Jane Doe: Yes, I Remember It Well Page #2

Synopsis: British intelligence-employed mnemonic champion Iain Smythe apparently has been kidnapped at an elevator during the planned handover to CSA agents of a list of data on British secret agents in the Middle East. In fact the briefcase was just a diversion, it's all in his head, and a $5,000,000 ransom is demanded for his release. Frank calls in Jane, who isn't pleased with a surprise visit from her self-invited mother, Polly Jameson. However the British agent on the case, Simon Custer, turns out to be on old professional and intimate friend of hers. The fiends seem to get killed off faster then they CSA can find them.
Genre: Crime, Drama, Mystery
Director(s): Armand Mastroianni
Production: Alpine Medien
 
IMDB:
5.8
Year:
2006
89 min
111 Views


ABOUT MY NEW BOOK,

FILE IT AND NEVER FORGET.

SHOW ME:

HOW HE DISAPPEARED.

OK, THIS JACKSON MEETING SMYTHE

AND CUSTER AT THE TERMINAL.

YEAH, I JUST LEF 'EM FOR A SECOND TO GO CHECK ON CUSTOMS.

YOU SHOULDN' HAVE LEFT 'EM AT ALL.

CAN YOU ISOLATE THE CAMERA

THAT SHOWS THE ATTACK?

SURE.

OH...

WE HAVEN'T BEEN ABLE

TO I.D. THE THIEF YET,

BUT JACKSON DID:

RECOVER THE BRIEFCASE.

YEAH, BUT THE BRIEFCASE

WAS EMPTY BECAUSE

WHATEVER DR. MNEMONIC WAS CARRYING,

IT WAS IN HIS HEAD.

HOW DO YOU KNOW THAT?

WHY ELSE WOULD YOU

HIRE A MEMORY EXPER FOR A JOB

ANY COURIER COULD DO?

SMYTHE HAD MEMORIZED

THE NAMES, LOCATIONS,

AND FALSE OF IDENTITIES

OF 165 BRITISH OPERATIVES,

EVERY UNDERCOVER AGENT IN THE FIELD,

AND THEIR LOCAL CONTACTS.

THAT'S QUITE

A FEAT OF MEMORY.

THIS GUY MUST HAVE BEEN

SOME SORT OF GENIUS.

ACTUALLY, MEMORY ISN'T ALWAYS

INDICATIVE OF INTELLIGENCE.

THERE ARE SAVANTS WHO CAN

MEMORIZE AN ENTIRE PHONE BOOK,

AND STILL NOT BE ABLE

TO TIE THEIR SHOES.

SMYTHE'S NO GENIUS,

BUT HE CAN BE TRUSTED WITH SHOELACES.

IT'S TRUE HIS MEMORY CAN BE

SOMETHING OF A PARTY TRICK,

BUT IT TO ME IT'S STILL SAFER

THAN ANY ELECTRONIC ENCRYPTION.

AT LEAST IT WOULD HAVE

BEEN IF YOUR PEOPLE

HAD BOTHERED:

TO DO THEIR JOB.

HEY, WE GAVE YOUR PEOPLE

EVERYTHING YOU ASKED FOR.

IF YOU'D HAVE BEEN

STRAIGHT WITH US,

WE WOULDN'T BE IN THIS MESS.

- NOW, LOOK--

- HEY, HEY.

OK, WE CAN

ASSIGN BLAME LATER.

BUT RIGHT NOW WE HAVE

A PUZZLE TO SOLVE.

ALL RIGHT?

NOW SHOW ME:

WHERE HE DISAPPEARS.

YEP.

THE ELEVATOR HAS ONLY 2 STOPS-- THE

MAIN TERMINAL AND THE PARKING GARAGE.

YOU CAN GET ON ONE,

OUT ON 2, OR VICE VERSA.

THAT'S-- THAT'S

YOUR ONLY CHOICE.

CAN YOU SHOW ME:

THE PARKING GARAGE.

THE SECURITY CAM'S MOUNTED

ON TOP OF THE ELEVATOR.

PANNING, SCANNING.

NOW HOLD IT.

