Monday: Written by Rob Hayes & Argyris Papadimitropoulos

M O N D A Y
Written by
Rob Hayes
&
Argyris Papadimitropoulos
May 2018
1 EXT. TERRACE PARTY - 3AM 1
A party is in full swing on the terrace of a decadent 60s

summer house on the Athens coast.
People are sweaty, swaying, hugging drunk. A few of them have

peaked early and lie passed out on the couches.
Donna Summer’s I Feel Love pulses through the thick air.
FRIDAY
On the decks, MICKEY HENDRICKS (34) is wasted and in control.

He thrives in this environment. People call his name, hi-five
him as they drift past.
But he’s distracted. His eyes are on a woman at the drinks

table. This is CHLOE BLAINE (35). She’s unsteadily trying to
fill her cup with straight rum. Half of it ends up on the
deck.
ARGYRIS (42) - the owner of the house and host of the party -
puts his arm around Mickey and shout-whispers in his ear.
ARGYRIS
You have a nose for
American chicks.
MICKEY
Hah?
ARGYRIS
Go talk to her man.
MICKEY
I’m working.
Argyris laughs at his lame excuse.
ARGYRIS
I know your playlist inside out.
It’s the same RnB shit and then
later on a bit of techno.
MICKEY
It’s not RnB. And that’s
not techno.
ARGYRIS
Come on. This song is twenty
fucking minutes long.
He drags Mickey by the elbow away from the decks.

2 EXT. DRINKS TABLE - SAME 2
Chloe takes a sip of her rum. It makes her convulse.
She scans the busy terrace. Takes out her phone, makes a call.
No answer. She tries again. No answer. She leaves a message.
2.
CHLOE
Daphne. Are you still here? Did
you go already? Call me. I’m still
here.
She checks her phone. Besides these two calls to Daphne, her
call history is dominated by unanswered calls to CHRISTOS.
She stares at the screen, as if considering another call.
Argyris bowls over. Mickey stumbles in, spilling her rum and
knocking her phone out of her hand.
MICKEY
Shit-- sorry.
Argy bends down to pick up her phone. She locks eyes with
Mickey. They have a half-second of intense heat.
Argyris stands up.
ARGYRIS
It’s fine.
He hands Chloe her phone, gestures to each of them

alternately.
ARGYRIS
You’re American. You’re American.
You’re a man. You’re a woman.
There you go.
Argyris pushes their heads together. They quickly, awkwardly

press lips, then jerk away. Argyris leaves, laughing.
MICKEY
You know Argyris?
CHLOE
Not really.
MICKEY
He’s an asshole.
CHLOE
I gathered.
Chloe’s phone rings in her hand.
MICKEY
Are you okay? Are you with people?
Chloe lunges forward and kisses him hard on the mouth. He

kisses back. They relax into a beautiful long kiss in the
middle of the chaos.
Donna Summer cuts out. Skrillex kicks in. They keep kissing.
They break. They stand for a moment, unsure what to do next.

3.
CHLOE
Wanna get out of here?
Chloe grabs Mickey’s hand and they head off toward the surf.
On the way out she swipes the bottle of rum from the bar.
3 EXT. BEACH - 4AM 3
They’re somewhere in between fucking and making love. Fast,

gentle, firm, reckless, tender, theatrical, intimate. The kind
of first time you can only dream of.
The bass from the distant party throbs rhythmically with the
waves. Light from the bright moon is the only illumination.
They pause for breath. Mickey pours some rum into Chloe’s
mouth, holding the bottle high like a water feature.
She rolls him over, straddles him. Wraps her hand tightly
around his throat. Kisses him deeply.
CUT TO:
4 EXT. BEACH - EARLY MORNING 4
Bright white sunlight.
Chloe’s blood-shot eye cracks open. Her cheek is pink from the
morning sun.
She lifts her head up slightly. The underside of her face is

encrusted with sand and tiny pebbles. A thread of hair is
stuck to her lip with saliva.
She looks up to find:
Two POLICE OFFICERS stood over them.
Beyond the cops, giving the scene a wide berth - CONCERNED

TOURISTS. Frowning parents, children hiding behind their legs.
It’s about now she notices she’s completely naked. As is

