INT. QUIRE - WESTMINSTER ABBEY - EVENING

The BOYS are singing again. Chloë and the DIRECTOR are huddled over a piece of sheet music, discussing it.

Chloë looks up and sees Brady coming up the stairs into the quire. She smiles a huge smile and goes to him.

Brady does not smile. He looks like he's just been hit with a brick. He can barely look at her. Chloë notices this as she gets closer, and she slows down, frowning. They speak in hushed tones.

CHLOË
Brady, what is it?

BRADY
I, uh...I have to go back to the states
for a few days.

CHLOË
Why? What's happened?

BRADY
I can't...I can't tell you.

CHLOË
Are you all right?

She reaches out and takes his hand. He almost twitches it away, then holds it tightly instead.

CHLOË (CONT'D)
Brady....

BRADY
I gotta go. I'll be back as soon as
I can.

He starts to walk away. She doesn't release his hand, and it yanks him back.

CHLOË
Hey. I love you.

And, although it nearly kills him to say it, the truth is --

BRADY
I love you too.

He hurries away. Chloë stands alone and watches him go, fear growing in her eyes.

INT. AIRPLANE - NIGHT

All of the passengers in the first-class cabin are asleep, except Brady, who gnaws on his thumbnail, staring into space. His expression slides slowly into anger.

EXT. THE WESLEYS' HOUSE - MORNING

Brady, in the same clothes, rumpled and panting, runs up to the front steps and pounds on the door. He pokes the doorbell a few times for good measure. He shifts his weight impatiently.

The door opens, and a confused Nancy, wearing a bathrobe, blinks at him.

NANCY
Brady? What on earth? I thought
you were in London. Is Chloë --

BRADY
(growls)
Why didn't you tell her?

NANCY
Wh --

BRADY
Why didn't you tell me? She
deserved to know. We both did!

NANCY
Brady, What on earth are you --

BRADY
Dammit, Nancy! I know who her
father is!

Nancy's jaw clenches. Her lip quivers. We're not sure if she's going to hit him or cry.

NANCY
Well, then. You know a lot more
about it than I do.

INT. - WESLEYS' KITCHEN - MORNING

A sullen Brady and a sleepy, confused Craig are sitting at the table. Nancy is going through the motions of making coffee, but it's clearly just something to do with her hands.

BRADY
Why --

NANCY
Because it's not the sort of thing you
tell people. It's not what you tell your
little girl about how she was conceived.
She wants a story with hearts and flowers
and love. At the very least, she'd want
a name, and I couldn't give her one.
I didn't know it.

BRADY
How is that possible?

NANCY
Don't you go playing naïve with me,
Brady Black. You're no angel.

CRAIG
Nance, he didn't mean --

NANCY
Oh yes he did! Look at him! Look
at his face! Look at him judging me!

BRADY
(angry)
I'm not --

But he has to stop and look away, because he is. He's almost shaking with fury.

BRADY (CONT'D)
I just wanna know how it happened.

NANCY
I was raped, all right?! Is that
what you need to hear?! I was raped,
and I don't even remember it!

She throws a COFFEE CUP across the room and it SHATTERS against the refrigerator. Craig leaps up and grabs her, holding her close. She begins to sob.

Brady stares at them, mouth open. That was not what he expected to hear.

CRAIG
(to Nancy; whispering)
It's okay, honey. It's okay.

BRADY
Nancy, I'm so --

NANCY
Shut up! Just shut up, Brady! How
dare you come in here, meddling in
other people's lives, saying you've
"got a right." You have no right!
This is none of your business!

BRADY
It is my business, Nancy! Her
father is --

He catches himself. Craig and Nancy look at him curiously.

NANCY
What makes you think you know
who he is?

BRADY
I ran...some tests.

CRAIG
What, a paternity test? That's not
gonna tell you anything unless you've
got a good guess as to who the father
is. You've gotta have something to
compare it to. How did --

BRADY
I had something to compare it to.

A long, incredulous silence. Craig and Nancy sit slowly at the table.

NANCY
Brady, what do you know?

BRADY
First, you have to tell me what you
think happened. I...I may not be able
to tell you everything.

