INT. CONFERENCE ROOM - ISA HEADQUARTERS - DAY
Shane sits at the table, along with Chloë and Belle. Chloë has her knees drawn up to her chin and covers her mouth with one hand. Belle has an arm around her but looks helpless to comfort her. Brady paces, kicking furniture, throwing punches at nothing.
BRADY
(muttering)
Unbelievable. Un-be-freakin'-
leavable.
CHLOË
(whispering)
He was dead. He was supposed
to be dead. Brady killed him.
He's supposed to be dead.
BRADY
How is it possible that we didn't
have a scenario on this?
CHLOË
He's supposed to be dead.
BRADY
How is it that no one knew
he was still alive?
Shane and Belle shoot each other a guilty look. Brady sees it. He turns to Shane.
BRADY (CONT'D)
You knew. You son of a
bitch. You knew.
SHANE
Agent Black --
BRADY
Why didn't you tell me?!
Brady picks up a chair and throws it across the room.
SHANE
Agent Black. You calm down
right now or I will calm you
down myself. Understood?
Brady stands still, fists balled, and glares at him.
BELLE
It wasn't Shane. It was me.
Brady and Chloë turn to her, shocked.
BELLE (CONT'D)
When I did the original profile,
I found a bunch of things. Not
just the obsession with Chloë.
There was also evidence of
psychosis...and financial connection
with the Kiriakis empire. But,
like Chloë said, he was supposed
to be --
CHLOË
Dead.
SHANE
So I asked her to leave her
suspicions out of her report.
BRADY
Why the hell would you do that?!
SHANE
I thought it best for the operation.
BRADY
To keep us in the dark?!
SHANE
Do you honestly think it would have
improved your performance if
you'd known? Yes, we had our
suspicions, but I wasn't about to
have one of my best agents
running off like four of the Seven
bloody Samurai, getting himself
killed, and possibly others as
well! Not to mention, if you'd known
there was even a possibility of
Yios O being Phillip Kiriakis you
wouldn't have allowed Chloë
within a hundred-and-fifty miles
of this operation --
BRADY
You're damn right I wouldn't!
And as a matter of fact, I am
taking her out of here right now,
getting her on a plane, and
taking her far away, somewhere
Phillip can't get his hands on her.
SHANE
And where exactly would that be?
Silence.
Brady kicks another chair in frustration.
CHLOË
(softly)
So what now?
(beat)
What do we do now?
Brady looks at her with disbelief.
INT. HALLWAY - ISA HEADQUARTERS - LATER
Brady and Chloë walk slowly down the hall toward the exit. Brady stops her with a touch on the arm.
BRADY
You don't have to do this.
(beat)
Say the word and I'll take you
out of here.
CHLOË
Shane's right. There's nowhere
to run to.
BRADY
I'll find somewhere.
CHLOË
We have a job to do.
BRADY
Why won't you let me take
care of you?
CHLOË
Why do you think I need taking
care of?
BRADY
Because I know what he did
to you.
(beat)
And I know he's the only
thing in this world that
you're afraid of.
She looks away. Almost unconsciously, her hand slips inside her shirt collar and rubs her shoulder.
Brady gently pushes her shirt and her hand aside, revealing the faint, almost unnoticeable BULLET SCAR on her shoulder.
CHLOË
Sometimes, I still have that dream,
y'know, when I wake up in the middle
of the night, and for just a half
a second, I...I can't make a sound.
(re: scar)
And sometimes, it's like I can still
feel....
BRADY
I know.
She pushes his shirt open, revealing his almost identical SCAR, from Phillip's stabbing. She stares at it as she speaks.
CHLOË
I wish I could be as brave as
you. You're not afraid of anything,
are you?
He touches her cheek.
BRADY
Not of him.
She looks up. Their eyes meet, and neither can move, neither can speak.
Down the hallway, Belle and Shane round the corner, with two AGENTS in tow.
SHANE
Agent Lane, your --
BELLE
Shh!
She puts up a hand, and they all stop.
Brady and Chloë remain still for a moment longer. Belle watches them, and seems to realize what is happening, what has happened.
Chloë smiles bravely at Brady. She puts her hand over his, then squeezes.