FREEZE IT RIGHT THERE.

GO IN TIGH ON THE LICENSE PLATE.

WELL, THOSE ARE

DEFINITELY CALIFORNIA PLATES.

THAT NARROWS IT DOWN

TO ABOUT 30 MILLION OR SO.

STILL CAN'T READ THE PLATE.

JACKSON,

CAN YOU CLARIFY IT?

IT'S GONNA TAKE SOME TIME

WE GOTTA PROCESS IT.

WELL, STILL

NO SIGN OF SMYTHE.

YEAH,

NO PRINTS, NO FIBERS--

NO SIGN THAT THE ELEVATOR

HAD BEEN MESSED WITH AT ALL.

YOU KNOW, SOMETIMES,

WHAT YOU DON'T FIND

IS AS IMPORTAN AS WHAT YOU DO FIND.

WHAT ABOUT THE BRIEFCASE?

NOTHIN'. IT'S CLEAN.

SHOW ME:

THE TERMINAL CAMERA.

OH, GOSH, IS THERE

ANY OTHER CAMERA?

I NEED A DIFFERENT ANGLE

ON THE ACTION.

WH-WHOA, WAIT.

GIVE ME:

TEN FRAMES A SECOND.

AND ZOOM IN.

THERE YOU GO-- STOP.

THERE'S YOUR ANSWER.

HE WAS KIDNAPPED.

YEAH, RIGHT UNDER

THE C.S.A.'s NOSE.

ALL RIGHT, SHOW ME

THE GARAGE CAMERA AGAIN.

THE THIEF MAKES THE GETAWAY

WITH SMYTHE IN THE TRUNK,

WE'VE BEEN OVER THIS.

WE DON'T HAVE MUCH TIME.

I'M MORE WORRIED ABOU THE CHEMICAL INTERROGATIONS.

HE'S GOT THAT INFORMATION IN

HIS HEAD, DRUGS ARE THE KEY.

MORE LIKE KNOCKING

THE DOOR DOWN.

I'VE SEEN THIS BEFORE,

IN SOUTH AFRICA BACK IN THE EIGHTIES.

IT'S NOT PRETTY.

- NO, IT'S NOT.

- SO, WHAT'S OUR NEXT MOVE?

THE BALL'S

IN THEIR COURT.

HONEY, DO YOU LIKE

MY HAIR LIKE THIS?

I GUESS.

WHY?

EVERY TIME MY MOM SEES ME SHE

PUSHES MY HAIR OFF MY FACE.

WELL, MAYBE SHE'S AFRAID YOU'RE

GONNA GET ZITS ON YOUR FOREHEAD.

[CHUCKLES]

LIKE I'M 12.

TO HER, YOU STILL ARE.

YEAH, I KNOW.

PARENTS SURE KNOW HOW TO

PUSH YOUR BUTTONS, HUH?

THEY INSTALLED THEM.

[LAUGHS]

YOU LOVE YOUR MOTHER, YOU JUS LOVE HER BEST ON A DIFFERENT COAST.

I THINK YOUR:

HAIR LOOKS PERFECT.

MMM...

I THINK YOU'RE PERFECT.

[LAUGHING]

I DEMAND $50,000,000

IN TREASURY BILLS.

DID YOU INCLUDE THE NEWSPAPER

IN THE VIDEO THIS TIME?

YES...

I PUT IT NEXT TO

THE GOOD DOCTOR'S FACE.

EXCELLENT.

AND IS TODAY'S DATE

CLEARLY VISIBLE?

YES.

ARE YOU ABSOLUTELY SURE?

YES.

WHERE ARE YOU GOING?

OUT.

YOU CAN'T GO ANYWHERE,

THEY KNOW WHAT YOU LOOK LIKE.

[VACUUM CLEANER WHIRRING]

MOM.

MOM!

AAH!

[VACUUM CLEANER TURNS OFF]

YOU SCARED ME.

WHAT ARE YOU DOING?

WELL, THE KIDS

WEREN'T HOME FROM SCHOOL.

I GOT A LITTLE BORED,

SO I THOUGH I'D CLEAN UP.