NANCY
Why the --

Craig stops her with a touch on the arm. He and Brady are staring at each other. An unspoken question and answer pass between them.

CRAIG
Nancy, honey, tell him.

NANCY
(uncomfortable)
When I was a freshman in college, I...
well, I liked to party. I used to go out
every weekend. Sometimes during the
week. And I'd drink. I'd drink just about
anything anyone handed me. I was pretty
out of control. Sometimes, I'd black out.
I'd wake up in the morning and not
know where I was or how I got there.
Then, there was this one time....I got
drunk as usual Friday night, and I woke
up in the dorms. But the hangover, it
wasn't like it usually was. I almost
couldn't move my arms and legs, and
I had this pain, in my stomach, like
cramps, like someone had kicked me
or something. I stayed in bed the next
couple of days. I started to feel better.
then...it was Tuesday, I think. Tuesday
night. I was in the library, studying,
when...I just...I just passed out again.

BRADY
You passed out for no reason? Just --

NANCY
No reason, Brady. One minute I was
reading Karl Marx and the next thing I
knew...I was in my dorm again. It
was Wednesday morning, and I had
no clue what had happened to me.
I swore off drinking at that very
moment. But as it turns out, I would've
had to swear it off anyway, because I
missed my next period, and sure enough...

BRADY
And you never found out what happened
the second time you passed out?

NANCY
No. But I can guess. It had to be one
of those two times. Somebody found
me unconscious and took advantage of it.

Brady stares thoughtfully at the table.

CRAIG
What is it you think you know, Brady?

He looks at the Wesleys, sympathy and duty at war within him. Finally --

BRADY
What I know and what you've just told
me don't make a lot of sense together.
All I can say is...I have this friend. He's
got connections. He ran a genotype
analysis on Chloë and...whoever did this
to you, he was...he was related to the DiMeras.

NANCY
What?

CRAIG
Wait just a damn minute!

BRADY
I know. I know it's strange, but the
data doesn't lie.

CRAIG
Since when does Stefano DiMera go
around kidnapping college girls?
Doesn't that seem a little beneath him?

BRADY
(angrily)
We don't know it was Stefano! We don't
know anything.
(beat; stands)
But I'm gonna find out.
(beat)
You can't breathe a word of this to anyone.
Not even Chloë. Understand me?

NANCY
You haven't even --

CRAIG
We understand.

Brady nods to them and walks out. Nancy turns to Craig and regards him with shock.

NANCY
"We understand"? Just what are we
supposed to understand, Craig?

CRAIG
That there are things about our
son-in-law that we are better off
not knowing.

EXT. SALEM STATE PRISON - DAY

Establishing shot. A dismal, blockish concrete box surrounded by high-security fencing, guard towers, razor wire, etc. Clearly maximum security.

INT. HALLWAY - PRISON - CONTINUOUS

Brady shows his ISA BADGE to a SECURITY GUARD, who nods and directs him down a hallway.

INT. INTERROGATION ROOM - PRISON - CONTINUOUS

In the dim, cinderblock room with the obligatory one-way mirror on the wall, a BALD MAN (seen from behind) sits in the shadows. He taps the fingers of his left hand on the TABLE in front of him. He rests his right arm on the table -- what there is of his arm anyway. It ends in a stump just below the elbow.

The door opens, and Brady stands silhouetted in the bright fluorescent light from the hallway. He regards the bald man blankly for a moment.

The man looks up. He has a familiar face, except for the PATCH over his right eye. He smiles wickedly. It's --

ROLF
Well well. Brady Black. I was
wondering when you would come
to me. Frankly, I expected it sooner.
(beat)
This is, I assume, about your wife?

Brady SLAMS the door behind him and CHARGES the table.

BRADY
You're gonna tell me everything
you know, right now.

Rolf merely raises his eyebrows. Brady SLAMS his fist into the table.

BRADY (CONT'D)
NOW!

Rolf chuckles.

ROLF
What do you expect to accomplish
by threatening me? I am a man
with nothing to lose.

BRADY
Except your life.

ROLF
Come, now, my boy. You have
too much of your father in you to
commit cold-blooded murder.

BRADY
(calmly)
It's not murder to put down a dog.

