The Bourne Supremacy

EXT. MERCEDES WINDSHIELD -- DUSK

It's raining... Light strobes across the wet glass at a

rhythmic pace...

Suddenly -- through the window a face -- JASON BOURNE --

riding in the backseat -- his gaze fixed.

INT. MERCEDES -- NIGHT

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

The eyes of the driver, JARDA, watching --

BOURNE'S POV -- the passenger -- back of his HEAD -- cell

phone rings -- the HEAD turns -- it's CONKLIN --

BOURNE returns his stare...

CUT TO:

INT. COTTAGE BEDROOM -- NIGHT

BOURNE'S EYES OPEN! -- panicked -- gasping -- trying to stay

quiet -- MARIE sleeps.

INT. COTTAGE LIVING AREA/BATHROOM -- NIGHT

BOURNE moving for the medicine cabinet. Digs through the

medicine cabinet. Downs something specific.

INT./EXT. COTTAGE LIVING ROOM/VERANDA -- NIGHT

One minute later. BOURNE moves out onto the veranda.

MARIE pads in. Watching him for a moment. Concerned. Clearly

it's not the first time this has happened.

They both look different than last we saw them; his hair is

longer. She's a blonde. Hippie travelers. Their cottage is

humble but sweet. The bedroom opens to a beach and a town

just down the hill. CLUB MUSIC from some all night rave

wafting in from the far distance.

MARIE:

Where were you, Jason? In the car.

BOURNE:

Conklin up front.

MARIE:

I'll get the book.

BOURNE:

No. There's nothing new.

MARIE:

You're sure?

(he nods)

We should still -- we should write

it down.

BOURNE:

Two years we're scribbling in a

notebook --

MARIE:

-- it hasn't been two years --

BOURNE:

-- it's always bad and it's never

anything but bits and pieces anyway!

(she's gone quiet)

You ever think that maybe it's just

making it worse? You don't wonder

that?

She lays her hands on his shoulders, steadies him.

MARIE:

We write them down because sooner or

later you're going to remember

something good.

BOURNE:

(softens)

I do remember something good. All

the time. I remember you.

She smiles. Kisses him. Leads him back in.

INT. COTTAGE BEDROOM -- NIGHT

MARIE getting BOURNE into the bed. Turning down the light.

Getting him settled. Waiting for that pill to kick in. What

would he do without her?

BOURNE:

I'm trying, Marie, Okay?

MARIE:

I worry when you get like this.

BOURNE:

It's just a nightmare.

MARIE:

I don't mean that. I worry when you

try to ignore it.

He hesitates. But that gets him. He knows she's right. And

with that opening, he's letting go. Resistance folding. Almost

childlike. She's gathering him in. He's letting her do it...

MARIE:

Sleep. Sleep now.

BOURNE:

I should be better by now.

MARIE:

You are better. And I think it's not

memories at all. It's just a dream

you keep having over and over.

BOURNE:

But it ends up the same.

MARIE:

One day it will be different. It

just takes time.

(beat)

We'll make new memories. You and me.

Silence. She strokes his face. He gives in to her tenderness.

He's fading. Two waifs in the dark.

DISSOLVE TO:

EXT. BEACH -- GOA/BEACHTOWN -- DAY

BOURNE running in the sun. A punishing pace along the sand.

Moving strong. Effortless. Deep into it. Focused. The stunning

conjunction of sun and scenery are lost on him.

EXT. OUTDOOR MARKET -- GOA/BEACHTOWN -- DAY

A busy market town. Fishing town. Hippie town. Lots of young

Western faces. Rundown and happening at the same time.

MARIE shopping. Filling a bag with local produce.

EXT. ROAD -- GOA/BEACHTOWN -- DAY

BOURNE still running, leaving the beach behind.

INT. COTTAGE KITCHEN -- DAY

MARIE back from the market, putting the groceries away. Almost

done, when she stops for a moment --

A PHOTOGRAPH. There on the windowsill. A snapshot. Jason and

Marie on a beach. Her arms around him. As if she were the

protector. Big smiles. Young. Alive. In love.

MARIE smiles.

EXT. MAIN STREET -- GOA/BEACHTOWN -- DAY

Funky busy. Colonial facades in vivid, sub-continental

technicolor. Loud morning traffic.

CAMERA FINDS:

BOURNE coming out of a store with a big bottle of water.

He's just finished his run. Standing there, chugging away,

checking the scene, when something catches his eye --

HIS POV:

THE STREET. A SILVER CAR -- something newish -- pulling down

the block -- can't quite see who's driving, but --

BACK TO:

BOURNE watching this silver car. So serious he's casual.

Nobody passing would notice, but we do: He's on alert.

Rate this script:5.0 / 1 vote