She turns and walks toward the group of agents.
INT. CHLOË'S APARTMENT - NIGHT
The agents from above stand guard outside Chloë's bedroom
IN THE BEDROOM
Chloë tosses and turns, unable to sleep.
EXT. CHLOË'S APARTMENT BUILDING - CONTINUOUS
Across the street, Brady stands huddled in the shadows, watching the building. He tries to take a sip from his TAKEOUT COFFEE, then realizes it's empty. With a sigh, he tosses the cup into the dumpster behind him in the alley, then resumes his vigil.
CU of his face. He jumps as
ANOTHER COFFEE
is thrust in front of his face. He takes it with a grin.
BRADY
Thanks, Tink.
Belle leans against the wall beside him, sipping at her own coffee. After a while, she speaks.
BELLE
Y'know, life expectancy for
a white, American male these
days is 78 years?
BRADY
Fascinating. Yet random.
BELLE
In our business, it's 52.
(off his look)
Life is way, way too short for
you to be standing down here
when you belong up there.
Brady watches her as she walks away.
EXT. AN AIRPLANE
soars through the sky.
INT. FIRST CLASS - THE AIRPLANE
Chloë leafs through a magazine, trying not to look nervous but for the most part failing.
PILOT (O.S.)
(over loudspeaker)
Ladies and gentlemen, I'd like
to ask you to take your seats as
we begin our final descent into
Los Angeles....
Chloë settles into her seat, clenching her fists.
EXT. NBC STUDIOS - DAY
Establishing shot of the busy lot.
INT. HALLWAY - SOMEWHERE ON THE LOT
A tall YOUNG MAN with long black hair slicked back into a ponytail, a pencil moustache, one gold earring, and an expensive-looking suit strides confidently down the hall, glancing at doors as he passes them. Techies who pass him in either direction don't give him a second glance.
Finally, he finds the door he's seeking and knocks perfunctorily, throwing the door open without waiting for an answer.
INT. DRESSING ROOM - CONTINUOUS
Chloë looks up from the mirror, startled, reaching for her weapon.
CHLOË
Excuse me, who the...Brady?
Our eurotrash friend, now obviously Brady, grins. He holds out his arms and twirls.
BRADY
Like the threads?
CHLOË
You look like a Parisian pimp.
Brady contemplates this.
BRADY
Thank you. How're you doing?
CHLOË
Somewhere between a bit
freaked and totally wigged.
BRADY
(concerned)
You can still back out of this.
CHLOË
You know I can't.
Brady nods. He sits on the couch.
BRADY
All right. Has Jay been --
Another knock at the door. They both reach for weapons, then catch themselves and grin.
CHLOË
Come in!
The door opens and JAY LENO enters the dressing room.
JAY
Hey, Chloë, good to see you.
Welcome to the show.
CHLOË
Thank you.
JAY
I just wanted to sit down with
you for a minute, sort of a
pre-interview, you know. Give
you an idea of the questions I'm
going to ask. You can let me know
if there's anything in particular
you need me to bring up, or to
avoid for that matter.
CHLOË
Actually, yes, there is one thing
I'd like you to ask me about.
(glances at Brady)
I need you to ask me about
my divorce.
JAY
(beat; surprised)
Um...you sure about that?
CHLOË
Yes. Very sure.
JAY
Because, I gotta tell you, most
guests would rather not have
their personal lives paraded in
front of millions of --
CHLOË
I understand that, Mr. Leno --
JAY
Please! Jay!
CHLOË
Right. Jay. I know it sounds really
strange, but it's something I need
to talk about in public --
JAY
But are you sure this is the best
time to do it? The tabloids
have just quieted down about
you. Do you really think it's
the time to --
BRADY
Jay.
(Jay looks)
Company business.
Jay squints at Brady for a long beat.
JAY
Brady?
BRADY
Hey, man.
JAY
(sarcastic)
Nice disguise.
BRADY
"Parisian Pimp."
JAY
It's workin' for ya. So this is
on the clock?
BRADY
Yup.
JAY
That's all I needed to know.
CHLOË
Hold it a second....
They look at her. Wide eyed, she points to Jay.
CHLOË (CONT'D)
He's ISA?
