The Bourne Identity Page #17

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?

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