The Butterfly Effect 2 Page #3

Synopsis: Nick Larson and his best friends Trevor Eastman and Amanda are celebrating the twentieth-fourth birthday of his girlfriend Julie Miller in a beautiful lake on a Sunday morning. Nick is expecting to be promoted in the company where he works, and Julie is planning to move to his place instead of going to New York for her Master degree. However, Nick is called by his colleague Dave Bristol, who is disputing the promotion with Nick, for a meeting with a client. While on the road, Nick has an accident and Julie and his friends die. One year later, Nick finds that he can travel in time and tries to fix the past, with tragic consequences for the future.
Director(s): John R. Leonetti
Production: New Line Cinema
  1 nomination.
 
IMDB:
4.5
R
Year:
2006
92 min
$57,000,000
Website
197 Views


l had five deals

fall through,

including R.S.B.

Financial.

That's...

That's Trevor's account.

He said it was a sure thing.

Well,

he was wrong.

And unfortunately,

Mr. Callahan felt

like he had to send

a message on this one.

We've had to let

Trevor go.

So l suggest that we all

get back to work, hmm?

Doesn't that seem

a little harsh?

Yes.

- So what actually happened?

- Excuse me?

Well, if Trevorthought

it was a sure thing,

why'd the deal fall apart?

Come on, Bristol.

You had Trevor's job once,

and you know

how hard it is.

Yeah, and l worked my ass off,

l didn't make mistakes

and l got rewarded.

Why? 'Cause

the Strike Line deal

fell on your lap?

You were supposed to close

the R.S.B. deal, not Trevor.

And you think you know

something we don't?

What l know

is Mr. Callahan pays me

to be the judge of you people,

and right now my judgment is telling me

that you'd much rather be

at home watching ''Oprah''

with yourfriend

than working

on this team any longer.

Congratulations, Nick.

You're fired too.

Anyone else?

l love you, man,

but this was not your problem.

F*** that.

lf it wasn't for us, Bristol wouldn't

have been promoted in the first place.

l'm not taking

orders from him.

Nick, you worked your ass

off at this place.

You put your blood

into this place, man.

Yeah, l put my blood into this place,

and Bristol's the one who gets promoted.

Nick, that's business.

You taught me that.

Now, look.

Go tell Bristol you're sorry.

Tell him you're still having

side effects from the accident.

Only side effect l'm having is knowing

life is way too short forthis.

What is this,

a guy thing?

Trevor gets canned, so you just jump off

the bridge with him?

Look, l was never gonna move up with

Bristol as my supervisor anyway.

Ever since the guy got promoted,

he's just been looking

for an excuse to fire me.

-Well, you didn't have to give him one.

-You know what? The truth is,

he's the weak link.

He's ruined the whole company,

and everybody knows it.

And you know what?

l am better off

just getting out from under him.

No, Nick.

You're better off with a job.

l told you,

l'll find another one.

A better one.

We'll all be okay.

You also told me to stay here and not go

to New York, because that would be okay.

l'm sorry,

and ljust can't

forget what we lost in that accident.

Hon?

Hey.

Hey, it will be.

lt just takes time.

Nick, it's been a year.

l spend my days cataloguing other

people's photo shoots for minimum wage.

l have half a portfolio

and no time to finish it, and now--

Well, now l have to get

another job so that we can pay our rent.

Excuse me.

Hey. Hey.

Hey.

lt's about the big picture.

l finally see it now.

All that other stuff

is just--just stuff.

Look, the only thing

that is important

is that we have

each other.

That's all that counts.

Always the salesman,

aren't you?

Mm. Maybe l'll be

a technical copyeditor.

ls that Bristol?

Jerk.

Come on.

Nick?

Nick.

- Perfect shot.

-Ah! Great.

- Thank you.

-You're welcome.

- lsn't that great?

-You look so good.

Nice.

So, what do you think?

- Hmm?

- The ring, honey. lsn't it beautiful?

Can you believe

l picked that thing out myself?

- lt's fantastic.

- Ooh.

Yeah.

Sure, it's beautiful.

We're thinking

next October.

Oh, how many people

are you gonna invite?

You know, maybe 50.

Just the important ones.

- Mmm.

-Ah. Right.

- Dave Bristol.

-What?

From your office?

Yeah, right. Like l'd

invite that tool.

Looks like l'm out.

Anyone else need more?

Oh, no, honey.

Bristol,

merry Christmas.

Merry Christmas.

Oh, come on, Nick!

-What are you doing?

- Bristol, l'm sorry, man.

What a klutz.

Can l--

Nice.

That's really nice.

Oh, man.

