICH COP #2
                        (gasping, pleading)
                   (-- no -- please God no -- please
                   don't -- please no -- my Go--)
                        (stopping as--)

        THE MAN slams the gun against his temple and --

        This fight is over.

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

        This is something he definitely knows how to do.

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

        INT. TREADSTONE -- DAY

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

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

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

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

                             CONKLIN
                        (looking up)
                   What?

                             ZORN
                   Abbott wants to talk.

                             CONKLIN
                   Tell him we're busy.
 
                             ZORN
                   I tried.

        INT. CIA COMMISSARY -- NIGHT

        ABBOTT with coffee.  CONKLIN not lingering.

                             ABBOTT
                   Storm clouds are gathering, Ted.
                   It looks like rain and I don't have
                   a thing to wear.

                             CONKLIN
                   I don't know what we're talking about.

                             ABBOTT
                   We're talking about Marseille.
                   We're talking about Nykwana Wombosi.
                   And I'm asking you if this abortion
                   in Marseille has anything to do
                   with Treadstone.
                        (silence)
                   Was this Treadstone?

                             CONKLIN
                   You're asking me a direct question?

                             ABBOTT
                   Yes.

                             CONKLIN
                   I thought you were never going to
                   do that.

        Silence.  Pressure drop.

                             ABBOTT
                   They're putting together an agency
                   oversight committee.  They're going
                   to look through everyone's budgets.
                   Treadstone is a rather sizable line
                   item in my ledger.
                        (beat)
                   What am I going to do about that?

                             CONKLIN
                   You'd want to make that go away.
                   You'd want to remind them that
                   Treadstone is a training
                   organization.  That it's all 
                   theoretical.  You'd want to sign
                   off on that.

                             ABBOTT
                   And what if I couldn't do that?

                             CONKLIN
                   Then I'd have to explain Treadstone.
                   And you'd have to explain how you
                   let me get this far.
                        (silence)
                   Doesn't sound like much of a Plan-B,
                   does it?
                        (Abbott staring)
                   We'll clean up the field.  You
                   clean up your budgets.

        EXT. ZURICH -- DAY

        Morning in the financial district.  Upscale.  Uptight.

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

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

        INT. BANK RECEPTION AREA -- DAY

        Ornate, formidable and tech at the same time.

                             RECEPTIONIST
                   (Can I help you?)

        THE MAN standing before her.  Looking very out of place.

                             THE MAN
                   I'm here about a numbered account.

        THE RECEPTIONIST nods.  Pulls a pen and bank card.

                             RECEPTIONIST
                        (instant English)
                   If you'll just enter your account 
                   number here I'll direct you to the
                   appropriate officer.

        THE MAN takes the pen, as we --

        INT. BANK SECURITY CHECKPOINT -- DAY

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

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

                             BANK GUARD #1
                        (they've been waiting)
                   (Your hand, sir...)

        THE MAN focuses.  Here we go -- BANK GUARD #2 guiding his
        open palm onto the mirrored scanning surface.  

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

        INT. BANK HALLWAY -- DAY

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

        INT. DEEPER INSIDE THE BANK -- DAY

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

                             APFEL
                   Good morning, sir.  I assume you're
                   here about your box.

                             THE MAN
                   ...yes...
                        (what now?)
                   The box.

        APFEL nods.  Gestures down the corridor --

        INT. BANK SAFETY DEPOSIT VIEWING ROOM -- DAY

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

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

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

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

                             BOURNE
                   My name is Jason Bourne.
                        (sounds good)
                   Hi, I'm Jason.  Jason Bourne.
                   Jason Bourne, nice to meet you.

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

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

        First of all...

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

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

        NAME:
        NATIONALITY:
        PLACE OF ISSUE:
        SIGNATURE SAMPLE:
 
        And a bar code.
        Two Dutch passports.  A French.  A South African.  A Belgian.

        And...

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

        NAME: John Michael Kane
        NATIONALITY: U.S.A.
        PLACE OF ISSUE: Paris, France
        There's a signature sample.
        And a bar code.
        But no passport.  This one is missing.

        BOURNE sitting there.  Trying to push his confusion away.

                             BOURNE
                   Bourne.  My name is Jason Bourne.
                   I live at 121, Rue de la Jardin, Paris.

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

        Suddenly, it's all fucked up.

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

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

        INT. BANK SAFETY DEPOSIT OUTER AREA -- DAY

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

                             BOURNE
                   (I'm trying to think how long it's
                   been since I was here.)