Mickey. Their clothes strewn in a messy ring around them,
along with an empty, bone dry bottle of rum.
She swallows hard, nudges Mickey.
CHLOE
Hey.
Mickey squints in the harsh light, takes in the cops.
MICKEY
Whoa...
4.
5 INT. POLICE CAR - EARLY MORNING 5
They sit side-by-side in the back seat, each wrapped in a

blanket, staring out the windows in silence.
Chloe looks particularly mortified. Mickey doesn’t seem to

have a care in the world. Then he offers his hand.
MICKEY
I’m Mickey.
She shakes it.
CHLOE
Chloe.
They return to looking out opposite windows, into the

unforgiving morning light. A hidden smile creeps across each
of their faces.
6 INT. POLICE STATION - EARLY MORNING 6
A tiny local station. Just a waiting area and a desk. Behind

the desk is the CHIEF OFFICER.
Mickey and Chloe are now fully clothed, stood a few yards
behind the two arresting officers who are in conversation with
the chief.
CHIEF
(In Greek)
What do you want me to do with
these guys?
Officer one looks to officer two for an answer.
OFFICER TWO
What are you looking at me for?
OFFICER ONE
(to Chief)
They were naked on a public beach.
CHIEF
Now they’re clothed.
Officer one shrugs.
OFFICER ONE
So what you want me to do?
CHIEF
You picked them up. What the fuck
do I know?
Officer one turns to Mickey and Chloe.

5.
OFFICER ONE
You have ID? Passport?
Mickey takes out his drivers license. Chloe checks around

herself with rising panic, building to an awful resignation.
MICKEY
What’s up?
CHLOE
My bag. I left it at the party.
MICKEY
With your ID?
CHLOE
ID. Purse. Phone.
Mickey approaches the desk with his ID.
MICKEY
(showing the ID)
We’re American. Look. We’re
good people.
CHIEF
Americanakia.
MICKEY
Uhuh. Her too.
(to Chloe)
Say something.
CHLOE
Um, yeah. I’m American.
CHIEF
Which basketball team you support?
Chloe looks to Mickey, who gestures for her to answer. She

pulls a face, shrugs.
CHLOE
The...Cavaliers?
MICKEY
You can’t fake that kind of home-
grown passion.
OFFICER ONE
She not has ID?
CHLOE
(in Greek)
I lost my bag. It’s back where you
found us.
6.
MICKEY
(quietly surprised)
Holy shit.
The officers look at each other. They look to the chief, who
conspicuously raises his newspaper - I saw nothing.
7 EXT. OUTSIDE STATION. EARLY MORNING 7
Mickey and Chloe have been released. Officer one sees

them out.
OFFICER ONE
Listen me. Naked at home. Good. Naked outside. Very bad.
MICKEY
Can you write that down for me?
Mickey notices that Chloe is already walking off.
MICKEY
Hold on, I’m coming with you.
CHLOE
That’s not necessary.
MICKEY
I’m not trying to white knight you
here. I need to pick up my bike.
Chloe rubs her face, tired and frustrated. Mickey turns to

the officer.
MICKEY
You’re going back to the
beach, right?
The officer gives him a look, knowing what’s coming.
MICKEY
What, you suddenly gotta stop a
bank robbery? It’s ten minutes.
8 EXT. OUTSIDE BEACH HOUSE - MORNING 8
A squad car pulls away and drives off.
Mickey and Chloe approach the house.
MICKEY
Looks pretty zen to me.
He peers in through the front window. Lifeless.
Chloe meanwhile repeatedly rings the doorbell.
CHLOE
Hello? Hello!
It’s hopeless. Party debris everywhere. Completely deserted.

