Deja Vu Page #3

Synopsis: A ferry filled with crewmen from the USS Nimitz and their families was blown up in New Orleans on Mardi Gras. BATF Doug Carlin is brought in to assist in the massive investigation, and gets attached to an experimental FBI surveillance unit, one that uses spacefolding technology to directly look back a little over four days into the past. While tracking down the bomber, Carlin gets an idea in his head: could they use the device to actually travel back in time and not only prevent the bombing but also the murder of a local woman whose truck was used in the bombing?
Genre: Action, Crime, Sci-Fi
Director(s): Tony Scott
Production: Buena Vista
  1 win & 5 nominations.
 
IMDB:
7.1
Metacritic:
59
Rotten Tomatoes:
55%
PG-13
Year:
2006
126 min
$63,944,632
Website
4,727 Views


How can you change the angle

on footage

taken four and a half days ago?

This is a digital recreation.

We're combining all the data we've got

into one fluid shot.

Any angle, any view

within the target area.

Okay, let's cruise the breezeway,

see what we get there.

It's a brand-new program.

It's called Snow White.

Our primary data comes from

seven orbiting satellites,

but at any given time, as many as four

are surveilling one area.

It's like having multiple eyewitnesses,

each with their own vantage point.

Snow White?

Well, which one of the seven dwarfs

can explain to me

how you get the audio?

I don't understand.

Why do you gotta

look at four days ago?

Why don't you just fast-forward it

to the day of the explosion?

We have to wait.

It takes four and a half days

to render this single fluid shot.

The only thing that matters

is that we have exactly one look

at any one time.

Yeah. We can't go back 10 minutes,

you know?

Can't look back and see

if there was a second gunman.

We can't watch the agent

buying 10 pairs of cargo pants in 1983.

All right? But given enough lead time,

we can look anywhere

within the target area, all right?

It's the when that's always constant.

It's always four days and six hours ago.

Always. You understand?

It's like a single trailing moment of now,

in the past.

Okay. So if you can't move forward

or backward in time,

how is it the image keeps

speeding up like that?

It's not the image that's moving faster,

it's just our shifting point of view.

The passage of time remains constant,

but we can shift our point of view

within the data stream

as fast as we want.

- You understand?

- Yeah. Yeah. No.

Yeah, I know.

So four days from...

Well, actually, three days from now,

since it's after midnight,

you'll be able to look back

to the day of the explosion,

see who did it,

how they did it

and what they did it with.

Yeah, you got it.

The only thing is,

you need to tell us where to look,

'cause, you know, we could miss it.

Besides,

three days could be too late.

He could leave the country,

could strike again.

We need to do whatever we can now.

We know he's out there planning this.

We just don't know where to look.

So, Agent Carlin, where do we look?

Claire Kuchever's house.

Address is in range.

All right, match the viewer settings

to the signal.

- Signal's solid.

- All right, dazzle me.

What?

You see, with Snow White

we can track through walls.

It's part of the same infrared

thermal-imaging stuff

they're using in Iraq.

Hello. This is 877-504-8423.

We triangulate

from four satellites,

pick up the heat signal and reconstruct.

Basically, we can walk through walls.

Claire Kuchever.

Claire? Hello?

Did you know her?

We held hands once,

but no, I didn't know her.

Just checking in,

wondering how you're doing.

Montreal's fantastic,

but my boss is an ass.

Can you rotate the view,

see what she's looking at?

Yeah, yeah, yeah.

I want you to come visit, though.

The city's phenomenal.

You're gonna love it.

Claire? Claire?

- Somebody got that?

- Yeah.

Claire, you there?

Listen, I've had a lot of time to think,

and I need you to sell the Bronco

as soon as possible.

Or at least pay me back my half.

I just really need the money.

I love you, honey. Call me.

Unbelievable.

- Where's she... Can you follow her?

- No problem.

Yeah, I'm coming, I'm coming.

What?

It's Stalhuth, at that house you found.

Female murder victim, Claire?

