BEGIN MOS
INT. TRAINING ROOM - ISA HEADQUARTERS
Chloë sits at a folding table in a folding chair in a bare, windowless room. She's looking studiously, seriously, at an unnamed FEMALE AGENT, who stands at a whiteboard at the front of the room. The board says YIOS O at the top, in big red letters, with lots of info and flowcharts and such beneath. The agent talks. Occasionally, Chloë frowns, nods, asks questions.
SHANE (V.O.)
The first thing we need to do
is get you up to speed on the case.
At the same time, we'll start briefing
you on security procedures.
CHLOË (V.O.)
Security procedures?
SHANE (V.O.)
What you can say about your work,
to whom, and when.
(beat)
Essentially, nothing to no one and
never.
CHLOË (V.O.)
Uh-huh.
INT. ISA GYM - DAY
Chloë works out with a MALE AGENT in who wears a gi and BLACK BELT. She's holding her own.
SHANE (V.O.)
I understand that your self-defense
skills are quite impressive already.
CHLOË (V.O.)
Yeah, well, you can't always
rely on bodyguards, can you?
SHANE (V.O.)
In a few months, you'll never have
to rely on them again.
INT. TRAINING ROOM
Belle and Chloë, going through piles and piles of papers, debating, drinking coffee.
CHLOË (V.O.)
A few months?
SHANE (V.O.)
We hope to have you on active
duty within a month. We're
cutting several corners for you.
INT. ISA SECURITY OFFICES
A very BIG MALE AGENT is taking Chloë's fingerprints.
CHLOË (V.O.)
How many corners?
SHANE (V.O.)
That, shall we say, is need-
to-know information.
LATER
A FLASH goes off, and Chloë stands, half-blinded, in front of a blank wall.
The Big Agent busies himself with the ID PHOTO that pops out of his camera.
HALLWAY
Brady slouches by, scowling.
SHANE (CONT'D; V.O.)
But you will need to be as
well-trained as any regular
recruit. Which means more
work for you. And us, I might add.
INT. TOWER RECORDS - GREENWICH VILLAGE - DAY
Chloë sits at a SIGNING TABLE, her MANAGER and HANDLERS scattered nearby. She smiles at every fan in the LONG LINE that winds through the store.
SHANE (CONT'D; V.O.)
Meanwhile, you'll need to
keep up your usual schedule.
No canceling appearances.
No rescheduling recording
sessions. To the public eye,
your life must go on as though
all were normal.
Chloë hands off a SIGNED CD to a FAN and looks around the fan at the line. She frowns a little, scanning the FACES, wondering "Could he be here? Now?"
She quickly turns her attention back to the NEXT FAN and smiles, taking the CD from his hand.
CHLOË (V.O.)
Great. So. When do I sleep?
SHANE (V.O.)
We'll try to squeeze something in.
END MOS
INT. TRAINING ROOM
Chloë and the Black Belt sparring again. She looks exhausted. He KICKS her feet out from under her and she LANDS on her back with an OOF, blinking up at the ceiling.
From her POV, the FLUORESCENT LIGHTS in the ceiling FLARE, and we
WHITE OUT TO:
INT. FIRING RANGE - DAY
Chloë follows Belle along the line of AGENTS practicing their SHOOTING. They take their place in an EMPTY BOOTH.
Belle presses the button on the wall for a new target.
CHLOË
So, how well do you know
this Shane guy?
BELLE
I've known him practically all
my life.
CHLOË
Really?
Belle pulls a 9 MM GLOCK out of a holster in the back of her waistband. She pops the clip out, inspects it.
BELLE
He's an old Salemite. He's
practically family.
CHLOË
You're kidding.
She replaces the clip, takes the safety off.
BELLE
Guess that was before your
time. Let's see. Well, he was
Roman's partner back in his ISA
days, worked with Bo and Hope
when they had their detective
agency, and was pretty heavily
involved their sisters.
CHLOË
Sisters, plural?
BELLE
Married and had two kids
with Kim, and after that divorce
was kinda hot-n-heavy with
Kayla for a while.