                             DEPOSIT GUARD
                   (I'm not sure.  Must be three weeks.)

        EXT. STREETS OF ZURICH -- DAY -- VARIOUS SHOTS

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

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

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

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

        It's just an ambulance.

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

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

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

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

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

        FINALLY TO --

        BOURNE bailing on the street -- disappearing into --

        EXT. U.S. EMBASSY COMPOUND -- DAY

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

        INT. U.S. CONSULATE ZURICH -- VISA ROOM -- DAY

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

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

                             MARIE (O.S.)
                   -- no, this is not my current
                   address.  It was my current address
                   two days ago when I started
                   standing in line outside -- 

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

                             MARIE
                   -- and so now I lost my apartment,
                   I have no address, and I have no 
                   visa, and you keep telling me how
                   much help you cannot give me!

        A CONSULATE CLERK caught in her headlights.

                             CLERK
                   Miss Kreutz, please... I'm gonna 
                   have to ask you to keep your voice
                   down.

                             MARIE
                   All the papers -- all the papers
                   they asked for -- I brought all the
                   papers --

                             CLERK
                   Miss Kreutz, excuse me, but you
                   entered into a fraudulent marriage
                   in an effort to circumvent the
                   immigration laws of the United
                   States --

                             MARIE
                   You only know that because I told
                   you!
                        (she's incredulous)
                   Ask the case officer -- find his
                   name -- it's on the papers -- I
                   told him all this myself! --
                        (tearing through the
                         papers now--)

                             CLERK
                   -- it's not the source of the
                   information that's important here --  

                             MARIE
                   -- I paid this fucking guy -- I
                   paid him four thousand dollars --
                   my last four thousand dollars to
                   marry me, okay? -- I told this to
                   the case officer last week...
                        (she's found it--)
                   ...here -- Mr. Thomas.  I told Mr.
                   Thomas I didn't know this guy was
                   already married -- I admitted this!

                             CLERK
                   -- Miss Kreutz, please --

                             MARIE
                   -- I'm the one that got ripped
                   off! -- not you -- not the United
                   States government -- me -- I'm the
                   one being ripped off!

                             CLERK
                   So now you're asking for a student
                   visa?

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

        INT. CIA OFFICE COMPLEX -- NIGHT (BUT SAME TIME)

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

                             CONKLIN
                   -- and they're sure it's him? --

                             ZORN
                   -- he accessed the account --

                             CONKLIN
                   -- but it was him --

                             ZORN
                   -- yes, sir, it's confirmed --

        INT. U.S. CONSULATE -- VISA ROOM -- DAY

        BOURNE on line.  Fear meter rising by the minute.

        BOURNE'S POV

        Scanning the room -- the perimeter -- the people -- A
        TURKISH MAN almost in tears as he tries to explain his case
        to a DESK CLERK -- TWO AMERICAN BACKPACKERS that have lost
        their passports -- MARIE still in the midst of her madness --
        A SECURITY CAMERA high on the wall capturing everything --
        lots of data -- too much going on and --

                             MAN ON LINE (OS)
                        (from behind him)
                   You're up.

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

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

                             WOMAN CLERK
                        (cold shit)
                   You're a U.S. Citizen?

                             BOURNE
                   Yes.
                        (pause)
                   I mean, I think so.  Yes.  Yes...

                             WOMAN CLERK
                   Well, either you are, or you aren't.

                             BOURNE
                   Right.

                             WOMAN CLERK
                   You have your passport?

                             BOURNE
                   I have a passport.  I've got...
                        (the bag there, but...)
                   Actually, it's a little complicated.

                             WOMAN CLERK
                   Do you have your passport, sir?

                             BOURNE
                   Look, maybe I should just...

                             WOMAN CLERK
                   Sir, you waited on line.

                             BOURNE
                   Yeah, I know...

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

        INT. U.S. CONSULATE LOBBY -- DAY

        BOURNE on the move -- hustling back toward the lobby --
        trying to snag a view out to the street -- there's a window
        just ahead and --

        BOURNE'S WINDOW POV -- ZURICH COPS -- outside -- on the
        street -- half-a-dozen of them lingering around the entry
        gate and --

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

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

        As he gets closer -- it gets worse --

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

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

                             SECURITY CHIEF (OS)
                   -- stop! -- stop right there! --

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

                             SECURITY CHIEF
                        (from across the lobby)
                   -- YOU -- red bag -- the red bag --
                   stop right there! -- hands up! --

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

                             GUN MARINE
                   -- you heard him -- let's move
                   it! -- down -- let's go! --