7.
She wanders away from the door. Mickey tries to make a phone
call. Chloe sits on a nearby wall.
MICKEY
You’re not gonna sit there
and wait.
CHLOE
I need my bag.
MICKEY
You’ll dehydrate.
Chloe laughs.
CHLOE
I’m sure someone will take pity
on me.
MICKEY
I’m taking pity on you right now.
Let me take you back to the city.
This is a holiday home. Argy might
not even come back today. I’ll
keep trying his cell.
CHLOE
Argy the asshole?
MICKEY
Yeah. Look, we take care of each
other. Trust me on this one.
Chloe scans the dispiritingly empty horizon. They both know

she’s out of options.
9 EXT. STREETS OF ATHENS - MORNING 9
Mickey’s weaving his moped leisurely through the streets,

threading easily in between groups of drifting tourists.
Chloe’s on the back, wearing Mickey’s helmet.
The morning sun, the breeze, the sway of the bike, the slight
hangover, the lack of sleep...it all combines to give her a
drowsy, woozy, and not unpleasant feeling.
10 EXT. APARTMENT BLOCK - MORNING 10
They’ve arrived outside Chloe’s apartment. It’s a neat

new block.
MICKEY
Nice.
CHLOE
Uhuh.
Mickey stands by the door, expecting to come in with her.

Chloe has other ideas.
8.
CHLOE
Alright then...
MICKEY
Alright.
He’s not getting it. She has to be straight with him.
CHLOE
Listen-- Mickey?
MICKEY
Mickey.
CHLOE
Mickey. Last night was...yeah. And
you seem like...not an asshole.
Which is a real achievement.
MICKEY
Not an asshole. I can work
with that--
CHLOE
I’m flying back to the States in
two days. And I’m staying there.
MICKEY
For...?
CHLOE
Ever. Forever. So...
She shrugs.
MICKEY
I hear you.
CHLOE
(relieved)
Good.
MICKEY
Alright then.
CHLOE
Alright.
Chloe smiles. Mickey wanders away, turns back briefly.
MICKEY
God speed.
CHLOE
Thanks.
She stands in front of her door. She doesn’t move for a

strange amount of time. Mickey watches.
9.
Eventually she lowers her head and presses it against the door
in a quiet moment of despair.
MICKEY
Keys were in the bag?
CHLOE
(without moving)
Mmm hmm.
Chloe just stays with her head pressed against the door.
Mickey saunters over till he’s stood next to her, staring at
the door.
MICKEY
I’m doing a set in Mykonos
tonight. They rent me an
apartment. It’s nice. You got the
beach. Some cool bars. Zero chance
of dehydration.
CHLOE
I-- really... I’ll--
MICKEY
You’ll figure something out?
Chloe sighs. She is once again out of options.
MICKEY
If you choose homelessness over a
free night in Mykonos I’m gonna
struggle not to take that
personally.
11 EXT. STREETS OF ATHENS - MORNING 11
They’re back on the moped. This time heading from the upmarket
streets of Kolonaki to the lively chaotic melting pot of
Kypseli - Mickey’s neighbourhood.
12 INT. MICKEY’S APARTMENT - MORNING 12
The door is unlocked, he opens it and ushers Chloe through

into a cluttered and ramshackle mess.
Chloe’s taken aback. It’s spacious and architecturally

characterful...but completely untouched for decades.
It’s full of old furniture and chintzy decorations - as if an

elderly couple moved out yesterday. Floral patterns. Ornate
dishes. Little ornaments on the mantlepiece. Even old framed
photos of random people.
Mickey’s belongings - mostly DJ gear - are piled haphazardly

around the place.
MICKEY
Danaa.
10.
CHLOE
This is where you live?
MICKEY
Yup.
CHLOE
It’s uhh... it’s...
She picks up a picture on the mantlepiece. It’s of a smiling

elderly woman.
CHLOE
(clicking)
It’s your grandmothers.
MICKEY
Nope.
Her eyes pass over other photos...
They are all pictures of Argyris and his family. As a

teenager, grinning in a soccer kit. As a young man, lovingly
squeezing the elderly woman...
Chloe frowns.
MICKEY
Alright if we’re quick we can
catch a speedboat.
He heads over to a bedroom. Chloe tries the closest door,

thinking it’s the bathroom. It’s locked. Hearing the handle
turn, Mickey spins on his heels.
MICKEY
Nope. Not that one. That’s my
housemate’s room. Bathroom’s
behind you.
CHLOE
Sorry.
MICKEY
There’s some feminine hygiene
products in the cabinet, if
you...because of the sand. From
the beach. Where we--
CHLOE
Got it.
MICKEY
Hang on.
He dives into his bedroom, reappears a moment later with an

armful of his clothes.
11.
MICKEY
The shirt I think will
really...bring out your--
CHLOE
Thanks. Gimme a minute.
She takes the clothes.