Jay sticks out his hand. She shakes it tentatively.
JAY
Agent Leno, Propaganda
and Disinformation. Welcome
aboard.
CHLOË
I don't believe this.
BRADY
The world is a strange and
wonderful place.
JAY
So, one more question. With this
divorce thing, do I go for the
jugular or just rattle the cage
a little?
BRADY
Down boy. Just ask the question
and let her do the talking.
JAY
You were more fun in Senegal.
(to Chloë)
Well, Agent Lane, time's up. I'll
see you out there.
He stands and heads for the door. Brady stands and opens it for him. At the threshold, he whispers to Brady.
JAY (CONT'D)
This mean you two are...?
BRADY
Keep you posted.
He hustles Jay out and closes the door behind him. He turns to Chloë.
BRADY (CONT'D)
Status report.
CHLOË
Totally wigged. Sir.
BRADY
I'm not gonna let him hurt you.
CHLOË
(smiles; long beat)
You really think he'll show?
BRADY
He's gonna be wherever you are. You
just go out there and be beautiful
and tell him what he wants to hear.
Then we can catch him and I can bash
his goddamn skull in.
(uncomfortable beat)
I've got something for ya.
CHLOË
(brightening)
Prezzie?
BRADY
Not exactly.
He crouches beside her and takes a SMALL VELVET JEWELRY BOX out of his pocket. He opens it. Inside, a pair of SIMPLE GOLD EARRINGS.
He takes one out and hands it to her.
BRADY (CONT'D)
Left ear.
Obediently, she puts it in.
CHLOË
What is it?
BRADY
It's an earring.
(holds up the other earring)
But this one, it's a fun new toy
the guys in Tech like to call a
"Direct Neural Stimulation
Transceiver." Right ear.
She obeys.
BRADY (CONT'D)
It will operate as both an earphone
and a microphone, but only as long
as the post is in direct contact with
your body, preferably as close to
the auditory nerve as possible. It
transmits impulses directly into
the nerve and picks up vocalizations
the same way, bypassing the whole
pesky sound thing. It picks up the
smallest of whispers, and it's totally
silent to anyone who's not touching it.
The only thing that can pick up its
signals is this.
He taps his own earring.
CHLOË
So you can hear me --
BRADY
And you can hear me.
CHLOË
But no one else can hear what
we're hearing.
BRADY
Exactly.
CHLOË
Pretty neat.
BRADY
I thought so.
(beat)
Almost time. Last chance.
CHLOË
Wish me limb damage.
BRADY
Break a leg.
He stands, takes her by the nape of the neck, and kisses her forehead. Impulsively, she tilts her head back and gently kisses his lips.
The kiss breaks. Neither of them quite knows what to make of it.
Brady clears his throat, and then walks out.
Chloë turns to the mirror to touch up her lipstick, and her fear is clear on her face.
INT. ON THE SET - THE TONIGHT SHOW - LATER
The audience is laughing and cheering at whatever was just said. Chloë sits in the interview chair, looking cool and confident. Jay is behind his desk. They are laughing along with the audience.
JAY
So, what you're saying is, no
more parasailing for Chloë Lane.
CHLOË
Definitely not!
JAY
Okay, good to know. 'Cause,
y'know, extreme sports are a
big change for you. In fact,
you've been going through
a lot of changes lately, am I
right?
CHLOË
(more seriously)
Yes. Yes I have.
JAY
You were recently...well,
recently divorced.
CHLOË
I was.
JAY
That's...not the easiest thing
in the world.
Chloë is the picture of gentle regret.
CHLOË
Definitely not. But, y'know,
sometimes the right thing isn't
the easy thing. It's hard, it's
hard to take a look at your
whole life, something that's
been a part of you for so many
years, and say "This isn't
good anymore. This isn't what
I should be doing." But once
you realize that, you can't
let it go on. You have to
make the change....
IN THE AUDIENCE
Disguised Brady slips into the theater and looks around cautiously.
ON STAGE
Chloë continues.
CHLOË (CONT'D)
...Ultimately I realized that what
I thought I wanted wasn't right
for me...
AUDIENCE
Pan along a row to reveal Phillip, sitting low in his seat, watching intently.