CLE...

MOM, MY HOUSE IS...

AHH. LOOK,

I APPRECIATE THE THOUGHT,

BUT YOU DON'T HAVE TO

GO THROUGH THE TROUBLE, OK?

IT'S NO BOTHER.

LOOK, I STRAIGHTENED UP

YOUR BOOKSHELVES,

BUT HAVE YOU EVER

GIVEN ANY THOUGH TO ALPHABETIZING

YOUR CD COLLECTION?

[CELL PHONE RINGING]

I HAVE TO GET THIS.

BUT, PLEASE,

DON'T SHAMPOO ANYTHING

TILL I GET BACK.

HELLO.

HEY, IT'S ME.

WE GOT A RANSOM DEMAND.

Jack:
LUCY, I'M HOME!

[DOOR CLOSES]

OK, OK.

I'LL BE RIGHT THERE.

ALL RIGHT.

HEY, HONEY.

[CHUCKLES]

YOU GOT TO GET ME

OUT OF HERE, OK?

HEY, POLLY.

HI, JACK.

- YOU READY?

- FOR WHAT?

AHH, SHE DIDN'T FORGET,

SHE'S JUST TRYING

TO WEASEL OUT OF IT.

QUARTERLY TAX RETURNS.

WE'RE DUE AT THE ACCOUNTANT'S

IN HALF AN HOUR.

REALLY?

WHEN WILL YOU BE BACK?

I DON'T KNOW.

OK. I'LL FIX

THE KIDS A SNACK.

OH, WHERE DO YOU KEEP

YOUR FLOUR SIFTER?

MOM, WHY DON'T YOU

JUST TAKE THEM FOR PIZZA?

WHY DON'T YOU TAKE THEM

TO THE SANTA MONICA PIER

- AND STUFF THEM FULL OF COTTON CANDY.

- YEAH.

DO THEY STILL HAVE

BUMPER CARS:

AT THE SANTA MONICA PIER?

[LAUGHS] YEAH.

ALL RIGHT.

YEAH.

HAVE FUN.

YOU'RE A GENIUS.

WHAT ARE YOU GONNA DO?

I DON'T KNOW.

MAYBE GO WATCH THE GAME

AT IZZY'S.

THE THINGS I DO:

FOR NATIONAL SECURITY.

[CHUCKLES]

Man, on tape:

DON'T BOTHER TO TRACE THIS.

IN 30 SECONDS

THIS THING IS TOAST.

WE HAVE MNEMONIC.

IT'S 50 MILLION U.S.

OR HIS INFORMATION GOES

ON THE MARKET,

AND YOU CAN SAY GOOD-BYE

TO YOUR PRECIOUS OPERATIVES,

NOT TO MENTION:

THE GOOD DOCTOR.

WAIT FOR MY INSTRUCTIONS.

GOT TEX ON THE VOICE ANALYSIS.

AND ON THOSE:

BACKGROUND SOUNDS, TOO.

NOW, THIS CAME IN

ON E-MAIL.

IT BOUNCED FROM SERVER

TO SERVER ABOUT 30 TIMES.

IT'S GONNA TAKE US A FEW

DAYS TO TRACE THE I.S.P.

THESE PEOPLE:

ARE PROFESSIONALS.

IT'S IAIN SMYTHE.

WE HAVE TO CONSIDER

THE POSSIBILITY:

THAT THESE PEOPLE

MAY BE NEGOTIATING

WITH OTHER PEOPLE THAN US.

MR. SMYTHE KNOWS

THE IDENTITIES:

OF COVERT OPERATIVES

ALL OVER THE MIDDLE EAST.

I CAN ONLY IMAGINE

HOW MUCH THE OTHER SIDE

WOULD BE WILLING TO PAY

FOR THAT INFORMATION.

LONDON'S TRYING TO PULL

THEIR AGENTS OUT OF THE FIELD,

BUT SOME OF THEM

ARE SO ENTRENCHED.

THEY GOT WIVES,

CHILDREN, FAMILIES.

IT WOULD BE DEVASTATING.

