The Adjustment Bureau Page #5

Synopsis: Do we control our destiny, or do unseen forces manipulate us? A man glimpses the future Fate has planned for him and realizes he wants something else. To get it, he must pursue across, under and through the streets of modern-day New York the only woman he's ever loved. On the brink of winning a seat in the U.S. Senate, ambitious politician David Norris (Matt Damon) meets beautiful contemporary ballet dancer Elise Sellas (Emily Blunt), a woman like none he's ever known. But just as he realizes he's falling for her, mysterious men conspire to keep the two apart. David learns he is up against the agents of Fate itself, the men of The Adjustment Bureau, who will do everything in their considerable power to prevent David and Elise from being together. In the face of overwhelming odds, he must either let her go and accept a predetermined path... or risk everything to defy Fate and be with her.
Director(s): George Nolfi
Production: Universal Pictures
  1 win & 9 nominations.
 
IMDB:
7.1
Metacritic:
60
Rotten Tomatoes:
71%
PG-13
Year:
2011
106 min
$62,453,315
Website
2,518 Views


Connecting.

He's going to ask the parking

attendant to use the hard line.

I already killed it.

Excuse me,

can I use your phone?

I have an emergency.

McCRADY:
Restaurant

across the street.

Mmm-hmm.

I took out everything

for three blocks.

This guy is

a pain in the ass.

Come on,

let's go talk to him.

There is a whole world

of women out there.

I thought we established

this one was off limits.

It's been a while,

I must have forgotten.

Doesn't change the fact.

You put us

together three times.

That wasn't us,

that was just chance.

Why do you want

to keep us apart?

Because the plan says so.

Then you misread the plan.

There is no misreading the plan

when it comes to you and Elise.

Then the plan is wrong.

- Do you know who wrote it?

- I don't care.

You should. You should

really show a little respect.

If I'm not supposed

to be with her,

how come I feel like this?

It doesn't matter

how you feel.

What matters is what

is in black and white.

You don't know why I'm not

supposed to be with her, do you?

That's why you can't

tell me. You don't know.

Who is this guy?

Uh-oh.

Excuse me, everyone.

Sorry to disturb your lunch.

It's an emergency.

Has anyone here ever seen a performance

at the Cedar Lake Ballet Company?

The Cedar Lake

Ballet Company?

Yeah, I have.

Where is it?

Son of a b*tch.

Hey, taxi. Hey!

Taxi! Hey!

Taxi!

Maybe you should

try the subway.

Don't all these taxies you're

diverting have plans, too?

How long you going to keep that

up? Twenty minutes? An hour?

Wow, the ripples must

just be endless.

I don't care what you put

in my way, I'm not giving up.

Hey! Hey! Hey!

Taxi!

Hey!

You all right?

You okay?

What happened?

You got hit.

Are you okay?

- I think so.

- Don't move.

You all right?

Hello, I just

witnessed an accident

on the corner of

Water and Dover Street.

Unfortunately, you're the

only witness, Congressman.

But we did this

three times already.

I just need

a few more details.

Oh, I see.

You're not even a cop, are

you? You're one of them.

- Calm down.

- Okay.

Someone could

have been killed.

Sir, if you would

just calm down.

Hey, Sergeant.

Hi. Sorry, excuse me, I know

you need a statement from me,

but do I need to stay here

or can I do it over the phone?

No, sir, we know how

to get in touch with you.

Okay. Now, is this man

under your command?

Never mind. Thank you.

Hey, hey, hey!

You want to make

a quick 100 bucks?

You're going to have to break

a couple of traffic laws.

All right, 26th and 10th. It's a

ballet company called Cedar Lake.

Go through that.

Look out!

Watch it.

This is going to keep

happening, just go through.

Son of a b*tch!

- Set a traffic jam on Broadway.

- Too many ripples.

He's getting out of range.

I don't know what to do with

this. You're reaching your limit.

Hey!

Excuse me.

Two down. Two down.

Oh, sh*t!

