Jane Doe: Yes, I Remember It Well Page #6

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


Please come quickly.

[DIAL TONE]

HE'S STILL GOT HIS MEMORY.

LET'S GO.

CALL L.A.P.D.

GIVE 'EM A HEADS-UP.

TELL ROBERTS, MARTINEZ,

AND LONG TO MEET ME THERE, OK?

WHAT ABOUT ME?

UH, NO. I'M NOT PUTTING JANE

DOE'S MOM

IN THE MIDDLE:

OF A FIREFIGHT.

HOLD UP.

DID YOU JUST CALL POLLY

JANE DOE'S MOTHER?

COURSE.

SHE'S THE IMAGE

OF HER FATHER DOUGLAS.

I CAN'T BELIEVE

I NEVER SAW IT BEFORE.

OK, BEFORE WE PULL OU THE FAMILY PHOTOS,

YOU AND I, WE HAVE TO MOVE,

AND YOU'RE NO LONGER AUTHORIZED

FOR HAZARD DUTY.

THERE'S PLENTY TO DO HERE.

RIGHT.

PLEASE. I DON'T WANT YOU

IN DANGER... AGAIN.

ALL RIGHT, GO.

SAVE THE PROFESSOR.

[CELL PHONE RINGS]

[RING]

[RING]

[RING]

FRANK, WHAT'S UP?

LISTEN, WE GOT A CALL

FROM SMYTHE.

- WHAT?

- YEAH.

HE'S IN A TRAILER AT THE END OF

OLD COLLINS ROAD, OK?

YEAH, WE'RE ON OUR WAY

THERE NOW.

[SPEECH BREAKING UP]

I CAN'T HEAR YOU.

YOU'RE BREAKING UP. YOU THERE?

- FRANK, FRANK--

- YOU THERE?

...BREAKING UP.

I GOTTA FIND THAT BOOK.

[SIGHS]

IT'S THE SAME JACKET.

HE'S WEARING

THE SAME TWEED JACKET.

IT DOESN'T MAKE ANY SENSE.

HOW WOULD SHE GET HIS--

IT WAS RIGHT IN FRON OF US THE WHOLE TIME

HIDDEN IN PLAIN SIGHT.

JENNINGS, COVER AGENT SEAL.

Woman:
LOOKS LIKE

THERE'S A FIRE.

DON'T FLAG ANYBODY.

Man:
GET LOW! GET LOW!

Second man:
MOVE UP!

CALL FRANK DARNELL.

Phone:
CALLING.

UHH.

Man, on recording:

THE SUBSCRIBER YOU HAVE CALLED

IS OUTSIDE THE SERVICE AREA.

PLEASE TRY AGAIN LATER.

Woman, on machine:

HI, THIS IS THE DAVIS RESIDENCE.

PLEASE LEAVE A MESSAGE

AT THE TONE,

AND WE'LL GET BACK TO YOU.

BYE!

LET'S GO, H.R.T.

TEAMS ONE AND 2, MOVE UP.

[INDISTINCT]

TEAM 3, GET OVER HERE.

ON ME, TEAM 4, ON ME.

RIGHT SIDE, GO.

LEFT SIDE, COVER.

Woman:
COVER GOING OVER ONE.

[INDISTINCT]

CALL 'EM OFF.

IT'S A TRAP. CALL 'EM OFF!

ALL RIGHT, HANG ON.

GET OUT OF HERE.

IT'S A SETUP.

POP IT.

[BEEPING]

MOVE! MOVE, MOVE, MOVE!

HOLD IT!

Man:
AAH!

Polly:
JANE!

AAH!

Jane:
AAH!

Both:
UNH!

MOM?

MOM?

MOM? OPEN YOUR EYES.

MOM.

SAY SOMETHING.

OK, SAY SOMETHING.

PLEASE, MOM.

Polly:
UH.

OH!

OH, MY HEAD.

OH, CATH, YOU KNEW

IT WAS SMYTHE ALL ALONG.

I KNOW. SHH.

[QUIETLY] JUST QUIET.

Polly:
OW.

Cathy:
SHH.

Polly:
OH, BABY.

YOU GOT SOOT ON YOUR FACE.

AH, HA HA.

AH, HEH. OH.

HEH.

HEH.

WELL, THAT WAS

A LITTLE CLOSE.

