THE ADJUSTMENT BUREAU
Written by
George Nolfi
Based on a short story by
Philip K Dick
BLACK SCREEN
The sounds of a large crowd, but muffled, as if we're inside,
and hearing the crowd through a window or door. FADE IN ON:
INT. SOME SORT OF LOBBY -- DAY
DAVID NORRIS, 33, is having a private moment, looking down,
thinking. He wears a suit and tie. He seems relaxed and
confident. Content. Completely in his element.
In one of his hands he's absentmindedly twirling a couple of
individually-wrapped Ricola throat lozenges. We hear the
muffled voice of someone on a PA system outside:
VOICE ON PA SYSTEM
Thank you so much for coming today--
A man in a BLUE BLAZER walks up to David.
BLUE BLAZER
Congressman Norris-?
Now REVEAL that we're ±fl: the entry hall of the Admin Building
at St. Johns University. A thousand people crowd the quad
out front. "Norris for Senate" placards everywhere.
BLUE-BLAZER
Fred O'Malley with the DNC. I've
never seen a crowd this big turn
out so early in the cycle.
CHARLIE TRAYNOR, 36, arrives--.
CHARLIE
Just wait 'till you see how they
respond to him..
David pops a cherry lozenge into his mouth and straightens
his lapel pin, which is shaped like New York State.
DAVID
Don't build me up like that,
Charlie. He'll be disappointed.
EXT. ST. JOHNS UNIVERSITY -- MAIN QUAD -- DAY
The crowd, many of them in their twenties, roars with
approval as David walks out to the lectern on the steps of
the Admin Building.
DAVID
Hi there. I'm David Norris. And
I'm running for the US Senate.
2/12/09 2.
The crowd goes wild.
MONTAGE -- SENATE CAMPAIGN
--David finishes a speech at the FDNY Academy's graduation.
The cadets jump to their feet and give him a standing
ovation.
--David shakes the hands of workers entering a .Con Edison
plant in Buffalo. He's a natural at this. Unlike most
politicians he actually seems to enjoy campaigning.
--Flashbulbs go off as he plays a game of pick-up basketball
with a group of Bronx teenagers. Charlie is nearby.
--David takes a ceremonial shovel full of dirt to begin
redevelopment of an old military base upstate.
--He gives a speech at a Harlem church. Audiences watch
David the way they watched JFK, the way they watch Obama
today. He inspires, makes them believe, makes them want to
follow him. Especially young people.
--David walks through a suburban mall happily shaking hands
as cameras follow him and citizens snap pictures with their
camera-phones. People crush around him. He:doesn't seem to
mind at all. He welcomes it. He feeds off it.
--He pops a cherry lozenge in his mouth and climbs up onto a
tractor to speak to a gathering of upstate farmers, speaking
into a bullhorn to compensate for his hoarse voice. Charlie
stands nearby watching him speak:.
INT. SHERATON HOTEL ROOM --UPSTATE SOMEWHERE -- DUSK
David enters his hotel room. The silence contrasts starkly
with the noisy energy of the campaign trail.
He turns on the TV. Scrolls through the channels. After a
moment shuts it off. Total silence again. It bothers him.
He opens up his briefcase. Pulls out a thick file -- his
itinerary for the next three days. Dozens of speeches and
meetings across the state.
He glances at the summary page on the top. Glances down the
page with his finger, stopping, almost at random, on a speech
he's giving two days from now at the Westchester County Open
Space Initiative.
DAVID
(TESTING HIMSELF)
Karen Woods, founder. Husband:
Bob.
2/12/09 3.
DAVID (CONT'D)
Kids: Samantha, painting, and
Ricky, Little League. John Pascal.
Wife: Anna. St. John's grad. Two
year old: Loyita...
He stops. Knows this cold. His finger runs down to a
Realtor's Association breakfast in Nassau County four days
out.
DAVID
(MORE TESTING)
Abagail "Abby" Best, Stuart
Broxterman, Chapel Davis, Milan
Sabovic, Jim Vargas...
His ability to retain this sort of information is stunning.
He doesn't need to review. It's already all there.
He closes his itinerary file. Goes to the window and looks
out at the trees.
The silence back...it's deafening.
INT. SHERATON LOBBY -- UPSTATE SOMEWHERE -- NIGHT
Charlie enters the lobby. Stops suddenly: spots David,
holding court at`the hotel bar. Fifteen strangers around him
as he regales them with a story, despite the fact that he's
clearly losing his voice. Charlie walks over, pulls him
aside.
CHARLIE
What the hell? What happened to
"I'm going to have softie tea, rest
my voice, and go to bed early?"
You have Diane Sawyer tomorrow and
you have to be up at four AM for us
to make it in time.
David is holding ,a beer, in his left hand. With his free hand
he picks up a cup and saucer.
DAVID
I had some tea.
(sees Charlie's not in the
MOOD)
Come on, man. We're eight points
up in the polls. I've gotta cut
loose every once in a while and
have a life.
This provokes a quizzical look from Charlie. Fifteen
strangers in a crappy upstate Sheraton doesn't seem like
having a life to him...
2/12/09 4.
CHARLIE
Ten.
DAVID
What?
CHARLIE
Latest poll has you ten points up.
A slow smile spreads across David's face.
CUT TO:
BLACK SCREEN
The sound of a busy room. Then one voice, much louder:
CAMPAIGN AIDE.
County reporting: 8901 for
Lynfield, 7233 for Norris.
INT. WALDORF ASTORIA HOTEL SUITE -- NIGHT
Charlie Traynor walks over to the aide who just shouted that.
She's writing vote totals onto a map of New York by county.
CHARLIE
(NATURAL OPTIMIST)
Better than I thought, I thought
we'd get killed in Seneca.
He turns to look at a large suite full of more than a dozen
Norris supporters talking on phones and typing into laptops.
CHARLIE
Eddie, call Boyd! Where the hell
are the. Suffolk numbers? We've got
to get the Suffolk numbers!
EXT. ROOFTOP NEAR WALDORF -- NIGHT
A light snow falls. Four MEN IN CONSERVATIVE SUITS,
overcoats, and fedoras walk across the roof of a forty-story
building. Their clothing is more timeless than old-
fashioned. And somehow so is their demeanor.
The men get to the edge and look down over the city, almost-
as if it's their domain.
2/12/09 5.
INT. WALDORF HOTEL ROOM -- NIGHT
David watches the election coverage on TV. Pundits are
discussing the New York Senate race, which CNN has already
called for David's opponent.
PUNDIT #1
Congressman Norris has a reputation
for being very direct, even blunt,
in his campaign speeches, which is
great until you say too many things
you wish you hadn't. Then you
start to look like an amateur.
PUNDIT #2
That's bad for any candidate but
it's fatal if you're running for
Senate at the age of 33, your
opponent keeps calling you an
"impulsive kid," and you almost
killed your entire political career
five months ago with an act of
immaturity that ended up on the
front page of`.the New York Post.
David winces slightly. This is excruciating. Just then
Charlie enters.. The nerve center.suite is visible through
the open door behind him.
-CHARLIE
Why are you still watching CNN?
They called this way too early.
David doesn't share his friend's optimism.
INT. WALDORF HOTEL SUITE'-- NERVE CENTER -- NIGHT
A' campaign aide with a phone to her ear shouts to the room:
AIDE
Suffolk County Numbers!
Charlie and David emerge from the private room to listen.
AIDE (O.S.)
Lynfield: 415,120. Norris:
370,233.
Charlie's energy and optimism disappear instantly.
CHARLIE
(after long beat)
I really thought we'd win Suffolk.
2/12/09 6.
A senior aide walks over.
SENIOR AIDE
Kings County just came in too.
A BRUTAL
He shows a piece of paper to Charlie and David.
beat...
DAVID
Well, it's over. And it's going to
be a blowout...
David puts on a brave face. . .but this is the first moment
that he realizes not only is he going to lose, but he's going
to lose big. It's going to be a grand,. public humiliation.
SENIOR AIDE
NBC has us up next.
Charlie takes a clicker and turns the closest TV to NBC.
BRIAN WILLIAMS
Turning now to the New York Senate
race, NBC is now calling the
election for Roger'Lynfield. After
a shockingly poor showing in both
Suffolk county and in his home
county, Kings, it now appears that
David Norris will lose this
election badly, perhaps by as much
as 10 points.
EXT. ROOFTOP -- NIGHT
The four men in dark suits.. The boss's name is RICHARDSON,
early 40s. His top aide is.AHARRY, 50s.
RICHARDSON
This is a.bignight, gentleman.
(TOHARRY)
Is ever ything set?
Harry nods. Richardson notices his eyes:
RICHARDSON
You look tired. You should take a
vacation when we finish with this.
You'll have earned it.
HARRY
I'm not sure the kind of tired I
feel would be fixed by a vacation.
2/12/09 7.
RICHARDSON
Sure it would. Everybody needs a
vacation. Even us.
CUT TO:
INT. WALDORF HOTEL SUITE -- NERVE CENTER -- NIGHT
The staff and supporters in here have become very quiet.
Their candidate is standing in the middle of the room, but no
one can look at him. And David can't look at them either...
DAVID
(TO CHARLIE)
I'm going to take a walk, figure
out my speech.
INT. GRAND BALLROOM -- NIGHT
Four-hundred campaign workers follow election news on big
screens in the Waldorf's Grand Ballroom. No one says a word.
The mood has gone from.hopeful to funereal in sixty seconds.
INT. WALDORF LOBBY -- NIGHT
David slips through the lobby with only a few looks from the
staff. But when he.gets to the door he sees that press vans
line the front of the hotel. There will be no peace for him
if he steps out there. He turns around.
ASSISTANT MANAGER
Good evening, Congressman. You're
in the Grand Ballroom if that's
what you're looking for.
DAVID
Actually just looking for a place
to be alone for a minute before I
head in there.
ASSISTANT MANAGER
None of the banquet rooms on the
third floor are in use tonight.
DAVID
Thank you.
INT. EMPTY BANQUET ROOM -- NIGHT
David stands alone looking out at the empty room. Trying to
get used to it. It's not easy.
2/12/09 8.
INT. MEN'S ROOM -- NIGHT
David enters the huge, ornate, men's room and goes to the row
of sinks. He pulls two Ricola cherry lozenges from his
pocket. He twirls them in his hands for a moment.
Then tosses them into the trash can. He looks at himself in
the mirror, fighting to hold himself together.
A sound behind him. David spins to see a WOMAN exiting one
of the stalls. She's in a stunning ball gown and carrying an
expensive bottle of champagne.
WOMAN
Hi. I hope I didn't startle you.
DAVID
What are you doing in here?
WOMAN
Hiding from security.
DAVID
Oh... . What did you do?
WOMAN
Crashed a wedding. One floor up.
DAVID
It's almost midnight. They'just
caught on now?
WOMAN
Ivana Trump finally realized I
wasn't her niece. I think after
the fifth; glass of champagne my
Czech accent started slipping.
spite of David's state that gets a grin.
DAVID
Are you for real?
WOMAN
Life is short.
DAVID
Hard to argue with that.
WOMAN
You're that guy running for Senate
aren't you?
DAVID
I'm "that guy."
2/12/09 9.
WOMAN
You winning?
DAVID
No.
WOMAN
Too bad. The other guy's a tool.
DAVID
(LAUGHS)
Maybe I should have made that
clearer in my ads.
WOMAN
Personally, I think mooning your
friends at a college reunion is no
big deal.
(BEAT)
And I don't think the Post should
have printed the photo.
David just shakes his head. He will never, ever live that
down and he knows it.
WOMAN
At least not full page.
He can't help but crack up.
WOMAN
Listen, I've done it.
DAVID
You weren't running, for Senate at
the time.
WOMAN
Do you still have a chance or is it
over?
DAVID
He crushed me.
She has beautiful eyes. And an exceptional gift for
conveying empathy...
WOMAN
You must ...I don't know what you
must be feeling...
DAVID
Winning would feel better. But
losing has its advantages.
2/12/09 10.
WOMAN
Like what?
DAVID
The only time a politician is alone
is when he's asleep.. .or in the
bathroom. After eight years in
politics that gets kind of hard to
take.
She tilts her head a little, gives him a curious look.
WOMAN
Watching you, you'd never know it.
The way she looks at him, the way she says it, David knows
she sees what others miss in him -- even if he isn't even
quite sure what it is. Not yet.
DAVID
Thank you...
WOMAN
Well, everything happens for a
reason, right? Even losing. God,
I'm really rollrng out the
platitudes tonight, aren't I?
DAVID
It's the champagne. Brines out the
Hallmark in people.
WOMAN
After it kills their Czech accents.
She offers:him the bottle. He hesitates, then takes it.
DAVID
Why not? I have to think up some
good platitudes for my speech.
He takes a gulp of champagne.
WOMAN
Why the hell would you do that?
DAVID
Apparently, even if I hadn't been
caught dropping my drawers in the
middle of a senate campaign I would
have lost the election anyway
because I'm too blunt.
WOMAN
(swig of champagne)
Says who?
2/12/09 11.
DAVID
The TV pundits.
WOMAN
Fuck 'em. They just wish they had
the balls to be candidates
themselves.
She hands him the champagne bottle again.
WOMAN
And they work for the Man anyway.
(BEAT)
You going to run again?
DAVID
(DRINKS)
Tonight's probably not the night to
ask.
WOMAN
(FINGER POINTING)
No, it is. Look at me. You have
to run again. Do-yo hear me?
She's serious about this. Intense.
WOMAN
Otherwise the-country will be run
by tools. like Lynwood.
DAVID
"Field."
(of f her look)
"Lynfield."
A beat. She shrugs.
Then they lean toward each other... and kiss. It turns more
and more passionate. When they finally pull apart:
DAVID
Holy shit.
She seems just as surprised. They look at each other and
laugh.
Just then the bathroom door opens. It's Charlie. He sees
David and the woman.
CHARLIE
David?
WOMAN
(SUDDENLY EMBARRASSED)
I better go.
2/12/09 12.
She exits.
DAVID
WAIT--
INT. 3RD FLOOR BALLROOM AREA
The woman comes out of the bathroom. David is right behind
her. Then Charlie.
DAVID
Wait.
The woman turns to face David. Suddenly two hotel guards
turn the corner and spot the woman.
HOTEL SECURITY
There!
They rush toward her.
WOMAN
Gotta go.
(to David, emphatically.)
Don't let the bastards grind you
down.
She spins and sprints away. The hotel guards chase her.
CHARLIE
What the hell was that?
DAVID
I'm really not sure.
David has a huge grin on his face.
DAVID
But I think I'm ready to give my
speech.
INT. GRAND BALLROOM -- NIGHT
David as he walks out from behind a curtain onto the dais.
His supporters start clapping... . but clearly they're
heartbroken. David looks completely peaceful.
DAVID
I grew up in Red Hook and I don't
want to shock anybody but I got in
a few fist fights along the way.
Laughter ripples through the crowd. We don't know enough yet
to get the joke.
2/12/09 13.
DAVID
And we used to have a saying when
you got in a fight: "it's not
whether or not you get knocked down
-- because eventually everyone does
-- it's what you do when you get
back up."
(BEAT)
Don't worry, I'm not going to moon
you.
The audience explodes with laughter this time.
DAVID
But I am...
(waiting for the laughter
to die down)
But I am going to get backup. I
wanted to come out here tonight and
give you a victory speech, a speech
I've dreamed of giving foremost of
my life. But life doesn't always
deal you the cards you want.
The audience sobered now. Reflective.
DAVID
My life changed when I was ten
years old. My entire world turned
upside-down.'
His audience,. knows exactly what he's talking about.
DAVID
And as I looked for something to
-hang ;on to, something; to help me
cope' with what had. happened the
only thing that made sense to me
was service. Finding a way to do
something with my life that left
this world a little better than I
found it.
The audience is moved. Tears begin to well up. People dab
at their eyes.
CUT TO:
EXT. MADISON SQ. PARK -- PRE DAWN
The sky is just beginning to turn from black to deep blue.
The park is still and silent.
A black Mercedes pulls up on Madison Ave. Mr. Richardson,
again in a dark suit, gets out and enters the park.
2/12/09 14.
EXT. PARK BENCH -- PRE DAWN
Harry sits on one of the benches -- a fedora in his lap to
complement a gray flannel suit. Richardson arrives.
RICHARDSON
He spills his coffee when he steps
out of Starbucks. The moment he
comes through the door.
HARRY
Got it.
RICHARDSON
Our models indicate between 7:00
and 7:05 am.
Harry nods but he seems distant Richardson sees this.
RICHARD SON
You planned that vacation, right?
HARRY
Two weeks.
Richardson claps him din-the shoulder and leaves. Harry
watches him go.
INT. BEDROOM -- MORNING
An alarm clock reads "5:44 airy." It turns to "5:45" and the
alarm goes off. A hand reaches over and taps the alarm off.
FOLLOW the arm back to David Norris in a king-sized bed. He
rubs his eyes, stretches his neck, and climbs out of bed.
INT. EQUINOX GYM. -- MORNING
David works out. He's got the-energy-level of a 25 year-old.
He runs on a treadmill. Hits the heavy bag. Does sit-ups.
INT. LIVING ROOM -- DAVID'S APARTMENT
EXAMINE David's spacious one-bedroom overlooking Madison
Square Park. His desk and dining room table is covered with
stacks of paper and files. A flat screen displays CNBC:
CNBC ANCHOR (V.0.)
RSR Capital announced yesterday
that David Norris would become its
Vice Chairman.
2/12/09 15.
INT. BATHROOM -- DAY
David shaves.
CNBC ANCHOR (V.0.)
Norris worked at Goldman Sachs for
four years before running for
Congress at the tender age of 25.
INT. LIVING ROOM -- DAVID'S APARTMENT
A desk is set up at one end of the living room. A new model
blackberry on the desk next to another cell phone.
CNBC ANCHOR
He served four terms in the House--
The blackberry rings.
