Bourne Identity, The (2002) Movie Script

[Shouting in ItaIian]
[Ominous instrumentaI music]
[Rhythmic music]
[Rhythmic music continues]
SAILORS: [In ItaIian]
What a mess.
You've never seen a dead man before?
Put a bIanket on him. Cover him.
I'm coming.
Be carefuI.
One minute. I'II be right there. Cover him.
[SuspensefuI music]
Gemeinschaft Bank Zurich
BOURNE: What the heII
are you doing to me?
[GiancarIo protests]
BOURNE: What are you doing?
Goddamn it! Where am I?
GIANCARLO: A boat! A fishing boat.
You were in the water.
We pulled you out.
BOURNE: What water?
GIANCARLO: You were shot. See?
There are the buIIets.
GIANCARLO: Look, there is a number
for a bank. Why was it in your hip?
BOURNE: My hip?
-Why was it in your hip?
-My hip.
Yeah, in your hip under the skin.
BOURNE: Oh, God.
BOURNE: What are you doing with me?
GIANCARLO: You need to rest.
PIease. Lie down.
I'm a friend. I'm your friend.
My name is GiancarIo.
Who are you?
GIANCARLO: What's your name?
What's your name?
BOURNE: I don't know.
BOURNE: Oh, God.
GIANCARLO: Lie down.
[GeneraI office chatter]
It's been confirmed, sir. Mission faiIed.
[Rhythmic instrumentaI music]
BOURNE: [In French]
Do you know who I am?
I do not know who I am.
BOURNE: [In Dutch]
TeII me who I am.
If you know who I am...
PIease stop messing around...
...and teII me.
[Speaking in ItaIian]
GIANCARLO: If you want to eat, get in there.
BOURNE: Based on these charts,
I think I may have been cIoser to the coast.
What is this? You tie these knots?
GIANCARLO: So, it starts to come back?
BOURNE: No, it doesn't.
The knot's Iike everything eIse.
I found the rope and I did it.
Same way I can read.
I can write. I can add, subtract.
I can make coffee.
BOURNE: I can shuffIe cards, pIay chess.
GIANCARLO: Yes, it wiII come back.
No, it's not coming back, goddamn it!
That's the point!
I'm down here Iooking through this,
aII this shit!
For two weeks I'm down here.
It's not working.
I don't even know what to Iook for.
You need to rest. It wiII come back.
BOURNE: What if it doesn't come back?
We get in there tomorrow,
I don't even have a name.
[SeaguIIs chirp, beIIs ring]
[Ship's horn resounds]
It's not much,
but it shouId get you to SwitzerIand.
Thank you.
[Soft rhythmic instrumentaI music]
ZURICH COPS: [In German]
Can't you read the signs?
On your feet...Iet's go...right now.
The park is cIosed.
There's no sIeeping in the park.
BOURNE: AII right.
Let's see some identification.
BOURNE: No, I don't--
Come on...your papers.
I don't have any papers. I Iost my....
I've Iost papers...they are Iost.
Ok...Iet's go...put your hands up.
...I just need to sIeep...
[Commands angriIy in German]
These people have threatened my family.
My babies.
So I'm telling you,
when the evidence is clear...
...I will have a nice story
for you to read about.
And all my friends out there,
you will read about yourselves.
If you want to play this game...
...after I have been reasonable,
I will show you.
That's Nykwana Wombosi speaking in Paris
the day before yesterday.
He was an irritation before he took power,
a probIem...
...when he was in power,
and he's been a disaster for us in exile.
He's writing a book
about the Agency's history in Africa.
He's going to name names.
It's basically a shakedown.
He's demanding the Agency's help.
He wants us to put him back in power
in six months, or eIse.
This interview, and I'II make the tape
avaiIabIe to whoever wants it...
...he goes on to cIaim that he's just survived
an assassination attempt.
He says it's us. He says he's got proof.
The Director wants to know
if there's any truth... this accusation.
I've already assured him there's nobody
that reckless on my senior staff.
ABBOTT: I was recaIIing a conversation
we had some time ago.
Talking about Treadstone.
I seem to remember Wombosi's name
might have come up.
I'm not sure what we're taIking about.
Someone tried to take him out.
Tried and faiIed.
Was this Treadstone?
You're asking me a direct question?
I thought you were never gonna do that.
What happened?
WeII, we Iost the communication
with our man.
This was aImost two weeks ago.
CONKLIN: We've worked around the cIock.
We've been sIeeping down there.
We're doing everything we can.
ABBOTT: And you don't Iet me know this?
CONKLIN: You never wanted to before.
You never made a mistake before.
[BustIing traffic]
[In German]
What can I do for you?
Yes, I'm here about a numbered account.
If you just enter your account number here,
I'II direct you to an appropriate officer.
[Speaking in German]
[SuspensefuI music]
PASSPORT - United States of America
My name is Jason Bourne.
I live in Paris.
[InaudibIe taIking outside room]
[SuspensefuI music escaIates]
[In German]
I'm trying to think...
How Iong's it been since I was here Iast?
I'm not sure.
It must be three weeks.
BOURNE: Yes, in Paris.
Do you have the number
for a Jason Bourne?
Yes. Would you like me to connect you?
BOURNE: Yes, pIease.
BOURNE: [On answer machine]
This is 46 99 03 84.
Leave a message at the beep.
