The Butterfly Effect 2 Page #5

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 lost sight of that.

l can fix this.

l promise you l will.

Always the salesman,

aren't you?

Hey...

Nick.

Oh, thank God.

See, l told you

he'd show.

l'm really glad

you could make it, Nick.

- Malcolm, l assume.

-Yeah,

- good to meet you face to face finally.

-And you.

This is Wayne.

He owns half the club with me.

Wayne?

Nick.

Good luck.

Have a seat.

All right.

Malcolm, this space

is fantastic.

Thank you very much.

Here we go.

A little black tea

with ginseng

and mango.

We call it

Chinese rocket fuel.

Keeps you sharp,

mind and body.

lt seems to be

working foryou.

l know why

you're here.

You want to renegotiate

your contract.

Yes.

Yourfriend made

a lot of promises.

Said he could get me in on the ground

floor, triple my money with some sort of

turbocharged

super-phone software,

and l'm no expert,

but it sounded pretty good.

And it is, Malcolm.

That's all true.

lt is an excellent product. l'm sure

your investment will see a great return.

Malcolm, l'm not sure what

it is you're looking for,

but if you look at your contract, you'll

see we're well within ourtimeline.

Okay,

but at some time,

l need to feel like there's some sort

of progress going on.

Okay. Well, how can l

help you feel like that?

See, we're part

of an organization.

There's a chain of command.

lt's the way things are done.

Which is why we sign

contracts that specify

how and when people

are paid back.

You're a businessman.

You know how the whole thing works.

Have you ever wished you could look

into the future?

The Chinese believe it's possible just

by looking at a pattern of tea leaves.

So... the question is,

do l see a waterfall

dripping with all the money

you guys are gonna make me?

Or, uh,

do l see a little bonfire

cooking as everything

- l gave you goes up in smoke?

- That's not it, Malcolm.

Well, l'm dying foryou

to prove me otherwise.

l think l can help.

Because of your

relationship with Trevor

and my confidence

in this product,

l've written you

a personal check for 10/.

out of 250?

lt's a Band-Aid

until your--

your investment

sees its return.

Band-Aids.

l love Band-Aids.

Now, you see?

l told you,

Nick's on this now,

and he's gonna take care of everything.

Well, it's better

than nothing,

which is all l've gotten

from you so far.

So, maybe it's time we cut out

the middlemen, right?

No!

Get him out.

Nick?

- No!

-What?

Stay in here, okay?

Come on, move, move!

Get out!

Sh*t!

Get out! Now!

F***! F***!

Julie?

Julie?

- Nick?

- No!

No, Julie!

F***!

- Oh, Julie! Oh, my God!

-What's happening?

Shh. Shh.

l love you, baby.

l love you.

You're okay, okay?

Here. Don't look.

Here here. Hey, look at me.

Look at me, look at me.

Everything's fine. Okay?

You're okay. Shh.

Breathe.

Come on!

Breathe.

Just breathe.

All right.

All right.

Oh, Grace!

Oh, God.

Found something that

would wake you up.

What the f***?

Relax.

You're enjoying it.

Your sh*t's on the floor.

You want something

to drink?

Who are you?

Huh?

How did l get here?

You are

so bloody cute.

-Answerthe question.

- Get your hands off of me.

You don't remember me?

We met at the club.

Malcolm and l

are partners.

On everything.

Which means l own half your ass.

l understand you

owe us $250,000.

lf you hadda behaved yourself,

l could've persuaded Malcolm

into reducing your bill,

but now you're not going anywhere

until he gets here.

Don't you get it?

l'm sure your girlfriend

and Trevor would agree.

F*** you.

l really screwed things up, Mom.

l tried so hard

to fix everything, to just...

make things right, and every time l do

l make it so much worse.

l don't even know

who l am anymore.

Don't. You remind me

of yourfather when you talk like that.

-Why?

-You try to control everything.

Mom, l want

to talk to Dad.

No, you can--

you can't, okay?

You don't understand.

lt's really important.

- No, you don't understand.

- Mom, you've gotta help me find him.

Nick, he's dead.

He committed suicide.

Why would you

keep that from me?

l don't know.

l didn't want you

to remember him like that.

The point is, Nick, it's you

l'm worried about.

You can't do this alone.

You need to see a doctor.

You don't have to

have the same fate as yourfather.

Nick, you can't

control everything.

You have to let it go.

Another drink, please.

Thanks.

Nick.

What's going on?

Oh my God.

What happened to you?

Did you bring it?

Where is Trevor?

l can't believe that

was only a year ago.

l know

something's wrong.

First, Trevor comes home

with a black eye.

Then he says you have

some meeting together,

but he doesn't

come home at all.

And now you want me

to bring you some old picture?

Nick, l'm really scared.

l know.

You know that

l'd do anything for Trevor, don't you?

l'd do anything

for all you guys.

Yeah.

Come here.

l know you're scared.

l can't explain it...

but l promise you

that Trevor's okay.

Oh, great, guys.

Check it out...

l brought my own special

birthday candle.

-Yes!

- lt's drugs!

Oh! My favorite.

Light it!

- Light it.

-Yes yes.

Where are you going?

- Somewhere.

- Oh, really?

With you.

Okay.

l need to talk

to you alone.

Oh.

Put this on,

it might get cold.

Hmm.

Ah. This looks exactly

the same as it did

when you first

brought me here.

l can't believe--

when was that?

- Three years ago.

- Three years ago.

Wow.

l can't imagine my life

without you now.

Nick, l want

to tell you something.

Me first.

Okay.

You need

to go to New York.

-What?

- l know that it sounds strange,

but trust me,

it's forthe best.

Where is this coming from?

This is your chance

to pursue your art,

to... find out

about yourself,

to not have to worry

about me or us or my job

or all that

other bullshit, just--

- l don't want to be free.

- Listen to me.

This is

your last chance to...

pursue your own path

in life,

one that

l can't f*** up.

Well, l don't want to pursue

my own path. That wasn't the deal.

- Listen.

-We were going to do this together

and we were gonna work it out,

and you promised you would be there.

Just trust me, l know, baby.

l don't think you're getting it.

Julie...

ljust need a little

space myself right now.

l'm sorry.

You're breaking up with me?

- That's it?

-Yeah.

l don't think

there's anything left to be said.

Nick, l'm pregnant.

Trevor.

Where's Julie?

-What happened?

-Yeah, dude, she ran down here,

grabbed your keys

and took off to your car.

No! Oh God!

-All right, here we go.

- Keep going to the point and back.

Hey, man, what are you doing?

That's my car!

Slow down.

Please, slow down.

Oh God.

- Oh, you've got to be kidding.

-Julie!

- God!

- Pull over, Julie, please!

Please, pull over.

l'm sorry!

l love you!

l didn't know!

l'm sorry!

Julie, you have to

pull over!

Pull over!

You don't understand!

Please!

Oh my God.

l love you.

l would do anything

for all you guys.

You know that,

don't you?

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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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