At this, perhaps, there is the faintest spark of fear in Rolf's eyes. His smile recedes.

ROLF
What do you want to know?

BRADY
How about you tell me everything.
Starting with why. Why Nancy.

ROLF
Because she matched the profile.
(off his look)
The profile?
(beat)
Ah. You do not know as much as
I assumed. Interesting.

Brady POUNDS the table again and GRABS Rolf's collar.

BRADY
Answers, Rolf!

ROLF
She had both the genetic and social
profiles we required for our
experiments!

BRADY
What experiments?

ROLF
Our cloning experiments.

Boot to the head. Brady releases Rolf, stunned.

BRADY
(weakly)
What?

ROLF
Chloë Lane is not Stefano DiMera's
daughter. She is his clone. One
of his clones.

EXT. CAMDEN MARKET - LONDON - DAY

Chloë and Elvis wander down Camden High Street past the profusion of street vendors. They wander along happily, comfortably, like old friends taking a stroll.

ELVIS
So, where's Mr. Black gone to, then?

CHLOË
Oh, he had something he had to do for
work. It happens a lot.

ELVIS
Where's he work at?

CHLOË
He, um, he kind of works all over the
place. He's a...consultant. You know,
you don't have to call us "Mr. Black"
and "Miss Lane." You can call us by
our first names.

ELVIS
Nah. Mum wouldn't like that.

CHLOË
Well, how about when she's not around
you try calling me Chloë.

ELVIS
(grinning)
Yeah, all right.

CHLOË
So, your mom's pretty strict, huh?

ELVIS
She's not bad, actually. She can be a
bit weird sometimes. Bit embarrassing.

CHLOË
Oh, I know all about that!

ELVIS
Yeah, well your mum didn't give you
a bloody awful name, did she?

CHLOË
(laughing)
You don't think so?
(Brooklyn accent)
Yo, Chlowie! Hey, Chlowie baby,
how's it goin'! Chlooooooooowie!
It's like I was named for a herd
of cattle! When I was a kid, people
made fun of my name all the time!

ELVIS
You're joking! Who'd make fun
of you?

CHLOË
Augh! Who didn't?! I was the
definition of unpopular. I was
the Platonic Form of unpopular,
of which all other unpopular
people are mere shadows.

ELVIS
I don't believe it.

Chloë stops in her tracks and looks at him seriously.

CHLOË
They called me "ghoul girl."
(beat)
What do they call you?

ELVIS
(embarrassed)
Lots of things...."the Howling
Pouf," mostly.

CHLOË
Well, here's a little secret.
(leans in close; whispers)
They don't know the first thing
about you. And they never will.
There's magic in you, and not
one of them can touch it.

She puts her arm around his shoulders and they walk on, past the camera. We notice that they are being followed by a MAN IN A TRENCHCOAT.

LATER

Chloë and Elvis are standing on the bridge over the Camden Canal. Elvis is people watching. Chloë is doing people watching of another sort. She has spotted the Trenchcoat, who is watching them while trying to look like he's not watching them. Chloë, with a bit more skill, is also pretending that she's not watching Trenchcoat. She pulls out her cell phone.

CHLOË
(dialing; to Elvis)
You hungry?

ELVIS
A bit, yeah.

CHLOË
All right. We'll -- hang on.
(to phone)
Hello, Aunt Peachy? It's Chloë!...
Yeah, I'm here in London. Camden
Market, actually. My friend Elvis Crumb
and I are looking for a good place to
eat. Wondering if you have any advice
for us....No, no, I haven't seen any
paparazzi today. So what do you think?

INT. MISS PEACH'S ROOM - CONTINUOUS

Close on LAVINIA PEACH, speaking to Chloë on the phone. She is a white-haired, apple-cheeked, grandmotherly sort.

PEACHY
Well, dear, let me think. Oh! That's
the door. Could you hold on for a
minute?

CHLOË (O.S.)
(on phone)
Of course.

Peachy sets the phone down and speaks to someone O.S.

PEACHY
It's Agent Lane, sir. She says she's
being followed and it's not a reporter.
She's in Camden now and looking for
a safe house. Where shall I send her?