Right. What do you got?

We got some bloody cotton swabs

and gauze strips in the bathroom,

some blood in the sink trap.

And, oh, hey, Carlin?

Man, when did you completely forget

how to investigate a crime scene?

What do you mean?

This place is lousy

with your fingerprints.

They're all over the place.

Do me a favor. Just describe what

you see for me, okay? Just humor me.

Woman's bedroom. Vanity mirror.

Dressing table with makeup,

knick-knacks.

Okay, okay, okay, I get it.

Is there anybody there?

Anybody brushing their teeth?

No. Just a couple agents,

including Hendricks, who's bent over,

and I have a fine view

of the crack of his ass.

Okay, I get the picture.

Talk to you later.

You satisfied?

She was supposed to go on a date

the night before she died.

I want to get her appointment books

and everything brought down here,

you know, her phone records,

credit cards, diaries, anything.

I wanna know everything

there is to know about this woman.

Well, shouldn't we be

concentrating on the ferry?

Well, yeah, it's likely that our guy

cased the ferry first,

but we don't know when.

We don't even know what he looks like.

I mean, we could stare him

right in the face and not know it's him.

But we will notice a change,

even a small change, in her life.

- Hey, Beth.

- Claire.

That guy I've been telling you about

really wants to meet you.

Okay. Tell him

I'll meet him Monday night.

Monday.

How about Sunday

if you're not doing anything?

- No, Monday.

- Great. I'll give him your number.

No, do not give him my number.

I'll go meet him.

- He's not some psycho killer.

- Who? Him who?

I don't even know if I can do it Monday.

Hang on.

Show me the book.

Monday works.

- Damn!

- Sh*t!

Can we go back?

- No.

- Seriously?

No, it's far too much data

for any existing storage system.

It's a constant stream.

There's no rewind, no second chances.

We can record what we're seeing,

but we can't go back

and choose to look

at something different.

Okay. You said we can record, though?

- Yes.

- Okay.

Tell me, is there any scientific

or forensic insight likely to be gained

by spying on this woman in the shower?

Shanti, we're trying to make sure

the woman's clean.

All right, why don't you,

you know, look around the rest of

the bathroom? Can you do that?

- Gunnars.

- Yeah.

- You back?

- Sorry.

All right.

Icy Hot, Band-Aids, baby oil.

This woman needs a vice.

What's on the other side of that wall?

Kitchen.

Let's take a look.

Hello? Hello?

Maybe there's someone out there.

Maybe there's a stalker.

Someone there?

Hey, Ginger.

Hello?

Does she know I'm here?

Does she know we're here?

No, impossible. Strictly one-way.

You sure?

Hello?

Okay, let's check the perimeter.

Nobody.

Who's watching her?

We are.

They will also take up

a request for more money for the...

God, thank you for blessing me

with this food and with my life.

I know today's gonna be a great day.

Amen.

You guys singing?

You singing a love song?

You singing a love song

to one another?

What you doing?

Hi.

Yeah, it's been a while.

Everything God has done

will remain forever.

There is nothing to add to it,

nothing to take from it.

God has done this

so that men should be in awe...

Ex didn't show.

Would you?

Whatever is

has already been,

and what will be has been before.

God calls forth the past.

Claire loved music.

There's a church near our house,

and gospel fills the neighborhood.

When she was little,

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Bill Marsilii

Bill Marsilii (born 1962) is an American screenwriter. Marsilii was born in Wilmington, Delaware. After graduating with a degree in drama from New York University's Tisch School of the Arts, where he attended Circle in the Square Theatre School, he founded a theater company called Bad Neighbor and performed solo comedy in Manhattan.His spec script for Déjà Vu, written with Terry Rossio, sold for $3 million against $5 million, setting a record at the time for the highest price ever paid for a screenplay. Since then, he has been credited as a screenwriter on such projects as the upcoming adaptation of The Wind in the Willows and 20,000 Leagues Under the Sea: Captain Nemo. more…

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Submitted on August 05, 2018

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