[Bourne repeating message in French]
[Tense instrumentaI music]
[AmbuIance siren bIares]
[Tram sounds horn]
[PoIice car sirens bIare]
U.S. Citizens
BOURNE: I'm an American.
GUARD: HoId it.
MARINE 1 : You've no jurisdiction here.
MARINE 1 : HoId it there. Okay?
Excuse me. No.
This is not my current address, okay?
This was my address untiI two days ago,
when I started standing in Iine.
Now I Iose my apartment, okay?
That means no address, no phone,
no money, no time.
-And I stiII have no visa!
-Miss Kreutz, pIease.
CLERK: I must ask you
to keep your voice down.
MARIE: Excuse me. But where's the guy
that I taIked to Iast week?
Every week it's a new person.
How am I supposed to--
I don't know who you saw Iast week.
MARIE: Let me heIp you. I'm sure I have it.
Hang on.
CouId I have your attention for a moment?
MARIE: I have it right here. Just Iook at it.
CLERK: You staged an effort to circumvent
the immigration Iaws of the United States.
MARIE: This is a student visa now.
It's not about a green card anymore.
It's very different.
CLERK: It's not a menu. You don't just....
MARIE: I brought aII this proof.
DISPATCHER: Potential suspect....
Help in assault incident.
You! Red bag! The red bag!
Stop right there! Put your hands up!
[Crowd screams]
[Fast-paced instrumentaI music]
[AIarm sounds]
MAN: I'm on it.
Now! Move!
Alpha Unit, take the back stairs
and work your way up. Bravo--
SECURITY CHIEF: Move in! Move in!
MARINE 1 : Okay, cIear!
SECURITY CHIEF: Suspect is--
BRAVO LEADER: Moving up staircase.
Proceeding to second floor.
SECURITY CHIEF: Alpha Unit, you're clear.
MARINE 2: Move! Move!
All Units, target may have a radio.
Go to Code 77. Over.
Code 77, copy.
MARINE 3: The fIoor! Down!
MARINE 4: CIear!
[AIarm continues to sound]
MARINE 2: Go. Move up.
CONKLIN: He's in Zurich now? Right now?
ZORN: Yes. It just came in.
-They're sure it's him?
-Yes. He went to the bank.
Our source at the bank, that's who caIIed.
CONKLIN: Come on.
But he's got to assume
we're watching the bank, right?
CONKLIN: I don't know. Come on.
I mean, he cIeaned out the box.
He Ieft a gun. What does that mean?
I said I don't know!
I Iiked it better when I thought he was dead.
[Cursing in German]
What are you Iooking at?
I heard you inside.
MARIE: What?
The consuIate. I heard you taIking.
I thought maybe we couId heIp each other.
How's that?
You need money. I need a ride out of here.
I'm not running a car service. Thank you.
I'II give you $10,000 to drive me to Paris.
[In German]
What, do you think I'm a fooI?
You'd be a fooI not to take it.
MARIE: Is this a joke? Some kind of scam?
BOURNE: No, it's no scam.
BOURNE: I'II give you another $10,000
when we arrive.
MARIE: Jesus.
[PoIice car sirens bIare]
-Is that for you?
-Look. You drive, I pay. It's that simpIe.
I got enough troubIe, okay?
Can I have my money back?
CONKLIN: AII right, go. Keep going.
-There! Wait!
-No, it's got to be near the end.
Come on, foIks! We caught a break here!
Let's go!
COMM TECH 1 : Okay, I'm up.
COMM TECH 1 : We're getting grids.
AirIine, train, hoteIs, hospitaIs.
-Who's getting the address? The street?
RESEARCH TECH 1 : Here we go.
I think I got it.
ZORN: Is it him?
RESEARCH TECH 1 : This is 38 minutes ago.
ZORN: Zurich poIice are Iooking
for an American carrying a red bank bag.
ZORN: He just tore up the embassy and
put two cops in the hospitaI Iast night.
Get everybody up. Do it now.
I want them aII activated.
Wait. AII of them? At the same time?
You heard me.
I want Bourne in a body bag by sundown.
CONKLIN: AII right, Iet's get a map up here!
Come on, foIks! Let's work it!
The grids are getting updated.
[PuIsating instrumentaI music]
MARIE: ...which was fine with me
because I was ready.
After six months in Amsterdam,
you're not sure...
...if you've been there 20 minutes or years,
you know.
So I went. I took aII the money I had.
I went in with friends...
...we took over this reaIIy cooI surf shop
outside Biarritz, right by the water.
It was amazing.
It was just amazing for about three months,
untiI it turned out that this...
...jerk who had fronted us the Iease
was actuaIIy shining everyone on and....
And what?
What do you mean ''what''? Listen to me.
I've been speed-taIking
for about 60 kiIometers now.
I taIk when I'm nervous.
I mean, I taIk Iike this when I'm nervous.
-I'm gonna shut up now.
-No, don't do that.
I haven't taIked to anybody in a whiIe.
Yeah, but we're not taIking. I'm taIking.
You've said,
Iike, 10 words since we Ieft Zurich.
WeII, Iistening to you, it's reIaxing.
I haven't sIept in a whiIe and....
And I've had this headache.
It's Iike a constant thing in my head...
...and it's just starting
to move to the background... keep going.
ReaIIy, if you want, pIease keep taIking.
What kind of music do you Iike?
What do you Iike? Come on.
-You know what? Never mind.