CNBC ANCHOR
--prior to his unsuccessful bid for
Senate in last week's election.
David rushes over and ?icks=up the blackberry. He has to
look for a second to figure out how to hit "answer."
CNBC ANCHOR
RSR, one ofthe country's fastest-
growing hedge funds is run by
NO ris's former Goldman colleague
and campaign chairman, Charles
'RAYNOR--
The blackberry rings again. It's very loud.
CNBC ANCHOR
. his . electrifying concession
speech led commentators to--
Finally David finds the answer button as he mutes the TV.
DAVID
Hello?
CHARLIE (TEL. V.0)
Tom Frankel from the Journal is
calling you in five minutes. I
just gave him this number.
DAVID
Give him 3227. I'm not used to
this phone yet.
2/12/09 16.
CHARLIE
Can't. He's going to ask you about
joining the firm. My compliance
guys say all firm business has to
be done on the blackberry.
DAVID
Really?
CHARLIE
Sarbanes-Oxley. You voted for it,
pal. In fact, you cosponsored it.
EXT. STARBUCKS -- MORNING
Through the window we see David getting his morning coffee.
He exits and LEAVES FRAME. HOLD on the door of Starbucks.
EXT. MADISON SQUARE PARK -- MORNING
Harry is snoring on his bench. David walks past.
EXT. FIFTH AVENUE -- DAY
David arrives at Fifth just in time to catch the "M1 Limited-
Stop" bus arriving`at the stop.
EXT. MADISON SQUARE PARK -- MORNING
Sunlightpeeks:.through a gap in the buildings and falls on
Harry's left eye, waking him. He bolts upright. Checks his
watch, Shit! He looks around quickly. Spots David about to
get o n the bus. Harry leaps : up--
INT MORNING
.As David pays, he notices Harry sprinting for the bus.
DAVID
Sir, there's someone--
BUS DRIVER
There's another M1 right behind me.
EXT. 23RD STREET -- MORNING
The bus pulls out. Harry keeps running after it.
2/12/09 17.
HARRY
No...
INT. BUS -- MORNING
As David walks down the aisle a couple of passengers
recognize his face. . .but they don't say anything.
David nears an empty aisle seat. A woman is curled up in the
window seat, sleeping. She wears a funky mini-dress, knee-
high argyle socks under leather boots, and a (clashing)
argyle bucket cap.
David sits next to her. And stares.
DAVID
No way...
It's the woman from election night.', He leans around to try
to see the front of her face. "It's definitely her. His
eyes drift down at her legs. Just then she opens her eyes.
She recoils for a second;. Then` her eyes soften when she
realizes who it is.
DAVID
(MOMENTARLY SELF-
CONSCIOUS)
I think. we "ve met.
WOMAN
(DEADPAN)
You need a better line than that or
I'll have to assume you're a
pervert who likes to stare at
girls' legs while-, they sleep.
DAVID
(smiles, game on)
Your skirt was so short I couldn't
help it.
WOMAN
Dress.
DAVID
Skirt, dress, same thing.
WOMAN
If you're a pervert, yeah. All
that matters is they both show leg.
DAVID
So do shorts, dear.
2/12/09 18.
WOMAN
Yeah, but there's that pesky piece
of fabric right here that
interferes with your fantasy life.
She shuts her eyes and leans against the window.
WOMAN
Wake me when you have a good come
back to that.
DAVID
I have one but, unlike you, I
wouldn't say it in public.
WOMAN
(eyes still closed)
Pussy.
David laughs. Can not believe this woman. In a good way.
His blackberry RINGS. Her eyes pop open. David.picks up.
DAVID
Hello...? Hello?
David looks at his. phone. The signal has gone to zero.
DAVID
(TO WOMAN)
The line cut.
WOMAN
That ringer get any-louder or do
you pretty much have it maxed out?
DAVID
You're relentless.
WOMAN
I never sleep through the night. I
catch up on the bus.
(BEAT)
You going to run again?
DAVID
I just started a new job, today.
WOMAN
(SERIOUS NOW)
I saw your concession speech. I
heard Bill Clinton called it the
best political speech he's seen in
20 years.
David looks back at her.
2/12/09 19.
DAVID
Something got into me.
He means her. They stare at each other.
DAVID
What's the deal with you and
argyles?
WOMAN
What's the deal with you and boring
shades of blue?
David is wearing a Navy blue suit, blue shirt, and blue tie.
A beat.
DAVID
At least my clothes match.
WOMAN
That's easy if you. restrict
yourself to one color.
DAVID
The belt and shoes are black.
WOMAN
Variety is the spice of .life .
DAVID
There you` go with the platitudes
again. I guess it wasn't the
ch mpagne .
His blackberry goes again. RING-RING.
DAVID
Hello? Hello?
He shakes his head. It's dead again.
EXT. BROADWAY AND 19TH STREET -- MORNING
Harry runs down Broadway looking east on 19th to try to spot
the bus on Park.
INT. BUS --MORNING
WOMAN
Your phone sucks. Don't guys like
you get special phones that
actually work in the middle of the
biggest city in the country?
2/12/09 20.
DAVID
Depends what the telecom lobby
thinks of your voting record.
EXT. BROADWAY AND 19TH STREET -- MORNING
Harry spots the bus passing on Park. He jams his fedora on
his head and stretches his arm out--
HARRY
Now.
INT. BUS -- MORNING
David's phone rings again. As he reaches for the phone he
fumbles his coffee cup, the lid comes off, and a slosh of
coffee crests the brim and splashes on the woman's dress.
DAVID
Oh, Jesus...
(FIGHTING LAUGHTER)
I'm sorry.
EXT. BROADWAY AND 19TH -- MORNING
Harry's face.
HARRY
Shit!
He's looking at a leather portfolio. We catch a glimpse
inside: a complicated circuit diagram. Harry shuts the
book, look's up to get a bead on" the the bus, then takes off down
Broadway, again, hoping to cut it off at Union Square.
INT.'BUS -- MORNING
DAVID
I'll pay for the damage.
He pulls out his wallet. There's $7 inside. She laughs.
WOMAN
Hope your new job pays better than
your old one.
DAVID
Give me your number and I'll send
you a check.
2/12/09 21.
WOMAN
God, that is smooth. Spill coffee
on me then ask for my number.
She takes the coffee from his hands and casually takes a sip,
then turns back to him with a devilish look in her eyes.
WOMAN
Just let me spill some on you and
we'll be even.
She thrusts the cup toward his tie. David parries.
DAVID
It's my first day at the office!
WOMAN
Tell your boss some crazy chick
dumped coffee on you on the MI.
It's New York; he'll understand.
She thrusts the cup back at him-
DAVID
No!
He grabs the cup with both his hands over hers.
WOMAN
(ACTUALLY PLEADING)
Come on. Just a little.
They struggle with the cup. <,;:Both suppressing laughter.
DAVID
You're crazy. Actually crazy.
The phone on David's lap'RINGS again. She snatches it with
her free hand.
WOMAN
(INTO PHONE)
He's not here!
She hangs up.
DAVID
Who was that?
She shrugs. Sorry, pal. He lunges for his phone, but she
holds it on the other side of her body.
DAVID
What is this, third grade?
2/12/09 22.
WOMAN
You forgot what that was like,
didn't you? How fun it was...
That stops him for a moment. Until the phone RINGS again.
WOMAN
Oh my God! How do you stand it?
She drops the phone into the coffee.
WOMAN
There. We're even.
He stares at her. Incredulous. They lock eyes. God knows
what would come next if they were in private...
The fourth RING gurgles up through the coffee. A beat.
WOMAN
Sturdy little fucker, isn't it?
She pulls the phone out of the cup and wipes it off with her
scarf, pushing the button which sends the call to voice mail.
Then she reaches out her hand, as if to shake.
WOMAN
By the way, I'm Elise.
EXT. UNION SQUARE -- DAY
Elise exits.. the bus. David stands at the bus door watching
her. She turns back to look at him.
DAVID
The morning after .I lost I woke up
thinking about you .
That melts her. Instantly. All her bravado drops.
INT. BUS -- MORNING
Moments later. Through the window, David watches Elise
walking down the sidewalk. Their eyes meet. She blows him
a little kiss before she turns the corner. His heart skips
a beat as the bus continues on down Union Square East.
EXT. UNION SQUARE -- MORNING
Harry runs through Union Square bee-lining for David's bus.
2/12/09 23.
INT. BUS -- MORNING
David looks at Elise's number, scribbled on a piece of paper.
He carefully tucks her number into his wallet. Then takes
the most satisfying sip of coffee he's ever had in his life--
EXT. UNION SQUARE -- MORNING
Spotting David through the bus window, Harry thrusts his
Fedora back onto his head and points at the bus--
INT. BUS -- MORNING
Just as David finishes his sip the-plastic lid pops off the
cup. A second earlier and the coffee would have poured all
over his shirt. Instead it spills: on the floor.
EXT. UNION SQUARE -- MORNING
HARRY
Dammit!
Harry sprints out onto lark Avenue now, right behind the bus--
HONK! Harry turns just in time to see a.taxi skid into him.
TRUNK! He rolls up onto the hood--
INT. RSR CAPITAL -- CHARLIE'S OFFICE -- MORNING
A big corner office. The phone rings. Charlie picks up.
DAVID (TEL. V.O.)
Guess who I just sat down next to
on the bus?
INTERCUTTING WITH CHARLIE
CHARLIE
Who?
DAVID
The woman from election night.
EXT. PARK AVENUE SOUTH -- MORNING
A dazed Harry lies in the road... The taxi driver who hit
him jumps out of his car to see if Harry is okay...
2/12/09 24.
INT. BUS -- MORNING
CHARLIE (TEL. V.O.)
The one you kissed?
DAVID
She kissed me. I just didn't
fight it.
EXT. PARK AVENUE SOUTH -- MORNING
Harry sits up... He's bruised but okay. He looks around for
something. Spots his crushed hat under the taxi's front
tire.
INT. BUS -- MORNING
CHARLIE (O.S.)
You're shitting me. Just randomly
you sit down next to--
He's cut off mid-word.
DAVID
Charlie?
David looks at his phone. "Call Lost" on the screen. David
hits redial. Gets a fast busy.
DAVID
' (to himself).
This is ridiculous.
He pockets his phone.
EXT. PARK AVENUE SOUTH MORNING
The taxi driver is with Harry now.
TAXI DRIVER
Are you okay?
Harry is sitting now, wincing, but still searching intently
for something.
HARRY
I'm fine-- Will you hand me that?
Harry points at his leather portfolio on the pavement a few
feet away. We'll come to know it as a "PLANBOOK."
2/12/09 25.
TAXI DRIVER (CONT'D)
Are you sure you're okay?
The driver hands it to him. Harry flips to a bookmarked
page and we get our first good look at that circuit diagram:
Thousands of interconnected lines. Dozens of geometric
symbols at intersection points. And written notations in a
language as complex as Sanskrit crossed with Chinese.
And, maybe it's just a trick of the light but several of the
lines appear to re-arrange themselves on the page.
HARRY
Oh...shit...
EXT. CITY STREET -- MORNING
David's still grinning as he reaches his downtown office
tower. He enters through the revolving door--
INT. DAVID'S OFFICE BUILDING'-- GROUND FLOOR LOBBY -- MORNING
Empty, except for a bored-looking security guard at the other
end of the lobby. David gets into an empty elevator.
INT. 41ST FLOOR LOBBY -- MORNING
David walks past the receptionist She's on the phone. He
waves as-he:passes by. No wade back. She must not see him.
DAVID
Okay...
Daviddecides he doesn't need to announce himself.
INT. RSR CAPITAL OFFICES -- MORNING
David enters to find the office suite quiet... Not a soul
in sight. Not a single secretary is here.
DAVID
(loud, playful)
Doesn't anybody bother getting in
before eight at this place?
David passes a couple of empty offices on his way towards a
large corner suite where a secretary sits outside an office
marked "Charles Traynor, Chairman." She's smiling.
2/12/09 26.
DAVID (CONT'D)
(EXUBERANT)
Susan! How are you today?
(when she doesn't move)
Susan?
David looks closer across her desk. Her face is frozen.
DAVID (CONT'D)
Susan?
He leans across her desk, touches her arm. She stays dead
still. David rushes through Charlie's door:
DAVID
Call 911! Something's wrong with
Susan!
INT. CHARLIE'S OFFICE -- MORNING
--and rushes in to find that Charlie is frozen too -- with
the phone up to his ear. Like he's in a wax museum.
He is surrounded by four men in bulky, metallic silver
protective suits .(think airport firefighter gear).
One of the men adjusts three metal. probes which are attached
to the left side.of Charlie's skull.
DAVID
Jesus!
Three men in business suits talking by the window spin to see
David. it's Mr. Richardson and-two aides we recognize as the
"security guards" who chased Elise away on election night.
DAVID (,.CONT'D)
What the hell are you doing?!
Richardson blinks Clearly surprised. Then:
RICHARDSON
Grab him!
David bolts out of the office as they lunge at him--
INT. RSR OFFICE FLOOR -- MORNING
David sprints toward the door he came in. It closes as he
gets there. He grabs it. It's locked.
He sprints away into an internal hallway. Richardson emerges
from a door in the middle of the hallway.
2/12/09 27.
David jumps a mile. It's physically impossible that
Richardson could have gotten there that fast.
RICHARDSON
You can't get away, David.
David spins and rushes back into the main office, then down
an internal staircase to the floor below. Jumps the last
five steps and hits the floor hard.
As he comes up he runs smack into another RSR employee who is
frozen solid.
David curses, then dives around the frozen employee to find
Richardson, coming out of another office. down the hall.
Again, physically impossible for him to get there that fast--
David spins and-- A DISTORTED WIDE ANGLE SHOT of a
chloroform rag shoved right at us. FOCUS GOES IN AND OUT...
FROM DAVID'S POV, BLURRY FOCUS as he's carried toward one of
the large corner offices on the 40th floor.
The nameplate reads "Steve Kincaid."
Richardson opens the door and ushers his men, carrying David,
INSIDE --
Except when they walk through the door they're not in an
office 40 floors above lower Manhattan,: they step inside a
large warehouse...
Their movement completely violates the laws of physics.
BLACK SCREEN
Silence. Then voices come up slowly:
RICHARDSON (O.S.)
Yes, sir. No, sir. No, sir. I
understand that, sir. Absolutely.
I'll do that, sir.
(BEAT)
What a goddamm mess.
MCCRADY (O.S.)
Was that Donaldson?
RICHARDSON (O.S.)
Yes.
MCCRADY (O.S.)
What do you want to do?
2/12/09 28.
FADE UP -- BLURRY AT FIRST -- to DAVID'S POV of the warehouse
David caught a glimpse of just before he passed out.
A half-dozen members of the "Intervention Team" (the Silver
Suits) stand nearby. Richardson and MCCRADY (one of the men
from the rooftops) stand behind David, about 20 feet away.
RICHARDSON (O.S.)
Can you reset him?
MCCRADY (O.S.)
I don't think we have the authority
in a situation like this.
RICHARDSON (O.S.)
CALL LEGAL-
BURDENSKY (0.S.).
Legal just arrived.
INT. WAREHOUSE -- DAY
REVEAL BURDENSKY, a 50 year-old in a pin-stripe suit,
carrying a briefcase. He.walks to Richardson.
BURDENSKY
Re-setting's off the table. This
is our fault:...
Richardson glances irately at Harry, who stands by himself
off to the side, clearly disgraced.
David, who is tied to a chair facing away from Richardson,
cranes around to see who's talking.
DAVID
Hey.
The suits stare back in silence for a beat, then turn back to
talking amongst themselves -- though at a lower volume.
RICHARDSON
What are my options?
BURDENSKY
(IGNORING DAVID)
You could bullshit him but you'll
never be completely successful.
DAVID
Can somebody tell me what's going
on?
2/12/09 29.
BURDENSKY
(still ignoring him)
The questions will burn in him till
the day he dies. You'll have to
monitor him constantly...
ON DAVID
He can hear little snippets of what Burdensky's saying--
BURDENSKY (PARTIALLY AUDIBLE)
.to make sure he doesn't talk...
the endless ripple effects...
REVEAL David untying the rope restraining him.
ON THE SUITS
BURDENSKY
If it were me, I'd level with him.
RIC:HARDSON
Completely?
BURDENSKY
That's the only way to extinguish
his curiosity.
Richardson turns and studies David. Then walks over to him.
An uncomfortable pause.
DAVID
Who are you guys?
RICHARDSON
We're the people v ho make sure
things happen according to Plan.
David stares back at him for a moment.
then leaps up. His rope comes off and the chair falls. He
sprints toward an open door forty feet across the warehouse.
Richardson makes a little gesture with his hand--
CLOSE-UP OF THE FLOOR
It cracks.. .and displaces upward.. .so it's uneven just as
David's foot comes down on it.
2/12/09 30.
BACK TO WIDE SHOT
David trips and goes flying--
MOMENTS LATER
David is dragged back to the center of the room and placed
back in his chair in front of Richardson.
RICHARDSON
Did you really think I couldn't see
that coming?
David dabs blood from his lip, which split during the fall.
RICHARDSON (CONT'D)
I can read your mind!
David stares back.
RICHARDSON (CONT'D)
Yeah, really...
(BEAT)
Choose a color.
(barely a beat)
Blue. Choose a number.
(even less time)
Seventeen.
David's jaw drops slightly. Richardson was clearly right.
RICHARDSON
Now,. why are you still deciding
whether or not to run?
David's hands go to his head`, involuntarily, an atavistic
response, as if;s.omehow that will keep his thoughts from
spilling out into view.
RICHARDSON
You saw the futility of that back
at the office.
David's entire reality has finally been bent to the breaking
point. He can't hang on any longer to an explanation for all
this based in the world he's known to date...
DAVID
What the hell is happening to me?
2/12/09 31.