13 INT. LIVING ROOM - MOMENTS LATER 13
Chloe’s wearing Mickey’s clothes. Baggy t-shirt, jeans. It’s a

cute look. She poses self-consciously.
CHLOE
Is it ridiculous?
MICKEY
Don’t move. Do not move.
He barrels over to the kitchen, returns with a pair

of scissors.
He kneels before Chloe and starts cutting into the jeans. She
flinches at first but then sees what he’s doing and can’t help
but giggle.
CHLOE
You’re ruining your jeans.
He’s turning them into cut-off shorts. He finishes one leg -

the shed denim sags down to Chloe’s ankle. She offers her
other leg. He gets to work.
He has to crawl in between her legs to get all the way round.
She leans a hand on his back to keep her balance.
Finally he’s finished. He sits back to admire his handiwork.

He’s pleased with himself.
Chloe pulls off the remaining jean legs and slips them over
her arms like sleeves.
CHLOE
What do you think? Too much?
MICKEY
It’s a little avant grade but I
admire the resourcefulness.
14 EXT. SPEEDBOAT DECK - AFTERNOON 14
The mainland recedes, connected to the rear of the boat by a

curving path of white ocean foam. From this vantage, Athens
looks like a seething, foggy hell-scape of heavy industry.
Mickey and Chloe are leaning on the railing. Mickey has a

cold beer.
12.
MICKEY
So you speak Greek?
CHLOE
I get by. Comes with the job.
MICKEY
What’s the job?
CHLOE
I’m an immigration
lawyer. Freelance.
MICKEY
I had you pegged as a lawyer.
CHLOE
Should I be offended?
MICKEY
Depends what you think of lawyers.
Chloe thinks on this. He offers her the beer. She shakes

her head.
MICKEY
Come on. Stops you getting sleepy.
She takes the beer and drinks.
CUT TO:
They’re sat on a bench. Mickey has fallen asleep. Chloe

watches the horizon.
His head lolls onto her shoulder. She leans back and closes
her eyes. The sky is a perfect blue.
15 EXT. MYKONOS PORT - AFTERNOON 15
They push through a crowd of ‘crows’ - touts loudly offering

cheap accommodation.
16 EXT. VILLA COMPLEX - AFTERNOON 16
A run-down, faded, beach-adjacent two story block. Simple,

spare, a little decrepit.
They pass by a little booth. A pot-bellied manager DEMOSTHENES

is smoking inside.
MICKEY
Demosthenes, what’s up.
DEMOSTHENES
I didn’t know if you were coming.
MICKEY
Same room?
13.
DEMOSTHENES
(sarcastic)
You been upgraded to the
Santa Marina.
17 EXT. OUTSIDE VILLA - AFTERNOON 17
They arrive outside their home for the night.
MICKEY
I keep the key in my shoe.
He takes a step back and boots the door open. It swings and
clatters against the inside wall. Chloe flinches.
Mickey gestures for her to enter first as if it’s the most

normal thing in the world.
18 INT. VILLA - AFTERNOON 18
Chloe goes in, examines the door.
MICKEY
You can just wedge it shut.
CHLOE
That seems unsafe.
Mickey’s already fetching a couple of beers from the fridge.
MICKEY
What do you care, you have no
belongings.
He finds her at the door.
MICKEY
Put your back into it.
She shunts it closed.
MICKEY
That’s the ticket.
He hands her a beer. Clinks the bottle necks. They drink.
MICKEY
I’d suggest we hit the beach but I
wouldn’t want you getting ideas.
19 EXT. BEACH - AFTERNOON 19
They’re bobbing chin-deep in the clear surf.
MICKEY
You’re gonna miss this right?
CHLOE
I gave it a year and a half.
14.
CHLOE
Feels long enough.
MICKEY
What’s the beef? Housemates?
Boss? Boyfriend?
CHLOE
A bit of a buffet.
MICKEY
A beef buffet. Stress has never
sounded so delicious.
CHLOE
Why how long have you been here?
MICKEY
Seven good years.
CHLOE
You’ve been in Greece seven years?
MICKEY
The Cavaliers. That puts you
in Cleveland?
CHLOE
Not even. Some midwestern non-
entity closer to Cincinnati.
MICKEY
What’s it called? Maybe I
passed through.
CHLOE
(mock grandeur)
Blanchester, Ohio. But I moved
to Chicago.
MICKEY
(no recognition)
Blanchester? Shit.
CHLOE
Cheapest first-run cinema in
America. True story.
MICKEY
You see a lot of movies?
CHLOE
Not really.
MICKEY
Too much else going on in
Blanchester.
15.
CHLOE
Where are you from that’s
so great?
MICKEY
N’Yorluns.
CHLOE
You’re from New Orleans?
MICKEY
Born and raised.
CHLOE
Like...in New Orleans?
MICKEY
Mardi Gras, Jazz, Katrina. The
whole bit.
CHLOE
Who Dat!
MICKEY
I see you’re familiar with the
local dialect.
He serves.
CHLOE
I went to a conference there once.
At the um...the big...
MICKEY
Morial Centre.
CHLOE
We bailed and got wasted in the
French Quarter.
MICKEY
That’s what it’s there for.
CHLOE
What was it like growing up?
MICKEY
Awesome. Obviously.
CHLOE
Why’d you leave?
Mickey ducks under the water. As he emerges he hauls Chloe up