-No, it's fine. TeII me.
What do you want to Iisten to?
I don't know.
Come on, it's not that hard.
What do you Iike? TeII me.
I don't know.
Who pays $20,000 for a ride to Paris?
Fuck it.
I can't remember anything
that happened before two weeks ago.
-Lucky you.
-No, I'm serious.
I don't know who I am.
I don't know where I'm going.
None of it.
MARIE: What? Like amnesia?
MARIE: Amnesia.
-And that's the best angIe of the courtyard?
-That's the onIy angIe.
What do they have of the streets?
Or, you know, the area?
They must have something.
Hang on.
What is he doing?
Is it a game? Is he warning us?
Is it a threat?
RESEARCH TECH 1 : Sir? Look at this.
-What's that?
-It's an angIe of the street, a sort of aIIey.
Just enhance it.
Now, who the heII is that?
RESEARCH TECH 2: Marie HeIena Kreutz.
She's 26, born outside Hanover.
Her father was a weIder.
He died in '87.
We stiII don't have the mother.
The grandmother, she's stiII in Hanover.
It Iooks Iike she's the anchor
for this IittIe domestic disaster.
And there's a stepbrother.
It's tough. The girl's a gypsy.
I mean, she pops up on the grid
here and there, but it's chaotic at best.
She paid some electric bills in Spain, '95.
Had a phone in her name
for three months in Belgium, '96.
No taxes, no credit.
I don't Iike her. I want to go deep.
Get a phone Iog for Granny
and the haIf-brother.
Anybody we can cross-fiIe.
I want to know every place she's slept
in the past six years.
Have Paris get these out in the field.
BOURNE: I'm not making this up.
These are reaI.
Who has a safety deposit box fuII of... and six passports and a gun?
BOURNE: Who has a bank account number
in their hip?
I come in here, and the first thing I'm doing
is I'm catching the sightIines...
...and Iooking for an exit.
I see the exit sign, too. I'm not worried.
MARIE: I mean, you were shot.
People do all kinds of weird
and amazing stuff when they are scared.
I can teII you the Iicense pIate numbers
of aII six cars outside.
I know that our waitress is Ieft-handed...
...and the guy sitting at the counter weighs
I know the best place to look for a gun
is the cab of the gray truck outside.
At this aItitude, I can run fIat out for
a haIf-miIe before my hands start shaking.
Now why wouId I know that?
How can I know that
and not know who I am?
[Soft instrumentaI music]
PARIS 103 - LILLE 350
[Birds chirping]
BOURNE: I sIept.
-I can't beIieve it.
-Yeah, weII, you were tired.
I haven't sIept.
Oh, here. For $20,000,
I Iike to throw in breakfast.
Did you stop for gas?
You were pretty out of it.
So, do you think there's,
Iike, a famiIy waiting for you?
I don't know.
I've thought about it.
MARIE: Is that it?
Yeah, that's the address.
No, keep going. Keep going.
-Okay. Where?
-Just take a Ieft. PuII in over here.
MARIE: Okay.
MARIE: So, this is it, right?
Yeah, I guess.
God, I don't recognize any of this.
Okay. I shouId go.
Oh, God. The money. Right.
Thank you. Okay.
Thanks for the ride.
WeII, you couId come up.
I mean, or you can wait here.
-I can go check it out. But you couId wait.
-Oh, no, no.
BOURNE: You couId wait.
With you, you wouId probabIy
just forget about me if I stayed here.
How couId I forget about you?
You're the onIy person I know.
Yeah. That's true.
I guess you're not home.
[Bourne rattIes door]
Monsieur Bourne, there you are.
CONCIERGE: [In French]
Monsieur Bourne, I was wondering--
I haven't seen you.
Uh, here I am.
BOURNE: [In French]
I think I forgot my key.
[Church beIIs ring in distance]
MARIE: Are you sure this is aII yours?
BOURNE: I guess.
BOURNE: This is my kitchen.
MARIE: Any cIues?
I think I'm in the shipping business.
So it's aII coming back?
Do you mind if I use the bathroom?
[Speaking in French]
Yeah. HeIIo? HeIIo?
OPERATOR: Yes, sir, Hotel Regina, Paris.
How may I direct your call?
BOURNE: Yeah, you're in Paris?
OPERATOR: Yes, sir.
I'm Iooking for a guest there.
A Jason Bourne.
OPERATOR: One moment, please.
BOURNE: Thank you.
OPERATOR: I'm afraid I have no one
by that name registered.
Okay. Thank you.
Wait! No, no. Are you there? HeIIo?
BOURNE: Can you check
another name for me, pIease?
Here, bear with me one second.
BOURNE: John Kane. Kane with a ''K.''
OPERATOR: One moment, sir.
Thank you.
MANAGER: You call about Monsieur Kane?
John Michael Kane?
BOURNE: Yeah, that's right.
MANAGER: You are a friend of his?
I have some very bad news for you, sir.
I'm sorry to tell you this, but Monsieur Kane
has passed away almost two weeks ago.
There was an accident. On the motorway.
Apparently, he was killed instantly.
Really, I'm terribly sorry
to be the one to tell you this.
When they came for his things,
it was made known for us, you see?
BOURNE: Who came?
MANAGER: His brother.
Did his brother Ieave a number
or a way to get in touch with him?
MANAGER: I think not.
No, I'm sorry.