Brady looks around, does not spot him.
CHLOË (CONT'D; O.S.)
...that I had made a mistake.
Ouch! Brady felt that one. He scowls at the
STAGE
Where Chloë shrugs philosophically.
CHLOË (CONT'D)
But I'm looking forward to
some new horizons. Or maybe
revisiting some old ones I'd
abandoned a long time ago.
AUDIENCE
Phillip perks up.
STAGE
JAY
Well, we all wish you happiness
and the best of luck, right folks?
The audience cheers.
JAY (CONT'D)
So, speaking of new horizons --
CHLOË
Nice segue.
JAY
Thank you! Speaking of new
horizons, you have a new
album coming out, is that
correct?
CHLOË
Yes, on Friday! And I'm so
excited about it!
JAY
And I've heard it -- it's
wonderful of course -- and it
is breaking a bit of new ground
for you, isn't it?
CHLOË
It is. I've done something
totally new for me on this one.
Most of my albums, there's a
little bit of opera, a few old
standards, a few show tunes,
that sort of thing. But this time,
I'll be singing a brand new
song.
JAY
And that's the title track,
"Endless Circle."
CHLOË
Yes. It was written by a pair
of wonderful, New York-based
songwriters, Julie Flanders and
Emil Adler. They write the most
amazing, beautiful songs, and
as soon as I heard this one....
It just, it really spoke to me,
to where I was at the time in
my life. It really touched me.
It still touches me. So I took
it into the studio and we pulled
it together and we all liked
it so much that it became the
title track, which is really, for
me, different and exciting.
JAY
And that's what you're gonna
sing for us now?
The audience cheers.
CHLOË
(over cheering)
Yes, but...but hold on! Hold
on! One warning. I have never
actually performed this in front
of an audience before. So only,
like, four...no, five people in
the entire world have ever
heard me sing this.
JAY
So it's yet another new horzon!
CHLOË
Yes, but like with the parasailing,
there's a huge possibility that I
will mess this up completely --
JAY
Oh, stop it. You'll be wonderful
as always.
CHLOË
I will try!
JAY
That's all we ask. Ladies and
gentlemen, the album is called
Endless Circle. The song is
called "Endless Circle." The
singer is called Chloë Lane. Let's
give her a big round of applause!
The audience cheers again as Chloë walks to the other half of the stage, where a TWO MUSICIANS (harpsichord and classical guitar) wait for her.
AUDIENCE
Brady looks around, growing more frustrated by the second, then --
STAGE
Chloë steps up to the mike as --
BRADY (O.S.)
I got him.
She loses her composure for half a second, then smiles, flips her hair, and nods to the musicians, who begin to play.
CHLOË
(sings)
It was stormy from the start.
You were raining in my heart
like a thousand tears of laughter.
BRADY turns from his prey to the stage, surprised by what he hears.
CHLOË (CONT'D)
(singing)
It was easy to ignore
everything that came before
in the hope of something after.
PHILLIP sits forward a little, surprised too.
CHLOË closes her eyes, putting her all into it.
CHLOË (CONT'D)
Well, I find myself letting go
of nothing,
holding on
to another time.
Sometimes cruel, sometimes kind.
Even when you hurt sometimes,
you were mine.
INTERCUT their three faces, as Chloë becomes lost in the song and Phillip and Brady each begin to hope, "Is this about me?"
CHLOË (CONT'D)
(singing)
At the end
of an Endless Circle,
I know
what I'm searching for.
Somehow,
every time that I leave you,
I love you
even more.
BRADY remembers, in flashes, through the next verse:
Meeting Chloë on the docks.
The first time their fighting turned to laughter.
Finding Chloë after the Last Blast, her devastated face.
Singing together: "Sixteen going on Seventeen," "People Will Say," "O Holy Night."
Their first kiss, New Year's.
Seeing the bruises on her neck the morning after.
Kissing her on the penthouse stairs and her struggling away.
Phillip holding a gun to her head, both of them covered in blood.
Chloë trying to pull him back onto the bridge.
Chloë in her gypsy costume.
Chloë and he playing tag among Christo's "Flags" in Central Park, laughing.