Pull back to reveal that Peachy's room is actually her OFFICE. Standing nearby is DIRECTOR SMYTHE, head of the ISA's London bureau. He's standing near Peachy's desk, looking through a file. He looks up, frowning.

SMYTHE
Is she prepared for pursuit? Can
she bring him in?

PEACHY
I'm afraid she's got a civilian with her,
sir. The Crumb boy.

SMYTHE
Oh dear. In that case, send her to the pub.
We'll have a team there in ten.

PEACHY
I'll tell her, sir.
(picks up phone; to Chloë)
Sorry, dear! That was the postman!

CHLOË (O.S.)
(on phone)
That's okay, Aunt Peachy. So, any
ideas? We're getting pretty hungry!

EXT. CAMDEN MARKET - CONTINUOUS

Chloë listens to the reply.

PEACHY (O.S.)
(on phone)
Why don't you head down to the World's
End Pub, dear. They've lovely food, and
I can meet you there in 10 minutes
if you'd like.

CHLOË
That sounds wonderful. I'll see you there.

She hangs up, offers Elvis her arm, and they head cheerfully off down the street. Trenchcoat follows.

INT. THE WORLD'S END - MINUTES LATER

This enormous, multi-storied pub is filled with an eclectic lunchtime crowd, from grizzled old men to teenaged girls with piercings and green hair. A typical slice of Camden.

Chloë and Elvis enter and head for the middle of the pub.

FOOD BAR

A pretty Indian girl in street clothes and a white apron is behind the counter. She does a take at Chloë, as if she can't quite place her face. Elvis scans the chalkboard menu. Chloë watches the door.

CHLOË
Go ahead and order. Anything
you want, hon.

ELVIS
(to counter girl)
I'll have the hamburger, please.

GIRL
And you, ma'am?

CHLOË
(distracted)
Um, the fish and chips, please.
Thanks.

Chloë sees Trenchcoat enter the pub. He does not see them. Chloë steps back into the shadows.

CHLOË (CONT'D)
Elvis, honey, why don't you go wash
your hands. I'll get us a table, okay?

Elvis nods and goes. Chloë pays the girl quickly and moves off into the back room of the pub, casting glances over her shoulder.

BACK ROOM

Chloë finds a table and sits with her back to the wall. She checks her watch. She pulls her PURSE beneath the table and reaches into it.

PURSE

Her hand closes around her WALTHER PPK.

BACK ROOM

Trenchcoat enters and sees her. He knows she sees him.

BENEATH THE TABLE

Chloë slips the gun from her purse and rests it on her knee.

TRENCHCOAT

starts walking toward her, when --

PEACHY STUMBLES in front of Trenchcoat and FALLS to the ground, WAILING.

PEACHY
Oh, heavens! Oh! Oh!

The BARMAN immediately jumps to the rescue.

BARMAN
Hey, there! What'd'you think
you're doing?!

TRENCHCOAT
I -- wh -- I didn't --

Chloë stashes her gun and stands.

BARMAN
(to Peachy)
Are you all right, madam?

PEACHY
Yes, yes, I -- Ohhhhhhh!

Trenchcoat looks around in a panic.

BARMAN
(to Trenchcoat)
Right, you, get out of here.

TRENCHCOAT
But, I --

BARMAN
I said out! And don't come back
till you can mind your manners!

Trenchcoat shoots an angry glance toward Chloë. She glares back.

BARMAN (CONT'D)
D'you want me to call the police?

Thwarted, Trenchcoat storms from the room. The barman helps Peachy to her feet. Chloë heads for them. She embraces Peachy.

PEACHY
(sotto voce)
There you go, dear. Taken care of.

CHLOË
(sotto voce)
Thank you, Peachy. That was about
to get way too Mos Eisley Cantina.

PEACHY
(sotto voce; indicates Barman)
You should thank Reginald here as well.
(to Barman)
Run the surveillance photos soon as you
can, dear.

BARMAN
Of course, madam.

He nods to Chloë with a knowing grin and heads back to the bar. Peachy looks over Chloë's shoulder and grows suddenly upset.

PEACHY
Where's the boy?