AT LEAST WE WALKED AWAY.

YEAH.

YOU KNOW, YOU ARE SOMETHING.

IT'S MY JOB.

TAKE CARE OF THAT ONE.

HOW WE DOING HERE, OK?

Both:
YEP.

THIS HAPPENED BECAUSE

SMYTHE CONTACTED US.

I DON'T THINK SO.

I THINK WHEN WE GO

THROUGH THAT TRAILER,

WE'RE NOT EVEN GONNA FIND

ONE OF HIS HAIRS.

HE WAS NEVER HERE.

HE LIED TO US?

HE NOT ONLY LIED TO US,

HE SET UP THE WHOLE THING.

AHH!

AHH!

OHH.

HEY.

HEY, YOURSELF.

HEY, MOM, BEFORE WE GO

IN THERE, I WAS JUST...

I JUST WANT TO ASK YOU,

YOU KNOW--

WHAT?

SIMON SEEMS LIKE

A REALLY NICE GUY.

YEAH, HE IS.

AND, UH, AND YOU TWO HAVE

KNOWN EACH OTHER FOR, YOU KNOW,

WELL, SINCE BEFORE DAD DIED,

RIGHT? FOR A LONG TIME?

WELL, YEAH. COURSE,

IN GEOLOGIC TERMS,

THAT'S THE BLINK

OF AN EYE.

WELL, I WAS JUST-- I WAS

WONDER IF, UH, THERE WAS...

BEFORE NOW, ANYTHING

ROMANTIC GOING ON

BETWEEN YOU TWO THA I SHOULD KNOW ABOUT?

WHY SHOULD YOU KNOW ANYTHING

ABOUT MY ROMANTIC LIFE?

BECAUSE YOUR HUSBAND

IS MY FATHER.

AND I JUST...

I DON'T KNOW-- I-- I...

[STUTTERING]

HONEY,

HONEY, HONEY, HONEY,

LISTEN TO ME.

YOUR FATHER AND I HAD

A GREAT 30-YEAR MARRIAGE.

HE NEVER DOUBTED

MY LOVE FOR HIM:

AND I NEVER GAVE HIM

ANY REASON TO DOUBT IT.

BUT YOU UNDERSTAND

THE ROAD NOT TAKEN,

DON'T YOU?

I MEAN, THAT ONE

OPPORTUNITY THAT STILL...

SEEMS LIKE AN OPPORTUNITY.

SO HE'S THE ROAD

NOT TAKEN?

YOU SHOULD'VE

SEEN HIM 30 YEARS AGO.

PAUL NEWMAN COULDN' HAVE CARRIED HIS BAGS.

DR. MNEMONIC MASTERMINDED

HIS OWN KIDNAPPING?

YEAH, I THINK SO.

THIS IS HIM GETTING

INTO THE ELEVATOR.

NOTICE THE BLUE BLAZER.

HE'S GOT NO BACKPACK,

NO GARMENT BAG,

EMPTY HANDED.

NOW THIS IS THE FOOTAGE

OF HIM IN DISGUISE.

TWEED JACKET WITH THE

BROWN ELBOW PATCHES.

NOT THE BEST COLORS

IN THE WORLD FOR HIM,

BUT, HEY, TO EACH HIS OWN.

MEN DON'T PAY ENOUGH

ATTENTION TO WHAT THEY WEAR.

- NO.

- WHAT'S THAT HAVE TO DO WITH IT?

IT'S GOT EVERYTHING

TO DO WITH IT.

- LOOK.

- HERE.

LOOK AT SMYTHE'S

BOOK JACKET.

WHAT'S HE WEARING?

SMYTHE'S DISGUISE

IS HIS OWN JACKET.

HOW COULD THE KIDNAPPER GE A HOLD OF SMYTHE'S JACKET,

IF HE WASN'T IN ON IT?

GOT IT IN ONE.

THIS GUY'S BEEN

A RELIABLE SOURCE FOR DECADES.

- I DON'T GET IT.

- [INDISTINCT]

PUT OUT AN INTERAGENCY

ALERT FOR A IAIN SMYTHE

AND URSULA VOSS,

A.K.A. VLAD,

A.K.A. PETERS,

A.K.A. MARQUES.

WHY DON'T YOU GO HOME

AND GET CLEANED UP?