RICHARDSON
You just saw behind a curtain you
weren't even supposed to know was
there, Mr. Norris. Its jarring.
I'm sure.
DAVID
I just... came to work...
RICHARDSON
It wasn't your fault. Your Path
through the world this morning was
supposed to be adjusted.
(glancing bitterly at
Harry, in the corner)
Your coffee was supposed to.spill
onto your shirt as you left
Starbucks near your apartment.
You would have gone up to change
and arrived at work ten minutes
later than you did. By then we
would have left.
(BEAT)
People call it "chance" when their
coffee spills or their internet
goes down or they misplace their
keys. Sometimes it is. Sometimes
it's:us...nudging you back on Plan.
David takes all this in. He's still shell-shocked.
DAVID
Whatever you were doing to Charlie
back there... it wasn't misplacing
his keys.
RICHARDSON
Sometimes. when nudging a person
back on Plan isn't enough we
intervene directly.
DAVID
Why Charlie? What did you do to
him.
RICHARDSON
You need to worry about getting
back on your Plan, David, not worry
about us putting him back on his.
David stares back, still trying to get his bearings.
RICHARDSON (CONT'D)
Only a handful of human beings know
what you now know, David. We're
determined to keep it that way.
2/12/09 32.
RICHARDSON (CONT'D)
So before I let you go, you need to
understand something: If you ever
reveal our existence we will erase
your brain. Your memories, your
emotions, your entire personality
will be expunged. Your friends and
family will think you've gone
crazy. You won't "think" anything
because a blank slate can't
"think."
Davidstares back.
RICHARDSON
Do you understand what I just said?
DAVID
Yes...
RICHARDSON
Not a word. Not one word about us.
(long beat as he studies
DAVID'S FACE)
okay ... . you're free to go.
David stands there a monent..:.not sure it's real. Richardson
points at the door. David walks toward it.
Just then another man comes up to Richardson.
NEW MAN IN SUIT
There's awoman.
RICHARDSON
(SIGHS)
There's always & Woman...
Richardson motions;to his men.
At.-THE DOOR
Two men come through from outside and block David's exit.
DAVID
He said I could go.
CENTER OF ROOM
NEW MAN IN SUIT
You won't believe who she is.
He holds open a Planbook for Richardson to see.
2/12/09 33.
RICHARDSON
How is that possible? Why didn't
we get an alert?
NEW MAN IN SUIT
He wasn't supposed to be on that
bus. He was supposed to be
changing his shirt in his
apartment... It was a controlled
situation. It was supposed to be.
The new man looks at Harry.
AT THE DOOR
David looks back at Richardson.
DAVID
You said I could go.
Richardson walks over to him.
RIC,HARDSON
You ran into a woman named Elise on
the bus this morning?
DAVID
(:going very still)
Why does it'matter?
RICHARDSON
You weren't ever supposed to see
her again.
DAVID
Why do you care.?
RICHARDSON
Because, David, you can't be with
her. And we didn't want to have to
resort to this--
Four big guys grab David and pull his arms backwards like
prison guards incapacitating a prisoner. Richardson reaches
into David's pocket and pulls out his wallet--
DAVID
What the hell-- What are you--
Richardson removes the piece of paper that Elise wrote her
number on from David's wallet--
DAVID (CONT'D)
NO--
2/12/09 34.
Richardson places the wallet back in David's pocket, then
pulls out a lighter--
DAVID (CONT'D)
No!
And burns Elise's number. David strains and tries to pull
loose from the vice-like grip of the four Intervention Team
men. But he can't get free.
DAVID (CONT'D)
What is wrong with you people?!
Richardson drops the paper on the floor and lets it burn.
ON David's reaction CUT TO:
EXT. WAREHOUSE -- DAY
David exits through a steel door., it clangs shut behind him.
He stands there unable to proceed for a long beat then starts
walking to the corner to orient himself.
Down one street he spots the Manhattan Bridge, down the other
the Brooklyn Bridge. He's in DUMBO.
INT. BROOKLYN COCKTAIL LOUNGE -- AFTERNOON
David sits alone at the bar. His hand trembles slightly.
BARTENDER
You're David Norris, right?
DAVID
Ice water.
BARTENDER
That's it?
David nods. Harry arrives.
HARRY
We should talk. But not here. Go
back to work and I'll contact you
later today with a place to meet.
2/12/09 35.
DAVID
Okay.
Harry can see that David is still very shaken.
HARRY
The world's exactly the same as
it's always been. You just
understand it more completely now.
(BEAT)
Hang on to what mattered before you
knew any of this and you'll be
fine.
EXT. BROOKLYN BRIDGE -- DAY
A thousand-yard stare on his face, David walks toward
downtown Manhattan amid dozens of--pedestrian commuters.
INT. RSR OFFICES -- DAY
David enters. Stares at,,hisnew colleagues going about their
business as if nothing happened.
INT. 40TH FLOOR --:DAY
David stands in ftontof the corner office labeled "Steve
Kincaid." He hesitates, then opens it. He sees an empty
office with a killer view of New-,York Harbor. It's strangely
disorienting for him.
SECRETARY(O.S.)
Mr. IKincaid's in the finance
meeting, Congressitan. Main
conference room.
David turns to see her.
DAVID
Thanks.
David walks away, still trying to get his bearings in the new
reality he now knows. Charlie comes around a corner.
CHARLIE
There you are. I called your cell
ten times. You left me hanging.
DAVID
Sorry...
2/12/09 36.
CHARLIE
(seeing the look in
DAVID'S EYES)
Are you okay?
(off David's nod)
Come on, we're late. Happy first
day by the way.
They head towards the conference room.
CHARLIE
You sure you're okay.
DAVID
Fine. How about you?
CHARLIE
Great. Why?
DAVID
No headaches or--
CHARLIE
I feel fantastic, -man. Is it just,
me or is this an odd conversation?
(off David" s non-response.)
What the hell happened with the
girl?
DAVID
After the meeting.
INT. CONFERENCE ROOM RSR CAPITAL DAY
LONG SHOT from outside the building. The firm's partners sit
at their weekly investment committee meeting. David watches
Charlie intently, looking for what's changed...
INT RSR CAPITAL OFFICES -- DAY
David and Charlie walk back to David's office.
CHARLIE (CONT'D)
Please explain to me why you don't
have an ear-to-ear smile right now.
THEY ENTER--
INT. DAVID'S OFFICE -- DAY
David hesitates. It's like his friend is an alien.. .but then
again he's totally normal.
2/12/09 37.
DAVID
I lost her number.
CHARLIE
You lost her number?
DAVID
(searching for something)
I was pickpocketed.
CHARLIE
Come on. You can't be serious.
(off David's look)
You're serious... Oh, man...dude.
I'm sorry... I'm really sorry...
EXT. PIER -- ADJACENT TO WEST SIDE HIGHWAY -- DAY
David sits on a bench looking at the water. The wind picks
up and he puts his hands in his,coatpockets to keep them
warm. His right hand feels something. He pulls out a
ticket for the 4 pm Circle..Line tourist boat cruise.
EXT. CIRCLE LINE CRUtgE -- DAY
The boat pulls away front=the dock. It's misting rain so
there's only asmattering of tourists on-board. David stands
looking back at Manhattan. Harry is next to him.
HARRY
A lot of people just collapse when
they see what you've s'een. Their
personal choices suddenly seem
meaningless to them. Life starts
to feel pointless.
DAVID
I was` raised to believe there's
something behind the curtain. I
just never pictured it quite like
this.
HARRY
Most people don't.
Harry looks over his shoulder, scans for any signs of his
colleagues. He's far from relaxed.
HARRY
How are you feeling?
DAVID
You should know. You can read my
mind, right?
2/12/09 38.
Harry hesitates...as if he's not sure how much to tell David,
how far to go with this. Finally:
HARRY
Richardson was just trying to scare
you.
DAVID
He knew what color I was thinking.
HARRY
Because he set it up as a choice.
"Choose a color. Choose a number"
DAVID
So?
Harry looks away. He's crossing a line. He's really putting
himself out there:
HARRY
We can't read your mind or hear
your thoughts. But before you make
a choice your brain weighs options,
and we percpite that. We know if
you're going to go off Plan "or not
because, as long as we're close
enough, we cansense it when it's
about to happen.
DAVID
it-;' s like a sixth sense for you?
HARRY
Seventh, actually.
DAVID
What did they do too Charlie?
HARRY
Made some small change in the way
he assesses risk.
DAVID
What type of risk?
HARRY
(this is beside the point)
I don't know. Something arcane.
Something to do with mortgage-
backed securities.
DAVID
That's all?
2/12/09 39
HARRY
Yes.
DAVID
What would your colleagues do to
you if they knew what you were
telling me?
This is precisely what Harry has been worried about.
HARRY
That's why we're meeting out here.
DAVID
They're not following me?
HARRY
We don't have the manpower to
follow everybody all the time.
They're checking in on you. Just
not here. Not right now.
ON David's face considering this.
EXT. UPPER DECK DAY
Moments later. They stand out of earshot of the few
tourists up here.
DAVID
Why are you helping me?
HARRY
I have my reasons.
David studies him. Ha=rry's' clearly not ready to go into
THEM:
DAVID
Why do they care if I'm with Elise?
HARRY
Your entire reality gets shattered
this morning and you want to know
about a woman?
DAVID
Why do they care?
Harry looks back at him. Taken aback a bit by how much David
seems to care.
HARRY
I don't know.
2/12/09 40.
DAVID
You have no idea?
HARRY
All I know is, given the amount of
resources they've used, keeping you
from her is pretty important to
them.
(off David's silence)
You're going to look for her aren't
you?
Again, David is silent.
HARRY (CONT'D)
There are twelve million people in
this city. On a slow day. You're
not going to find her, you do
realize that, don't yore-?
(BEAT)
Even if a hypnotist pulled her
number out of the recesses of your
brain, no matter how many times you
called it, you,'d never get
through...
DAVID
(his face hardening)
They send you here to tell me that?
HARRY (CONT'D)
You want my advice? Forget about
her. Accept that you'`>ll never see
her again. Move on with your life.
ON David as Harry's words sink in.
FADE TO:
EXT. MADISON SQUARE PARK -- MORNING
Huge shafts of morning sunlight cut across the park outside
David's apartment. The trees are blooming. It's Spring now.
INT. BEDROOM -- MORNING
An alarm clock reads 6:29 am. David lies alone in bed. He's
already awake, staring at the ceiling...
After a long beat the alarm clock rings. David shuts it
off. But then just lies there...
2/12/09 41.
INT. DAVID'S APARTMENT -- MORNING
It's the same apartment -- except it's bigger now. Instead
of two large windows on the park, his apartment is now six
windows across. (He has bought the two one-bedrooms next to
his and knocked the walls down). Three years have passed.
No files on the table, like there were the last time we were
here. David is on the phone in a new park-view study.
CHARLIE (PHONE V.O.)
How are you feeling about the
speech?
David has not noticeably aged and yet he's more tempered and
subdued than when we last saw him. We `hear it in his voice:
DAVID
I'm ready... I changed a few
things last night.
CHARLIE (PHONE V.O.)
Tell me at breakfast.
THROUGH THE WINDOW AT DAVID
David finishes his call, then looks out the window. There is
a detachment in h-s eyes that didn't exist before. After a
moment, he gets his=coat and heads for the door.
EXT. MADISON SQUARE PARK -- MORNING
David exits Starbucks with a coffee. He walks across the
park toward the same Fifth Avenue bus stop he did three years
ado.` Even his posture and,-gait are different.
INT. BUS -- MORNING
David enters the Ml bus. He feeds his Metrocard into the
reader as he looks down the aisle scanning the riders.. .more
out of habit than actual hope. He walks back to take a seat.
INT. BUS -- MINUTES LATER -- MORNING
David stares idly out the window. His Blackberry buzzes with
a text message. Looks down at it. Then looks back out the
window. Suddenly his eyes snap into focus.
DAVID'S POV: The bus passes a woman walking on the sidewalk.
2/12/09 42.
David's head whips around, only able to see her from the back
now. She walks like Elise. She's dressed in the same
eclectic style. He slams the red "next stop" strip, jumps
to his feet, and runs to the front of the bus.
DAVID
Stop the bus.
DRIVER
The next stop--
DAVID
Now.
EXT. EAST VILLAGE -- MORNING
The bus stops. David jumps out on Broadway. FOLLOW him as
he takes off across the street and runs down 12th. He
catches up to her at University Place.
DAVID
Elise!
The woman turns around.
And it's her...
ELISE
David?
DAVID
Hi.
ELISE
Wow... How areyou.
Reeling from the adrenaline; David takes a moment, then:
DAVID
(from the heart)
I rode the Ml to work every day for
the last three years hoping one day
I'd run into you again.
She's amused, rather than moved, because she doesn't buy it.
ELISE
Calling would have been easier.
DAVID
I couldn't.
ELISE
Girlfriend wouldn't let you?
2/12/09 43.
DAVID
No girlfriend.
She looks at him with continued skepticism. But his
expression is dead serious.
DAVID (CONT'D)
Can we go somewhere and talk?
She hesitates. It hurt when he didn't call. She's angry at
herself for that, but it's the truth.
ELISE
(re: his suit)
Don't you have to get to work?
DAVID
I just got sick.
ELISE
"I haven't seen you in three years -
- You make me sick" is not an
ideal come-on. For the record.
David smiles. She's softening. A little. His phone
vibrates. He pulls it out of his pocket.
DAVID
One second.
(PICKING UP)
CharlieT can't make breakfast.
CHARLIE (PHONE V.O.)
Why not?
DAVID
And...I might have to push the
speech.
CHARLIE (PHONE V.O.)
What? Are you crazy?!
DAVID
I just ran into Elise.
He hangs up.
ELISE
You just hung up on your best
friend.
DAVID
We've known each other since we
were kids. We have a shorthand.
2/12/09 44.
He's not being flip or clever or smooth. He's being matter-
of-fact. Serious.
ELISE
What speech?
DAVID
Doesn't matter. Let's take a walk.
His focus on her is absolute. But she's wary of getting
reeled in again.
ELISE
Where?
DAVID
Somewhere far. We have a lot to
talk about.
ELISE
I don't think you should cancel
your speech. What if I don't like
you at the end of our walk?
DAVID
I'll take my chances.
ELISE
Seri6us1y, my number hasn't
changed:. Just call me like you
didn't last time.
DAVID
My-speech will always be there, you
might not be.
ELISE
(AMUSED/INDIGNANT)
I was there, David. You didn't
callrie!
DAVID
Walk with me and I'll explain that.
She's still dubious. His phone vibrates. This time he turns
it off .
DAVID (CONT'D)
(a statement of fact)
I'm not losing you again. I'm not
letting you out of my sight.
ELISE
Stalker.
2/12/09 45.
DAVID
Can we walk?
The moment she finally relents, CUT TO:
FOLLOWING SHOT
Polished black shoes running down a corridor on an impossibly
shiny black floor with inlaid decorative silver borders.
INT. ELEGANT OFFICE -- DAY
Mr. Richardson sits at a large desk. The design is Art Deco
crossed with Albert Speer. Downtown Manhattan is visible out
the 30th floor window. Richardson's aide enters.
MCCRADY
We have a problem.
EXT. GRAMERCY -- DAY
David and Elise walk north.
ELISE
It's been years, David. How do
you know I don't have a boyfriend?
Oh, shit. He hasn't even had time to think about that.
DAVID
you have a boyfriend?
EL ;E
Would it-Matter?
DAVID
(TRAPPED)
Uh...yeah...
ELISE
So all the stuff about me being in
your mind constantly for the last
three years was just talk... The
truth is you don't have any real
conviction.
DAVID
It wouldn't matter.
ELISE
So you don't care about being a
home-wrecker?
2/12/09 46.
DAVID
Okay... if you were married it would
matter.
ELISE
Now you're just trying to say what
you think I want to hear.
A beat. She lets David twist in the wind...
ELISE
I'm single.
ON David's face: relief...
ELISE
Now let's hear your bullshit excuse
for never calling me.
DAVID
I didn't have your number.
ELISE
What?
DAVID
It was taken from me. I was
mugged.
ELISE
Oh, come on.
DAVID
Your number was in my Wallet and
they ,:took it.
ELISE
Come on..
DAVID
I'm serious. What else could
possibly-explain my fawning all
over you on that bus three years
ago...and again today and not
calling you in between?
ELISE
(DUH)
Um, you had a girlfriend and you
felt guilty. I have a thing about
being lied to, David.
DAVID
I swear to God I didn't have your
number. I swear on my parents'
graves.
2/12/09 47.
DAVID (CONT'D)
I didn't even have a last name to
try to track you down. Do you know
how many pages come back when you
type "Elise" into Google?
(BEAT)
And none of them were you.
ELISE
(after a beat)
You really are smooth.
DAVID
That's not fair.
ELISE
It's okay. I like it. I probably
shouldn't, but I do.
(BEAT)
It's Sellas. Elise Sellas.
INT. RICHARDSON'S OFFICE -- DOWNTOWN -- DAY
McCrady holds open his Planbook to show Richardson an ever
shifting diagram.
RICHARDSON
Tell me you're kidding. How could
our Path-analysis miss this?
McCrady just shakes his head, mystified... Richardson walks
to the closet and pulls out his fedora:.
RICHARDSON
'rlhek,e are they now?`
MCCRADY
Central Park. Bethesda Fountain.
INT. CENTRAL PARK -- DAY
David and Elise walk past Bethesda Fountain.
ELISE
I read somewhere you're running
again.
DAVID
I haven't announced yet but... soon.
ELISE
I hope I had a little something to
do with that.
2/12/09 48.
DAVID
That concession speech I gave sure
did. You had everything to do with
that.
Elise smiles.
DAVID
You know entirely too much about me
given how little I know about you.
ELISE
According to Cosmo I'm supposed to
keep it that way.