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

        He's swinging the backpack and --

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

        BOURNE -- all motion -- all forward -- all perfect --
        vaulting the metal detector even as he pulls ONE OF THE
        PEOPLE ON LINE around to shield his back and --

        ANOTHER GATE MARINE -- right there -- trying to grab him --
        making his move -- BOURNE -- almost an afterthought -- his
        boot -- like a knife -- out of nowhere -- SNAP! -- the guy's
        arm just shattered and --

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

                             SECURITY CHIEF
                   -- no -- no -- hold your fire! --
  
        BOURNE -- landing hard on THE GUN MARINE -- rolling away 
        from the gate -- into the building now -- coming up with the
        backpack and --

                             SOMEONE SCREAMING
                   -- he's got a gun! -- he's got a
                   gun! --

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

        PEOPLE IN THE LOBBY -- SCREAMING -- diving away -- everyone 
        dropping for cover and --
  
        BOURNE -- bailing -- on the run -- sprinting down a 
        hallway -- tossing away the M-16 as he sprints into the
        building --

                             THE SECURITY CHIEF
                        (frantic on his radio
                         now--)
                   -- red! -- red! -- red! -- code
                   red! -- South side entrance! --
                   male -- five-ten, brown hair -- black
                   jacket -- red bag --

        INT. U.S. CONSULATE OFFICE HALLWAY -- DAY

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

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

        INT. U.S. CONSULATE LOBBY/SECURITY GATE -- DAY

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

        INT. U.S. CONSULATE FIRE STAIRWELL -- DAY

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

        INT. U.S. CONSULATE GROUND FLOOR CORRIDOR -- DAY

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

                             DEPUTY DCM
                   -- what're you talking about? --

                             SECURITY CHIEF
                   -- we're evacuating the building --

                             DEPUTY DCM
                   -- we're in the middle of a trade
                   meeting! --

                             SECURITY CHIEF
                   -- call the code! -- I want 
                   everyone out! --

                             DEPUTY DCM
                   -- you gotta give me more to go on --

                             SECURITY CHIEF
                   -- he's running from the cops, he's
                   got a bag filled with God knows 
                   what, he's in the building and I
                   don't know where! --

        INT. U.S. CONSULATE BACK STAIRWAY -- DAY

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

        INT. U.S. CONSULATE FIFTH-FLOOR GRAND HALLWAY -- DAY

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

        INT. U.S. CONSULATE FIFTH FLOOR KITCHENETTE -- DAY

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

        INT. U.S. CONSULATE BACK STAIRWAY -- DAY

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

        INT. U.S. CONSULATE MAIN STAIRS -- DAY

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

        INT. U.S. CONSULATE FIFTH FLOOR GRAND HALLWAY -- DAY

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

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

        And as the crowd reacts -- as they mob back away from the
        main stairway -- we see -- holy shit, the guy yelling was
        BOURNE --
        
        INT. U.S. CONSULATE BACK STAIRWELL -- DAY

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

                             LEAD MARINE
                   -- HALT! -- STOP WHERE YOU ARE! --

        MARINE GUNS swinging up -- trigger fingers tense and --

        IT'S TRADE PEOPLE! and now THEY'RE SCREAMING and this
        combined with THE ALARM and THE MARINES YELLING FOR THEM TO
        GET DOWN and ALL OF IT ECHOING THROUGH THE STAIRWELL and --

        INT. U.S. CONSULATE MAIN CONFERENCE ROOM -- DAY

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

        INT. U.S. CONSULATE FIFTH FLOOR GRAND HALLWAY -- DAY

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

        INT. U.S. CONSULATE MAIN CONFERENCE ROOM -- DAY

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

        BOURNE rushes to the window staring down and --

        BOURNE'S WINDOW POV

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

        INT. U.S. CONSULATE FIFTH FLOOR GRAND HALLWAY -- DAY

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

                             SECURITY CHIEF 
                   -- blow it -- shoot it open! --

        INT. U.S. CONSULATE MAIN CONFERENCE ROOM -- DAY

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

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

        THE ROOM IS EMPTY!

        EXT. U.S. CONSULATE BUILDING WALL -- DAY

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

        INT. U.S. CONSULATE MAIN CONFERENCE ROOM -- DAY

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

                             SECURITY CHIEF
                   -- check the closets! -- get those
                   back doors covered -- there's a
                   kitchen back there -- go! -- go! -- go!