and out, and dumps her back into the sea with a crash. She
yelps.
16.
Chloe is washing the salt out her hair under an

outdoor shower.
Meanwhile Mickey has commandeered an acoustic guitar from a

group of nearby sunbathers and is having effortless fun with a
twelve-bar blues progression.
MICKEY
Tryna prove to a lady/ I was born
in New Orleans/ Told her I’m a
Saint/ but she don’t know what
that means--
Chloe’s wringing water from her hair. Mickey approaches with a

beer each. He passes one to her.
CHLOE
Should we be getting back?
MICKEY
Back where?
CHLOE
To the villa. To get ready.
Clean up.
MICKEY
Oh. Nah.
CHLOE
I thought you were doing a DJ
thing tonight.
MICKEY
I am.
He nods to the beach bar behind him. Specifically, the outside

dance floor. Chloe’s expectations start to visibly realign
themselves.
CHLOE
Huh.
22 EXT. BEACH BAR - EVENING 22
A pool terrace overlooking the beach. It’s early but already

people have started to file in.
Chloe and Mickey are wearing the clothes they’ve been in all
day. They have air-dried.
Mickey checks in with the PROMOTER, who takes out a thick book
of raffle tickets.
17.
PROMOTER
We’re bringing you forward to
eleven. Tyko flew in last minute.
Wants a midnight slot. Take your
vouchers.
He tears off a strip of five and hands them to Mickey.
MICKEY
Can you help me out here? I’m
working on something.
He gestures to Chloe. The promoter grudgingly tears off

another strip and hands it over.
PROMOTER
(to Chloe)
Watch this guy. He goes to shake
your hand, next thing you know
he’s balls deep in your ass.
CHLOE
I’ll stay vigilant.
Mickey hands the extra strip to Chloe.
MICKEY
I would definitely ask permission
before trying that.
23 EXT. DANCE FLOOR - NIGHT 23
The dance floor is still mostly empty.
Chloe’s at the bar. She trades a voucher for a drink. The

BARTENDER puts down her drink, and next to it a tequila
slammer.
He nods up to the DJ booth, where Mickey has just taken to the

decks. Chloe and Mickey lock eyes. Mickey winks.
Chloe slams the tequila, then moves over to the dance floor
with her drink and starts dancing before the DJ booth.
At first she’s joking around, rolling her shoulders a little.

But gradually she lets go, allowing the music flow through
her. Spinning and swaying and raising her arms in the air.
CUT TO:
An hour later. Mickey’s finishing up his set. Partygoers are

now swarming towards the dance floor.
Another DJ steps up into the booth and throws his hands in the
air. The crowd screams - a thrill of recognition passes
through them.
Mickey has to awkwardly collect his things from around the

booth as the new DJ drinks in the adoration.
18.
Chloe watches on. The scene gives her a small stab of pity.
24 EXT. BEACH BAR - NIGHT 24
Mickey finds Chloe nursing a margarita.
CHLOE
Hey. You were great. I’m not
usually a dancer.
MICKEY
I saw. Thanks for doing that.
He nods to the Margarita.
MICKEY
That your last one?
CHLOE
Yeah. I gave a ticket to a girl
who’d lost her purse. I
sympathised.
MICKEY
I got some good karma for you.
Half the guys on tonight are
sober.
He takes out two more strips of drink vouchers.