DAVID
According to Maxim, I'm supposed to
"maintain eye contact and ask you
what you do for a living."
It's the first witty comment h6' :s made this time around.
He's just barely starting t6°'loo§`en up.
ELISE
(LAUGHS)
I'm a dancer.
DAVID
Oh..
ELISE
Not like that, you pervert. In a
dance company. The. Manhattan
Modern Ballet.
DAVID
I think you have the wrong idea
about me.
ELISE
I think it was the first thing that
crossed your mind.
DAVID
Is there a performance of this
company coming up that I could
watch?
ELISE
Actually, we have a show opening
tomorrow night.
DAVID
I'm there. You hungry yet?
2/12/09 49.
He points at the Boathouse restaurant a few hundred feet down
the path they're on.
ELISE
Yeah...
(BEAT)
But I'm not putting out just
because you're buying me brunch.
DAVID
We could wait an hour and call it
lunch.
ELISE
I bet lines like that work wonders
with the "dancers" you normally
hang out with.
DAVID
So unfair...
EXT. BOATHOUSE PATIO -- DAY
Richardson and McCrady Step out of a small outdoor bar
structure. They, SpotDavid and Elise walking in the side
door of the restaurant.',.,
Somehow Richardson and' McCrady have travelled from downtown
Manhattan to the middle of Central Park in the time it took
David and Elise to' walk 100 feet...
INT. BOATHOUSE RESTAURANT-- DAY
David and Elise are at atable next to the lake.
WAITER
Good morning. It's good to see you
again,.sir.
DAVID
Thank you. You're...
(pulling it from the
recesses of his brain)
Paul, right? De...Santo?
WAITER
Wow, yeah. How did you remember
that? It's been a year.
2/12/09 50.
EXT. BOATHOUSE PATIO -- DAY
Richardson surreptitiously watches David and Elise while
McCrady consults his Planbook. A RICHARDSON AIDE steps out
of the same door Richardson and McCrady came through.
RICHARDSON AIDE
Morris is on the artistic director.
Melton is on Charlie Traynor.
RICHARDSON
This whole thing will be over in an
hour.
MCCRADY
(disturbed by something he
sees in his Planbook)
We may not have that long.
RICHARDSON
What?
INT. BOATHOUSE RESTAURANT -- DAY
Thewaiter leaves David and Elise.
ELISE
How do you do that? I can't
remember the names of people I just
met.
DAVID
(points at himself)
David.
ELISE
Right.. Thanks_.'
EXT. BOATHOUSE PATIO -- DAY
MCCRADY
Her decision tree is diverging from
our models.
RICHARDSON
(CONFIDENT)
36 hours without contact and she'll
never speak to him again. I've
studied her file. Her deepest fear
in life is--
2/12/09 51.
MCCRADY
No, something is wrong. I'm
already seeing inflection points.
Off Richardson's surprised look--
INT. MAIN DINING ROOM -- DAY
Davidand Elise eat brunch.
ELISE
Ballet is basically impossible to
do correctly.
DAVID
Why?
ELISE
You just do absurd things. with your
body. The movement is completely
unnatural. It requires incredible
strength in all sorts of random
muscles. And you have to be born
with ridiculous amounts of
flexibility in your hip or you'll
never be an y good.
EXT. BOATHOUSE PATIO -- DAY
McCrady examines his Planbook diagram. With each new update
of the diagram red "inflection points" move across the pages
toward a heavy black "present time" line on the right side of
the right :page
Richardson points at the red point closest to the present
tithe ` hrie .
RICHARDSON
What's that?
MCCRADY
If they kiss...
RICHARDSON
(DISBELIEVING)
A kiss, that's all it takes?
MCCRADY
A real kiss. But once they do that
every possible adjustment that's
strong enough to break them up will
cause ripples over your limit.
2/12/09 52.
RICHARDSON
If Melton and Morris do their jobs
right we'll be okay.
But Richardson is clearly worried.
INT. MAIN DINING ROOM -- DAY
David and Elise.
ELISE
In the history of ballet there've
only been a handful of people who
actually did ballet the way it's
supposed to be done. Forme that
just made it completely addictive.
DAVID
Do you ever get nervous when people
watch you?
ELISE
Not really. Do you get anxious
when you make 'a speech?
DAVID
I get more anxious alone in my
apartment than in front of an
auditorium full of people.
Everything's backwards for me.
VOICE (OS.
I hate to interrupt.
They turn to see Charlie'''aynor.
I tXT. BOATHOUSE PATIO DAY
Richardson turns to a colleague, Melton, who steps through
the "bar house" door.
RICHARDSON
(re: Charlie's arrival)
Nice work.
INT. BOATHOUSE RESTAURANT -- DAY
DAVID
How did you find me?
CHARLIE
Does it matter?
(TO ELISE)
2/12/09 53.
CHARLIE (CONT'D)
Elise, pleasure to see you again.
(TO DAVID)
There's a crowd of people standing
around downtown waiting for you.
ELISE
Your speech?
CHARLIE
He's announcing today.
ELISE
At the speech?
DAVID
It's okay.
CHARLIE
What's okay? It's not okay. The
one thing you can't be this. time
around is impulsive. That's why
we're announcing the way we are,
THAT'S WHY--
ELISE
God, don't skip this for me.
DAVID
I told you I'm not letting you out
of my sight.
CHARLIE
David, what the hell?
DAVID
(to Elise, realizing a way
out of his dilemma)
Come with me. Come and watch.
ELISE
(SMILING)
Okay.
Her phone buzzes with a text message.
CHARLIE
(to both of them)
Great. Perfect solution. Now,
let's pay and get you over there.
Charlie waves the waiter over to give them the check.
ELISE
Now?
CHARLIE
The speech is in 30 minutes.
2/12/09 54.
ELISE
I can't then.
(indicating text message)
They just moved my dress rehearsal
to noon.
David's own sixth sense kicks in. Has he been discovered?
DAVID
We can reschedule the speech.
ELISE
David!
CHARLIE
(TO ELISE)
Thank you.
David looks around for anything out of the ordinary, any sign
of Richardson or his men. But. they stay out of view. He
thinks they're not on to him yet.
ELISE
I'll meet you right after the
rehearsal.
DAVID
Where does your company perform?
ELISE
We're n in our space. There was
a`;•power ot outage or something.
(checking the text)
We're using a space" on Murray and
West Broadway today.
CHARLIE
(REALIZING)
That's four blocks from where
you're speaking.
David reacts: Richardson can't be behind that.
CHARLIE
You can literally walk there after
the speech.
David nods, his suspicions fading.
CHARLIE
(CHECKING WATCH)
But we've got to leave right now.
2/12/09 55.
EXT. BOATHOUSE PATIO -- DAY
Richardson and his team watch as David, convinced now he's
still undiscovered, stands up and heads to the door with
Charlie and Elise.
MCCRADY
The "four blocks" thing was a
brilliant move, boss.
RICHARDSON
(putting his hat on)
We're not out of the woods yet.
He looks down at the inflection points in McCrady's Planbook.
INT. BAR AREA -- DAY
David and Charlie and Elise walk:toward the side. entrance.
ELISE
(POINTING WEST:)
I've got to go that way...to stop
by my apartment and change.
DAVID
Okay.
David and Elise stop to say goodbye to-each other.
ELISE
You know, the speech on election
night, you said I inspired you...
I wish I could do that again now.
EST.BOATHOUSE PATIO DAY
Richardson makes a small hand motion in Charlie's direction.
INT. BAR AREA -- DAY
Charlie's iphone buzzes. It's an alarm reminder. A text
appears: "15 minute sound check." He's a few feet from--
DAVID AND ELISE
David leans toward Elise--
2/12/09 56.
CHARLIE
(INTERRUPTING)
David, the speech starts in 15
minutes. We have a 25 minute
drive.
EXT. BOATHOUSE PATIO -- DAY
Richardson makes a gesture at the TV by the bar. The picture
changes (though we can't see to what).
He then moves a water glass on'their table. The sun hits the
glass and reflects into the bar area where--
INT. BAR AREA -- DAY
--the reflection catches the eye of a 40 year-old woman
having a coffee at the bar with, her 65 year-old mother.
Turning so the sun is out of,=hereyes causes the daughter to
notice the TV: an image of David's famous concession speech
from three years ago. A screen graphic reads "Announcing
Today?"
As the daughter turns back to look at her mother, she notices
David, over her mom's shoulder...
DAVID AND ELISE
David squeezes her hand... and leans in again--
DAVID
just want to
VOICE. (0. S . )
I hope the rumors are true,
Congressman.
David pulls back fr`bm Elise, suddenly self-conscious, turns
to see the 40-year old woman Richardson just manipulated.
She points at the TV report on David's announcement.
40 YEAR-OLD WOMAN
You have my vote.
65 YEAR-OLD WOMAN
Mine too... and I usually disagree
with her.
DAVID
Thanks. Thanks a lot.
David turns back to Elise.
2/12/09 57.
ELISE
(NEEDLING)
Well, you're really just a hit with
women of all ages, aren't you?
CHARLIE -- A FEW FEET AWAY
On the phone.
CHARLIE
I'm wrangling him right now--
DAVID AND ELISE
DAVID
Whatever happens...I'm not going to
let anything stand between us this
time.
It's such an odd thing to say, if you don't know what David
has gone through. She gives him a quizzical look. But
she's also moved by his,tone
ELISE
Okay.:.. I believe you. Of course
I tend to believe in the wrong
people. Especially men.
It's the kind of quip that's more truth than jest.
DAVID
Not this time.
He leans in to kiss her--
EXT. BOATHOUSE PATIO -- DAY
A horrified look from Richardson--
INT. BAR AREA -- DAY
David kisses Elise on the cheek. But he lingers...
Then pulls. away without going further...
DAVID
I'll see you in two hours.
2/12/09 58.
EXT. BOATHOUSE PATIO -- DAY
Richardson and his colleagues all breathe a large sigh of
relief.. .as they watch David leave.
MCCRADY
We're okay...
RICHARDSON
That was way too close. What the
hell is going on with this case?
INT. TOWN CAR -- DAY
David and Charlie ride in the back. Charlie looks at David.
DAVID
What?
CHARLIE
I've just never seen you like that.
David can't possibly explain.
CHARLIE
"I'm going to-postpone my
announcement to have brunch with a
woman?" Postpone any speech. I
know she made an impression on you
but this is ...
Charlie just shakes his head, unable to comprehend. A beat.
CHARLIE
"What is it about her?
DAVID
(BEAT)
I don't know...
EXT. RSR FINANCIAL BUILDING -- DAY
David pulls up outside. Hundreds of his supporters and the
press are waiting for him. He gets out of the car to cheers.
INT. BUILDING ACROSS THE STREET FROM RSR FINANCIAL -- DAY
Richardson stands with McCrady on the upper level of a two-
story lobby looking out at David arriving for his speech.
2/12/09 59.
INT. ELISE'S APARTMENT -- DAY
Elise changes into her dance gear. Big smile on her face.
She spots something on her bookshelf (we can't see what) and
her smile fades. She takes it and puts it in a drawer.
Her phone vibrates. She has a text message: "Power back on
at MMB. Rehearsal at noon."
INT. BUILDING ACROSS THE STREET FROM RSR FINANCIAL -- DAY
McCrady hangs up a silver cell phone and nods at Richardson:
"it's done." Just then Richardson's phone buzzes. The
caller ID says: "Mr. Donaldson."
RICHARDSON
Richardson. Yes, sir. Believe me,
it was a surprise to me too. But
I think we have it under control.
INT. DANCE STUDIO -- DAY
Elise and her friend, LAUREN, 20s, stretch between routines.
An unexpected smile spreads across Elise's face.
LAUREN
Oh, you're clone. You're gone...
MINUTES LATER -- DAY
A half-dozen news organizations, film the speech.
DAVID
.I'm here today to honor that,
and to announce my intention to run
for the United States Senate...
INT. DANCE STUDIO -- DAY
LAUREN
Just tell me if he disappears one
more time you'll never take his
call again.
ELISE
Don't worry. That's definite.
2/12/09 60.
EXT. RSR FINANCIAL BUILDING -- DAY
The audience applauds energetically. David nods "thank you"
and steps away from the lectern they set up. He shakes two
or three people's hands but then heads inside the building.
INT. LOBBY OF RSR FINANCIAL -- DAY
David huddles inside with Charlie. Reporters outside are in
front of their cameras filing their stories amidst the
lingering crowd.
CHARLIE
Good Morning America at 7am
tomorrow, then you have the bankers
group... David, are you listening?
David's staring out the window. The sunlight has caught the
building across the street just right to illuminate
Richardson and McCrady on the second floor.
INT. BUILDING ACROSS THE STREET -- DAY
RICHARDSON (INTO PHONE)
I ' 11-keep you = posted, sir.
Richardson hangs up the phone and turns .t look out at David.
As he does he real zes David can see him.
RICHARDSON
D` emit !
Richardson-steps back out of the sunlight.
MCC- .DY
What?
RICHARDSON
Get out of the sunlight.
McCrady, notices David looking, jumps back out of the light.
RICHARDSON
(FUMING)
I cannot get a break on this case.
INT. LOBBY OF RSR FINANCIAL -- DAY
Charlie is trying to understand what David's staring at.
2/12/09 61.
DAVID
I have to see Elise now.
CHARLIE
After you go back out there and
talk to the New York channels--
DAVID
Tomorrow. After GMA.
He heads for the door. Charlie follows.
CHARLIE
No, we need this on the nightly--
(catching up to David and
STOPPING HIM)
David...
Charlie looks at him for a moment, searching for the right
words to say to a friend...
CHARLIE
Every time we get close.. .you do
something to derail it.
A beat. There's a truth to that. David knows it. But--
DAVID
This is different. Trust me, it's
different.
David leaves.
EXT.. WESTBROADWAY AND MURRAY ST -- DAY
David looks at thepiece of..paper. An.address on West
Broadway for "Nyman Studios " He's standing at the locked
front door. No one inside. Richardson is on to him.
The surprise on his face turns to anger.. .then resolve.
He dials Elise's number on his cell. Gets voicemail.
DAVID
Elise ...I doubt you'll ever get
this message but--
JUMP CUT
David dials 411.
DAVID
Can I have the number for the
Manhattan Modern Ballet...
2/12/09 62.
He looks down to see his phone has zero bars...
INT. FURNITURE STORE -- DAY
David goes to the saleswoman.
EXT. FURNITURE STORE -- DAY
Through the window we see he saleswoman dial a number ... then
look at the phone and shrug. It's dead. She and David go
to her computer. She looks at it, puzzled. It's dead too.
PULL BACK to REVEAL Richardson and McCrady.
MCCRADY
He's going to go next door:.
Just then David exits the furniture store and goes next door
to a clothing store--
MCCRADY
You can't keep.-thephones and
internet down on the whole block,
for too much. longer without running
into ripple problems...
INT. REAL ESTATE OFFICE -- DAY
David enters :.and goes to an agent.
INT. REALTOR'S DESK -- DAY.
Thagent Googles "Manhattan:Modern Ballet." Nothing shows
RtAL ESTATE AGENT
Could itbe called something else?
DAVID
Do you have a phone book?
JUMP CUT
David gets to the phone book page that ends with "Manhattan
Mobile Phone Company." The next page is torn out. David
slams his fist down.
2/12/09 63.
EXT. REAL ESTATE OFFICE -- DAY
David exits the office to find Richardson on the sidewalk.
With McCrady nearby.
RICHARDSON
There is an entire world of women
out there. I thought I made it
clear this one was off limits.
David takes off walking.
DAVID
I must have forgotten. It's been a
while.
RICHARDSON
Doesn't change the fact.
David looks around, trying to figure out his next move.
DAVID
Why are you so.determined to keep
us apart?
RICHARDSON
You know: why.
DAVID
The Plan? If there is a Pi ri you
misread it.
RICHARDSON
There's no misreading what the Plan
says about you and Elise. It's
unequivocal.
DAVID
Then your Plan's wrong.
RICHARDSON
Do you realize who wrote this Plan?
DAVID
I don't care.
Richardson grabs him and pushes him against a brick wall.
RICHARDSON
Well you should. You need to learn
a little more respect.
David shoves him off. Looks like he might take a swing at
Richardson. Then his eye catches the complex diagram that
McCrady is looking at in his Planbook.
2/12/09 64.
DAVID
Why are you keeping us apart?
RICHARDSON
Because the Plan calls for it.
BECAUSE--
DAVID
(FLARING)
You put us together three times--
RICHARDSON
That was chance. That wasn't us.
DAVID
Three times? Bullshit! If I'm not
supposed to be with her then why do
I feel like this?
RICHARDSON
It doesn't matter what you feel.
It matters what's in black and
white.
David's ready to explode: at him when he sees something in
Richardson's eyes. David stops.. .then his whole expression
changes...
DAVID
You don't know, do you? You don't
know why they're keeping us
apart...
RICHARDSON
(COVERING)
'It's not something your mind could
:comprehend.
DAVID
You're in a nice suit but the
reality is you're just a minion
aren't you?
David pushes past Richardson and walks into a busy
restaurant. McCrady quickly consults his Planbook.
MCCRADY
He's deciding how to--
(REALIZING)
Uh..oh--
INT. UPSCALE RESTAURANT -- DAY
David strides in and goes right to a chair. Stands on it.
2/12/09 65.
DAVID
(LOUD)
Excuse me ladies and gentleman--
(as people turn and look,
RECOGNIZE HIM)
I'm sorry to disturb your lunch. I
have a bit of an emergency. Is
there anybody in this room who's
ever seen a performance of the
Manhattan Modern Ballet?
EXT. UPSCALE RESTAURANT -- DAY
From outside, Richardson and McCrady watch.
RICHARDSON
Son of a bitch.
MCCRADY
He's smart. He's very smart.
David exits the restaurant from another door. He hurries
toward West Broadway.