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

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

        EXT. U.S. CONSULATE BUILDING WALL -- DAY

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

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

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

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

        We are watching a master at work...

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

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

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

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

        Timing his next move and --

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

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

        Letting go for the last fifteen feet and --

        EXT. U.S. CONSULATE FIFTH FLOOR GRAND HALLWAY -- DAY

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

                             SECURITY
                   -- we're gonna go room by room
                   until we find him -- so let's get
                   teamed up --

        EXT. AN ALLEYWAY NEAR THE U.S. CONSULATE -- DAY

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

                             MARIE
                        (German)
                   (Motherfucking sonsofbitches!)
                        (a new problem--)

        A LITTLE RED CAR.  A beat-to-shit Euro car.  A shitty little
        red car angled in beside a dumpster with a big red Zurich
        parking ticket on the windshield.

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

                             MARIE
                        (looking up--)
                   (What are you looking at?)

        BOURNE standing across the car -- on the passenger side --

                             BOURNE
                   I need a ride.

                             MARIE
                   (What?)

                             BOURNE
                   I need a ride out of here.

                             MARIE
                   Oh, Jesus...
                        (backing away and--)
 
                             BOURNE
                   Please.  I don't want to scare you.

                             MARIE
                   It's a little late for that.

                             BOURNE
                   I've got a situation here and --

                             MARIE
                   Get the fuck away from my car.

                             BOURNE
                   I'll give you ten thousand dollars
                   to drive me to Paris.

                             MARIE
                   Great.  You know what?  I'll give
                   you ten gazillion dollars to get
                   the fuck away from me before I
                   start screaming my head off.

                             BOURNE
                   You don't want the police any more
                   than I do.

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

                             MARIE
                   Jesus...

                             BOURNE
                   Get me out of here.  Please.

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

        INT. TREADSTONE COMMUNICATIONS DESK -- NIGHT

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

                             CONKLIN
                   go -- keep going -- go...wait --
                   stop -- you went past it --

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

                              CONKLIN
                         (staring at the monitor)
                    It's him.  My God, it's really him...

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

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

                              CONKLIN
                    No...
                         (still staring at Bourne)
                    Go ahead.  Run it.
                         (coming to--)
                    Let's get a map, let's get a grid
                    map on Zurich.

                              ZORN
                         (holding the phone)
                    Sir...

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

                              CONKLIN
                    What?

                              ZORN
                    Zurich police are looking for an
                    American with a red bag.  Apparently
                    he put two cops in the hospital
                    last night.

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

                              CONKLIN
                    What the fuck is he doing?

                              ZORN
                    Maybe it's a game.  Maybe he's
                    trying to send us a message.

                              CONKLIN
                    It doesn't matter now.  We've just
                    got to be the first ones there.
                         (decision time)
                    Get everybody up.  I want them all
                    activated.

                              ZORN
                    All of them?

        A moment between them.  CONKLIN all steel here now.

                              CONKLIN
                    You heard me.

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

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

        EXT. BARCELONA RESIDENTIAL BOULEVARD -- DAY

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

        INT. BARCELONA GRAND HOUSE MUSIC ROOM -- DAY

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

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

        INT. HAMBURG CONFERENCE ROOM -- DAY

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

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

        EXT. A ROMAN CAF+ -- DAY

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

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

        EXT. A ROAD ON THE OUTSKIRTS OF ZURICH -- DAY

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

                             MARIE
                   So what's in Paris?

                             BOURNE
                   I want to go home.

                             MARIE
                   For twenty thousand dollars.

        BOURNE looks back from the map.

                             BOURNE
                   I said ten thousand.

                             MARIE
                   You have blood on your pants.

                             BOURNE
                   Okay.
                        (beat)
                   Twenty thousand.  Ten now.  Ten there.

                             MARIE
                   No.  No, that was too easy --
                        (pacing away--)

                             BOURNE
                   Wait up --
                        (after her now--)
                   -- just wait up --

                             MARIE
                   -- get the fuck out of here -- all
                   this money, this crazy offer, I
                   mean give me a fucking break with
                   this, this is --
                        (stopping because--)

        BOURNE just grabbed her.  Both of them shocked that he's
        done this.  He immediately pulls back.

                             BOURNE
                   Look, I want a ride to Paris.
                        (wide open now)
                   That's all I want.  I swear.

                             MARIE
                   You swear?
                        (cold here)
                   That's great.  I feel so much
                   better now.

                             BOURNE
                   I don't want anything but a ride.
                   All I want to do is go home.

        Silence now.  She looks back.  Measuring him.

