The Bourne Identity Page #22

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 f***ing 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 f*** 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 f***ed.

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 sh*t -- 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 sh*t. 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 sh*t. 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.

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