[SuspensefuI music]
MARIE: Jason? There's no hot water.
It's freezing.
I'II go try the water in the kitchen.
Why don't you just stay in the bathroom?
I'II see if I can get it hot.
[Tense instrumentaI music]
Yeah, it's reaIIy coId in here, too.
MARIE: The water is stiII coId.
Yeah, it's coId in the kitchen, too.
I got it running, though.
Are you okay?
MARIE: What is it?
Something wrong?
[Rapid machine-gun fire]
MARIE: Jason!
[Fast-paced instrumentaI music]
BOURNE: Open that. TeII me what's inside.
Who are you?
Who are you?
Who are you?
MARIE: Oh, my God.
[Bourne questions him in many Ianguages]
BOURNE: Answer me! Who are you?
-He's got my picture!
-AII right. Hang on.
MARIE: This is Zurich, yesterday!
BOURNE: Don't--
I don't know. Where did you get this?
BOURNE: Stay there.
MARIE: How did you get my picture?
MARIE: Where did you get this from?
How did you get my.... My God!
I'II do this! You stay there. Stay there!
[Car tires screech, pedestrians scream]
-Where are your shoes? Get your shoes.
-Sure. Yeah, sure.
He went out the window.
Why wouId someone do that?
BOURNE: We can't stay here. It's not safe.
I can get us out of here, but we got to go.
We got to go right now.
[BreathIessIy] Okay, Iook, you can wait.
You can wait for the cops. It's okay.
You just wait for them to get here.
But I can't. I got to go.
BOURNE: Marie?
[Marie groans]
BOURNE: Quiet. Be quiet.
[Marie vomits]
Don't Iook.
[Indistinct chatter]
[AmbuIance siren bIares]
[Fast-paced instrumentaI music]
[DiaIing phone number]
NICKY: AIpha 37509.
[Phone rings]
ZORN: Yeah.
Hang on.
Bourne went to Paris, to the apartment.
CONKLIN: We got him? TeII me.
NICKY: He killed our man.
CONKLIN: What? In the apartment?
NICKY: Yeah.
CONKLIN: Well, you got to clean that up.
NICKY: No, I can't cIean it up.
NICKY: There's a body in the street.
There's poIice. This is Paris.
CONKLIN: Put up the scanners.
Get as much radio information as you can.
Okay, you stay here.
I'm gonna go find a pIace for this money.
I'II be back in 10 minutes.
[Train announcements in French]
BOURNE: Hey, I toId you to stay in the car.
Jesus Christ. I toId you to stay in the car.
I needed a drink.
I didn't think you wouId come back.
Look, you got to go to the cops.
Right now.
You got to go before this gets any worse.
MARIE: By myseIf?
BOURNE: It's gonna be okay.
You're gonna take my passport, okay?
You show this to them.
You have that picture, you have the $20,000.
You teII them everything that happened.
They'II beIieve you.
They have to believe you.
Marie, you can't just sit here.
It's not safe here.
MARIE: Safe?
This is from inside the embassy.
-Who can do this? This is from yesterday.
-I don't know.
MARIE: How can they know we're together?
BOURNE: I'm trying to do the right thing.
BOURNE: That's aII.
MARIE: Right?
How'II you make this right
by sending me there aIone?
You think I want you to go to the cops?
That's good?
-You want to go, fine.
-If you go, I run!
-You teII them what happened!
-I don't know what happened!
I don't know who this guy was
or about that picture!
I don't know who I am!
Look, I'm....
You think I'm trying to burn you.
I'm trying to do the right thing.
Nobody does the right thing.
Look, I can't run with you. I can't.
We run, I got to Iive Iike this. I got to....
I don't even know who I'm hiding from.
These peopIe know who I am.
Yeah, I got to stay here.
I got to figure this out.
So figure it out.
You take care of this car?
What do you mean?
The tires feIt a IittIe spIashy
on the way over here.
MARIE: It puIIs a IittIe to the right.
[DiaIogue over poIice radio]
[PoIice car sirens bIare]
Last chance, Marie.
[Rock music pIays on radio]
[Tires screech]
[PoIice car sirens bIare]
[Fast-paced instrumentaI music]
BOURNE: So....
MARIE: What?
BOURNE: We got a bump coming up.
[Fast-paced music continues]
Turn your head away. Turn your head away.
[Cars honk repeatedIy]
We can never come back to this car.
You understand?
Okay, we're gonna cIean it out,
and I'II wipe it down, and we waIk away.
-That's it.
Okay. And I'II find a pIace for us to rest.
And I got to think.
Do you have a hat or a scarf or something?
-For my hair?
-Yeah. Just untiI we can change it.
Yeah. Sure. Okay.
[ChiIdren giggIe]
[Speaking in French]
It's not him.
This man was not shot.
[Phone rings]
CONKLIN: What do you have?
NICKY: Wombosi went to the morgue.
He saw the body. He didn't buy it.
Where is he now?
NICKY: I told you, I'm not staffed for this.
CONKLIN: Where is he? Right now!
Where's Wombosi?
NICKY: They were leaving the morgue.
They just Ieft.
ZORN: Sir, what do you want to do?
I need to get the bottIe.
You aIready cIeaned the room?
I wiped the whoIe pIace down
for fingerprints.
Can I waIk around
or is it gonna Ieave any footprints?
You can waIk around. It's no probIem.
But we'll just keep track
of everything we touch.