EXT. WEST BROADWAY -- DAY
Not a taxi in sight. David looks for one in vain. Suddenly
Richardson emerges from a storefront and, goes to David.
RICHARDSON
Maybe you should try the subway.
David holds him in a steely gaze.
DAVID'
Don't all those cab drivers you're
diverting have Plans too? What
about all the other people looking
for cabs in this part of the city
right n6t? What about their Plans?
The ripples must be endless...
Richardson is taken aback that David has figuredthis out.
DAVID
I don't care what you put in my
way, I'm not going to give up.
David walks off, leaving Richardson standing there.
2/12/09 66.
MINUTES LATER -- DAY
Richardson and McCrady watch David looking for a taxi at a
very busy intersection.
MCCRADY
You've got two more minutes keeping
taxis off West Broadway before--
RICHARDSON
(FRUSTRATED)
I need something that's going to
keep him in place longer--
EXT. LEONARD ST -- DAY
On foot, David heads West towards Hudson St. Several taxis
pass with their roof lights off;. Suddenly, down the street,
he sees one with his roof light on. He runs for. it when--
CRASH -- twenty feet in front of him two cars collide. Metal
crunches and glass breaks. This is no fender bender--
DAVID
Jesus:.,
(looks for Richardson)
Is this how far you people will
go?!
He rushes toward the accident--
EXT. SITE OF ACCIDENT -- DAY
ARE
An hour later. Four police cars and an ambulance. They
treating one of the accident"s victims for minor scrapes
]avid is getting intervie,ved by a police officer.
POLICE OFFICER
Unfortunately you're the only
witness, Congressman.
DAVID
How much longer?
POLICE OFFICER
A few more minutes. I'm sorry. I
know you have to meet somebody.
DAVID
I didn't say I had to meet anyone.
POLICE OFFICER
Well ...I just assumed--
2/12/09 67.
EXT. ROOFTOP -- DAY
Richardson is watching David get interviewed--
RICHARDSON
Amateur! That's an amateur's
mistake!
BACK TO SCENE -- EXT. SITE OF ACCIDENT -- DAY
DAVID
You're not a real cop, are you?
You're one of them. Somebody could
have been killed in that crash!
Doesn't that make you--
"POLICE OFFICER"
Sir, calm down.
But David's already walking away.
DAVID
Sergeant!
He goes to the highest ranking guy on the. scene.
DAVID
I know you heed a statement from
me, but do I have to stay here to
give it to you or--
SERGEANT
No, sir, we know ow to get in
touch with you.
DAVS,D
Thank you. '.Is this man under your
command?
David turns to see that the "Police Officer" who was
interviewing him is gone.
EXT. HUDSON ST -- DAY
David gets into a taxi.
2/12/09 68.
INT. TAXI -- DAY
DAVID
17th Street between 10th and 11th.
And sir, you might have to break
some traffic laws getting there.
So take this.
He hands him a $100 bill. A light that just turned green
GOES YELLOW--
DAVID
Go through that--
The driver blows through it as it turns re
ACROSS THE STREET
Richardson and McCrady are in front of a hip cafe arguing.
RICHARDSON
I want more red liUhtss--
MCCRADY
(,consulting Planbook)
There are too many, ripples in the
system.. Cumm.lative effects are.
coming into play.
RICHARDSON
A traffic jam.
MCC
That's even w r. We have to get
more localize.
Richardson looks at the taxi disappearing up Hudson.
RICHARDSON
He's getting out of range!
INT. HIP CAFE HALLWAY / KITCHEN -- DAY
Richardson and McCrady rush through the cafe and into the
KITCHEN, surprising the CHEF so completely that he can't even
manage a word before they throw open the insulated door to
the COLD PANTRY and run inside.
CHEF
Hey!
2/12/09 69.
The chef charges over and pulls open the door to find --
refrigerated food. And nothing else. Richardson and McCrady
have disappeared. The chef blinks.
INT. ART GALLERY -- DAY -- CONTINUOUS ACTION
Richardson and McCrady rush from a storage room to the
showroom of a fancy art gallery. Patrons stare as they rush
straight out the front door and onto Gansevoort Street.
EXT. 8TH AVENUE -- DAY
David's taxi is hitting all the lights iiow.
EXT. GANSEVOORT ST -- DAY
Richardson and McCrady move swiftly down the block.
Richardson heads up the stairs of a brownstone. Opens the
door to see a street in Chinatown. He slams the door shut.
RI.CEARDSON
Wrong one.
(thinks)..
Two doors down. God, I hate
downtown!
EXT. 17TH ST -- DAY
David's taxi heads down 17th from 8th Avenue.
EXT. 17TH ST DAY
Richardson and McCrady step out of the service door of a
l ilding on the corner of 10th Avenue and 17th.
They can see a taxi, pulling up in front of the Manhattan
Modern Ballet buildig down the block. They run towards it.
MCCRADY
(RE: PLANBOOK)
I've got inflection points. All
they have to do is catch sight of
each other this time--
RICHARDSON
What?
2/12/09 70.
EXT. / INT. DANCE STUDIO -- DAY
David opens the door to Elise's dance company, oblivious to
Richardson's pursuit.
INT. DANCE STUDIO LOBBY -- DAY
LAUREN, is nearby as David speaks to the receptionist. MUSIC
comes from a door across the room.
RECEPTIONIST
Is she expecting you?
He nods.
LAUREN
I hope you realize how lucky you
are. I'm the friend. Lauren.
EXT. 17TH ST -- DAY
Richardson dons his fedora as he races toward the studio.
RICHARDSON
Can 'I block the front door?
NCCRADY
He's already through Pit.
RICHARDS6N
The next one!
INT. DANCE STUDIO DAY
Lauren walks David toward the door with the music behind it.
LAUREN
It goes without saying that I'll
kill you if you hurt her.
(BEAT)
And by the way, congratulations on
your announcement.
EXT. 17TH ST -- DAY
Richardson and McCrady down the street.
MCCRADY
(re: diagram, confused)
There are several next ones--
2/12/09 71.
RICHARDSON
(EXASPERATED)
I'm blocking them all--
His hand stretches out (as Harry did early on in film)
MCCRADY
Wait, he's--
INT. LOBBY / DANCE STUDIO -- DAY
MUSIC pours out as David opens the door. A quarter of the
way open, the door stops dead.
EXT. DANCE STUDIO -- DAY
Richardson grabs the front door and pulls. It's sealed shut.
It won't budge.
WHAT THE-
MCCRADY
Hat! Hat!
McCrady is behind him He points. at Richardson's fedora,
which is on the sidewalk. Fell off when he ran. Richardson
sprints to grab it--
INT. LOBBY OF DANCE STUDIO --=DAY
David looks through the narrow space of the open door and
sees Elise dancing. The piece she's practicing fuses the
gra e -ballet with the raw emotion of modern. She's �xl
eattaking.
DAVID
I'm in serious trouble here...
EXT. / INT. DANCE STUDIO -- DAY
Richardson dashes back to the door--
MCCRADY
(CONSULTING FOLIO)
Forget it! He's already there...
Richardson charges into the lobby to see David staring
through the partially open door to the rehearsal room...
2/12/09 72.
RICHARDSON
Dammit !
McCrady's phone buzzes. He pulls it out and looks at the
caller ID.
MCCRADY
(DREAD)
It's Mr. Donaldson.
Richardson pulls the fedora off his head and crushes it in
his hands.
David turns just in time to see this. At the same time
David realizes the door is no longer "stuck."
RICHARDSON
Celebrate while you can. They'll
just kick it upstairs now You
have no idea what you're up
against.
David just looks at him. He'll deal with that when it
comes...
MCCRADY
Sir?
Richardson grabs the phone and answers --.going outside to
talk.
David turns back to the dance studio. He opens the door to
get an unobstructed view of Elisee,. She spins, arches, dips.
David can't take his eyes off hey`
When the artistic director pauses the routine to give notes,
Elise gives David a. little wave. Then they start again.
David looks back out at Richardson on the street, but he's
gone..
TNT. ADJUSTMENT BUREAU HEADQUARTERS -- DUSK
A defeated Richardson trudges up a long flight of stairs.
INT. HALLWAY -- DUSK
Richardson walks down a hallway with an impossibly shiny
black floor and enters a doorway marked "Mr. Donaldson."
INT. MR. DONALDSON'S OUTER OFFICE -- DUSK
Two secretaries look up at him.
2/12/09 73.
SECRETARY #1
He's waiting for you.
INT. MR. DONALDSON'S OFFICE -- DUSK
Much larger than Richardson's office and on a higher floor.
MR. DONALDSON, 45, sits at his desk reading a document.
After a moment he signs it at the bottom and looks up,
REVEALING Richardson, who is standing awkwardly in front of
his superior's desk.
Donaldson motions for him to sit down.
INT. DANCE STUDIO -- DUSK
now.
David talks to Elise, who's showered and dressed
DAVID
You're incredible. How did you get
that good?
ELISE
It's all I do. It's the only thing
I ever wante& to be. And I started
young.
AVID
How young?
ELISE
By third grade I was going every
day after school.
DAVID
That's a lot of motivation for an
eight year-old.
She waves to the other dancers and receptionist in the lobby
and they exit on to--
EXT. 17TH ST -- DUSK -- CONTINUOUS
ELISE
We moved around a lot then. Dance
was kind of my stability.
DAVID
Sure... it was the only constant in
your life, aside from your
parents...
2/12/09 74.
ELISE
Really more the dance.
She doesn't make a big deal of it but we get it.
DAVID
Oh...
David's phone buzzes. Caller ID shows it's Charlie.
ELISE
I take it this is an unauthorized
social break.
DAVID
I'm a candidate for the US-:Serrate.
I don't have to punch out''when I
leave.
David sends the call to voice.mai
ELISE
Charlie?
DAVID
Couple houtrs while I'm out of touch
won't:ill him.
ELISE
Couple hour, huh? Well, we better
make them,,-,--'count.
EXT. EAST VILLAGE -- DUSK
A taxi pulls tp°a stop.- bavid 'leans over Elise to look out
thew n4ow as he waits fot change from the driver.
What's this-P�-
ELISE
What's it look like?
We see the reflection of a dance club in the window.
DAVID
I'm a terrible dancer. I don't
dance.
Elise climbs out. David follows.
ELISE
You don't now. By the end of the
night, you will.
2/12/09 75.
They walk towards "Plan B", a hip joint with zebra wallpaper
and fake palm trees. Salsa music pulses from inside.
DAVID
You're going to teach me to dance
in one night? Not happening.
ELISE
Are you doubting me?
DAVID
Yes.
She spins and shoves him against the wall. Forcefully kisses
him. Then pulls free.
ELISE
Don't.
She turns and walks into the club. David stands there.
DAVID
Holy shit...
INT. DONALDSON'S OFFICE -- DUSK
Richardson sits across from Donaldson.
DONALDSON
The disciplinary rules requ-te me
to. demote you in rank and re-assign
yot to a less desirable post.
Donaldson ±ingers the document he just signed.
DONALDSON
I'm going-'to interpret those rules
loosely. I'm going to go easy on
you because,I feel the deck was
stacked ,against you.
In a WIDER shot we see that both Burdensky and Donaldson's
AIDE sit nearby.
DONALDSON
I'm talking about the intense
chemistry between them, the
constant inflection points, and the
kicker of course: you pulling them
apart only to have "chance" put
them back together. Twice. That
seemed impossible. So I asked
Burdensky to do some research this
morning, which he just completed.
2/12/09 76.
BURDENSKY
It seems like these two were meant
to be together because they were
meant to be together...
RICHARDSON
What?!
BURDENSKY
Were, in the past, in an earlier
version of the plan. Actually a
dozen earlier versions.
(BEAT)
God knows how many artifacts
pushing them together are left in
the current plan.
INT. PLAN B -- DUSK
A live salsa band has just started. Elise demonstrates Mambo
for David. Couldn't be farther from the style of dance he
just saw her rehearse. But she's amazing at it.
DAVID
Serious, serious.trouble...
MOMENTS LATER
Salt, Patron, lime .'-.and two glasses dotin on the bar.
ELISE
Ready?
Nope.
ELISE
Perfect.
She yanks him onto the dance floor.
INT. DONALDSON'S OFFICE -- DUSK
Donaldson, Richardson, Burdensky.
RICHARDSON
Why was it changed?
2/12/09 77.
DONALDSON
Something important. They went
from "meant to be together" to "red-
letter denied relationship" in a
single Plan revision a few years
back. As for why, specifically,
that's apparently above even my pay
grade...
INT. PLAN B -- NIGHT
David and Elise dance. He sucks, but doesn't care. A couple
of people in the club recognize him and give him thumbs up...
INT. ADJUSTMENT BUREAU HEADQUARTERS --'NIGHT
Burdensky and a dejected Richardson walk down the hall.
RICHARDSON
You spend your whole career hoping
that one day you'll get a "red-
letter" case. Something you can
really make a name for yourself
with. Finally I get one... and
it's. .booby-trapped...
CLOSE ON THE BAR'
Another set of shot glasses hit the bar. UP to REVEAL David
and Elise..
ELISE
Okay, we've al-ready used up an
hour, we >etter hurry.
She pills him toward the exit.
DAVID
Hurry where?
INT. MUSTANG CLUB -- NIGHT
Elise does a sexy, street variation on a two-step to an up-
tempo pop-country ballad. David tries to follow along,
mostly by bobbing his head with the beat. Sort of with the
beat.
ELISE
You've got to let yourself feel the
music.
2/12/09 78.
DAVID
I've been told I have trouble
feeling.
ELISE
Whoever said that hasn't seen you
speak.
DAVID
That's different. I mean--
ELISE
What?
DAVID
In private. With women AlthOugh
that might be changing. Is there
any style of dance you can:'t do?
EXT. HUNTER'S POINT, QUEENS -- NIGHT
David and Elise walk from the waterfront to the street.
ELISE
Next stop, the best 80s club in the
city. You ready?
DAVID
To make an ass of myself for the
third time in one night? §4`r, 6'.
ELISE
(POINTS)
Race me to that light. You lose,
you dance, I watch. You win, I
dance, you watch
DAVID'
What are'the rules of the race---
ELISE
No rules.
DAVID
Hmmm, could get ugly...
He looks down an alley as if he's noticed something. When
she looks, he takes off like a bat out of hell--
ELISE
You bastard!
He's got a good lead, so he flips around and runs backwards.
2/12/09 79.
DAVID
Quit complaining and run.
She catches up. He spins and digs it out. He can't dance,
but he sure can run. He pulls away and wins.
DAVID
Yes!!!!
He pumps his arms in a victory dance.
ELISE
(PISSED SMILE)
That was good. That was very good.
DAVID
You said "no rules".
She punches him in the stomach. Hard. He crumples,
completely unprepared for it.
DAVID
(IT HURTS)
Sweet Jesus! Christ on a crutch!
ELISE
(GIGGLING)
You said you had trouble feeling.
DAVID
You're insane.
ELISE
We. need a cab.
He'laughing through the'pain.
DAVID
I'm serious. You're a maniac. You
should come with a warning label.
ELISE
I do. You just can't see it with
my clothes on.
OFF David biting his lip... and PRE-LAPPING the music--
INT/EXT. A WAREHOUSE CLUB, RED HOOK DOCKS, BROOKLYN -- NIGHT
David and Elise walk into the synthesizer prelude to "I Can't
Wait" by Nu Shooz.
2/12/09 80.
DAVID
Doesn't this song make you feel
like you're at your high school
prom?
ELISE
I was six when it came out. So,
not really.
Brutal. David just shakes his head and smiles as, she pulls
him to the dance floor.
MUSIC
Baby...1-I-I can't wait--
STROBE LIGHTS
As the song kicks in and David and Elise start dancing... A
couple of kids next to them notice David and start pointing
and signaling their approval-
The kids who first spotted David have alerted a few others.
More people in the crowd cheer him on.
INT. DONALDSON'S_OFFICE -- NIGHT
Donaldson stares pensively out the , window,: looking down over
the city.
DONALDSON'S AIDE
So we're going operational? This
is exciting. It's been a while.
DONALDS
We r t no ti go p etational No
one ever.mad& to my job by
taking stupit �°ris,s .
DONALDSON'S AIDE
SO WHAT-ARE-=
'DONALDSON
We're going to kick this case
upstairs.. .to someone with the
latitude to clean up this mess
without breaking into a sweat.
We're going to walk this upstairs
to Thompson.
DONALDSON'S AIDE
Thompson? Are we even allowed to
go to him directly? He's a Senior
VP.
2/12/09 81.
DONALDSON
Exec VP.
DONALDSON'S AIDE
Isn't he the one.. .when he was in
the field his nickname was--
DONALDSON
"The Hammer?" Yes. He'll crush
this romance with the flick of his
hand. And he'll thank me for
giving him the opportunity.
STROBE LIGHTS
David and Elise dancing.
MUSIC
Cause I can't wait,. this .is what
I've been waiting for--
People on the dance floor are literally screaming in support.
EXT. RED HOOK -- NIGHT;
David and Elise stand on the pier outside the dance club.
ELISE
You grew up over there?
She indicatesa residential area just behind the docks.
DAVID
(POINTING)
I spent any, entire childhood three
blocks up Carroll Street. We
didn'.t move-` around a lot.
ELISE
What were you like as a. kid?
DAVID
Before sixth grade I spent about
half my time in the principal's
office.
ELISE
You? Really?
DAVID
The only person who spent as much
time down there as me was a girl I
had a huge crush on so I didn't
mind too much.
2/12/09 82.
A smile spreads on Elise's face.
ELISE
(re: the docks)
Did your dad work here?
DAVID
No... My dad filled vending
machines.
ELISE
And you're going to be a
senator...
DAVID
After my brother died my Dad wanted
to get me out of town for a while.
We went to Washington and the day
we arrived he took meto the.
Capitol. We ended up sitting in
the Senate gallery;,all day.
