The Bourne Supremacy Page #12

PAMELA:

You felt nothing? No spark? Two young

people in Paris? Dangerous missions?

Life and death?

NICKY:

(incredulous)

You mean, did I want a date?

PAMELA:

Did you?

NICKY:

These were killers. Conklin had them

all jacked up. They were Dobermans.

PAMELA:

Some women like Dobermans --

NICKY:

What do you want from me? I was

reassigned. I'm out.

PAMELA:

See, that's a problem for me, Nicky.

Whatever he's doing, we need to end

it. This isn't the kind of mess you

walk away from.

PAMELA leans away. NICKY looks back out the window.

EXT. TARMAC -- BERLIN AIRPORT -- NIGHT

Three in the morning as the GULF STREAM lurches to a stop.

TWO BLACK SEDANS here for the pickup. TEDDY the greeting

party as --

PAMELA, CRONIN, ABBOTT, ZORN and NICKY disembark --

EXT. BERLIN STREET -- NIGHT

The SEDANS making their way, stopping at a non-descript office

building.

INT. BERLIN HQ/COMMAND POST -- NIGHT

ELEVATOR opens into their 9th floor world. Emergency activity.

KIM ready to debrief, KURT work the computers. Energy up.

PAMELA, ABBOTT and CRONIN bring NICKY into the room.

KIM:

-- so far Bourne's had no contact

with anyone on the list -- Langley

pulled an image out of Naples, it's

uploading right now.

KURT:

Coming in now...

Everything stops, as THE PHOTO -- blurry, oblique -- begins

materializing on HALF-A-DOZEN MONITORS around the room.

Suddenly, they're surrounded by Bourne.

PAMELA:

(to Nicky)

Is it him?

Looking closer -- she nods...

CRONIN:

He's not hiding, that's for sure.

Why Naples?

ZORN:

Why now?

PAMELA has gone quiet, just staring at the picture, as --

KURT:

Could be random.

CRONIN:

Maybe he's running.

ABBOTT looks skeptical.

ABBOTT:

On his own passport?

KIM:

(the image)

What's he actually doing?

CRONIN:

What's he doing? He's making his

first mistake...

And then, from behind them --

NICKY:

It's not a mistake.

(everyone looks over)

They don't make mistakes. And they

don't do random. There's always an

objective, always a target.

(beat)

If he's in Naples, on his own

passport, there's a reason.

PAMELA turns to ABBOTT. A silent moment between them. They're

in it now and they know it.

EXT. ITALIAN MOUNTAIN HIGHWAY -- NIGHT

THE PEUGEOT streaking through the Alps. Passing a sign for

the German border. Moonlit glacial peaks whipping past as

CLUB MUSIC STARTS PULSING LOUDER AND LOUDER and --

INT. THE PEUGEOT -- NIGHT (CONT.)

BOURNE driving hard. Pushing the car through the night.

Mission Bourne. As the MUSIC KEEPS JUST BUILDING AND BUILDING,

taking us into --

INT. MOSCOW NIGHTCLUB -- NIGHT

Packed and loud. Skin and smoke. A DOORMAN on the move, taking

us with him through THE CROWD. Faces -- voices -- all the

Moscow party people and --

AT THE BACK:

A VIP BOOTH. KIRILL simply shitfaced. But in a really creepy,

numb kind of way. THREE WOMEN, absolutely gorgeous, are

sitting around him, chatting away as if he weren't even there.

The girls looking up to see --

THE DOORMAN:

(standing there)

[Can he walk?]

KIRILL stirs. His stupor a futile attempt to escape. Eyes

still those of an exceptionally hard man.

A minute later. KIRILL can walk. The most graceful drunk

you've ever seen. Making his way through the club. Tuning

out everything but the need to get to THE DOOR and --

EXT. MOSCOW NIGHTCLUB -- DAY (CONT)

Yes, day. It's nine a.m. KIRILL suddenly in the sunlight.

People going to work. Kids off to school and --

GRETKOV sitting in his Mercedes, not happy.

FOLLOW CAR and SECURITY and ASSISTANT equally unhappy.

GRETKOV:

[You told me Jason Bourne was dead.]

KIRILL blinking against the sunlight -- trying to process.

DELETED:

EXT. ANONYMOUS MUNICH NEIGHBORHOOD -- DAY

Discreet and chilly. A car pulls up. A MAN gets out.

MUNICH:

We don't see his face as he heads in.

INT. JARDA'S HOUSE FOYER/KITCHEN -- DAY

The man enters. His alarm system -- beep...beep -- starts

once he comes through the door. There's A KEYPAD on the wall.

He enters his code and the beeping stops. Just like everyday.

It's a sad house.

He hangs his coat on the rack. Moving now --

INTO:

THE KITCHEN. He drops his briefcase on the table, opens the

fridge for a drink. Except what he comes out with is --

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