I GOT EVERY PORT IN SOUTHERN

CALIFORNIA COVERED.

YEAH, BUT THEY KNOW THAT.

AGENT DARNELL,

IT'S THEM ON A SECURE LINE.

WE TRIED TO TRACE IT,

BUT IT'S A CLONE AGAIN.

THIS IS FRANK DARNELL,

GO AHEAD.

THIS IS URSULA.

[RUSSIAN ACCENT] I DON'T NEED TO

DISGUISE MY VOICE ANY LONGER, DO I?

WE KNOW WHO YOU ARE.

THE QUESTION IS WHAT DO YOU WANT?

I WANT WHA I'VE ALWAYS WANTED--

50 MILLION

IN TREASURY BILLS.

THIS IS AGENT JANE DOE.

THAT'S A VERY INTERESTING TRICK,

BLOWING UP THAT TRAILER.

I'M NOT SURE WHY YOU DID IT,

BUT I GUESS YOU WERE

TRYING TO SCARE US.

HOW DO WE KNOW:

YOU HAVE MNEMONIC?

PLEASE PAY HER.

I DON'T WANT TO DIE.

IAIN, HOW CAN WE

BE SURE IT'S YOU?

UH, ASK ME TO REMEMBER

SOMETHING.

UH, THE MAGNA CARTA.

"THE KEEPER OF THE LANDS

OF SUCH AN HEIR,

"BEING WITHIN AGE-- "

NO, NO.

THAT'S TOO EASY.

UM, RECITE JABBERWOCKY.

WHAT?

LEWIS CARROLL,

JABBERWOCKY.

AH!

"TWAS BRILLIG,

"AND THE SLITHY TOVES-- "

NO, NO, NO.

THE FOURTH VERSE.

"AND, AS IN UFFISH

THOUGHT HE STOOD,

"THE JABBERWOCK,

WITH EYES OF FLAME,

"CAME WHIFFLING

THROUGH THE TULGEY WOOD,

AND BURBLED AS IT CAME."

PUT URSULA BACK ON.

YES, YES, OF COURSE.

I HOPE YOU'RE HAPPY.

YOU JUST TOOK ABOUT A WEEK

OFF HIS LIFE.

NOW, I WOULD BE MORE CAREFUL

IF I WERE YOU.

HE DOESN'T HAVE MUCH TIME.

WHAT DO YOU:

WANT US TO DO?

IT'S WHAT I WAN FROM YOU, AGENT JANE DOE.

SINCE YOU HAVE SO MUCH

INTEREST IN THIS CASE,

WHY DON'T YOU COME AND DELIVER

THE RANSOM IN PERSON?

JUST WAI FOR MY INSTRUCTIONS.

HMPH!

YES.

JACKSON.

JACKSON, I'M HERE.

TELL DARNELL:

NOT TO WORRY.

AND MAKE SURE:

HE STAYS FAR AWAY,

FAR, FAR AWAY, OK?

UH-HUH. COPY THAT.

WISH ME LUCK.

MISS DOE.

AND YOU'RE URSULA?

URSULA, UH...

EXCUSE ME, I DON'T REMEMBER

ALL OF YOUR LAST NAMES.

HMM. VERY CUTE.

OPEN IT UP.

I DON'T LIKE TO WASH

FLORESCENT DYE:

OFF MY CLOTHES.

ALL HERE.

VERY GOOD.

YOU DIDN'T PUT ANY NOISY

HOMING DEVICES, DID YOU?

NO.

[LOCKS BRIEFCASE]

LET'S GO.

WHAT DO YOU MEAN?

WHAT DO I MEAN?

YOU THINK I'M GOING

TO LEAVE YOU HERE?

YOU'RE MY INSURANCE POLICY.

COME ON.

MOVE IT!

WITH JENCKS:

AND ROUSSEAU GONE,

WHEN IS IT GOING

TO BE HIS TURN, HUH?

NICE TRY.

I WON'T MISS

AT THIS RANGE.

YOU KNOW, IAIN,

SHE'S GOING

TO GET RID OF YOU,

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. 13 Nov. 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 a "cold open" in screenwriting?
    A A scene set in a cold location
    B A montage sequence
    C The opening credits of a film
    D An opening scene that jumps directly into the story