[INDISTINCT CHATTER]

[WHISTLE BLOWING]

[INDISTINCT CHATTER]

COME ON, YOU TWO.

[PASSENGERS SCREAMING]

[LAUGHING]

MAYBE THIS IS:

GOOD NEWS.

IT'S A D.M.V. REPOR ON THE CROWN VIC

THAT ALMOST RAN OVER

AGENT JACKSON.

THE CAR IS REGISTERED

TO AN ALEXANDER JENCKS.

HE LIVES IN EAST L.A.

OH, LOOK.

THE CAR WAS STOLEN

3 DAYS AGO.

I COULD GO TALK TO HIM.

Woman:
JENNA, WE NEED YOU

IN THE CONFERENCE ROOM.

[GUNSHOTS]

THIS IS IMPOSSIBLE.

HERE. LET ME TRY.

[GUNSHOTS]

WHOO!

ALL RIGHT.

WAY TO GO, GRANDMA.

THANK YOU, BROTHER.

HEY.

- CAN I HELP YOU?

- I HOPE SO.

ARE YOU ALEXANDER JENCKS?

YES, I AM.

AH, WELL, I AM

AGENT JANE DOE, C.S.A.

AND YOU REPORTED A GOLD

1992 CROWN VICTORIA STOLEN

Rate this script:0.0 / 0 votes

Dean Hargrove

Dean Hargrove (born July 27, 1938 in Iola, Kansas) is an American television producer, writer, and director. His background includes graduating the St. John's Military School and attending the UCLA Film School as a graduate student. He specializes in creating mystery series. He frequently works with television producer Fred Silverman and television writer Joel Steiger. more…

All Dean Hargrove scripts | Dean Hargrove Scripts

0 fans

Submitted on August 05, 2018

Discuss this script with the community:

0 Comments

    Translation

    Translate and read this script in other languages:

    Select another language:

    • - Select -
    • 简体中文 (Chinese - Simplified)
    • 繁體中文 (Chinese - Traditional)
    • Español (Spanish)
    • Esperanto (Esperanto)
    • 日本語 (Japanese)
    • Português (Portuguese)
    • Deutsch (German)
    • العربية (Arabic)
    • Français (French)
    • Русский (Russian)
    • ಕನ್ನಡ (Kannada)
    • 한국어 (Korean)
    • עברית (Hebrew)
    • Gaeilge (Irish)
    • Українська (Ukrainian)
    • اردو (Urdu)
    • Magyar (Hungarian)
    • मानक हिन्दी (Hindi)
    • Indonesia (Indonesian)
    • Italiano (Italian)
    • தமிழ் (Tamil)
    • Türkçe (Turkish)
    • తెలుగు (Telugu)
    • ภาษาไทย (Thai)
    • Tiếng Việt (Vietnamese)
    • Čeština (Czech)
    • Polski (Polish)
    • Bahasa Indonesia (Indonesian)
    • Românește (Romanian)
    • Nederlands (Dutch)
    • Ελληνικά (Greek)
    • Latinum (Latin)
    • Svenska (Swedish)
    • Dansk (Danish)
    • Suomi (Finnish)
    • فارسی (Persian)
    • ייִדיש (Yiddish)
    • հայերեն (Armenian)
    • Norsk (Norwegian)
    • English (English)

    Citation

    Use the citation below to add this screenplay to your bibliography:

    Style:MLAChicagoAPA

    "Jane Doe: Yes, I Remember It Well" Scripts.com. STANDS4 LLC, 2024. Web. 19 Dec. 2024. <https://www.scripts.com/script/jane_doe:_yes,_i_remember_it_well_11174>.

    We need you!

    Help us build the largest writers community and scripts collection on the web!

    Watch the movie trailer

    Jane Doe: Yes, I Remember It Well

    The Studio:

    ScreenWriting Tool

    Write your screenplay and focus on the story with many helpful features.


    Quiz

    Are you a screenwriting master?

    »
    What is the "climax" of a screenplay?
    A The highest point of tension in the story
    B The introduction of characters
    C The opening scene
    D The final scene