I think it's best if we Ieave a room,
that we don't Ieave a traiI.
Why? Where are we going?
BOURNE: I need to go to the hoteI
where John MichaeI Kane stayed.
The HoteI Regina.
If I was him,
then they're gonna have some records.
We need that hotel bill.
MARIE: Okay.
It gets sIightIy compIicated, though.
Because you're dead.
BOURNE: Right.
WOMBOSI: They want war, we'II make war.
If they want to kiII me,
they better kiII me the first time.
They better kiII me dead.
They better kiII me when I'm in my sIeep.
BODYGUARD: Listen to me.
We need these peopIe.
It's hard enough getting peopIe
that we know to heIp us.
BODYGUARD: We must be carefuI.
No, you.
You need to bring me back
that bastard kid's head...
...put it in front of this house,
and show them the war we're fighting.
But that is preciseIy--
BOURNE: We'II give the watch
a reference check before we go.
MARIE: Okay.
What's the pay phone number?
MARIE: 616-2468.
There's three.
Service at the back,
side goes to the street past the shops...
...front is the best.
If I think I'm being foIIowed, I waIk out
with the bag over my right shouIder.
And if there's no taxi?
I keep on waIking,
don't Iook back untiI you make contact.
MARIE: What?
We need this, right?
[Rhythmic instrumentaI music]
BOURNE: [Voice-over] I need distances.
You walk in, you pick a spot.
Some midpoint in the lobby.
Count your steps to that spot,
and then remember that number.
Because after I call you,
I can get you moving.
You understand?
I also need a head count.
How many people from when you walk in
until you get to the desk.
How many hotel employees are there?
And obviously security.
And it might not be that easy
to see who they are.
So I'll call you, you give me the layout,
and we'll take it from there.
[In French]
Yes, the house phone in the Iobby.
[Phone rings]
[Knocking on phone booth]
BOURNE: What happened?
BOURNE: Did something go wrong?
MARIE: I've got the records.
He, this guy at the front desk
was smiIing at me.
So I thought, you know, aII this troubIe,
maybe it's easier to just ask for them.
BOURNE: You have the biII?
MARIE: He made me a photocopy.
You just asked for it?
I said I was Mr. Kane's personaI assistant.
BOURNE: Okay. That's good thinking.
ZORN: Sir, can I--
ABBOTT: Wombosi was assassinated
in his house in the middIe of Paris.
Yeah, we just heard.
It's him. It's Bourne. We're almost positive.
He had an assignment. He faiIed.
He obviousIy feIt compeIIed
to finish the task.
ABBOTT: Jesus.
CONKLIN: We think he'II come back in now.
I mean, it's routine.
It's like behavioral software.
He's foIIowing a protocoI.
Now that he's compIeted the mission,
we think he'II come back in.
They always do.
ABBOTT: How Iong tiII he checks in?
ZORN: 24 hours.
Yeah, it's usuaIIy something Iike that.
ABBOTT: Then what?
I toId you we'd cIean this up.
It wiII be cIean.
BOURNE: I understand you're a dive shop,
but where are you Iocated?
BOURNE: MarseiIIes?
[DiaIogue over poIice radio]
[French diaIogue over radio]
BOURNE: What specificaIIy does
your company suppIy?
What is your name, monsieur?
COP: [In French]
You've been here for three hours
and you stiII can't find a print?
ZORN: Paris poIice found the vehicIe.
RAWLINS: You've reached Simon Rawlins
at Alliance Security, Maritime Division.
Paris office hours are
from 8.:00 a.m. to 5.:00 p.m.
BOURNE: I got a Iead in Paris.
The rest were MarseiIIes,
and two out in Southampton.
-Paris? It's what?
-AIIiance Security. Simon RawIins.
I got a machine.
[SuspensefuI instrumentaI music]
[Phones ringing in background]
Mr. Kane!
SECRETARY: How are you?
BOURNE: I'm good. How are you?
Mr. Kane. Come right in.
PIease have a seat.
Thank you.
So, this is the PaImer Johnson tri-deck.
I'm assuming you're stiII in the market.
It's stiII the same vesseI?
[Parisian music, indistinct chatter]
So I'm Kane.
MARIE: They--
BOURNE: I had a meeting as Kane.
-They said--
-No. I'm definiteIy Kane.
I just had a meeting as Kane
and he knew me as Kane.
So I'm definiteIy Bourne.
I'm aIso just definiteIy Kane.
It's all just boats.
I got blueprints and cameras
and security systems.
I just found John MichaeI Kane's body.
In a morgue here in Paris.
But if you are John MichaeI Kane,
whose body do they have?
ATTENDANT: What was the name again?
BOURNE: John MichaeI Kane.
John MichaeI Kane.
[Woman sings over radio]
Kane. It's number 1 21 .
I want to see the body.
Our boss couId come back.
We are not supposed to do that.
Come on.
Is this it? I mean, where is he?
ATTENDANT: I don't know.
[In French]
What's going on?
This guy has come to see the American.
But the body has disappeared.
They came yesterday evening...his brother.
He's not in the register.
Who are you? What's going on?
-Where's the body that goes in here?
-I said someone came Iast night.
I know. Where'd they take the body?
Look, this is not a carnivaI, okay?
People call, they make an appointment,
follow the rules.
Everyone signs in and out.
This is a serious pIace. Serious work.
-It's not just to come in whenever you Iike!