CHLOË
(beat)
Y'know, Salem may be in
Illinois, but sometimes it sure
feels like Arkansas.
Belle gives Chloë a dirty look and thrusts a pair of HEADPHONES into her hands. The women put on the safety gear, and Belle picks up the gun again.
POW POW POW!
Belle fires NINE quick shots into the paper target. All of them are in the bull's-eye or the first ring out: kill shots.
Chloë gapes.
CHLOË
I thought you said you didn't
do the spy stuff.
Belle pops out the empty clip, slaps in a new one.
BELLE
I said I didn't do it. I didn't say
I wasn't trained to do it.
She hands Chloë the gun. Chloë handles it like an egg. Belle pushes the button for a new target and steps aside, motioning Chloë into position.
BELLE (CONT'D)
Feet hip-width apart, brace your
shoulder against the recoil, and
squeeze, don't pull, the trigger.
Chloë raises the gun doubtfully.
She fires, NINE shots: POW POW POW!
She lowers the gun.
The women stare at the target.
One hole. Above the shoulder.
Back to the women.
BELLE
I'm thinking tazer.
Chloë sighs.
BELLE (CONT'D)
We'll practice.
Chloë nods.
EXT. NEW YORK CITY - SUNRISE
INT. BEDROOM - CHLOË'S APARTMENT - MORNING
Chloë is woken by the phone. She reaches blearily for it and brings the receiver to her ear.
CHLOË
...mullo?
OPERATOR (O.S.)
(on phone)
Ms. Lane?
CHLOË
...yes....
There is a series of CLICKS.
OPERATOR (O.S.)
(on phone)
This is now a secure line. Please
hold for Assistant Director Donovan.
Chloë struggles to sit up. She pushes a hand through her hair. She squints at the clock. It's 6:05
SHANE (O.S.)
(on phone)
Ms. Lane?
CHLOË
Mr. Donovan. Yes. It's me.
SHANE (O.S.)
(on phone; scolding)
Ms. Lane.
CHLOË
(yawning)
Chloë Lane. Stand by for voice
print. "To thine own self be true."
SHANE (O.S.)
(on phone)
Much better. Sorry to wake you.
CHLOË
(big yawn)
You didn't, sir.
SHANE (O.S.)
(on phone)
You're needed uptown.
CHLOË
When?
SHANE (O.S.)
(on phone)
As soon as you've dressed.
He hangs up. Chloë puts the phone down and rubs the sleep from her eyes.
MONTAGE:
Chloë showers hastily.
Hair still wet, she hails a CAB outside HER APARTMENT BUILDING
The cab lets her out in front of TIFFANY'S. She enters.
Inside, a SALESMAN greets her and leads her through a door marked PERSONAL SHOPPING SERVICE.
Once inside, the salesman stops and swipes a KEY CARD through a MAGNETIC LOCK near a STAIRWELL marked PRIVATE.
Chloë heads down a DARK SPIRAL STAIRCASE.
She emerges unnoticed in a shadowy corner of a SUBWAY PLATFORM as a TRAIN arrives.
She LEAVES a train on ANOTHER PLATFORM and strides confidently toward another SHADOWY CORNER.
INT. SHANE'S OFFICE - DAY
Shane sits on the edge of his desk, looking through CHLOË'S PERSONNEL FILE. Brady paces around, handling one of Shane's antique TEACUPS as if it's Starbuck's takeout. Shane eyes him warily but says nothing.
SHANE
Reports from all quarters
indicate that she's coming along
quite nicely....Excellent hand-to-
hand combat skills....
BRADY
She always was good at kickin'
a guy in the crotch.
SHANE
(ignores him)
Weapons...well, her marksmanship
is less than we'd hoped for....Ah,
but it seems she's showing a
talent for knives.
BRADY
(sarcastic)
Oh, goody!
SHANE
Do try to treat this matter with the
gravity it deserves, Agent Black.
BRADY
I am treating this with the gravity
it deserves.
IN THE HALLWAY
Chloë approaches the open door, hears voices, stops.
BRADY (CONT'D; O.S.)