                             MARIE
                   You could buy a car for twenty
                   grand.  You could buy this car.

                             BOURNE
                   I don't want to go alone.  I want
                   you to drive me to Paris.  Like
                   we're a couple.  Like we're a 
                   couple and we're travelling  
                   together.  That's all we're doing.

                             MARIE
                   And I don't get hurt.  I get twenty
                   thousand dollars and I don't get hurt.

                             BOURNE
                   I won't hurt you.

                             MARIE
                   What if I say no?

                             BOURNE
                   Then I'll find another ride.

        EXT. ROME STREET -- DAY

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

        U-STORE-IT STORAGE WAREHOUSE.

        INT. STORAGE WAREHOUSE ELEVATOR -- DAY

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

        INT. CASTEL'S STORAGE UNIT -- DAY

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

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

        QUICK TIME CUTS

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

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

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

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

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

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

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

        First of all...

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

        NAME:
        NATIONALITY:
        PLACE OF ISSUE:
        SIGNATURE SAMPLE:
        A BAR CODE:
        Two Italian.  Two Spanish.  A Portuguese.

        CASTEL going for the Portuguese passport and --

        EXT. ALPS HELICOPTER SHOT -- DAY

        The little red car driving through The Alps.

        INT. THE RED CAR -- DUSK

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

                             MARIE
                   Just so you know, if you're gonna
                   burn me on the money, you might as
                   well kill me.
                        (Bourne looks over)
                   I was supposed to have this car  
                   back three days ago.  It's not my car.

                             BOURNE
                   I know that.

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

                             MARIE
                   Shit --
                        (trying to settle)
                   Can I tell you how much you're
                   freaking me out?  Okay?  Because
                   you are -- you're completely 
                   freaking me out.

                             BOURNE
                   I'm sorry.  Really.  What do you 
                   want me to do?

                             MARIE
                   I don't know.  Smile.  Sneeze.
                   Something.  You've got a bag full
                   of money and a ride to Paris.  Fuck
                   it, I don't know...
                        (the radio)
                   What kind of music do you like?

                             BOURNE
                   I don't know.

                             MARIE
                   What does that mean?

                             BOURNE
                   Listen to what you want.

                             MARIE
                        (out of nowhere)
                   Who pays twenty thousand dollars 
                   for a ride to Paris?

        There it is.  And she wants an answer --

                             BOURNE
                   I don't know.  I don't know who I am.

                             MARIE
                   Yeah, well, welcome to the club.

                             BOURNE
                   No.  No, I mean, I really don't
                   know who I am.  I can't remember
                   anything earlier than two weeks ago.
                        (it's not flying)
                   I'm serious.

                             MARIE
                   What?  Like amnesia?

                             BOURNE
                   Look, go ahead...put the radio on...

                             MARIE
                   Amnesia?
                        (total incredulity)
                   You're saying you don't remember
                   anything that happened before two
                   weeks ago?

                             BOURNE
                   That's what I'm saying.

                             MARIE
                        (German)
                   (Give me a fucking break.)

        BOURNE staring at her.  She's furious.  She's downshifting --
        she's accelerating -- pulling out to pass the truck on a 
        blind turn, as we --

        EXT. ZURICH BANK -- DAY/DUSK

        APFEL emerges from the bank.  Leaving work.  Turns the
        corner into a quiet side street and --

        Up ahead, here comes another guy in a suit.  It's MANHEIM
        walking toward us, deep into a cell phone conversation.
        Barely noticing Apfel as they get closer and --

        As they pass -- MANHEIM -- it's completely out of the
        blue -- he's jabbing the cellphone down into Apfel's
        shoulder and --

        APFEL -- no clue -- already clutching at the coronary 
        exploding in his chest -- dead before his body hits the
        street and -- 

        MANHEIM -- still walking -- he's never broken stride -- and
        as he goes he's fiddling with the cellphone and --

        INSERT -- THE CELLPHONE -- MANHEIM'S HANDS working to
        retract a syringe into the device and --

        MANHEIM striding away.  Disappearing into Zurich...

        INT. PARIS MORGUE -- NIGHT

        Not the best morgue in town.  Cold tile.  A wall of freezers.
        Death lighting.  Now add some color.  Meet NYKWANA WOMBOSI
        in the flesh.

        Meet HIS ENTOURAGE -- eight or ten of his thirty children --
        two of his wives -- three of his bodyguards -- the whole
        crew spread out in this horrible basement room.  THE WIVES
        are chatting.  THE KIDS are playing, fighting and eating candy.