(re: Financial' District
across the river)
We could see that from the end of
my block, but-be never once
encouraged me to go to Wall Street.
His idol was JFK. He thought
business guys were selfish.
ELISE
So...areyou doing all this-:f.or
him?
DAVID
I want to matter. I don't think
that's just forrhim.
Elise,. tucks her head into his shoulder.
ELISE
I don't want tonight to mess
anything..up for you, for the
campaign.
DAVID
Just make sure I make it to Diane
Sawyer on time and I'll be fine.
Elise looks at him for a long beat.
ELISE
You're different... somehow you make
me believe...
DAVID
Believe what?
2/12/09 83.
ELISE
Just... believe, period.
EXT. ELISE'S APARTMENT BUILDING -- NIGHT
PUSH IN on the window of an apartment.
INT. ELISE'S APARTMENT -- NIGHT
David and Elise make love, FOCUS so SHALLOW that even their
faces are not always sharp.
INT. ELISE'S APARTMENT -- NIGHT
David and Elise lie together, spent.
ELISE
(vulnerability we barely
glimpsed before this)
I don't let people in, David. And
I never let them in this quickly.
David pulls her close., He-,can't see her eyes. But we can.
She's struggling with something more...
ELISE
I haven'::t lead a perfect life
DAVID
I. don't want perfect.,.
ELISE. ,
:(emotion,weI9ing)
I'm trying to say .I'm not sure
somebody running. for office can
have, me in their life.
David turns her around so he can see her face, so he knows
for sure she hears this:
DAVID
I haven't stopped thinking about
you since the moment I met you. I
want you in my life--
ELISE
There are skeletons in my closet,
David. The kind that--
DAVID
Listen to me--
2/12/09 84.
ELISE
The kind that people use against--
DAVID
Elise, listen! I don't care.
We'll work it out... I've spent my
whole life wondering why it takes
auditoriums of people to fill the
empty space inside me. Then I met
you...and realized it doesn't.
She looks at him. He means it.
ELISE
You scare me.
DAVID
(after a beat)
That wasn't the effect I was going
for...
She smiles...then laughs out-loud--
SAME -- LATER
David and Eliseirsleep peacefully. REVEAL MR. THOMPSON, late
50s, standing next to the bed in a suit, with a fedora on.
EXT. ELISE'S APARTMENT BUILDING -- NIGHT
Thompson .exits through the frt door. Three aides are
waiting for him.
THO Mft N'S AIDE
What do you aiat to do?
THOM BON
Let it happen again.
7 Thompson's aides seem surprised by the answer.
INT. ELISE'S APARTMENT -- MORNING -- FRIDAY
David wakes to find Elise looking at him.
DAVID
You been up long?
ELISE
No.
2/12/09 85.
DAVID
Did you wake up in. the middle of
the night?
ELISE
Slept straight through.
DAVID
I thought you never sleep through.
ELISE
I don't.
(BEAT)
I told you, you scare me.
He kisses her.
DAVID
I won't hurt you.
They kiss more... and then get swept up by it...
LATER
They lie in bed, post-coital, drained. Blissful. Until the
phone rings. It's 6:17 am. Early for a call.
ELISE
Hello? :Why, are you calling?
(LISTENS)
No...I... . Look, I have to go...
She hangs up. David looks at her.
DAVID
What's wrong..
ELISE
That was my , ex. Adrian.
DAVID
Oh... I didn't-- I guess we hadn't
gotten to that stuff yet...
ELISE
He hasn't called since we broke up.
DAVID
How long?
ELISE
Three months.
DAVID
Was it serious?
2/12/09 86.
An awkward beat. Elise opts for complete honesty.
ELISE
We were engaged.
DAVID
What happened?
Complete honesty.
ELISE
He left...
David can feel this in the pit of his stomach now.
DAVID
What an idiot.
ELISE
You don't know me that well yet.
You're still in the wishful
thinking phase.
(BEAT)
Truth is I should.;-Have left him a
long time before he left me. It
was a ,ain' l relationship. It
hurt tb be i-h it every day.
DAVID
But it was:h'ard to leave.
ELISE
H& knew what buttons., tb push.
DAVID `'
that him?
DtTid paints at pica re of Elise with an attractive man, arms
wound each other. lis'e looks surprised, shocked even, to
tY%'e photo on her b okcase. She nods.
ELISE
David... . It's not... It's over
between us. Completely over...I
want to be clear about that. I'm
pretty sure yesterday was the most
perfect day I've ever had.
DAVID
Me too.
David looks at the clock.
DAVID
I have this Diane Sawyer interview.
2/12/09 87.
It comes out awkward.
ELISE
I know.
So did that. They look at each other. Then David reaches
for his clothes--
ELISE
Can I come? My dress rehearsal's
not until nine.
David's face lights up.
ELISE
I'm afraid if I let you out of my
sight. . .you know...I might never
see you again...
A smile creeps across his face...
INT. GOOD MORNING AMERICA STUDIO -- DAY
Diane Sawyer interviewsDavid.
DIANE SAWYER
You've overcome enormous obstacles
in your life and risen to-such
heights so quickly... People are
fascinated by you.
DAVID
Only people who haven't spent
enough time with ' me to know the
'truth.
INT. GREEN ROOM .-- DAY-
Elise watches the:nterview on a big monitor. A soundproof
window allows her tb see directly into the studio.
DIANE SAWYER
As a speaker and politician you've
been repeatedly compared to JFK.
DAVID
By my campaign manager mostly.
DIANE SAWYER (ON TV)
(GRINS)
You're the youngest person ever
elected to Congress. Which you
celebrated by getting in a bar
fight on inauguration night.
2/12/09 88.
DAVID
With a childhood friend. So I
don't think that counts. And,
truthfully, that's how we celebrate
things we're I'm from.
INT. STUDIO -- DAY
DIANE SAWYER
(grinning bigger now)
Let's just say you have a habit of
getting into the press for...other
uniquely human things as well--
DAVID
that a euphemism, Diane?
She laughs.
DIANE SAWYER
Most politicians...
INT. GREEN ROOM -- DAY
DIANE SAWYER (ON TV)
.run aw ay from the embarrassing
things they've done Yoti,crack,
jokes about them. You embrace,
them. Especially since your.;,
concession speech thr
ee years ago
which started as a `sstd-up routine
and brought tears to my,eyes by the
.,end when you talked about losing
Your mother to Lancer and then your
older brother,,Pdt, to an overdose,
both whei.you:were only ten years
old.
:,INT. STUDIO -- DAY
DAVID
I think Americans are tired of
electing automatons whose every
word and move is stage-managed so
as not to offend anyone. I think
they want somebody who doesn't hide
who he is or what he really
believes. I guess I'm hoping they
want to elect someone who's
actually like them.
(LAUGHS)
But I could be very wrong about
that.
2/12/09 89.
DIANE SAWYER
And if you are?
DAVID
You'd be surprised at the number of
underwear companies that have
approached me to be their
spokesman.
Diane bursts out laughing. The floor techs are laughing too.
INT. GREEN ROOM -- DAY
And so is Elise. She's completely smitten. ON THE TV:
Diane turns to the camera, trying to stop laughing.
DIANE SAWYER (ON TV)
Unfortunately, we're out of time.
David Norris, announced his
candidacy for US Senate yesterday.
Thanks for stopping by.
It goes to commercial.
INT. STUDIO -- DAY
David stays to speak to Diane for a moment-as we MOVE to
find a stagehand'who is shifting the position of one of the
big video cameras sed to tape the show. We catch a glimpse
of his face and see it's Thompson's aide.
INT<. Gk 2N- R0014 -- DAY
The- "stagehand" moves thecamera so it's blocking the window
giving Elise line-of sight to David and Diane.
Just. then a man with an-.ABC ID enters the room to speak to
Elise. (We only see his lower half.)
ABC ID
Ma'am, Congressman Norris asked me
to give you a message.
We MOVE UP from his ID to REVEAL that the man is another one
of Thompson's aides.
THOMPSON AIDE #2 (ABC ID)
He was just called into a meeting
that he says is urgent. He says
he'll call you later and see you at
your show tonight.
2/12/09 90.
INT. STUDIO -- DAY
David and Diane say goodbye to each other. He salutes the
floor staff, who actually applaud. They love him.
DIANE SAWYER
(to David, re: earpiece)
They're saying your girlfriend --
can we call her that? Is this one
going to last more than a month?
DAVID
You can call her that. And yes.
Definitely.
David is looking at a text from Elise as he speaks. It says:
"I want to go to bed with you."
DIANE SAWYER
They're saying she's getting a tour
of the control room in studio C.
Can somebody take Congressman
Norris to studio C?
Thompson's aide signals David to follow him. David does.
They walk through a couple thick doors into the corridor.
INT. CORRIDOR -- DAY
Thompson's aide leads him through a heavy door marked "Studio
C" into a, vestibule and then through another heavy door into--
INT. '':STUDIO C" -- DAY
A partially-built set in the center of an empty stage. Elise
isn't here. Thompson's aide feigns surprise.
T HOMPSON'S AIDE #2
They said she was here... . Hang on.
David pulls his blackberry out sees there is no signal. He
looks up to see Thompson's aide exit through the stage door.
It suddenly clicks for David, and he rushes to the door.
Yanks on it. It's locked.
DAVID
God dammit!
2/12/09 91.
INT. CORRIDOR -- DAY
Through the thick window of the outer door we can see David
pounding on the window of the inner door.
But we can't hear a sound.
PULL BACK to REVEAL Thompson's aide removing the"Studio C"
placard. Beneath is the true designation: "Studio D."
PAN to REVEAL three Thompson aides removing a false wall that
was hiding a bunch of construction equipment and setting up
"No Entry -- Construction Zone" signs.
QUICK CUTS -- FRANTIC HANDHELD
1) David across the room tugs on another exit. It's locked.
2) David pulls a fire alarm. Nothing.
3) David slams on the door with a two-by-four.
LONGER CUTS -- COMPOSED DOLLY SHOTS
1) Diane Sawyet talks about the issue of the day as we pull
back and show her. co-hosts on the couch.
2) Elise arrives in the lobby of the Manhattan Modern Ballet
for her company's dress rehearsal.
INT STUDIO D (EARLIER ".STUDIO'.C") -- DAY
David sits. His tie..loose now. His jacket off. He glances
at his blackberry. the time reads 4:13 pm. He yells in
frustration.
VOICE
If people could hear you out there
it wouldn't be a very good
soundstage, would it?
David turns to see Thompson, in the now familiar dark suit
and fedora.
THOMPSON
My name's Thompson.
DAVID
What happened to Free Will?
2/12/09 92.
THOMPSON
Who said anything about Free Will?
David stares back at him.
THOMPSON
You know, we actually tried Free
Will before. After taking you from
hunting and gathering to the height
of the Roman Empire we stepped back
to see how you'd do on your own.
You gave us the Dark Ages -- for
five centuries -- until finally we:
decided we should come back in.
(BEAT)
The Chairman thought maybe we just
needed to do a better job of
teaching you how to ride the bike
before we took the training wheels
off again. So we gave you the
Renaissance, the Enlightenment, the
Scientific Revoluton.:�we spent
six hundred years tempering your
passions with reason.,then in 1910
we stepped ba �c again. Within
fifty years�you brought us World
War I, the lepre'ssion, Fascism, the
Holocaust ani capped it off by
bringingtheentire planet to the
brink of destruction in the Cuban
Missile Crisis. A decisiOfl was
taken atthat point that we' should
stop in again before ±ou did
_soittething even we Cduldn't fix.
(BEAT)
You on't have_ Free Will, David,
you have the appearance of Free
=Will.
DAVID
You expect me.'to believe that?
THOMPSON
(BORED SHRUG)
You have Free Will over what tie
you pick in the morning, or what
beverage to order at lunch. But
humanity just isn't mature enough
to have control over the important
things.
DAVID
If you're in control of the
important things then you're
incompetent cause when I look
around at the world these days it
seems pretty fucked.
2/12/09 93.
THOMPSON
It's still here. If we'd left
things in your hands, it wouldn't
be.
DAVID
Why are you trying to keep me from
Elise? Or are you just another
lackey who doesn't really know?
Thompson studies David for a long beat. Then decides it's
time to level with him.
THOMPSON
We put Elise in front of you three
years ago to inspire you to, .g `ve
that speech -- the speech that
pulled you back from the brink of
oblivion and, overnight, itiade.you
the front runner for this coming
election. The intervention on
Charlie was to prevent the hedge
fund you had just become vice
chairman of from going belly up in
the sub-prime=crisis, bringing two
major banks down. with it, arid in ,
the process making you unelectable.
David blinks. Tries to, process this...
: .bAVID
Are you s aying you warit me to win
this election?
THOMP50N,
This 'one and six mom, after it.
And t'm not just talking about
`elections ' for Senate.
lowly dawns on David what Thompson is saying...
THOMPSON
You can matter, David. Really
matter. What you wanted your whole
life. What your father wanted when
he took you to the Senate gallery
when you were ten. What your
brother wanted when he made you
promise, the day before he
overdosed, that you wouldn't be
like him.
DAVID
Stop. Don't tell me this.
2/12/09 94.
THOMPSON
Why do you think you have that
yearning to be in front of
people. . .and that terrible
emptiness when you're not?
DAVID
Stop.
THOMPSON
David you are meant to change the
world. But that doesn't happen if
you stay with her.
DAVID
Why does it matter to you who I
love? Some skeleton of hers `is so
bad I won't get elected? I don't
believe that!
THOMPSON
It's not about her-:..it's about
you, what being with her does to
YOU -
DAVID-
What does that mean?! I'm better
with her than I ever was alone.,
You just said it. That speech--
1HOMPSON
Yes. The speech... Put it this
wad: in small doses, Elise was the
cure. But in large doses... When
you're enthralledwith someone she
' rubs off on you:.
DA ID
Stop. Just: stop.
THOMPSON
David, the president can't be a
LOOSE CANNON--
DAVID
Stop talking. It's not working.
(BEAT)
I'm a politician. I spend my life
with professional liars. With
people who decide what they want
and then figure out the story they
have to tell to get it.
2/12/09 95.
THOMPSON
Why do you refuse to accept what
should be completely obvious by
now? You've seen what we can do.
You can't doubt we are who we say
we are.
DAVID
I don't care who you are. I don't
care who's orders you're following.
THOMPSON
You can't outrun your fate, David.
DAVID
Who said anything about running.
THOMPSON
Maybe we should just reset you.
DAVID
We both know if you could have we
wouldn't be standing here having
this conversation...
Thompson stares back. He's never dealt with such
temerity...
THOMPSON
You fight us, we will take
everything from you.
DAVID
You already did once.' And I'm
still standing...
(BEAT)
always knew you were out there.
We all do. It's the one thing we
have in common. Whether we call
it God or the Devil or Fate we all
know you're out there, fucking with
us...
THOMPSON
You'd still be living in caves if
it weren't for us.
DAVID
(WELLING EMOTION)
You crush our dreams because they
don't fit with your Plan. Your
Plan that has no space for me
falling in love but somehow has
room for Tsunamis and cyclones and
Darfur and AIDS. Fuck your plan.
I reject it. I reject you.
(MORE)
2/12/09 96.
DAVID (CONT'D)
The only thing we have in this
fucked up world are the choices we
make. And there's nothing you can
do to me that will get me sign them
away.
(BEAT)
Kill me. Or erase me. Or let me
go.
Thompson stares back at him, dumbfounded. A long silence,
THEN:
THOMPSON
It's 6:20. If you leave now,
you'll make Elise's show.
David's eyebrows go up. Huh? Thompson is letting him go?
EXT. GOOD MORNING AMERICA STUDIOS: .--..DUSK
David jumps into a taxi.
INT. TAXI -- DUSK
David sits in the back seat, taking everything in, turning it
over and over in his head... .'
INT. THEATER -- ELISE'S DANCE COMPAMY
Elise and twb of her colleagues "finish a dance piece. The
audience explodes into applause.
The house lights come up half way as the stage is readied for
the next piece,. David is startled to see that the man in the
aisle seat next to-him is Thompson.
T-4 MPSON
She's a beautiful dancer.
DAVID
What do you want?
THOMPSON
There's one more piece to all this
I haven't told you. I guess I
didn't have the heart. If you stay
with her, it doesn't just kill your
dreams, it kills hers.
DAVID
What?
2/12/09 97.
THOMPSON
Elise is about to become one of the
most famous dancers in the
country... and eventually one of the
greatest choreographers in the
world.
(BEAT)
If she stays with you... she ends up
teaching dance to eight year-olds.
DAVID
I don't believe you. I thought we
already established that.
A beat.
THOMPSON
When you look back at all this,
David, just remember, we tried to
reason with you.
Thompson gets up and leaves...just as the lights go down for
the next dance.
David watches him go...then turns around just in time to
catch Elise's entrance into the dance -- a graceful jump.
When she lands, her ankle cracks, and she falls. The
audience gasps.
INSERT: a floor board tilted oddly. It goes back to normal.
FIND THOMPSON: His hand slightly outstretched.
THE AUDIENCE instantly knows something is wrong. David jumps
up and runs down to the.: stage door. A dancer comes from off
stage and helps Elise off the floor as the show continues.
INT BACK STAGE -- NIGHT
.A company staff member is examining Elise's ankle while the
show goes on.
David arrives. Sees Elise's face. Tears streaming down her
cheeks. Seeing David...
ELISE
If it's broken...my career's over.
DAVID
Don't say that. Don't.
2/12/09 98.
INT. TAXI -- NIGHT
The taxi rushes to the hospital. David holds her. Silently
trying to comfort her. But he can't look at her.
EXT. HOSPITAL -- NIGHT
David carries her from the taxi into the emergency room...
INT. HOSPITAL WAITING ROOM -- NIGHT
David sits in a black chair, alone, staring at the floor.