Of all the cock-eyed, hare-brained,
half-assed ideas --
Chloë looks surprised.
SHANE (O.S.)
Agent Black --
BRADY (O.S.)
Only a certifiable, full-on, wacko,
card-carrying moron would try to
make Chloë Lane into a spy!
Now she looks pissed.
IN THE OFFICE
Shane doesn't look to amused either.
SHANE
Shall I remind you recruiting her
was Belle's idea. The same "moron"
as you put it who turned
you into a spy.
BRADY
Yeah, well, I love my sister, I
respect her judgment, in most things,
but when it comes to Chloë she's
got a blind spot. They've been
through a lot together --
SHANE
And you haven't?
BRADY
I thought we were gonna leave
my marriage out of this.
SHANE
I meant you and Belle.
BRADY
(beat; calmer)
Take a look, take a good, long
look at Chloë's personality tests.
She's...she's...she doesn't have the
...the stability you need for this kind
of work. She doesn't have the self
control. She's ruled by her
emotions. She's impulsive --
SHANE
You're a fine one to call someone
impulsive!
BRADY
There's a difference between
operating on impulse and instinct.
Chloë cannot be relied on to make
the right call in a high-pressure
situation.
CHLOË (O.S.)
Y'know, he's right.
The men look up, first shocked, then embarrassed. Chloë, standing in the threshold, smiles wickedly.
CHLOË (CONT'D)
'Cause right now, my impulse is to
take these ID cards and...but, no.
I'll try to maintain a little "self-
control." I'm sorry, Mr. Donovan.
But I don't think this is gonna
work out.
Chloë drops her ID on a table near the door. She starts to leave, but turns back for a second.
CHLOË (CONT'D)
And I gotta say, for spooks, you
guys are really lousy at the whole
keeping secrets thing.
She's gone.
Shane shoots Brady a look.
BRADY
Right.
He tosses the teacup aside (making Shane lunge to catch it) and runs after her.
INT. STAIRWELL - CONTINUOUS
Chloë is hurrying down the stairs. Brady comes dashing down behind. She ignores him.
BRADY
Wait, Chloë. Wait! I said wait
up a sec! Jeez, Chlo', you never
freakin' change, do you! Trust
Chloë Lane to run out when the
going gets tough!
She stops on a landing and whirls on him.
CHLOË
Me running out? Me? Running
out? Oh, ho, ho, you've got one
hell of a nerve.
BRADY
And you've got one hell of a
mental defect thinking you can
just walk away from this. This
isn't high school. This isn't your
marriage. It's the goddamn ISA
and you don't just walk out of
this one.
CHLOË
Right, I wait for you to throw me out.
BRADY
Wouldn't that be a switch?
CHLOË
Don't you dare make this about
what happened between us. I'm
doing this for one reason and one
reason only.
BRADY
Would that be power or glory?
CHLOË
It would be to save your sorry ass.
BRADY
Excuse me?
CHLOË
You heard me!
BRADY
The day I need you to save me
will be a cold day in Hell.
CHLOË
Well guess what? Belle's packed
you some mittens.
BRADY
You leave my sister out of this.
This is between you and me.
CHLOË
No, it's between you and me and
some psycho Stefano wannabe
who's stalking me! Do think I
actually like this? Do you think I
want to be here? Do you think I
ever had the slightest desire to
give up my life, my privacy, my
freakin' sleep to play cops and
robbers? I don't have a choice,
Brady! At the very least, I have
to be able to protect myself, since --
She stops abruptly.
BRADY
Since I can't?
CHLOË
I didn't say that.
BRADY
You didn't have to. You never really
forgave me.
CHLOË
You never forgave yourself. And now
you're willing to let this maniac run
around free because it hurts your poor
widdle ego to see me do your job and
do it well.
BRADY
Oh, right, 'cause you're Chloë Lane!
You can do everything! I'm just the
poor schmuck with no skills, no
talent, no future --
CHLOË
You were the one who didn't want
to be in the studio! I wanted you
singing with me! I wanted you in
the booth! I wanted you to be a part
of my career!
