Deja Vu Page #6

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
4,887 Views


Okay. Line us up.

When I peg a guy on a hunch,

that's good police work,

not some conspiracy

to keep you out of the loop, all right?

- You know what, Doug?

- Okay, kid, start pushing.

Expand the wave past the note.

I can't watch your back

if you're holding out on me.

Why not?

If my memory serves me right,

we better hurry up,

'cause I think I'm about to leave.

- I need more cowbell.

- I'm trying.

- Okay, well, I...

- Good!

Just give me a second.

- Don't talk to each other.

- Expand.

I'm about to leave.

...another partner?

How about that? How about that?

- Everybody relax.

- Okay. Yeah.

- Let's go.

- I'm working on it.

Prepare for the final power surge.

Ready?

- Have a good vacation.

- All right. Go, go, go!

Walk away.

What the hell happened?

I don't know.

It doesn't matter. Doesn't matter.

Pull it back!

- Did it go through?

- I don't know! I don't know!

Pull it back.

- There it is.

- It went through.

- That's right.

- It's through.

It went through!

Great.

Whoa, whoa.

No, wait a minute. Hang on.

It ain't great yet. I don't come back.

Put it down, Larry. I'm not coming back.

Put it down, Larry.

Larry, don't do it.

- Follow him.

- I'm on him.

All right, look, let's... You know what?

Let's cut away from Minuti.

The bomber's on his way to the dock.

He's due there any minute.

We'll come back to Minuti

when he gets there, all right?

All right.

Okay, where is he?

Can we circle it?

We should be able to see him by now.

That's him. There he is. All right.

- Holy sh*t.

- All right.

Move in on him real close.

I want to see his... That's him.

That's him.

That's our guy. That's him.

At the bridge, the cemetery, the ATM.

That's our guy.

Shanti, see if you can get

an ID, facial ID on him.

- Give me some time.

- Okay. All right. Take your time.

- There's your partner.

- I see him.

Try to move in on his truck.

See if we can get a plate.

- No plate.

- Get back on him.

Stay on him.

Where's Minuti?

Federal agent! Turn the engine off!

Turn the engine off!

Tilt back down.

He's still breathing.

- What can we do?

- I don't know what to do.

He's traveling east.

He's traveling out of range.

- Okay, what can we do? Anything?

- I don't know,

but if we don't do something fast,

I'm gonna lose this guy.

We're losing the signal.

We have to boost the signal.

We need to chase him

with the goggle rig.

Yeah, well,

Gunnars is a little busy right now,

and he's the only one who can use it.

- Where is it?

- What, the rig? It's...

- Yeah, the rig. Where is it?

- It's in his Hummer.

- Keys in there?

- Yeah.

All right, quiet, everybody. It's him.

- Carlin.

- Where's he now?

- Is he going east?

- Yes.

Okay, he's going east,

going up on De Gaulle.

All right, just try to keep him in sight,

and keep feeding me directions.

I'll try and track him with this goggle rig.

- Can he do that?

- Yeah, if he can catch up to the image

and keep him in sight, that could work.

Hey, how do you turn this thing on?

There's an on-off button

on the back of the rig.

Okay, I see it.

It's really simple. Wherever you look,

the eyepiece will auto-focus,

and we'll see what you see.

Okay, you're live. You're on.

- Try the goggles.

- Hang on, hang on.

- He's gone. Out of range.

- What?

- Where's he headed?

- He's headed toward the I-10.

East or west?

I don't know.

I don't know.

East or west?

We lost the signal. We're blind in here.

- I don't know.

- All right, hang on.

Oh, sh*t!

What? What happened?

What happened?

This is trippy.

Doug, look straight ahead.

We've got the window slaved

to your goggles.

We are seeing what you're seeing

four days in the past.

Okay, I got him. I got him.

He's back in range.

He's going west, not east,

on the Crescent City Bridge.

There he is. That's him. Opposite lane.

- I got him.

- That's him. That's him.

I got him!

Watch the traffic.

- What was that?

- I think he hit something.

Doug, you've gotta stay

with him. You're gonna lose him again.

Doug, what's happening?

I got him! I got him.

All right, all right, all right.

Good. Now stay with him.

Send paramedics

to the Crescent City Bridge.

Got that?

I lost him.

- I got him! I got him!

- All right. All right.

That's him.

He's headed for the 10 to the bayou.

I can see him. He's right in front of me.

Carlin!

What was that?

What the hell was that?

Doug, are you all right?

Doug!

Doug?

I think it's broken. I can't see anything.

We still have a signal here.

You're still transmitting.

- You can see?

- We'll talk you through it.

Can you still drive?

Yeah, yeah. Where is he?

Give us a 360 with the goggle rig.

There! There he is!

Pan the thing around.

- Which way?

- To your right.

To your right.

There! There he is!

- He's taking the road to the bayou!

- Right there?

The road is blocked.

Take the expressway.

It parallels the road.

Go. Go, go!

See him?

Pan right. Pan right!

You still see him?

He's at the end of the bridge.

- You hear me?

- He's at the end of the bridge.

Keep talking to me.

I don't know what else to tell you.

I feel very, very close to you right now.

He took the exit ramp beneath you.

- Take the next off-ramp.

- Take the next off-ramp!

All right, I'm on the off-ramp.

Go right, then double back on yourself.

All right, I got it.

All right, take another right.

Still see him?

He's heading to the bayou.

Take a left here.

Good, good, good.

Take it easy, Doug.

He's dead ahead of you.

Okay, okay, okay.

He's slowing down, coming to a fence.

Do you see it?

Yeah, I see it.

Doug, if you're gonna

leave the Hummer, take the backpack.

It's the power source for the rig.

- Can you hear me?

- Yeah, yeah, yeah.

Yeah, we can hear you.

We can hear you.

All right.

What's he doing now?

He's pulled around

the back of the building.

Looks like a bomb went off.

Really?

We see an intact structure here.

- No damage?

- No, none.

Looks like a vehicle's inside.

An ambulance. You see that?

No. Nothing.

See anything?

He's dead ahead of you.

Doug, he's pulling Minuti out of the car.

Where?

All right, now pan to the right.

Pan to the right.

- More right.

- You got him.

Yeah, he's dragging him out of the car.

Do you see him?

- Yeah.

- Yes. Right in front of you.

Boost the audio for me.

Audio boosted.

Turn around.

Turn around behind you.

- Larry?

- Pan back to the right.

- You've got him now.

- Where is he?

He's being dragged on the concrete.

Larry!

What's that sound?

What's the sound?

He's pouring some kind of accelerant

over Agent Minuti.

I think it's the diesel fuel,

like at the ferry.

He's waking up.

Brace yourselves. I think

you're about to witness a murder.

If we hadn't sent him there,

he wouldn't be dead now.

No, he was already dead from the ferry.

We just changed how he died.

We don't know that.

He could've been standing

right next to you,

right until we sent that note.

You'd need a branching

multiple universe for that to happen.

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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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