Next one.

I hate downtown.

Sorry.

I've got

inflection points.

All he needs to do is see her dance

and you're at your ripple limit.

What? All right,

block the door.

He's already

through it.

Not that one,

the next one.

Excuse me.

David Norris,

I'm here to see Elise.

I'm blocking them all.

Hat! Hat!

- Is she here?

- Yeah, she's in the studio.

McCRADY:
It's too late.

He's already seen her.

You hit your ripple limit.

Celebrate now.

They're just going to kick it upstairs.

It's Donaldson.

He has no idea

what he's up against.

Let's take a walk.

The intense chemistry

between them,

the constant

inflection points,

and the kicker, you

pulling them apart twice

only to have chance

put them back together.

Yeah, all that

seemed a little much.

So, I asked Burdensky to do

some research this morning.

Have you been

in here before?

No, of course not.

It seems like David

Norris and Elise Sellas

were meant to be together

because they were

meant to be together.

Wait, what?

In the '70s when he was born,

they were meant

to be together,

same thing

in the '80s, '90s.

Wasn't till 2005

that the plan changed

and she was supposed

to stay with Adrian.

The problem here is there are remnants

from all those old plans

that keep pushing

them together.

They still feel like they belong

with each other even though they don't,

and we're about to tear

them apart again.

You spend

your whole career

hoping, someday,

you'll get a red-letter case.

Something you can really

make a name for yourself with.

Finally you get one,

and it's booby-trapped.

What?

I'm saying,

it wasn't your fault.

They were meant

to be together.

What?

Were. In an earlier

version of the plan.

Actually, a dozen

earlier versions.

I always wondered

how we had such bad luck

that she was on that particular

bus on that particular day.

How could a plan

just change like that?

I don't know.

It's above my pay grade.

So, we're going

operational.

This is exciting.

It's been a while.

We're not

going operational.

No one ever made it to my

job by taking stupid risks.

So, what are

we going to do?

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 bring

this to Thompson.

Thompson?

When he was in the field,

his nickname was...

"The Hammer," yes.

He'll crush this little

romance with a flick of his hand

and force them

back on plan again.

I want to go to a club.

Oh! Why ruin

a really nice day?

- Come on.

- No, I don't dance.

Everyone can dance.

You just feel the music.

Well, I've been told that

I have trouble feeling.

Who told you that?

A long list of women.

That's gross.

You know what?

Let's race to

that lamppost.

You win,

I dance for you.

I win,

you dance for me.

On the pole?

If you like, yeah.

This is serious.

What are the rules?

There are no rules.

Oh! You bastard!

Oh, my gosh!

You challenged me

in those shoes?

Okay, fine. I can't.

You're right. These are the wrong

shoes. I'm going to twist an ankle.

You said, "No rules."

I avoided them.

Ow!

You said you

had trouble feeling.

Great.

Hey, David.

You're even

cuter in person.

Hey,

it's David Norris.

How you doing?

How are you?

How are we

feeling about this tie?

Hey, David Norris!

Hey, how you doing?

Maybe I should go home

and get my tux.

Definitely don't

do that. It's good.

I should never have come back here

again without my backup dancers.

I voted for you.

How are you?

Norris,

you're a rock star!

Did you grow up over here?

Yeah, three blocks over

that way. Pioneer Street.

My whole childhood.

What were you

like as a kid?

I've spent about half my

time in the principal's office

up until the sixth grade.

Wow.

Yeah, that was when my

mother and my brother died

within a month

of each other.

I'm sorry.

No, it's fine.

You know how I always

tell that story

about how I got inspired

to go into politics

because my dad took me

to the Senate Gallery

and we sat together

and that's true.

But what I leave out is

Rate this script:3.5 / 2 votes

George Nolfi

George Nolfi is an American screenwriter, producer and director. He directed the 2011 film The Adjustment Bureau, which he also wrote (adapted from a short story by Philip K. Dick). more…

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Submitted on August 05, 2018

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