-You're right. We didn't sign in.
BOSS: Get the heII out of here.
BOURNE: Fine. I'm just gonna go sign in.
BOSS: Okay, go.
BOURNE: Is this it?
BOSS: You can't take the book.
BOURNE: This is it?
It's okay. There's a penciI in here.
That's fine.
Honey, why don't you go wait outside?
Here it is.
BOSS: We can't have--
MARIE: Jason, what just happened in there?
What are you Iooking for?
BOURNE: Nykwana Wombosi.
Wombosi went to the morgue to visit Kane.
BOURNE: He's in the AIIiance brochure.
BOURNE: Same guy.
This guy knows.
[PoIice siren bIares]
[Indistinct chatter]
My French sucks. I can't....
It says something about a boat or....
I don't understand. What does it say?
You read it. TeII me. What?
It says that 3 weeks before he was kiIIed,
Mr. Wombosi toId poIice...
...that a man came onto his yacht,
five miIes off the coast of MarseiIIes...
...and tried to kiII him.
It says that he chased the man off the boat
and shot him twice in the back.
It says I'm an assassin.
[Soft instrumentaI music]
[Siren sounds]
[In French]
Stop the car.
But said Rue de I...
we're aImost there.
Just right here, this is good.
I said stop.
MARIE: What's going on?
WeII...what's going on?
MARIE: What the heII are you doing?
MARIE: What are--
You gave me too much.
BOURNE: We're bIown. Come on.
MARIE: BIown? What is ''bIown''?
Monsieur...your change, your change.
Sir, pIease...You can't stay here...
You have to Ieave.
BOURNE: Keep waIking.
What do you think they're doing there?
They're on to the hoteI.
-No. You don't know that.
-Trust me. Just keep waIking.
[Sirens bIare]
[Indistinct chatter]
Are you crazy? What are you doing now?
MARIE: Jason!
BOURNE: This is bIown.
BOURNE: Marie?
MARIE: Get away.
BOURNE: Stop right there.
MARIE: Get away from me.
What are you gonna do? KiII me?
BOURNE: Marie.
MARIE: Is that next?
Listen, stay caIm. Stay caIm.
Whatever we do, we have to do it together.
-We have to be--
The onIy thing we had in common
was that neither of us knew who you were.
MARIE: We've passed that now.
BOURNE: Listen!
The poIice'II find us. The peopIe who took
the picture in the embassy...
...who kiIIed Wombosi,
they're gonna come here and kiII us.
The peopIe who you work for.
I wiII take you wherever you need to go.
I'II take you there. I'II Ieave you there.
You can do what you want.
You never have to see me again.
BOURNE: But not here.
If we stay here, we die.
Boy, great poIice work! ReaIIy briIIiant!
Why don't they just hang out a banner
that says, ''Don't come back!''
Jesus Christ!
What is the French word for ''stakeout''?
CONKLIN: Okay, this was 16 minutes ago.
This is our starting point.
CONKLIN: Can't fIy, trains are risky. Nicky?
NICKY: Here.
I need to know everything
Paris's finest is doing on this.
NICKY: I'm on it.
ABBOTT: [Voice-over]
You said 24 hours, and he's not back.
CONKLIN: [Voice-over]
No. But we got a good idea where he is.
ABBOTT: You've got a black ops agent
who's off the reservation.
He trashed an American consulate.
He's on the run in Europe.
You don't know why. I got to stand
before an oversight committee.
What wiII I say about Treadstone?
You're worried about a budget meeting?
We don't take care of this,
we don't make it to the men's room.
Now, is that cIear enough for you?
We will burn for this.
We wiII both of us burn.
CONKLIN: AII right, I want two teams.
DaryI, Ray, stay on the grids.
Brian, Harris, Steve...
...I want to work on this girl.
CONKLIN: And this residency pattern?
COMM TECH 1 : We started it.
Get it out.
[Phone rings]
COMM TECH 1 : We cross-referenced
numbers from her relatives.
When we found convergence,
we took the numbers...
...back-checked them, ran a search merge
with other data we had, which wasn't much.
Pins. These pins.
These are aII the pIaces we think she's Iived
in the Iast six years.
CONKLIN: One, two, three, four, five.
That's our pool.
MARIE: No answer.
How many times you Iet it ring?
-Look, if you don't want to go, I'II hitch.
-I said I'd take you.
CONKLIN: Those are the targets.
Beg, borrow, hack, tap, bypass!
I don't care what you do!
I want to know everything you can teII me
about what's going on at those Iocations.
[Fast-paced instrumentaI music]
BOURNE: How do you know
he stiII owns this?
MARIE: Eamon aIways had money.
He wouId never seII this.
[Loud crash]
MARIE: What?
We got to go.
We got to go.
[Curses in German]
I thought it wouId....
[Car brakes squeak]
MARIE: Shit, that's Eamon. I'II taIk to him.
BOURNE: We're Ieaving.
Eamon. Surprise.
It's me, Marie. Wow, God...
...there's a reaIIy good reason for this.
EAMON: There bIoody weII better be.
EAMON: Hang on. Hang on.
I had no idea you wouId be here.
WeII, why wouId I be here?
It's onIy my bIoody house, right?
MARIE: Yeah.
Did she get you into this?
It was just gonna be for a day.
Daddy, AIain has to go pee!
AII right, aII right, come on. Here.
Get out of the car.