BRADY
That was the point, Chloë! It was
your career! Not mine! Yours! And
I got sick and tired of being your
lapdog! I needed a life of my own!
CHLOË
And I never tried to stop you from
having one! Augh!
She tears at the roots of her hair.
CHLOË (CONT'D)
This is so stupid. This same ridiculous
fight, over and over again. The point
is, Brady, that we fell out of love --
Brady's face: direct hit. We what? He's quick to cover as she continues.
CHLOË (CONT'D)
Does it matter who stopped loving first?
BRADY
(beat)
I guess not.
CHLOË
Brady, we have to get past this.
'Cause this is so much bigger than
you and me. This is too --
BRADY
You're right.
Suddenly, he's the cold, hard boy she met on the docks all those years ago, all pout and "Whatever."
BRADY (CONT'D)
(off her look)
You're right, okay? Truce.
He sticks out his hand. She shakes it cautiously.
BRADY (CONT'D)
C'mon. Time to work.
They climb the stairs.
EXT. CHLOË'S APARTMENT - SUNSET
Chloë exits a taxicab (NOTE: different outfit -- this is several days later) and enters her building.
INT. CHLOË'S APARTMENT - CONTINUOUS
It's semi-dark as Chloë enters and flips on the light.
BRADY
Hi!
CHLOË
Jeez!
She nearly jumps out of her skin. Brady lounges on the couch and grins. He's wearing a dark trench coat and black pants.
BRADY
Y'know, for a spook, you're pretty
lousy at the walking into a dark
room thing.
CHLOË
Please tell me this is a social call
so I can kill you.
Brady holds up a cream-colored ENVELOPE.
BRADY
You were invited to the Kuwaiti
Ambassador's birthday party.
CHLOË
Yes I was.
BRADY
You turned it down.
CHLOË
Yes I did.
BRADY
You're going anyway.
(grins)
It's your first assignment.
Exhausted, Chloë throws her keys on a table and sighs.
CHLOË
Great.
BRADY
Hurry up and get changed.
(beat)
Wear something sexy.
Chloë shoots him a nasty look and storms into her bedroom.
LATER
Brady is fiddling with some knickknacks when he hears Chloë emerge slowly from the bedroom. He turns to say something. His jaw drops.
Chloë stands in the doorway, paying no attention to him. She's fiddling with the clasp of her NECKLACE, a large white sapphire in a sleek setting. Her dress is cut up to there and down to there and shines like a jewel. (Think Angelina Jolie at the 2000 Golden Globes, but with teeny, weeny straps holding it on. Barely.) Her hair is piled high and has an elaborate HAIRSTICK holding it in place. Her attitude holds not a trace of Ghoul Girl. She's completely gorgeous and unselfconscious: the saleable product that is Chloë Lane. She's not a person, she's an album cover.
She doesn't even notice Brady approach. He reaches nervously for her.
BRADY
Here. Let me.
CHLOË
Oh. Thanks.
He steps behind her and takes the chain. She waits patiently. He hooks it, then seems to lose his train of thought in the scent and heat of her. His eyes close. His cheek grazes her hair....
CHLOË
Got it?
He snaps back.
BRADY
All set.
(beat)
Nice rock.
CHLOË
Thanks.
She turns to face him, holds out her arms as if seeking approval.
BRADY
And you have the regulation
weaponry stashed somewhere?
CHLOË
Yes sir. Two-shot derringer in
my bra, and --
She lifts the back of her dress and exposes a whole lot of lovely thigh. Oh, yeah, and there's a KNIFE strapped to it. She drops the skirt again.
CHLOË (CONT'D)
Just in case.
BRADY
Allrightythen.
This time she sees his discomfort and it brings on a grin, but she says nothing. She gives him the once-over. She notices the bowtie peeking out of the top of his collar.
CHLOË
Are you supposed to be my date?
BRADY
No.
He flips off the coat. Beneath: white shirt and short black jacket.
BRADY
I'll be your waiter this evening.
EXT. FIFTH AVENUE - NIGHT
Focus on one taxi muddling its way through the mess.