Oh, that's embarrassing,

so embarrassing.

No way.

Hey, Nick.

l know you need

those spreadsheets.

l'm just waiting on some numbers

from the clients.

Holy sh*t.

l'm the vice president.

Uh, yeah, of course.

l'm not trying to make excuses.

l pulled the Strike Line

deal, not you.

l'm sorry.

l'm just not following this.

Where's Trevor?

At some off-site client meeting.

He said you knew about it.

Oh, yeah, right.

Thanks.

Oh, and Bristol, clean up that desk.

lt's a mess.

l swear, if l get

one more S.E.C. notice,

l am gonna burn the whole stack and move

this thing to the Caymans.

Well, l hear

the weather's nice there.

Yeah, l guess.

So how you feelin'?

Oh, betterthan ever.

Listen, l'm having dinner

with a potential investor.

He's a big one.

We need him.

You know what they say

about start-ups.

l want you riding shotgun.

l wouldn't miss it

forthe world, Mr. Callahan.

''Mr. Callahan.''

That's cute.

The weather burns in you

l can't predict the rain

The silence falls...

''Pacific Avenue.''

You've reached Julie Miller

Photography.

l can't take your call,

so please leave a message,

including your phone number

and the date you'd like to book.

Thank you.

Well, hello there,

Julie Miller Photography.

lt's Nick Larson calling,

and the date l would like to book is for

tonight after my client meeting,

which hopefully won't

last too long.

So why don't you

give me a call back

and let me know if that works

foryour schedule?

Unless of course l see you at home

first. All right. l love you, babe.

Honey, l'm home!

No.

What?

Hey, Nick, it's Mom.

l hope you're okay.

l'd say so.

Call me. l haven't seen you for weeks.

l know you're busy,

but let me know

how you are.

Atoast... to

successful partnerships.

- Salud.

- Salud.

Your daughter is

charming and beautiful.

Thank you.

Mm. And what

about you, Nick?

Do you have

family here?

Uh, just my mom.

Yeah.

My, uh-- my father moved away

when l was a kid.

Ah. l am very sorry

to hearthat.

Well, it seems that

you turned out all right.

You have certainly made

an impression on your boss.

Oh, well...

Nick's had a bit of

a magic touch lately.

Well, ljust try to keep

things simple, you know?

Know what you want

and try to make that happen.

And if that doesn't work out,

you steal the file

from the guy sitting next to you

and hope that one's a winner.

All right, Nick.

Well, let's get serious for a minute

and tell Mr. Fuentes

about the new numbers.

Now? Oh, we're having

such a good time.

The new numbers,

Nick.

We're about to ask

Mr. Fuentes for a large amount of money.

You have to dazzle

the wallet out of his pocket

and make it dance

on the table.

No, really, Ron, you take the glory.

This is your baby.

The numbers, Nick.

Well, what we're, uh--

we're really talking about

is, uh...

the next generation of

hand-held operating systems.

Our software capitalizes

on optical internet protocol,

using light-wave

architectures for processing

so that it will send and receive data

over multiple wavelengths.

Our system can be commercialized

within six months,

and with a working beta product

and your company's backing,

we can expect to sign one,

maybe two of the incumbents.

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John Frankenheimer

John Michael Frankenheimer (February 19, 1930 – July 6, 2002) was an American film and television director known for social dramas and action/suspense films. Among his credits were Birdman of Alcatraz (1962), The Manchurian Candidate (1962), Seven Days in May (1964), The Train (1964), Seconds (1966), Grand Prix (1966), French Connection II (1975), Black Sunday (1977), and Ronin (1998). Frankenheimer won four Emmy Awards--three consecutive--in the 1990s for directing the television movies Against the Wall, The Burning Season, Andersonville, and George Wallace, the latter of which also received a Golden Globe Award for Best Miniseries or Television Film. He was considered one of the last remaining directors who insisted on having complete control over all elements of production, making his style unique in Hollywood. Frankenheimer's 30 feature films and over 50 plays for television were notable for their influence on contemporary thought. He became a pioneer of the "modern-day political thriller," having begun his career at the peak of the Cold War.He was technically highly accomplished from his days in live television; many of his films were noted for creating "psychological dilemmas" for his male protagonists along with having a strong "sense of environment," similar in style to films by director Sidney Lumet, for whom he had earlier worked as assistant director. He developed a "tremendous propensity for exploring political situations" which would ensnare his characters.Movie critic Leonard Maltin writes that "in his time [1960s]... Frankenheimer worked with the top writers, producers and actors in a series of films that dealt with issues that were just on top of the moment—things that were facing us all." more…

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