25 EXT. BEACH BAR - LATER 25
They’re dancing together, loose and natural.
It’s a beautiful night, they’re tipsy and infatuated, moving

as one to the music.
26 EXT. BEACH - NIGHT 26
They’ve wandered away from the club. They’re kissing. Hands

start roaming. Mickey guides them down onto the sand.
CHLOE
You gonna keep me awake this time?
27 EXT. VILLA TERRACE (OR BEACH) - DAWN 27
They’re sat staring out across the water. The dawn sun
threatens to break the horizon.
MICKEY
Today’s the big day.
Chloe looks at her watch.
CHLOE
Twenty-four hours. A little less.
19.
MICKEY
When do you start the new job?
CHLOE
I don’t want to think about it.
The comment sits between them for a moment. Then:
CHLOE
Wednesday.
MICKEY
Good a day as any. Gives you a hot
minute to get in the zone.
CHLOE
I don’t know if I’ll ever be in
the zone.
MICKEY
You don’t wanna do it?
CHLOE
It’s not that I don’t wanna do it.
You’d be crazy to not wanna do it.
It’s an amazing...y’know.
Opportunity.
MICKEY
But you don’t want it.
CHLOE
It’s not like that.
MICKEY
So what is it like?
CHLOE
It’s like...I don’t know.
She tries again.
CHLOE
Do you ever think: what am I
doing? Like what the fuck am I
actually doing.
MICKEY
Not really.
CHLOE
Never?
MICKEY
I mean yeah, but it’s like: What
am I doing, why did I open the
fridge?
20.
CHLOE
Nice way to live.
MICKEY
What if you didn’t go?
CHLOE
What if I didn’t go?
MICKEY
Yeah. What if you just didn’t go.
CHLOE
I have to go.
MICKEY
You don’t have to do anything.
That’s the best part about being a
grown up. You don’t have to do
anything you don’t wanna.
CHLOE
Is that how you’ve lasted
seven years?
MICKEY
Oh...no. No, I mostly stayed for
my son.
CHLOE
You have a son?
MICKEY
Bombshell.
CHLOE
No not at all. I just...
MICKEY
Can’t see me as a dad.
CHLOE
What’s his name?
MICKEY
Hector.
CHLOE
Hector. I love that.
MICKEY
He’s six. He’s my hero. Love him
to death. That housemate’s room in
my place? “Housemate’s”...
CHLOE
That’s his room?
Mickey nods.
21.
CHLOE
That’s so cute.
MICKEY
It doesn’t get used a ton. We
don’t get much in the way of
quality time.
CHLOE
Are things bad with the mom?
MICKEY
I’m working on it.
CHLOE
Do you have custody? Or
visiting rights?
MICKEY
That sounds like a lot of
scary business.
They look out at the ocean for a moment. Chloe leans her head
on his shoulder.
MICKEY
I see a time when we’re together
again. Doing the whole father-son
thing for real.
CHLOE
When?
MICKEY
In the future some day.
28 EXT. MYKONOS STREET - MORNING 28
They’re wandering down a pedestrian street. Cafes, boutiques,

and souvenir shops are waking up. Mickey guides them towards a
small cafe with tables spilling out onto the road.
MICKEY
This place-- coffee’s a little
funky but the loukoumi is the best
on the planet.
Chloe spots a summer dress in the window of a next door

boutique. Mickey sees her looking.
MICKEY
Oh yeah.
CHLOE
I mean I love it but I’d never
wear it.
MICKEY
Why not?
22.
CHLOE
For very complex girl reasons.
29 EXT. COFFEE SHOP - MORNING 29
They’re sat at an outdoor table. The coffees arrive. Chloe

takes a sip.
CHLOE
Wow. That’s awful.
They laugh.
CHLOE
Honestly I never got the hang of
this stuff. It tastes like the
machine broke. With all the dirt
at the bottom--
MICKEY
Shit.
CHLOE
What? What’s wrong?
MICKEY
Argy-- your bag. I gotta call him.
CHLOE
Right now?
MICKEY
It’ll go right outta my head.
Sorry, do you mind?
CHLOE
(taken aback)
Sure.
He stands up, goes to leave, then spins back.
MICKEY
What’s your surname?
CHLOE
Blaine.
MICKEY
Blaine? Blame?
CHLOE
Blaine.
MICKEY CHLOE
Blaine. Like As in David
David-- got it. Blaine. Exactly.
Mickey moves away and, unseen by Chloe, enters the boutique.