        THE BODYGUARDS -- three of them here -- are white.  These
        guys are French/Corsican mercs.  Not quite the A-Team.  The
        guy in charge of this ugly little unit is named DEAUVAGE.
        Into it.  Too into it.

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

                             MORGUE BOSS
                        (French)
                   (Okay, Monsieur Kane...number 121...)

        And he pulls open FREEZER #121.  And thank God we can't see
        it, because whatever's inside there is clearly horrible.
        THE MORGUE BOSS barely takes a glance, standing back as
        quickly as possible.

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

                             WOMBOSI
                   Get the fuck out of my way --
                        (pushing Deauvage
                         aside--)

        WOMBOSI moves to the freezer box.  Stares down.  As if it
        were nothing.  He's seen -- he's made -- much, much worse.
        And now he reaches down into the box -- hands on --
        literally feeling around this dead, awful corpse with his 
        bare hands -- feeling around for something -- feeling and
        feeling and not finding --

                             WOMBOSI
                        (turning to Deauvage--)
                   It's not him.

        DEAUVAGE looking pale as WOMBOSI slams shut the freezer.

                             WOMBOSI
                        (quiet hard fury)
                   So who's crazy now?

        EXT. PARIS STREET -- NIGHT

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

        INT. THE MERCEDES STRETCH LIMO -- NIGHT

        WOMBOSI alone in the back.  Looking haunted.

        INT. TRUCKSTOP CAF+ -- NIGHT

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

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

                             MARIE
                   And you have no idea -- not a
                   clue -- what came before that?

                             BOURNE
                   No.

                             MARIE
                   When you think of it, before the
                   ship -- before you wake up on the
                   ship, what do you see?

                             BOURNE
                   Nothing.  It's just not there.

                             MARIE
                   Well, this is great.
                        (she sits back)
                   I'm sick of myself and you have no 
                   idea who you are.

                             BOURNE
                   I kept trying things, I thought if
                   I could find all the things I could
                   do, I could --

                             MARIE
                   -- you could put it together --

                             BOURNE
                   -- which was okay for a while, I
                   was okay with it...
                        (hesitating now)
                   But then -- there's all these other
                   things -- all these other things I
                   know how to do -- and this -- this
                   stuff from the bank and...
                        (suddenly flat out--)
                   I think something bad happened.

                             MARIE
                   What are you talking about?

                             BOURNE
                   I don't know.

                             MARIE
                   Sounds like you were in an accident
                   or something.

                             BOURNE
                   I was shot twice in the back.

                             MARIE
                   Okay, so you're a victim.

                             BOURNE
                   There was a gun.  Who has a safe
                   deposit box with a gun and all this
                   money and all these passports?

                             MARIE
                   Lots of people have guns.  You're
                   American.  Americans love guns.

                             BOURNE
                   I fought my way out of an embassy.
                   I climbed down a fifty-foot wall --
                   I went out the window and I was
                   doing it -- I just did it.  I knew
                   how to do it.

                             MARIE
                   People do amazing things when
                   they're scared.

                             BOURNE
                   Why do I? -- I come in here --
                   instinctively -- first thing I
                   do -- I'm looking for the exit --
                   I'm catching the sightlines -- I
                   know I can't sit with my back to
                   the door --

                             MARIE
                   You're paranoid.  You were shot.
                   It's natural.

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

                             BOURNE 
                   I can tell you the license plate
                   numbers of all three cars out front.
                   I can tell you that the waitress is
                   left-handed and the guy at the 
                   counter weighs two-hundred and
                   fifteen pounds and knows how to
                   handle himself.  I know that the 
                   best, first place to look for a gun
                   is the cab of that grey truck
                   outside.  I know that at this
                   altitude I can run flat out for
                   half a mile before I lose my edge.
                   I knew that you were my first, best
                   option out of Zurich?  How do I
                   know all that?  How can I know all
                   that and not know who I am?  How is
                   that possible?

        Long dead pause.

                             MARIE
                   God, you're not kidding, are you?

        INT. TREADSTONE RESEARCH DESK -- DAY

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

        PULL BACK TO REVEAL

        HALF A DOZEN COMPUTER MONITORS -- and lots of shots of
        Bourne -- twenty angles -- twenty different locations --
        twenty candid perspectives of Bourne and his mad scramble
        through the consulate --

        CONKLIN and RESEARCH TECH #1 poring over these surveillance 
        tapes downloaded from Zurich --

                             CONKLIN
                   And that's the best angle of the 
                   courtyard?

