The Butterfly Effect 2 Page #4

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
211 Views


Then we'll minimize

ourfront-end expenditures

by outsourcing to

a flex manufacturer in China.

lf we're right,

our product margins will add

gross margins within 12 months.

Bottom line, if we achieve one-third

of the unit sales forecasted,

we'll double your

company's cash flow.

All right.

Hey.

How's it going?

l'm about to pull out

my hair, l'm so bored.

Yeah, it's, uh--

sorry for all

the technobabble.

Actually, you know,

that's the part that got me hot.

Grace?

Oh Jesus.

What are you doing?

Baby, it's been

a week.

What, you want me

to beg for it?

Whoa. Hey. Hey hey hey.

We're in a restaurant.

When has that ever

stopped you before?

Oh f***.

Hold up.

Your dad's right outside.

l don't care about that,

and neither does he.

Besides, l'll just tell him

to give you another raise.

Oh, Nick!

- l want you, Nick.

- l hearyou.

Yeah.

Yeah!

Oh my God.

What are you doing?

Let's have some fun here.

Smile, baby.

Uh-uh. Hey...

- l'll be in touch.

-You're most welcome.

You did great, Nick.

Thanks for coming.

Yeah, Nick.

Thanks for coming.

Here l am

to let you know

Take it back

and let it slow

Take it back

and let it slow

Lust away from

all that ends

Try to keep

all amends

Try to keep all amends

Your home

You hardly know it...

- Oh! Jesus!

-Where were you?

l was waiting fortwo hours.

Trevor, settle down, man.

l was at dinner with Callahan.

What? l told you,

we need to talk.

All right.

What's going on?

l've got a problem with

one of my investors.

-Who?

- Malcolm.

- ''Malcolm''?

-Are you playing with me?

Malcolm, from the club.

We took his money. You closed the deal.

- ls your head f***ed? Come on!

- Malcolm, of course.

Yes. What's up?

What's going on?

The money--

h-he-he-- he wants it back.

-All right. How much?

-All of it.

- 250 grand.

- ''250 grand''?

- Did he do that to you?

- lt was one of his guys, as a reminder.

Just listen.

Listen to me, Nick.

You've got to make

this happen, man, okay?

'Cause l can't mess

around with this guy.

l-l-l can't make him

wait anymore.

Hey, Trevor...

l'll talk to Ron.

l'll take care of it.

lt's no big deal.

All right?

-Yeah. Yeah, all right.

-All right, okay.

- l owe you my life, man.

- No no. Dude.

- lt's all right.

-All right.

Hey.

You, uh... you talk

to Julie lately?

No. Not in a while.

Why?

l'm having a hard time

tracking her down.

Dude.

You told me last time,

you're done with her, right?

See you later.

Ron.

How's it going, man?

For sh*t.

Fuentes bailed.

What? You got to

be kidding me.

After last night

l thought we had him.

Yeah, well, f*** him.

His mistake.

Oh, Jesus!

Listen, l hate to

pile on, man, but, um,

it seems we have a problem

with one of our investors.

- Oh, yeah?

-Yeah.

Guy Trevor brought in back

in July, gave us 250 grand?

Anyway, he says, uh--

he says he wants it back.

- That's it?

-Yeah.

That's pocket change.

Why don't you just go get the checkbook

off my desk and write it yourself?

Ron, thank you so much, man.

l knew you'd understand.

Why don't you write

a few more while you're at it?

l mean, just go down to the corner

and pass 'em out with milk and cookies.

l mean, if you really

want to give some money away.

lt's not like that, man.

Nick,

we have contracts

that specify how and when

people get paid back.

l know. l understand.

Look, it is a one-time thing.

l'll make it up to you

on the next deal.

l don't get it. Were you asleep for our

entire conversation yesterday?

Which--which one?

The one where

l told you we're broke.

-What?

- Nick, the money is gone.

No matter how many times

we go over it, it is gone.

We've spent it--

everything we had and more.

- Ron, that's not possible.

-You wouldn't think so,

but somehow we managed

to pull it off.

What about

the Strike Line deal?

Nick, you're

a good salesman.

You've done a lot of

great things for my company.

l'm glad l made you V.P.,

but let's face it--

you blew it on that one.

What are you

talking about?

You approached them

during Christmas.

We weren't ready.

No matter how you look at it, Nick, you

scared them off. That's the truth.

l didn't make

the Strike Line deal.

Hell, you know,

if-- if we had just nailed that deal,

we'd actually probably have some

working software right now

instead of this

pile of garbage.

Hey.

- So what's the story?

- Still working on it.

Nick, come on, man.

l'm meeting Malcolm tonight.

Hey. l'm gonna

take care of it.

Okay.

Julie.

Hey, it's, uh--

it's me, Nick, again.

Um...

listen, l know that

there's some stuff between us,

and you're obviously

not calling me back, but...

l'd really like

to talk to you.

Happy belated birthday,

and, uh...

l miss you.

- Hello?

- Nick. Finally.

- Oh, hey, Mom.

- How are you?

Fine, uh, what's up?

l've spoken to yourfather's doctor.

He'd like to see you.

Will you talk to him?

Why? What...

what do you mean?

l'm concerned about you.

l really want to come and see you.

- No no, l'm good, Mom. l'm fine.

- No, l really--

Hey, listen, l got to go, okay?

l'll call you later.

- Nick...

- l love you.

Bye.

Let me see.

Oh, looks good, huh?

Julie.

Hey.

Wow, l...

hardly recognized you,

you look so different.

Uh, thanks,

l think.

No, l mean,

you look beautiful.

Um, l left you a bunch of messages.

Did you get 'em?

Yeah, l got 'em.

Okay.

l'm sorry.

l know l...

l got a little carried away.

ljust really wanted to talk to you.

Well, l'm standing here,

so go ahead.

Um...

What are you doing?

- l'm working.

-At a club?

Yeah, at a club.

l'm shooting a fashion show.

Well, that's cool.

Who hooked that up?

Christopher. He introduced

me to a few people and it just took off.

Wow.

Who's Christopher?

- Hey, baby.

- Hey.

-You call me?

- l did.

-And who's this?

- Oh, uh, Nick.

Old friend.

We're just catching up.

Nick, she's the greatest, isn't she?

She's gonna be a star, aren't you, baby?

Listen, l'm gonna

get another drink.

- Can l get you something?

- Sure.

- Nick?

- No, l'm good.

All right

Julie.

Julie.

Listen,

l know some stuff

went wrong with us,

but you have to believe me, l never

meant for it to end up like this.

Oh, cut the sh*t, Nick.

You know what?

You got everything exactly

the way you wanted it,

so don't start caring

about me now.

l am telling you,

whatever l said,

whatever l did, whatever...

happened between us,

just--just wipe it

out of your head.

Don't you get it?

l already have.

You know, and all yourtalk

about your job

and my career,

the future,

that's all it was,

Nick--talk.

And now

l'm my own boss,

and forthe first time

l'm doing exactly what l want to do.

No, you're not.

l know what you want,

and it's not this.

- Things change.

- Not us.

Julie, we can

start over.

Just give me a chance.

- That's her, isn't it?

-Who?

Grace.

Julie, no.

You are the only thing

in this world that matters to me.

l don't know how

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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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