INT. TAXI - CONTINUOUS
Brady and Chloë in the back seat.
CHLOË
So, once I figure out who the
ambassador is --
BRADY
It is embarrassing to me that you
don't know this.
CHLOË
Yeah. Pick Yo-Yo Ma out of a line-up
and we'll talk. So once I spot the
ambassador --
BRADY
You've got to find a way to inject
him with this.
Brady digs into his pocket and produces a tiny black CASE. From said case, he pulls the teeniest SYRINGE you've ever seen. Miniscule, but with a fairly long needle. Chloë takes it with two fingers.
BRADY (CONT'D)
Careful!
CHLOË
Lemmie guess. Barbie's Dream Insulin?
BRADY
That, young Padwan, contains a
saline solution which in turn contains
a nanoscopic transmitting device.
CHLOË
Itty bitty bug?
BRADY
Itty bitty bug.
CHLOË
He's not gonna notice when I pierce
his flesh?
BRADY
While babe-o-licious superstar
flashes the killer grin? Not likely.
Despite herself, Chloë looks pleased at the complement.
BRADY (CONT'D)
And a little cleavage won't hurt.
(to driver)
Louis?
LOUIS
Yes, Agent Black?
BRADY
Turn down 58th. Let me off in the
first alley. Then take Chloë on to
the Plaza.
LOUIS
Yes sir.
The car pulls over.
BRADY
(to Chloë)
Break a leg.
CHLOË
Thanks.
BRADY
And try not to screw it up.
She scowls at his back as he steps out of the cab.
EXT. THE PLAZA HOTEL - NIGHT
Establishing shot of the grand old hotel.
INT. MAIN BALLROOM - THE PLAZA - NIGHT
Glitter glitter glitter and A BAND playing Strauss waltzes. Chloë enters the sea of Armani tuxes and Randolph Duke dresses and looks around carelessly.
She spots Brady. He's carrying a TRAY of canapé around. He's also now sporting a fairly amusing fake goatee. As his wandering gaze passes over Chloë, he doesn't show even the faintest spark of recognition. Chloë realizes she is staring at him and looks away.
SERIES OF SHOTS, MOS: Chloë wandering through the crowd, nodding at acquaintances, chatting, dancing. Brady watching but not watching. Chloë shaking hands with THE AMBASSADOR (we know it's him from the sash). More chatting. Drinking champagne. More wandering.
Chloë walks determinedly forward, passing behind the Ambassador, when suddenly, she stumbles into him.
She grabs his arm for balance. She injects him.
He grabs her arm to stop her fall. Smiles all around: So sorry! Quite all right! Are you hurt? No, I'm fine! etc. She walks on.
END MOS
Later, standing by a pillar, sipping at a glass of champagne, she looks around from waiter to waiter. Finally, she spots Brady, now armed with champagne tray, but --
MAN 1
Sir? There's a problem.
Chloë freezes. Behind her, TWO MEN in tuxedos are talking.
MAN 1 (CONT'D)
We have a breech.
MAN 2
Who?
MAN 1
Waiter. Right there. The blonde.
He's ISA.
MAN 2
You're sure?
MAN 1
Ran into him once in Senegal.
I never forget a fist.
MAN 2
What the hell is he doing here?
MAN 1
Don't know. Don't think we should
ask, do you?
Chloë walks slowly away.
She comes up to Brady, drops off her empty glass and grabs another.
CHLOË
(sotto voce)
Get out.
BRADY
(sotto voce)
What?
CHLOË
(sotto voce)
They've spotted you. Get out.
She takes a sip. He fusses with the glasses on his tray. They don't look at each other.
BRADY
(sotto voce)
Who's spotted me?
CHLOË
(sotto voce)
I don't know. I heard them talking
and didn't stop to ask names.
BRADY
(sotto voce)
You're sure?
CHLOË
(sotto voce)
Something about Senegal?
BRADY
Damn.
(looks up)
Damn.
She follows his gaze.
A TUXEDOED MAN is standing on a balcony above, drawing an automatic PISTOL, adding a SILENCER.
BRADY (CONT'D)
(sotto voce)
Get out of here.
