The Adjustment Bureau

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 Â±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 t6Â°'looÂ§`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`;â€¢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 ï¿½xl 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 tpÂ°a stop.- bavid 'leans over Elise to look out thew n4ow as he waits fot change from the driver. What's this-Pï¿½-

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 Â±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? Â§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 ï¿½Â°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.

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.:ï¿½we spent six hundred years tempering your passions with reason.,then in 1910 we stepped ba ï¿½c again. Within fifty yearsï¿½you 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 Â±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 Â°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:ï¿½ 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 bï¿½s1-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;.>ï¿½HAT, 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