INT. HOSPITAL EXAM ROOM -- NIGHT
Elise lies on an exam table as -a tech x-rays her ankle.
INT. HOSPITAL WAITING ROOM NIGHT
David is still staring at the floor. He looks-up to see
Thompson.
THOMPSON
I always hear people saying "you
yourself for what can't bla M4'
hpens fih other people," but in
this case, really, you can.
David stands up...
. and punnhesThompson in `the face.
h T ompson is knocked onto his ass.
People in the waiting room stare at David. Almost everyone
here knows his fade. He looks at them, unable to summon his
usual wit.
THOMPSON
This is what you do, David.
(GETTING UP)
This is what you did the first
night you got elected. This is
what you did at that college
reunion. We give you opportunities
people would kill for and you
squander them with impulse. It
doesn't take a genius to see Elise
isn't exactly going to help you
with that.
(MORE)
2/12/09 99.
THOMPSON (CONT'D)
You want to know why you can't have
her? Look in the mirror.
Thompson leaves.
INT. HOSPITAL EXAM ROOM -- NIGHT
More X-rays of Elise's ankle. An orthopedic surgeon enters
and examines the images on the computer screen.
Elise, her face, still red and tear stained tries to read the
SURGEON'S FACE
ELISE
How bad is it?
The surgeon turns to her with a classic doctor's detachment:
SURGEON
ELISE--
EXT. HOSPITAL COURTYARD -- NIGHT
David sits alone on a bench. Thompson arrives.
THOMPSON
You're an educated man. You've
read the Greek tragedies`. In the
end Fate always wins...
David looks back at him in steely silence.
THOMPSON
It a sprain.
DAVID
Really?
THOMPSON
This time.
(BEAT')
Do you really want to watch her
lose the only thing she's ever
cared about? You just got the
tiniest taste of what that looks
like...
The thought makes David ill.
THOMPSON
Walk away. If you truly love her,
walk away. She'll hate you for
it...but that way she'll be able to
let you go quickly. You can give
her that at least.
2/12/09 100.
INT. HOSPITAL CORRIDOR -- NIGHT
David stands alone. Stares at the floor. Finally
confronting the fact that he can't beat the forces arrayed
against him. Finally ready to make the choice being forced
upon him...
INT. HOSPITAL EXAM ROOM -- DAY
David enters to find Elise with a huge smile on her face.
ELISE
It's a sprain! It's just a sprain!
David gives her a tight hug.
ELISE
It's going to be okay. The doctor
said it would heal in' a
month. . .maybe even less.
DAVID
You're going to: be fine.
ELISE
They want to do an MRI...to assess
the ligament. damage but.: -.
They break from them hug.
DAVID
It's; going to be fine. And as
incredible of a dancer as you
already are, yot're just going to
get better and better...
DavidV;embraces her again, so she won't see the tears welling
in his eyes.
DAVID
I...I have to go make a few calls.
His voice cracks. Elise notices.
ELISE
You okay?
DAVID
I'm just...happy for you...
INT. HOSPITAL CORRIDOR -- NIGHT
David walks down a long corridor away from Elise's room.
2/12/09 101.
EXT. HOSPITAL -- NIGHT
David exits the building. Thompson is waiting by the door.
THOMPSON
You're doing the right thing,
David. Not just for her, and the
world. . .but for yourself.
David looks at him for a beat, then turns and walks away into
the night.
FADE TO BLACK.
INT. DINER -- UPSTATE NEW YORK -- MORNING
CLOSE on a TV screen, then PULL BACK to REVEAL the diner.
LOCAL NEWS REPORTER (ON TV):
David Norris, who'has spent the
last two days campaigning in the
tri-lakes area, got some welcome
news yesterday when the latest New
York Times poll gave him a sixteen
point lead over his opponent less
than.a month before election dg t.
FIND Charlie. He sits` at a booth eating breakfast as he
watches TV behind the counter.
Charlie glan ces out the window ad we FIND David standing on
the back of apickup truck speaking to eighty people in the
parking lot. `:It's Autumn now.
So etthing about his{,speaking style has changed. He's not as
ima ea or passion te.:Hedoesn't seem to enjoy it as much
is he °did three years ago.
Just then a campaign aide arrives at Charlie's table.
CHARLIE
How's he doing?
CAMPAIGN AIDE
They still love him... Papers?
The aide hands Charlie a stack of papers: three local papers,
the Times, the Journal, and the three big NYC tabloids.
CHARLIE
Thanks.
2/12/09 102.
The aide leaves. Charlie glances at the front page of the
Times, then reaches for the New York / Region section. As he
does the front page of the Arts section catches his eye.
There is a big photo of Elise, doing an "airborne split,"
accompanying an article titled "Dance Takes a Quantum Leap."
Charlie glances through the window at David who is climbing
down from the pickup truck to applause from his parking lot
audience.
EXT. PARKING LOT -- MORNING
David shakes hands with people in the aftermath of his
speech. They really do love him.
INT. DINER, UPSTATE NEW YORK MORNING
Charlie reads the New York Times. article. It begins:
"Once in a generation a piece is created of
such astounding originality and virtuosity
that it single-handedly reshapes. the. world of
dance."
FOLLOW DAVID
As he makes his way, towards the diner'f-tom the parking lot,
shaking handb and allowing his picture to be taken.
INT: DINER, UPSTATE NEW YORK -- DAY
David sits down with Charlie.
DAVID
I'm started.
CHARLIE
I'm going to show you this because
you'd find out eventually and
because I want to be here when you
do.
Charlie turns the Arts section around for David to see it.
Elise's photo has a noticeable impact on David. He glances
at the article for a moment.
Then Charlie points down near the bottom, at a particular
SENTENCE:
2/12/09 103.
"The show's choreographer, Adrian Troussant,
and lead dancer, Elise Sellas, are partners on
and off stage and plan to marry in New York
next week."
David stares at the words...
CHARLIE
David?
(off no response)
David?
DAVID
I think I need... I...
CHARLIE
Take a day off. Take a couple.
We're sixteen points up.
DAVID
(HOLLOWED OUT)
Even I can't blow a lead that big.
EXT. RED HOOK, BROOKLYN NIGHT
It's pouring rain. David walks down Carroll Street. Most of
the row houses display "Norris for Senate" signs.
Most of the housing here is run-down but this block is
clearly in the early'stages of gentrification.
David pays particular attention to one row house as he passes
by. Was this his house?
EXT. / INT. NEIGHBORHOOD DAR -- NIGHT
There's a "Norris for Senate" sign prominently displayed in
the window. David enters this classic dive bar and goes to
the bartender.
DAVID
Do you still serve neighborhood
guys here or just the tourists?
The bartender smiles big. A couple people at the bar notice
him. Then others notice and they start whooping it up for
him. He doesn't know any of them-but they sure know him.
EXT. RED HOOK DOCKS -- NIGHT
David sits under the huge aluminum roof on one of the piers,
holding a bottle of beer in a soaked paper bag.
2/12/09 104.
There are no walls to this structure so rainwater pours off
the roof on all four sides forming virtual walls.
A figure in a suit approaches David from behind. He turns
to see the man.
DAVID
Why are you here?
REVERSE to REVEAL Harry, in a suit and raincoat.
HARRY
I would have come earlier but I had
to wait for the rain.
(off David's confusion)
Water interferes with their ability
to sense your decision tree.
That's why we met on a boat last
time.
(BEAT)
I guess I'm here to set the record
straight.
DAVID
About what?
HARRY-
Thompson was lying when he said
they couldn't let you be with 8lise
because :it would bring out your
reckless side.
DAVID
Why, then? Why do they care so
much?
HARRY
8ecause.,..she's enough, David. If
you have =her r tau rtt .ght not need to
fill the d side you with votes
and ataplause'and dreams of one day
becoming p sident...
if Harry has:looked straight into David's soul.
HARRY
I've watched you a long time.
They're right to want you in the
White House. It would be good for
the world. That's important but it
can't be the only thing that
matters.
DAVID
Why are you so different than they
are?
2/12/09 105.
A long beat, then:
HARRY
You know, your Dad was a smart man.
He could have been a lot more --
and he wanted to be. So did your
brother. But the Plan didn't call
for that.
This hits David hard.
HARRY
In my job, you implement the
Plan...
(EMOTIONAL)
And most of the time.. .you don't
even know why...
(BEAT)
I'm sorry...
DAVID
My mom?
HARRY
That wasn't me... that wasn't us at
all.
David takes all this in. After a;long be t he takes a drink.
Then he offers the bottle to Harry, who h a esitates, then takes
a drink as well.
DAVID
When Thompson told methe choice
as Elise or the White House I
barely hesitated.
D1 ID
But the trt t i `is after making that
choice I went into a free-fall...
Don't get=me wrong, it killed me to
see Thompson hurt her...but I used
it as an excuse. I think I left
her more to save my career than
hers.
(STRUGGLING)
Thompson wasn't lying. The press is
already talking about me as a
future president. I'm phoning in
my speeches and I'm still sixteen
points up in the polls.
HARRY
The public loves you.
2/12/09 106.
DAVID
Before I met Elise that was all
that mattered. Now I hardly
notice. She's all I think about.
(BEAT)
Do you know where she's getting
married?
HARRY
Front of a judge. Tomorrow
morning.
DAVID
Is she happy with him? Tell me she
is and I'll walk away.
HARRY
Thompson won't let you get near
that courthouse.
DAVID
Harry... is she happy?
HARRY
No.
A beat.
DW-ID
I have to get her back..
Harry knows how unlikely that is.
DAVID
Will you help me:� Just help me
get to her...
HARDY
They'll sense )tOu coming a mile
away.'
DAVID
What if Icould move as fast as you
can?
HARRY
What do you mean?
DAVID
Teach me about the doors.
HARRY
How do you know about that?
2/12/09 107.
DAVID
The first day, after they caught
me, they carried me through one.I
thought it was a hallucination at
first. Eventually I realized it's
how you move around so fast.
(off Harry's reluctance)
If you don't want to help me
because of what they'll do to
you...okay, that's your choice.
But if this is about protecting me
then shouldn't the choice be mine?
HARRY
Do you have any idea how
complicated it is to navigate
through those doors... how many
thousands of permutations there are
in even a simple several block
journey?
DAVID
You know, when I do town hall
meetings I usually get introduced
to forty or fifty people between
when I walk, through' the door and
when I start speaking. But when
I'm done with the speech I can call
on each one of them by `game.
A beat...
HARRY
I've seen you do that
(taking tl leap )
The rain is supposed to stop in the
nexthou'r. We're going to need all
night to do this. And we're going
to need aplace surrounded by water
to do it.
MOMENTS LATER
Harry and David stand outside a door to a dock office at the
end of the pier. Harry dons his hat.
HARRY
Put your hand on my shoulder. And
don't let go until we've crossed
the threshold.
2/12/09 108.
David complies. Harry opens the door.
DAVID
Are they ever locked?
HARRY
Maybe if you have a defective hat.
They step through the door and onto--
EXT. MANHATTAN STREETS -- NIGHT
Harry notices as the rain slows to a drizzle.
HARRY
Hurry.
Harry runs David to the front dooraf a brownstone. Opens
the door. They move through i into--
INT. UNDERGROUND PUMPING: STATION -- NIGHT
Harry stops. David takes-his hand off Harry's shoulder.
Still amazed by what they just did.
HARRY
We're underneath Canal Street,
which c as ,,A canal before rt, was a
street. This is the jcity's':pumping
station for downtown Manhattan.
We're ten blocks from the
courthouse.
EXT. / INT. ELISE'S DANCE'.- COMPANY -- NIGHT
-
Elise enters, smiles at the receptionist.
ELISE
Floor open?
RECEPTIONIST
(seeing Elise's red eyes)
You okay, sweetie?
ELISE
I just feel like being on the
floor.
RECEPTIONIST
Everything still on for tomorrow?
Elise nods, trying to cover her ambivalence.
2/12/09 109.
INT. UNDERGROUND PUMPING STATION -- NIGHT
MUSIC BEGINS: something that recalls the sensei-pupil scenes
in martial arts movies, but at the same time something fluid
and lyrical (e.g. Yoshida Brothers, "Beyond the Deep Sea.")
Harry rolls out a block-by-block map of lower Manhattan.
There are intricate red pen markings all over the map..
HARRY
Lower Manhattan is a nightmare.
Layer upon layer of substrate --
that's what we call the system of
doors -- has been added over time.
That makes it a lot more complex to
navigate down here than it is
uptown. And a lot slower.
Harry dumps out several hundred photos of doors, interior and
exterior, all below Canal Street.
HARRY
You ready?
DAVID
Let's go.
Harry smiles and hblds,.up a photograph of.the Manhattan
County Court Building in Foley Squa:e:.
HARRY
Your destination. Courtroom Six.
INT ` ELISE'S DICE COMPANY-'; -- NIGHT
The MUSIC CONTINUES". SOURCE music here-. Elise dances to
it, freestyle. The fluidity and extension of ballet, but
none of its formality or stiffness.
INT. UNDERGROUND PUMPING STATION -- NIGHT
DAVID
(struggling to remember)
North Moore St. Just south of the
coffee shop... Red door. I come out
on Broadway, near Leonard St.
Harry looks at a photo of what David just described.
HARRY
Good. Keep going.
2/12/09 110.
INT. DANCE COMPANY -- NIGHT
Elise continues to dance...
INT. UNDERGROUND PUMPING STATION -- NIGHT
DAVID
(eyes closed, trying to
PICTURE IT)
There's an alley in front of me.
Third door on--
HARRY
Thompson's there.
DAVID
Okay ...so...
(thinks, then has it)
I hightail it East-to Lafayette
no, it's Crosby Street there.
INT. DANCE COMPANY -- Nit;HT
Elise dances.
INT. UNDERGROUND PUMPING STATION -- NIGHT
HARRY
one wearing a hat Is. a threat.
vv1Le. h e rea lizes w hat' = g oin g on ,
Thompson is gong to pull out all
the stops. H going to get
reinforcement Jots of them. I
don't care if u'see a auv wearing
a Yankees ca a"yarmulke, or a
bowler, as he's working for
them.
'DAVID
Okay, you said he's right in front
of me, right?
Harry nods.
DAVID
I'd knock the Yankees cap off his
head and go through the door before
he has a chance to pick it up...
A thinsmile forms on Harry's face and grows...
2/12/09 111.
HARRY
Good... good... improvisation. We
have trouble with that...
INT. DANCE COMPANY -- NIGHT
Elise dances...
INT. UNDERGROUND PUMPING STATION -- NIGHT
DAVID
How am I doing?
HARRY
Don't get cocky. You know ten
permutations out of ten thousand.
Get back to work.
MONTAGE
Harry drilling David with photd'after photo of Manhattan
doors INTERCUT with Elise dancing ...until she finally quits
from physical and emotional exhaustion.
INT. UNDERGROUNDPUMPING STATION -- NIGHT.
David rubs his head. He's exhausted-too. Mentally.
HARRY
Yourbrain can only put so much in
at once. Take- a brreak.
Da :} , nods. His eyg6,0s' to: Harry' s leather Planbook. He
btio#ts to it -- a question: can he look at it., Harry opens
tt up to a page in the middle. David's eyes look over the
impossibly complex circ$t diagram.
DAVID
Could I ever learn to read that?
Harry shakes his head. Impossible.
DAVID
No matter how hard I tried?
HARRY
For the same reason you can't
breathe underwater or flap your
arms and fly. You're not built to
do it.
2/12/09 112.
DAVID
(re: circuit diagram)
Is that me?
HARRY
Elise. Her decision tree. What it
was a few hours ago, before the
rain, before we were down here.
David looks at it, then looks away.
DAVID
I want to ask you what it
says.. .what she's thinking.. .bit
somehow that feels ...wrong.
HARRY
You know what she's thinkin-g,'David
-- as much as you need to know.
The rest ...well...you're`built to
feel that.
EXT. DANCE COMPANY -- NIGHT
Elise exits to the street, pulls a scarf around her neck..
INT. UNDERGROUNDPUMPING STATION -.NIGHT
David closes the P14nbook.
HARRY
ready to get back to work?
Sometl`ing about that strikes Harry...
HARRY
Your father used to say that.
Off David's reaction--
INT. ELISE'S APARTMENT -- NIGHT
Elise enters, turns on the light...
She picks up the computer printout of her court appointment
to be married. A Post-it note on top of the printout reads:
"Our last night apart... Love, Adrian."
2/12/09 113.
INT. UNDERGROUND PUMPING STATION-- NIGHT
David and Harry examine photos of a blue door at the side of
a Tribeca restaurant.
DAVID
The fastest path is getting to the
blue door right off the bat...
HARRY
But you're exposed the whole way
there. It's a lot riskier than
leapfrogging through doors--
DAVID
But if I can make it...I'.Il have
caught them completely bysurprise.
HARRY
Assuming you make it.
INT. ELISE'S APARTMENT -- NIGHT
Elise turns out the light, curling up in her bed. FADE MUSIC
OUT AND SLOW-FADE PICTURE TO:
EXT. DOWNTOWN MANHATTAN -- MORNING
The early morning sun slices through the urban canyons.
INT. MANHATTAN COUNTY COURT BUILDING -- 5TH FLOOR -- DAY
ADRIAN the guy from'the photo in Elise's apartment --
dtands at the COURT f2EGTSTRPsR' s window.
COURT REGISTRAR
Do you have your license?
Adrian hands her his marriage license.
COURT REGISTRAR
Is your fiancee here?
ADRIAN
Getting out of a cab downstairs.
The registrar glances at the license to make sure it's in
order. Then stamps it: "Judge Williams, Docket #23".
COURT REGISTRAR
Courtroom Six.
2/12/09 114.
INT. UNDERGROUND PUMPING STATION -- MORNING
Harry comes down from topside, with his Planbook in hand.
David is waiting anxiously down here.
HARRY
You got lucky. It's raining again.
DAVID
The marriage is scheduled for ten
minutes from now.