                             RESEARCH TECH #1
                   That's the only angle.

                             CONKLIN
                   What do they have on the streets?
                   The area.  They must have something.

                             RESEARCH TECH #1
                   Hang on...
                        (typing away--)

        CONKLIN rubbing at the tension in his temples as ZORN enters --

                             CONKLIN
                   What?

                             ZORN 
                   Abbott.  He knows about the embassy.
                   He's coming down for a show and tell.

                             CONKLIN
                   That'll solve all our problems.

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

                             CONKLIN
                        (turning back--)
                   What's that?

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

                             CONKLIN
                   Enhance it.

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

                             CONKLIN (OS)
                   Who the hell is that?

        EXT. ZURICH AIRPORT HOTEL -- NIGHT

        A drone barn.  Practically on the runway.

        INT. ZURICH AIRPORT HOTEL ROOM -- NIGHT

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

        Just waiting.

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

        INT. WOMBOSI'S PARIS COMPOUND -- NIGHT

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

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

        WOMBOSI HOUSE SECURITY STATION

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

        WOMBOSI MAIN HALLWAY

        Littered with toys.  Children's crap everywhere.  BODYGUARD
        #3.  Snoozing on a Louis Quatorze chair draped with African
        cloth.

        WOMBOSI THRONE ROOM DOORS

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

        FINALLY TO

        WOMBOSI'S THRONE ROOM

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

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

        Stewing.

        EXT. FRENCH ROADSIDE -- DAWN

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

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

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

        BOURNE steps out.  Morning legs.

                             MARIE
                   I needed a break.

                             BOURNE
                   Where are we?

                             MARIE
                   We're about an hour away.

                             BOURNE
                   I can't believe I slept.

                             MARIE
                   You were tired.  Here...
                        (bread and soda--)
                   For twenty-thousand I like to throw
                   in breakfast.
                        (he takes it)
                   So what do you dream about?

                             BOURNE
                   I dream I'm asleep.  I dream that
                   I'm asleep and I can't wake up.
                        (he takes a hit from
                         her smoke and
                         coughs--)
                   I don't think I smoke.

        Another silence.  She's watching him.

                             MARIE
                   You ever think maybe you have a family?

                             BOURNE
                   I thought about it.  I don't know.

        She looks away.  Was she hoping for another answer?

                             MARIE
                   I guess it's like Christmas every
                   day for you, huh?

        INT. TREADSTONE CONKLIN'S OFFICE -- DAY

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

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

                             ABBOTT
                   Who is she?

                             ZORN
                   Marie Helene Kreutz.  She's twenty-
                   six.  Born outside Munich.  Father
                   was a welder.  He died in '91.  We
                   don't have the mother.  There might
                   be a step-sister, we're trying to 
                   track that down.
                        (apologetic)
                   It's tough.  She's a wanderer.  She
                   pops up on the grid here and there
                   but...I mean, the last time she
                   paid an electric bill in Europe was
                   '94.  No taxes.  No steady employer.
                   She's got three arrests.  Two
                   shoplifting cases, one in Spain,
                   one in Germany.  And she actually
                   did three months in an Italian
                   detention center for credit card fraud.

                             ABBOTT
                   No political affiliations?

                             CONKLIN
                   She's a gypsy.  If it's a cover,
                   it's a great one.

                             ABBOTT
                   I'm assuming we're exploring that
                   possibility.

                             CONKLIN
                   We're exploring every possibility.
                        (tighter by the moment)
                   We are in pursuit.  How much more
                   do you want me to tell you?

                             ABBOTT
                   Pursuit would indicate that you
                   know exactly where he is.

                             CONKLIN
                   No.  Pursuit ends when we know
                   exactly where he is.

                             ABBOTT
                   Yes, well, I think we need some 
                   fresh eyes on this problem.  I'm
                   bringing in some people from upstairs.

        CONKLIN hesitates.  Inside he's screaming.

                             CONKLIN
                   We've been down here for two weeks
                   banging our heads against the wall.
                   We've been sleeping down here.  We
                   just got our first lead fourteen
                   hours ago, and now? -- now that we
                   finally have something to work
                   with -- you want to bring planning
                   personnel down here?
                        (real steam)
                   I'd rethink that.

                             ABBOTT
                   I want a second opinion.

                             CONKLIN
                   This is an operations desk.

                             ABBOTT
                   I'm not asking.