CHLOË
(sotto voce)
What about you?
BRADY
(sotto voce)
Don't worry about me.
CHLOË
(sotto voce)
You need a distraction.
BRADY
(sotto voce; getting angry)
Chlo', just --
Chloë drops her glass. Wide-eyed, she points at the balcony and screams.
CHLOË
Oh my god! HE'S GOT A GUN!
Chaos in the ballroom! From the shooter's POV, Brady is lost in a sea of bodies.
Back to Chloë and Brady.
BRADY
Oh, very nice!
CHLOË
Shut up and run.
They do.
INT. SERVICE HALLWAYS - THE PLAZA - CONTINUOUS
Brady drags Chloë, stumbling in her heels, through fluorescent-lit halls, looking for an exit. He's furious.
BRADY
What the hell did you think
you were doing?
CHLOË
Hi, once again? Your ass,
me saving it.
BRADY
I had it under control.
CHLOË
(sarcastic)
Yeah, okay.
AROUND A CORNER
Dead end. They double back.
BRADY
You could've blown both our covers!
That was incredibly unprofessional!
CHLOË
Kinda the point.
BRADY
What are you talking about?
CHLOË
You ever heard of a secret agent
screaming at the sight of a gun?
(off his look)
Didn't think so.
ANOTHER CORNER
The connecting hallway is in near darkness but very long. There's an emergency exit at the end. They start down it. Suddenly --
BRADY
(sotto voce)
Back!
He throws an arm across her and slams them both flat against the wall. They barely breathe.
Far at the other end of the hallway, A SILHOUETTE holding a gun appears. He is joined by a second. There are voices, but too far away to hear.
From the Silhouette's POV, a dark, empty hallway. Then, a tiny flash.
SILHOUETTE
There!
Back to Brady and Chloë.
BRADY
You are way too shiny.
He pulls out a GUN. The silhouettes are coming.
BRADY (CONT'D)
Go. I'll cover you.
CHLOË
But --
BRADY
Go!
She dashes for the door while Brady lays down covering fire. Bullets fly. He follows. The door slams behind them.
ON THE STAIRS
They run. The door opens behind them and one of the gunmen follows. At the bottom landing, Chloë tries the door. It's locked. Brady throws a shoulder into it and it gives. A bullet flies past them. Chloë pulls her tiny DERRINGER, turns, fires off two (lousy) shots, and Brady drags her out the door.
EXT. ALLEY - CONTINUOUS
The alley is blocked from the street beyond by a ten-foot-high GATE. Brady boosts Chloë, but as she starts to climb, the gunmen emerge from the door. He pulls her off the gate and behind the dumpster.
More shots. Brady leans out from behind the dumpster and fires.
WHAM. One gunman goes down.
Brady fires again. CLICK. No ammo.
Brady lunges behind the dumpster and grabs Chloë's skirt, tries to throw it over her head. She slaps him away.
CHLOË
What the hell are you --
BRADY
The knife! Oh, forget it.
He grabs the hairstick from her hair, leans out, and HURLS it.
The gunman screams as the stick goes into his chest.
Behind the dumpster --
CHLOË
Whoa.
BRADY
Watch and learn, kid. Climb. Now.
She obeys.
EXT. STREETS OF NEW YORK - NIGHT
Brady and Chloë run from alley to alley, watching over their shoulders.
EXT. CHLOË'S APARTMENT - NIGHT
Two shadowy figures run behind the building. One glimmers a little.
INT. CHLOË'S APARTMENT - CONTINUOUS
A window flies open and Chloë tumbles in and lands on the floor. Brady follows. He helps her to her feet. They're both panting.
CHLOË
Ohmigod.
BRADY
You okay?
CHLOË
I'm fine. You?
BRADY
I'm good. You sure you're okay?
CHLOË
Yeah, I'm just...that was just...that
was the most incredible...ohmigod.
BRADY
(grins)
Best high there is.
CHLOË
It's amazing. I'm like shaking all
over. I feel so...so....
She looks at him, and we realize she's not just excited. She is very, very turned on.