Chloë in her wedding dress.
CHLOË (CONT'D)
What is borrowed? What is blue?
What is lost inside of you?
What is waiting to be broken?
With a kiss or with a dare,
there's a truth you can't repair,
with a love that isn't spoken.
Will we ever be less alone
together,
on our way
to a separate peace.
Nothing better,
nothing worse,
nothing but the universe
to deny.
STAGE
Chloë continues.
CHLOË (CONT'D)
(singing)
At the end
of an Endless Circle
I know
what I'm searching for.
BRADY shakes himself, looks at Phillip, and recognizes that look. His face falters, "Maybe it's about him."
CHLOË (CONT'D)
(singing)
Somehow
every time that I
leave you
I love you
even more.
PHILLIP remembers, through the bridge:
Taking Chloë's glasses off.
Their first kiss.
Standing by "their" tree.
Yelling outside the movie theater.
His distorted memory of Brady choking her.
Seeing her in the courtroom.
On the bridge, in his arms, Chloë lies about them being alone.
CHLOË (CONT'D)
(singing)
Please,
rescue me
from that look
in your eyes.
I'm
not afraid
of the truth
in your lies.
CHLOË searches the audience, but
HER POV, just a sea of silhouettes. Still, she reaches out toward where she feels Brady must be, and she's right.
CHLOË (CONT'D)
(singing)
In my heart and in my soul
you're the part that keeps me whole.
You were always my redemption.
PHILLIP cocks his head. Who is she looking at?
CHLOË (CONT'D)
(singing)
Something borrowed,
something blue.
He turns. He spots Brady. Brady knows he's been seen.
CHLOË (CONT'D)
(singing)
Something that has gone in you,
oh, something true.
QUICK INTERCUTS of their faces: Chloë's soul-bearing, Phillip's growing fury, Brady's momentary fear, replaced by defiance, over and over, faster and faster.
CHLOË (CONT'D)
(singing)
At the end
of and Endless Circle
I know
what I'm searching for.
Somehow,
every time that I
leave you
I love you --
End on CHLOË.
CHLOË (CONT'D)
(singing)
-- even more.
BRADY (O.S.)
I've been made.
The audience CHEERS as the song ends, but Chloë is frantically searching the audience.
BRADY (O.S.)
He's going out the west doors.
I'm in pursuit.
She recovers herself and bows to the audience as Jay approaches.
CHLOË
(to Brady)
Call for backup!
BRADY (O.S.)
No time.
She stands and shakes Jay's hand. She smiles, says through her teeth.
CHLOË
Gotta run. Company business.
JAY
Break a leg.
She waves to the audience and dashes off.
JAY (CONT'D)
(to audience)
Stick around, everybody, we've
got the winner of this year's
Sixth Grade National Spelling
Bee coming up next!
INT. BACKSTAGE - CONTINUOUS
Chloë runs through the hallways from soundstage to soundstage, but she's as
lost as Spinal Tap.
CHLOË
Brady, where are you?
EXT. NBC LOT - EVENING
Brady is pushing his way through a throng of extras and tourists. He looks around frantically.
BRADY
I'm outside. Dammit! I think
I've lost him.
(pulls out walkie-talkie)
Air Support? This is Agent Black.
Any sign?
AERIAL SHOT of the milling crowds.
HELICOPTER AGENT (O.S.)
No sign of him, sir.
BACKSTAGE
Chloë runs for the nearest exit door.
CHLOË
Brady? Talk to me!
OUTSIDE
Brady is growing furious. He stops, scans.
CHLOË (CONT'D; O.S.)
Brady....
He sees THE BACK OF PHILLIP'S HEAD and starts running toward it.
BRADY
Got 'im! He's headed southwest
across the lot. I'm following.
CHLOË (O.S.)
I'm on my way.
BRADY
The hell you are. Get yourself
a taxi and get out of here.
CHLOË (O.S.)
As if!
BRADY
This is insubordination.
CHLOË (O.S.)
You should be used to that.
CHLOË bursts out of the soundstage into the twilit evening and looks around. She gauges the sun's position and starts running.
BRADY (O.S.)