        EXT. PARIS STREET NEAR BOURNE'S APARTMENT -- DAY

        THE LITTLE RED CAR cruising through town.

        INT. THE LITTLE RED CAR -- DAY

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

                             BOURNE
                   Slow down.  No, don't stop.  Just...

                             MARIE
                        (looking over)
                   That's it?  Is that it?

        AN APARTMENT BUILDING.  Big building.  Elegant but cold.

                             BOURNE
                   Four-fifty.  That's the address...

                             MARIE
                   Looks familiar?

                             BOURNE
                   No.
                        (staring back as they
                         pass--)
                   No.  Go around.  Keep going...

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

                             MARIE
                   Where?

                             BOURNE
                   Yeah.  Pull in here.  Park it.

        MARIE angles into an alleyway.  Cuts the engine.

                             MARIE
                   So this is it, right?

                             BOURNE
                   I guess.

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

                             MARIE
                   I should go.

                             BOURNE
                   I don't remember any of this.

                             MARIE
                   Jason...

        He turns back.  She's staring at him.

                             BOURNE
                   Sorry.  The money, right?

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

                             MARIE
                   Okay, so...

                             BOURNE
                   Thanks for the ride.

                             MARIE
                   Anytime.

        Silence.  That moment.  He focuses.  Getting it.

                             BOURNE
                   Look, I don't know what's up there.

                             MARIE
                   You got me pretty fucking curious.

                             BOURNE
                   Look, you could come up.  Or you
                   could wait if you want.  I could go
                   check it out.  You could wait.

                             MARIE
                   Nah...
                        (hide the pain)
                   With you, I mean, you'd probably
                   just forget about me, right?

                             BOURNE
                   How could I forget about you?
                        (he smiles)
                   You're the only person I know.

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

        INT. PARIS APARTMENT BUILDING FOYER -- NIGHT

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

        J. Bourne.

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

                             MARIE
                   I guess you're not home.

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

                             CONCIERGE (OS)
                        (from the shadows
                         inside--)
                   (Monsieur Bourne...I'm coming...)

        THE CONCIERGE is sixty.  Plump and proper.

                             CONCIERGE
                        (opening the door--)
                   (Mr. Bourne, there you are -- I was
                   wondering -- I haven't seen you --)

                             BOURNE
                   (Here I am.)

        THE CONCIERGE looking at BOURNE like maybe she's never seen
        him look like this before.  And she's looking at MARIE like
        here's the reason her tenant looks like such shit.

                             BOURNE
                        (he tries a smile)
                   (I seem to have lost my key.)

        THE CONCIERGE nods.  Instant chilly disapproval.

                             CONCIERGE 
                   (I've been ringing your bell.  It's
                   good you were away.  We had some 
                   trouble with the hot water.  It's 
                   been repaired.)

                             BOURNE
                   (Great.  We could use a shower.)
                        (they look like
                         shit--)
                   (It was a long drive.)

        THE CONCIERGE steps aside and --

        INT. PARIS APARTMENT FIFTH FLOOR LANDING -- DAY

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

        Turning it.  And the door opens...

        Nothing...

        No bombs.  No wife and kids.  No one.

        INT. PARIS APARTMENT -- DAY

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

        WE'RE MOVING NOW

        THE LIVING ROOM

        BOURNE and MARIE exploring.

                             MARIE
                   It's big.

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

                             MARIE (CONT'D)
                   This is like a real apartment.
                        (she likes it)
                   This is really yours?

                             BOURNE
                   I guess so.

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

        THE BEDROOM

        MARIE in the doorway.  Checking it out.  It's so clean and
        simple.  But it's not the decor she's most interested in...

        MARIE opening an armoire...

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

        THE KITCHEN

        Like a stage set.  Lots of props and no sign of food.
        BOURNE picking up a frying pan.

                             BOURNE
                   This is my frying pan.
                        (and then--)
                   This is my spoon.
                        (trying harder)
                   I'm Jason Bourne and this is my
                   kitchen.

        THE MASTER BATHROOM

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

        AN OFFICE STUDY

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

                             MARIE
                   This is your office?
                        (from the doorway)
                   God, you live like a monk...

                             BOURNE
                   All this stuff -- it's all about
                   boats.
                        (looking up)
                   I think I'm in the shipping business.

                             MARIE
                   See.  It's starting to come back,
                   yeah?
                        (he sort of nods)
                   You mind if I take a bath?

                             BOURNE
                   Go ahead.

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

        And then he sits down in a chair.

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

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

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

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

                             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 CAFE 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 END

    


                             
         


