Course Hero. "The Bourne Identity Study Guide." Course Hero. 13 Apr. 2018. Web. 19 Nov. 2018. <https://www.coursehero.com/lit/The-Bourne-Identity/>.
Course Hero. (2018, April 13). The Bourne Identity Study Guide. In Course Hero. Retrieved November 19, 2018, from https://www.coursehero.com/lit/The-Bourne-Identity/
(Course Hero, 2018)
Course Hero. "The Bourne Identity Study Guide." April 13, 2018. Accessed November 19, 2018. https://www.coursehero.com/lit/The-Bourne-Identity/.
Course Hero, "The Bourne Identity Study Guide," April 13, 2018, accessed November 19, 2018, https://www.coursehero.com/lit/The-Bourne-Identity/.
The first part of Jason Bourne's plan is to speak to Janine Dolbert and Claude Giselle Oreale, salespeople from Les Classiques. Janine Dolbert reveals that the gray-haired switchboard operator's name is Philippe d'Anjou—finally, a name! Jason explains to Janine that her place of employment is the center of an international terrorist ring. She has heard of Carlos and is shocked and horrified. Bourne tells her it is likely Carlos is a top client, and he may well be captured in the shop. Next, Bourne deals with Claude Giselle Oreale, telling him he (Bourne) is one of Carlos's gang and Oreale is on the list of people the police will shoot as they get to Carlos. Bourne's ruse is successful. By terrifying the two clerks, everyone at Les Classiques is now in a panic.
Back at the hotel Marie receives a call from André François Villiers. His wife, Angélique Villiers, has answered the phone six times in the last hour and a half and has retreated to her room. General Villiers is convinced she has been on the phone with Carlos. He is ready to kill her and to avenge his son. Marie is concerned. If André François Villiers enacts his revenge too soon, she and Jason might never discover Carlos. Then Jason will be lost to Marie forever.
Ludlum's depiction of Claude Giselle Oreale may seem homophobic to contemporary readers. He screams, makes a fuss, and is easily intimidated, negative traits that in the 1970s were considered "feminine." In a similar vein André François Villiers frequently refers to his wife as a "whore." Readers can keep in mind that Ludlum's writing about homosexuality was of his time. As for Villiers's response to his wife's betrayal, perhaps the best way for a contemporary reader to approach it is to think of these characters, again, in Shakespearean terms. The reader is in a cartoonish and theatrical world.