CHLOË
What? Elvis? I sent him to the bathroom
in case things got ugly.

PEACHY
Alone?

CHLOË
Of course alone.
(off her look)
Peachy, what's --

ELVIS (O.S.)
Hello there.

The ladies turn. Peachy looks relieved.

CHLOË
Elvis, this is my good friend, Miss
Lavinia Peach. Peachy, this is Elvis
Crumb.

PEACHY
It's lovely to meet you dear. Chloë has
told me all about you.

ELVIS CHLOË
(surprised) (mouths; to Peachy)
She has? I have?

Peachy ignores Chloë's curious look as she shakes Elvis' hand.

INT. INTERROGATION ROOM - PRISON

Brady sits across from Rolf now, staring at the wall, horrified to the point of numb. Rolf relates his tale with more than a little self-satisfaction.

ROLF
She was just the type we were
looking for. A "wild child," as it
were. Someone from a strict and
proper family. The combination
was a near guarantee that the
baby would be put up for adoption.
We then made certain that each
child's adoptive parents were working
for us.

BRADY
The Lanes.

ROLF
Very fine agents, the Lanes.
Very loyal. Unfortunate what
happened to them. Unfortunate
for them, for the child, and for
us. We lost track of the baby
in the bureaucratic tangle that
followed their deaths. She was lost
in the system. Eventually, we
decided not to waste the resources
to find her.

BRADY
Then how do you know who she is?

ROLF
I knew the moment I laid eyes on
her....No, that isn't quite true. I knew
the moment I heard her splendid voice.
She could be no other.
(beat)
Seeing what she has become, it is
a shame we did not find her sooner.
What an asset she would have been!
What a jewel in the crown. So lovely.
So deadly....But, there were more
pressing concerns at the time, and
after all, she was a defective model.

BRADY
(furious)
What do you mean, "defective"?!

ROLF
Now now, Agent Black. In many ways
your wife is the most perfect creature
any man could hope to create. But she
was female. She was not a perfect copy.
Stefano did not want another heir. He
wanted another self.
(sighs)
There were many years, and many failed
attempts. Alexandra, Chloë, Benjamin,
many others. Each time, I failed to fully
extract the mother's DNA from the ovum,
and thus each child was flawed. Imperfect.

BRADY
How many times? How many of
them are out there?

ROLF
Dozens.
(beat)
Dozens of failures. Only one perfect copy.

Rolf smiles slyly as realization passes over Brady's face.

BRADY
Elvis.

ROLF
Indeed. But thanks to your father,
Stefano was never able to reach him.
Now that Stefano is....

Rolf makes a hopeless gesture with his left hand and shrugs.

ROLF (CONT'D)
These trifling details of biology are
irrelevant.

Brady narrows his eyes at him.

BRADY
There are a lot of people who wouldn't
feel that it's irrelevant at all.

ROLF
I imagine you are one of them.

BRADY
DiMera was a monster. And now,
there's another one.

ROLF
Is there? Is biology all that makes
a man? Or a woman?

Brady remains silent at this, looking away. Rolf studies him.

ROLF (CONT'D)
But you are right in one respect.
Many parties would be interested
in the boy if they knew what he was.
Many parties that are not on your side.

BRADY
Is that a threat?

ROLF
I am in no position to threaten
anyone. And my loyalty to the
DiMeras is long gone, along with
the eye and hand they took from me.
I am not the one you should fear.

BRADY
Who should I fear then?

Rolf sighs and shrugs again.

ROLF
I could not say.

Brady gives him a long, hard, searching stare. Rolf remains indifferent. Finally, Brady stands and opens the door. He turns to a GUARD standing outside.

BRADY
Take him back to his cell. I'm
done with him.

Brady walks out.

Rolf smiles.

INT. ROLF'S CELL - MINUTES LATER

This is a cinderblock cell with an iron door. No flimsy bars. No windows, except the small wire-reinforced slit of glass high in the door.

Rolf is ushered in by his guard, and the door is slammed behind him.

He sits on his bunk, sighing, staring thoughtfully into space. He leans his chin on his remaining hand.

Then, he taps his eyepatch with one finger, three times.

ROLF
You heard?
(beat)
We must act quickly.