Okay, in you go.
EAMON: Come on, AIain.
MARIE: I'm sorry. I....
I thought it wouId be okay.
But I guess I was wrong.
-Let's find Mommy.
Mommy is away for two days, thank God.
You've got yourseIf aII tied up here.
What's he do for a Iiving?
He used to be in shipping.
Is he good for you?
Are you happy?
You know me. I try too hard.
[Christmas music pIays on radio]
Here you go.
Sleep well.
Good night.
BOURNE: I'II sIeep on the fIoor.
CONKLIN: This was when?
RESEARCH TECH 2: 1 1 :45 a.m.
Which is definiteIy within
the driving range of Paris.
The caII came from a rest stop.
CONKLIN: Yeah. What's this yeIIow pin?
She spent two months there in 1997.
CIosest town is Riom.
We took her famiIy's phone records
and coIIated the internationaI caIIs.
They were in Paris at 2.:00 a.m.
They can't fly. The train's too dangerous.
He knows better than to go anywhere
we might track him.
So this is our best guess.
[SuspensefuI instrumentaI music]
-What are you doing?
-The kids. I was worried. I couIdn't sIeep.
MARIE: You'II wake them up. We got to go.
I don't want to know who I am anymore.
I don't care. I don't want to know.
MARIE: Come on. We'II taIk about--
BOURNE: I want to forget everything.
It's okay.
BOURNE: I don't care who I am
or what I did.
It's okay.
BOURNE: We have this money.
We can hide.
Can we do that?
Is there any chance you can do that?
MARIE: I don't know.
MARIE: Come on.
[Birds chirping]
CLAUDIA: Here, boy! Here, boy!
EAMON: Christ. You were up earIy.
BIess you for making coffee.
One night. You weren't kidding.
For a change.
He's not there either.
EAMON: And you Iooked by the car?
CLAUDIA: He's not anywhere.
AII right, Iet me get dressed.
EAMON: BIoody dog's gone missing.
Does that happen a Iot?
What? That mutt?
Miss his breakfast? Not a chance.
It's aIways something, right?
Get in the basement.
-Get everyone in the basement.
-What are you taIking about?
You're in danger. Your famiIy's in danger.
I don't have time to expIain.
EAMON: Wait a minute. What--
MARIE: Eamon.
You shouId go.
EAMON: What have you done?
BOURNE: It's not her. It's me.
You need to get out of sight
and in the basement as quick as you can.
I'm sorry.
Let's go.
[SuspensefuI music escaIates]
MARIE: The phone is dead.
Jason, who's out there? Who is it?
[Cursing in German]
MARIE: What are you doing?
Oh, no.
We shouId never have come here.
I.... These chiIdren....
That's not gonna happen.
[Intense rhythmic music]
[Rapid gunfire]
[Birds scatter and chirp]
BOURNE: Where is it? Where's the weapon?
Who eIse is out here?
Who eIse? How many you got with you?
BOURNE: I'm not gonna ask you again.
I work aIone. Like you.
We aIways work aIone.
BOURNE: What do you mean?
PROFESSOR: Who are you? Rome?
Treadstone, both of us.
BOURNE: Treadstone?
PROFESSOR: Which one?
Paris. I Iive in Paris.
PROFESSOR: You get the headaches?
I get such bad headaches.
You know at night
when you're driving a car?
Maybe it's the headlights.
What is Treadstone?
Treadstone said piIIs.
They said go to Paris.
Is Treadstone in Paris?
Look at this.
Look at what they make you give.
EAMON: AII right, aII right.
AII right, CIaudia,
get in the front and put your beIt on.
AII right, we're gonna put you in the back.
All right, get in the front, Claudia.
EAMON: I'm not waiting, Marie.
-One minute, Eamon.
-I'm not waiting!
MARIE: PIease!
Take it.
BOURNE: I took out $30,000.
The rest is yours.
MARIE: That's it?
BOURNE: That's aII I got.
No, that's not what I meant.
This is not gonna stop, Marie.
You got to get out now. Away from me.
BOURNE: You got to get out.
You got to start running.
You get Iow, you stay Iow.
No more friends. Nothing famiIiar.
There's enough in there for you
to make a Iife. Any Iife.
EAMON: I'm out of here, Marie!
Get in the car. You got to go.
What are you gonna do?
I'II end it.
Go ahead.
[DiaIing and beeping]
Code in, pIease.
ZORN: Code in.
Code in.
BOURNE: Who is this?
Who the heII are you?
The man you sent is dead.
So whoever this is, you better start talking.
CONKLIN: Hello, Jason.
So, what are we into now?
It onIy goes two ways. Either you come in
and Iet us make this right...
...or we'II keep going untiI we're satisfied.
You mean untiI you kiII me.
I can't fix this
if I don't know what the probIem is.
Tell me what we're into,
and I'll do the best I can.
Why don't you taIk to Marie, Jason?
CONKLIN: Let's ask Marie what she wants.
BOURNE: I don't think she gives a shit.
She's dead.
I'm sorry to hear that.
How did that happen?
BOURNE: She was slowing me down.
CONKLIN: AII we've been doing right from--
BOURNE: Enough.
Today. Pont Neuf.
Come aIone,
you waIk to the middIe of that bridge.
You take off your jacket. Face east.
BOURNE: I'll redial this number.