HARRY
You can't jump the gun on this,,..
Getting there too early is almost
as bad as getting there too late.
Harry looks at his updated Planbook and consults his watch.
TNT. MANHATTAN COUNTY COURT BUILDING -- LOBBY -- DAY
Elise and Lauren step into a-polished brass elevator from New
York's Tammany Hall days. Her look is distant, disconnected.
Not what you're suppoeed to look like on your wedding day.
INT. UNDERGROUND PUMPING STATION --,MORNING
David is rearing to go. Finally, Harm's watch alarm beeps.
HARRY
It ',.t time.
David breathes a sigh of relief. Harry takes the hat off
h1znrhead wand hands it to -David.
DAVID
I'm going for the blue door.
HARRY
Of course...
MUSIC CUE (something with relentless, pounding energy of the
Verve Remix of Sarah Vaughn's "Fever").
HARRY
Run fast.
2/12/09 115.
EXT. LOWER MANHATTAN -- ALLEY -- DAY
David blows through a drab utility door into an alley. He
careens around a corner onto Greenwich Street and starts an
all out sprint--
INT. THOMPSON'S OFFICE -- DAY
Rain pelts the window as Thompson reads the newspaper.
Thompson's Aide rushes in.
THOMPSON'S AIDE
It was a momentary flash, and given
the weather we can't be sure, but
it looks like Mr. Norris may be--
EXT. LOWER MANHATTAN -- DAY
David runs through a puddle as he races down Greenwich St.
through the pouring rain.
INT. THOMPSON'S OFFICE -- DAY
Thompson rushes. out of his office followed by his aide.
-THOMPSON
Do we have a proctor -at the
wedding?!
INT. MANHATTAN COUNTY COURT BUILDING -- FIFTH FLOOR -- DAY
Adrian kisses Elise.
ADRIAN
Hi, honey.
(notices her face)
You okay?
ELISE
Just a little queasy.
ADRIAN
Why?
ELISE
I'm not sure. Nervous... I just
need a minute in the bathroom.
2/12/09 116.
INT. COURTHOUSE LADIES ROOM -- DAY
Big old marble sinks, heavy wood doors. Elise enters, tears
welling in her eyes...
INT. ADJUSTMENT BUREAU HALLWAY -- DAY
Thompson rushes down the hall. Three aides with him now.
THOMPSON
Cars! Cars! From here it's faster
in the cars!
EXT. LOWER MANHATTAN -- GREENWICH STREET DAY
David can see the blue door. He races toward it.
EXT. FINANCIAL DISTRICT -- PINE STREET -- DAY
Thompson rushes out the front..door of a perfect Ar-t Deco
tower and jumps into his black Mercedes.
THOMPSON
(to his assistant)
Where is heribw?!
THOMPSON'S AIDE
GREENWICH STREET-
They jump in and the car peels out, followed by two others.
EXT.:-,LOWER MANHATTAN -- GREENWICH STREET -- DAY
id'hits theblue-_..door. Bang. He's through it like
liihtning and comes 'out--
EXT. FOLEY SQUARE -- DAY
He comes out of a building directly across from the
courthouse from Harry's photos.
INT. MERCEDES -- DAY
Thompson and McManus speeding North.
THOMPSON'S AIDE
Whoa!
2/12/09 117.
THOMPSON
What?
Thompson's Aide is speechless as he stares at his Planbook.
THOMPSON
What?
THOMPSON'S AIDE
He just went into the substrate...
Off Thompson's reaction:
INT. MANHATTAN COUNTY COURT BUILDING --LOBBY -- DAY
A soaking wet David blows through the front door and skids to
a stop at the security line--
INT. COURTROOM -- DAY
Adrian and Lauren wait in the courtroom.
COURT CLERK
Docket #22 please come forward
The guy next to Adrian stands up. Adrian: throws a panicked
look at Lauren.
ADRIAN
We're next. Will you check on her?
INT.:NANHATTANCOUNTY COURT BUILDING -- LOBBY -- DAY
Tht epeople in lima in front of him. He's not going to
9 1 ke 41t. David goes to the front.
'DAM
It's an emergency.
NEW YORKER
We all have emergencies, pal.
(THEN REALIZING)
Are you David Norris?
INT. COURTHOUSE LADIES ROOM -- DAY
Lauren wipes tears from Elise's face.
ELISE
Am I making the biggest mistake of
my life?
2/12/09 118.
LAUREN
(CAREFULLY)
I can't answer that question for
you, Elise. But I will say--
ELISE LAUREN
(pulling self together) If you have doubts--
I'm okay.
ELISE
I'm just nervous. You haven't done
this yet. It's overwhelming...
LAUREN
ELISE--
ELISE
I'm okay. I'm going to clean up.
Tell Adrian I'll be right there.
INT. MANHATTAN COUNTY COURT BUILDING -- LOBBY DAY
David throws his keys on.the,.X-ray belt, goes through the
metal detector, then b�s1-ts without waiting' for his keys----
SECURITY OFFICER
Congressman! You left. your--
INT. COURTROOM -- DAY
Lauren returfs to sit next to Adrian. She holds up one
finger --'one more minute.
MOVE to REVEAL,a suspicious-looking man stepping into the
o aartroom, in a fedora. He scans the room in en y, t tl then
suits- his Planbot k. . k ba:ihff ma k h' es ALL re mov e his hat
INT. MANHATTAN COUNTY COURT BUILDING -- STAIRCASE -- DAY
David races up the stairs--
INT. COURTROOM -- DAY
COURT CLERK
Docket #23 please come forward.
Adrian looks at Lauren. Stands. Motions urgently for Lauren
to get Elise from the bathroom--
2/12/09 119.
EXT. MANHATTAN COUNTY COURT BUILDING -- FOLEY SQUARE -- DAY
Thompson's three Mercedes skid to a stop outside.
INT. 5TH FLOOR LOBBY OUTSIDE COURTROOM -- DAY
Lauren exits the courtroom just as David bounds up the last
few stairs to reach the fifth floor.
LAUREN
David?!
DAVID
Where is she?
Water drips from his clothes onto the marble floor.
LAUREN
You want to explain to me--
DAVID
(NO TIME)
Where is she?!
(SOFTENING)
I'll . explain to her--
Lauren points at the 1-adies room. David nods "thanks" and
ENTERS--
INT. LADIES ROOM -- DAY
Elise turns to see him and stops cold.
ELLST
DAVID
Hi...
ELISE
Why are you doing this to me?
Just then the door bursts open. The suspicious man from the
COURTROOM--
David elbows him in the face. The man drops.
ELISE
David!
2/12/09 120.
David calmly turns back to her.
DAVID
You're not supposed to be weeping
on your wedding day, Elise.
Elise fights the emotion again welling inside.
DAVID
You were never happy with Adrian.
You told me that.
Elise puts her head in her hands.
ELISE
This is so screwed up. Oh,-God..
DAVID
I love you. I know I've acted
strangely. But, I love you.
ELISE
Don't do this to me.
DAVID
I've never felt anything like. this
in my life.
ELISE
If you care 'so much, why the hell
did you disappear on me in that
hospital?
EL SE
What are you ha.d1 g from me? Why
did you diS pp`ear " Again! You
fucking bastard! Why?
Tears are streaming down her face.
DAVID
They'll reset me...
ELISE
DAVID--
DAVID
They'll scramble my brain--
ELISE
David, stop talking like this!
Stop!
2/12/09 121.
David looks back at her... Just looks at her. Then he leans
over and wipes a tear from her face. And he decides...
He just decides.
DAVID
But at least you'll know the truth.
(BEAT)
I saw behind the curtain, Elise. I
saw this.
He opens up Harry's Planbook. Elise sees the intricate
"wiring diagrams." Sees the lines shift on the page. It
startles her.
DAVID
It's not in their "Plan" for us to
be together. So they're trying to
stop us.
INT. STAIRCASE -- DAY
Thompson and minions rush up the stairs.
THOMPSON'S AIDE
Oh myGod... He just revealed us.
INT. LADIES ROOM -- DAY
Elise stares back at him.
ELISE
Stop talking like a crazy person.
Stop making things up--
DAVID
They said if we were together
they'`d take dance from you and
politic,s,from me. They hurt your
ankle that night. They--
The door flies open again. David picks up a trash can and
clobbers the fedora-wearing man who enters. He drops.
INT. STAIRCASE -- DAY
Thompson spins to his aide, finger in his face.
THOMPSON
Call the Intervention Team! Tell
them it's a square-one reset!
2/12/09 122.
INT. LADIES ROOM -- DAY
An NYPD shield on the belt of one guy David knocked out.
ELISE
Jesus.. .the cops are after you?!
David grabs the shield and uses it to wedge the door closed.
Kicks it in so it's jammed tight.
DAVID
He's not a cop. He's one of them.
Another body slams into the door now. But the shield holds
it shut.
ELISE
Who's "them?"
SLAM! SLAM! The door cracks--
ELISE
Jesus, David!. What's going on?!
David is impossibly calm. He puts his hat back on.
DAVID
I'm going to: show you.
He takes Elise's hand, opens the bathroom door, and walks her
across the threshold into--
EXT . ;SOHO -- DAY
Davidand Elise step? thhgtgh. a door onto a street in Soho.
She stops. Awed. Unable to speak.
DAVID
Come on... We need to lose them.
David walks her across the street and picks a door at random,
OPENS IT--
EXT. DOOR -- DAY
David and Elise exit through a door. Her jaw drops.
REVERSE TO REVEAL Central Park's Sheep Meadow spread before
them. (They've exited from the building on its north edge).
Elise steps out onto the grass, touches it, falls to her
knees in the rain, completely overwhelmed...
2/12/09 123.
INT. 5TH FLOOR LOBBY / INT. LADIES ROOM -- DAY
A bevy of men in hats push the ladies room door open and rush
in. They're shocked to see it's empty...
EXT. SHEEP'S MEADOW -- DAY
Eliselooks at David
DAVID
The rain slows them down but they
can track us. We have two orthree
minutes. Maybe less.
Elise is still speechless. He takes her hand.
DAVID
The ten year-old in me always mixed
up winning elections with being
loved. Then I met` you;,..
(BEAT)
The thing is, if they'd let me be
with you I wouldn'tk have left
politipe. t, just would have beef
in it, or. all the right reasons.
David pauses for a moment. He can see this' so clearly in his
head. How can it notbe right?
DAVID
Now you know. Youknota everything.
And you have to leave mitie.
ELI
BAVA)
They'll take` dance from you. You
saw what they-'did before.
'fihe foundations of her world have just collapsed... but
somehow she pulls herself together to say this:
ELISE
No.
DAVID
You're not safe with me. If you
DON'T LEAVE--
She puts her finger to his lip. Shhhh...
2/12/09 124.
ELISE
It doesn't make any sense but,
right now I feel safer than I've
ever felt before.
(BEAT)
I'm staying...
INT. THE CHAIRMAN'S OFFICE -- DAY
The Chairman's Office is the size of the reading room at the
New York Public Library. Thirty foot high.ceilings. A dozen
assistants perform various tasks very quietly, giving it more
the feel of a papal court, than a corporate office.
We see THE CHAIRMAN from behind only ..but we can still tell
he is utterly calm and in complete control.
An aide comes to The Chairman's--desk,.sets two open leather
folios in front of him.
AIDE TO-HE'"CHAIRMAN
Mr. Thompson has made an emergency
request for the Intervention Team..
One of the folio .::documents is titled "Reset Authorization."
INT. BANANA REPUBLIC STORE -- DAY
A dressing room door opens. David and Elise, both soaking,
exit past a startled attendant.- They walk through the store
and out onto
EXT. COLUMBUS AVENUE --DAY
Tiey`look for another door.
ELISE
Every door?
tavid nods...as they walk into another...
EXT. SHEEP MEADOW -- DAY
Thompson and a dozen other men with hats step out into the
rain, scan the horizon for any sign of their quarry.
INT. CHAIRMAN'S OFFICE -- DAY
The Chairman holds a silver pen as he flips through the case
file.
2/12/09 125.
EXT. COLUMBUS AVENUE -- DAY
David and Elise head towards a door across the street from
the Banana Republic.
EXT. HARLEM -- DAY
They emerge through a door on the 125th Street Metro-North
platform. Run down the stairs to street level.
INT. BANANA REPUBLIC -- DAY
Thompson and a half-dozen minions emerge from the same
dressing room David and Elise did. The seventeen year-old
attendant presses back against the wall, totally freaked now.
EXT. HARLEM -- DAY
David and Elise head toward a storefront church.
EXT. COLUMBUS AVENUE -- DAY
Thompson and his men pour out onto the street flashing NYPD
badges and asking questions. /
EXT. HARLEM -- DAY
David and Elise enter the church and--
EXT STONE FACADE -- DAY
-- exit from a metal door in a stone facade. PULL BACK to
REVEAL that they are standing at the base of the Statue of
Liberty...
Elise looks out at the harbor and the city. Rain pelts her
face. And she smiles. Exhilarated. Like a prisoner who has
just broken her chains...
EXT. COLUMBUS AVENUE -- DAY
Rain bounces off the dozen long black raincoats worn by
Thompson and his men. A black Suburban with under-grill
police lights pulls up fast.
2/12/09 126.
DRIVER OF SUBURBAN
The Intervention Team has
pinpointed an interception point.
Thompson circles his finger in the air to tell his men to
saddle up, they're moving out--
EXT. STATUE OF LIBERTY -- DAY
Elise isstill smiling.
DAVID
Let's go.
ELISE
We can't keep running forever,.
David.
DAVID
If they find us ...they'll take you
from me.
ELISE
I won't let..them.
DAVID
They'll take you from here.
David touches his head'.
ELISE
No, I won't let them.
She leans,-.over and kisses hi's forehead.
INT T. ?RE 'WAR APARTMENT BUILDING -- DAY
David and Elise exit into a hallway with eight doors on it.
DAVID
Perfect.
David picks a door. It's locked. He tries another. It's
ONE --
locked too. He tries a third. Locked. Elise tries
shakes her head.
DAVID
They're not supposed to be locked!
David hears sounds coming from the building's central
staircase. He looks down it to see four men in silver suits
climbing up the stairs.
2/12/09 127.
DING. The elevator door down the hall opens. More men in
silver suits.
ELISE
This one's open!
Elise is standing at the door to the roof. David runs to her
and they go up the stairs together to--
EXT. ROOF -- DAY
David pushes the roof door shut, barricades it with some
concrete blocks sitting on the roof. Rain pours down on
them.
They rush to the edge of the roof. ,Three Con Edison vans are
parked haphazardly on the street below. And a dozen
civilians on the sidewalk are frozen..11: ;
David grabs Elise and they go to the side of the roof, the
roof of the building next door is ten feet below them. They
hang their legs over the edge and jump.
They sprint across the roof of the building next door --
except somehow they find themselves running across the same
roof they were just on.
David sees the concrete blocks he placed against the door a
moment ago. The door bangs against theme being shoved open
from inside.
David and Elise run back in the c5,pposite direction. At the
building's edge they climb over again and... run...
Only to find that theyare still on the first roof they were
on. It's like they're in an.Escher painting.
They stop, and look at each other. David takes her hand as
Adjustment Team trsapers appear all around them from adjacent
roofs. They're completely surrounded.
ELISE
Kiss me.
Tears well in her eyes. And his.
ELISE
Close your eyes and kiss me.
He does. And they kiss in the rain...
ELISE
I love you, David Norris.
2/12/09 128.
They hold each other for a long beat ... . and then, finally,
open their eyes.. .ready to accept their fate--
They see an empty roof. The Silver Suits are gone. And the
rain has stopped. A strange silence envelopes them...
They spin the other direction to see The Chairman, standing
there, alone.
THE CHAIRMAN
Hello, David... Good morning,
Elise.
His voice is gentle, paternal.
DAVID
Who are you?
THE CHAIRMAN
I think you know.
David and Elise stand in awe'-'as they realize.
DAVID
You can't oti{rn Fate...
Tft , CHAIRMAN
It's .more- complicated t,}an that,
Fate am Free Will coexist
They're;in tension with each other.
And pure chance.
A beat. David looks back at him...
DAVID
TH2;.>�HAT, RMAN
I could control 'everything. You'd
be ha` 3 ou' d be puppets. I
try to .keep things from getting too
out of control. But that has a
cost. Most people go through life
like pinballs, reacting predictably
to the stimuli I apply. They
accept the path they find
themselves on. And perform
accordingly. But every once in a
while someone comes along who
refuses to be bound by his fate,
someone who understands that Free
Will is a gift most people are too
afraid to use.
(BEAT)
Which, you see, is partly the point
of all this.
2/12/09 129.
THE CHAIRMAN (cont'd)
Or maybe you don't see it. Maybe
you just feel it. And that's even
better. Because that's the other
part.
David and Elise take it in...
DAVID
And all the misery, all the pain...
THE CHAIRMAN
I sit up there and I watch it and
it hurts me... . but if you could see
the incredible courage people show,
the random acts of kindness, the
love... If you could see huitan
beings choosing every moment
every day to be better thAn'' I made
them, you would know it's all
worthwhile.
(BEAT)
Good luck, David. And good luck to
you, Elise. You're a-beautiful
dancer. And so much more...
The Chairman turns to his aide, who we didn't know was there.
THE CHAIRMAN
Their case isclosed.
AIDE TO THE CHAIRRMAN
But, Sir,isn't this a majtr.
deviation from The Plan?
The Chairmen turns to another aide who is holding a folio
open and signs- a document on -ery heavy paper.
THE CHAIRMAN
Not anymc3e .
David and Elise watc]i The Chairman walk away, still awed by
what=they've just experienced. As He disappears around a
corner, the sun comes out from behind the clouds ...
After a long beat, Elise turns back to David, as if to say
"what do we do now?"
DAVID
Maybe we should go dancing.
A smile slowly spreads across her face ...
THE END
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