(to walkie-talkie)
This is Agent Black. I want
all available agents headed
for the wardrobe warehouse
in the southwest corner of the
lot. Except Agent Lane. If
any of you should encounter
Agent Lane, get her the hell
out of here and back on
a plane to New York. That's
an order.
CHLOË
You are such a pain in my
ass!
BRADY (O.S.)
And you should be used to that.
Chloë rounds the building and pulls up short as TWO AGENTS dash by about 20 feet away, but looking in the other direction.
CHLOË
(to herself)
Jeez, people. The other southwest.
BRADY (O.S.)
Huh?
CHLOË
Nothing.
She takes off in the opposite direction from the agents.
EXT. WARDROBE WAREHOUSE - CONTINUOUS
Phillip casts one look over his shoulder at the distantly following Brady and slips inside.
Brady runs up, out of breath, and follows.
INT. THE WAREHOUSE - CONTINUOUS
It is almost pitch black inside. The closing door echoes loudly. Brady pulls his weapon and looks around.
Rows and rows and rows of racks, of chests of drawers, of hat stands. More clothing than you can imagine in one place at one time, and all of it is gray in the dark. Brady listens. He turns sharply toward a distant footstep. He heads slowly for it, creeping, making no noise.
CHLOË (O.S.)
Brady, where are you?
He ignores it, knowing the slightest whisper will give him away.
EXT. THE LOT - CONTINUOUS
Chloë looks around wildly, lost. She swears to herself. She squints at the last hint of sunset, a few wispy pink clouds on an inky horizon. She turns toward it, then turns slightly left, and begins running again.
IN THE WAREHOUSE
Brady leaps out from behind a row of kimonos, gun pointed.
No one there.
He creeps forward.
OUTSIDE
Chloë has picked up some serious speed.
A hundred feet away, an agent spots her, points, shouts something. Chloë swears again and ducks behind a building.
INSIDE
A quick movement above catches Brady's eye. He looks up at the CATWALK, also crammed with racks and boxes. But there's also SOMEONE MOVING up there.
He heads for the stairs.
OUTSIDE
Chloë crouches behind a dumpster. The coast looks clear. She comes out of the shadows and heads cautiously for the warehouse door when --
Someone grabs her arm. She turns.
INSIDE
Brady creeps upstairs.
On the catwalk, he looks around, staying low as he moves forward. Past boxes. Past racks, around a corner, where he sees --
PHILLIP
OUTSIDE
Chloë yanks her arm away from the AGENT who has stopped her. She backs away, but ANOTHER AGENT grabs her.
CHLOË
No! Stop it! I have to get in
there!
AGENT 1
We have our orders, ma'am.
CHLOË
But Brady is alone in
there with --
BRADY (O.S.)
Uncle Phil.
CHLOË
(to herself)
Oh God.
Chloë continues to struggle in the agents' grips as she listens, horrified, to what is going on inside.
BRADY (O.S.)
Because we knew you'd be
wherever she was.
CHLOË
Oh, God. Brady, just run! Get
away from him!
AGENT 2
Calm down, Agent!
BRADY (O.S.)
It was a sucker bet you'd risk
your entire empire on one
woman. It's the Kiriakis Curse.
AGENT 1
(on walkie-talkie)
Attention all agents. We need
backup at Wardrobe. Agent
Black has the suspect inside.
BRADY (O.S.)
Don't remind me. So now,
Unk, are you gonna come
quietly, or are things gonna
get ugly between us...again?
CHLOË
(to agents; struggling)
Please, please let me go! We
can't leave him alone with --
Chloë hears Brady HOLLER. She renews her struggles, then --
GUNSHOTS
and
In her earpiece, a sickening, wet THUD and a cry of agony.
CHLOË
No!
She finally kung-fus herself free of her captors and dives
INSIDE
pulling a throwing knife from behind her neck, inside her collar.
She is running frantically from row to row.
The agents follow her, guns drawn, running in opposite directions.
FROM ABOVE, all three searching frantically, then --
CHLOË SCREAMS
as she stumbles into a HUGE PUDDLE OF BLOOD.
BRADY'S GUN lies in the middle of it. Blood DRIPS from above. She looks up, cries out.
CHLOË
Oh, please God, no!