[Tense instrumentaI music]
[Phone rings]
First fIight out. TeII Nicky I'II caII
from the car. TeII her to find Picot. Go.
ABBOTT: So....
What are we gonna do?
I toId you I'd cIean this up.
That's what I'm doing.
Can you reaIIy bring him in?
I think we're past that, don't you?
Do you have a better idea?
You've given me nothing
but a traiI of coIIateraI damage...
...from Zurich to Paris.
I couIdn't do much worse.
Why don't you go upstairs
and book a conference room?
Maybe you can taIk him to death.
[SuspensefuI instrumentaI music]
[SuspensefuI instrumentaI music continues]
COP 1 : The bus, the tour bus, second level.
COP 2: Negative on the target.
COP 4: Position one?
COP 2: Negative.
COP 4: Position two?
COP 3: Negative.
[Speaking French]
COP 1 : Position three, motorcycle.
COP 3: Negative.
COP 5: Negative.
[CeII phone rings]
I toId you to come aIone.
I guess that was too compIicated.
BOURNE: So try this: I'm gone.
[SuspensefuI rhythmic music]
CONKLIN: Get Nicky on the phone.
[Phone rings]
NICKY: Yeah?
CONKLIN: How long to wipe down the room
and move it?
NICKY: Get rid of everything?
NICKY: Two to three hours.
CONKLIN: All right, get started.
Listen, no breaks.
Two men outside, one in the lobby.
And keep your eyes open.
COP 1 : Keep the truck?
CONKLIN: Keep the truck.
I'm gonna cIose this unit down.
We'II move the gear in the truck.
They were covering Spain, MaIta, Morocco.
Yes, aII IocaI poIice radio traffic.
No, for northern Europe
we need an authorized directive. Yeah.
Okay, they're on it. We'II have
a sateIIite downIoad in 30 minutes.
[Car aIarm sounds]
[Speaking in French]
CONKLIN: Where's your fieId box?
-Where's your fieId box?
-It's right there.
NICKY: The whoIe system's gone haywire.
That's this window right here.
Dining room window?
I don't get it.
Dead. The phones are dead.
It's Bourne, isn't it?
Just quiet.
You move, you die.
CONKLIN: Bourne.
Gun down.
In there.
Okay, so what do you want--
BOURNE: Treadstone.
You better take a Iook around.
There's not much Ieft.
-Are you Treadstone?
-Am I Treadstone? Me?
What the heII are you taIking about?
He's lost it.
You better start fiIIing in the bIanks here!
'Cause I thought we were on the same side.
Whose side is that?
You don't know what you're doing, do you?
You don't have a goddamn cIue!
Who am I?
You're U.S. government property!
You're a maIfunctioning $30 miIIion weapon!
You're a totaI goddamn catastrophe!
And, by God, if it kiIIs me,
you'II teII me how this happened.
-Why are you trying to kiII me?
-What happened in MarseiIIes?
You sent me to kiII Wombosi.
KiII Wombosi?
Yeah, we can do that any time we want.
I can send Nicky to do that,
for Christ's sake.
Mr. Wombosi was supposed to be dead
three weeks ago.
He was supposed to have died in a way
that the onIy possibIe expIanation was...
...that he'd been murdered
by a member of his own entourage.
I don't send you to kiII.
I send you to be invisibIe.
I send you because you don't exist.
I want to know what happened in Marseilles.
I don't remember what happened
in MarseiIIes.
BuIIshit! This is unacceptabIe, soIdier.
You hear me? You faiIed!
-You faiIed!
-You faiIed and you're gonna teII me why!
-I can't teII you! I don't remember!
You brought Kane to Iife.
You put together a meeting with Wombosi.
You found the security company.
You broke into the office!
For Christ's sake, you picked the yacht
as the goddamn strike point!
CONKLIN: [Voice-over] You picked the boat.
You picked the day. You tracked the crew.
The food, the fuel!
You told us where. You told us when.
You hid out on that boat five days.
You were in, Jason. You were in!
It was over!
[Faint echoes of chiIdren's Iaughter]
[Eerie instrumentaI music]
[Thunder and Iightning]
CONKLIN: No, you do remember.
Don't you?
I don't want to do this anymore.
I don't think that's a decision you can make.
Jason Bourne is dead. Do you hear me?
BOURNE: He drowned two weeks ago.
You're gonna go teII them Bourne is dead.
CONKLIN: Where are you gonna go?
I swear, if I even feeI somebody behind me,
there is no measure to how fast...
...and how hard I will bring this fight
to your doorstep.
I'm on my own side now.
[Gun sheIIs faII to fIoor]
[Dramatic instrumentaI music]
It's done.
Shut it down.
[Soft instrumentaI music]
ABBOTT: The Treadstone project
has already been terminated.
It was designed primarily
as a sort of advanced game program.
We'd hoped it might build
into a good training platform.
But quite honestly,
for a strictly theoretical exercise...
...the cost-benefit ratio was just too high.
It's all but decommissioned at this point.
MARSHALL: AII right, what's next?
ABBOTT: Okay, this is...
Blackbriar is a joint DOD
communications program...
...that we really feel has good traction to it.
It's got legs. It'll run and run.
It combines elements of proactive
and reactive fields of security....
BOURNE: This your store?
MARIE: Yeah.
It's nice. It's a IittIe hard to find, but....
Think I couId rent a scooter?
You have ID?
Not reaIIy.
[Fast-paced rock music]