Brady notices too. He waits.
Chloë reaches out and tears the fake goatee from his face.
BRADY
(laughing)
Ow!
She giggles. He waits.
She grabs his lapels and flips the jacket off his shoulders, trapping his arms at the elbows and pulling him closer.
He shakes the jacket off and grabs the straps of her dress.
SNAP.
The dress slithers to the floor, leaving her in bra, panties, and knife holster.
She pulls his tie loose. She begins unbuttoning his shirt. She pulls. Buttons pop off.
Brady grabs her leg. She grabs his shoulders for balance, her nails cutting in. He unstraps the knife, tosses it on the couch. She laughs and strips his shirt from him. He laughs too. She begins walking backwards, leading him by the arm into the bedroom. They kick off their shoes as they walk, eyes locked together, intense, all wicked smiles.
IN THE BEDROOM
Brady grabs Chloë around the waist and throws her onto the bed.
She scrambles to her knees and grabs his belt. She unbuckles it and whips it off him.
He grabs her shoulders. They grapple, laughing again. He pounces and they wrestle across the bed.
Finally, panting again, Brady overpowers her, or Chloë lets him. He pins her wrists to the bed with his hands, and the rest of her body with his body. They stare intensely into each others' eyes, giggling a little.
Then Brady's expression softens. He looks at her lips.
Chloë looks uneasily at him.
CHLOË
Don't --
Too late. He kisses her.
Chloë tries to fight it, tries to turn her face away, but the kiss is hard and presses her into the mattress, trapped. Then, slowly, she gives in.
Brady releases her hands. They wrap their arms around each other as the kiss deepens.
Finally, he breaks it off. He begins kissing her neck, her shoulder.
BRADY
(muttering)
Chloë. oh God, Chloë. Tell me
it's not too late. Tell me I can
make you love me again.
CHLOË
I never stopped. Not for a second.
They kiss again. Brady begins to move and Chloë begins to moan. They make love violently, still rough but somehow no longer a battle, and we --
OVERLAP TO:
INT. CHLOË'S BEDROOM - MORNING
Chloë is asleep. Hair mussed, what's left of her makeup smeared, she looks peaceful and blissful. She stretches a little, coming around. Then --
Her eyes pop open, horrified.
She sits up, clutching the sheet to herself. She looks at the other side of the bed. Empty.
Distantly, we hear kitchen clanking and a soft sizzle.
INT. CHLOË'S APARTMENT - CONTINUOUS
Chloë emerges from the bedroom, clutching the neck of her bathrobe shut.
Brady stands at the stove wearing the remains of last night's clothing. He is cooking BACON (turkey bacon, of course). He is cooking it with intensity. He is cooking it with determination. He is, in no way, to be distracted from the bacon. This bacon is essential. He frowns at it.
CHLOË
Hey.
Still, Brady is one with the bacon.
BRADY
Hey.
She watches him a while longer. He flips the bacon, very seriously.
CHLOË
Quite a night last night, huh?
(long beat)
That adrenalin stuff. What a kick.
(long beat)
Like a drug. Makes you a little crazy.
(long beat)
Makes you do things...and say things
you wouldn't usually. Say. Or do.
(long beat)
Y'know?
BRADY
Yeah.
Brady takes the bacon from the pan and sets it aside to drain. He turns off the burner, tosses the pan in the sink, and finally turns to Chloë, but he doesn't meet her eyes.
BRADY (CONT'D)
I should...uh...go.
CHLOË
Okay. Yeah.
BRADY
We've got a debriefing at noon. I
wanna go get cleaned -- go, y'know...
CHLOË
Yeah. Of course.
BRADY
So. I'll catch you later then.
CHLOË
Yeah.
BRADY
Bye.
He heads for the front door.
CHLOË
Should you -- I mean --
BRADY
Don't worry. I won't be seen.
CHLOË
Okay.
He stops, looks at her, looks away.
BRADY
Bye.
He leaves.
CHLOË
Bye.
She sighs and looks at the PLATE on the kitchen counter.
Brady has made an entire package of bacon.
She smiles at it, a little sadly.