23.
30 INT. BOUTIQUE - MORNING 30
Mickey’s paying for the summer dress. He has his phone pressed
to his ear.
MICKEY (ON PHONE)

It’s a handbag...uh, a phone and a
purse with some ID inside...
He steps outside, rolls the dress up and shoves it down his

pants, then moves back to the neighbouring cafe.
MICKEY (ON PHONE)

The name’s Chloe Blaine...okay,
text me when you find it.
31 EXT. CAFE - MORNING 31
He sits back down.
MICKEY
Alright. All done.
CHLOE
Can we get a proper coffee now?
32 INT. VILLA - MORNING 32
Mickey’s checking ferry times on his phone.

33 INT. BATHROOM - MORNING 33
Chloe steps out the shower. She wraps herself with a bath
towel and uses another to dry her face.
As she drops the towel from her face she sees the summer dress
hanging on the back of the bathroom door.
34 INT. VILLA - MORNING 34
Mickey’s still checking his phone when Chloe appears.
MICKEY
Next boat leaves in one hour.
That’ll get us into Athens by--
He looks up to see her wearing the dress.
CHLOE
We can skip a few boats.
Mickey smiles. Once again they fall onto the bed together.
MATCH CUT TO:

24.
35 EXT. FERRY DECK - LATE AFTERNOON 35
The pair are lying under a blanket, moving rhythmically. Slow

and steady. Controlling their passion, biting their lips,
swallowing their moans.
36 EXT. FERRY SITTING AREA - LATE AFTERNOON 36
They’re sat picking at a limp-looking burger and fries.
MICKEY
Just think about it.
CHLOE
I can’t think about it.
MICKEY
You’re better off here. I
just decided.
CHLOE
I’m better off here? What does
that mean?
MICKEY
All I’ll say is: it sounds like in
eighteen months you never gave
this place a chance.
CHLOE
That has nothing to do with it.
MICKEY
You wanna know why I’ve been here
seven years? Because I’d never
walk away from something great for
an opportunity I’m gonna hate.
CHLOE
I never said I’d hate it.
MICKEY
You’re gonna hate it. You’re
too...alive for some big faceless
corporate deal stuck out in the
midwest.
CHLOE
You don’t know that at all.
MICKEY
I do know it. You know it. You may
not want to believe it but you
know it--
CHLOE
Why are you doing this?
25.
MICKEY
I guess I’d hate to see you to
make a huge mistake.
CHLOE
How would you have any idea what
I’m doing?
MICKEY
I don’t. But then apparently
neither do you.
CHLOE
Excuse me? You’re a stranger and
you’re gonna sit there
questioning my life choices.
MICKEY
I’m repeating exactly what
you said.
CHLOE
When I was drunk at 5am. Please
don’t use what I told you in
confidence against me.
MICKEY
I’m sorry, here’s me thinking we
had an honest connection.
CHLOE
Here’s you assuming to know what’s
best for me because we fucked a
couple times.
MICKEY
Okay. Okay. Wow.
CHLOE
What is it with men? What gives
you the right to make my
decisions--
MICKEY
Can we just pretend I never spoke?
CHLOE
Sure. Great idea.
MICKEY
Stupid Mickey never opened his
big mouth.
CHLOE
I thought you stayed for your son.
MICKEY
We can stop talking. It’s fine.
After a moment Chloe drops the burger on the table.

26.
37 EXT. STREETS OF ATHENS - EARLY EVENING 37
They’re riding again, but Chloe’s no longer lost in the

moment. She sits rigidly, holding Mickey with a certain
formality. Her face unreadable.
They pause at a red light. Mickey notices a giant poster

advertising an arena tour for an artist called BASTION.
Mickey’s face registers a complex wash of emotions.
The lights change. They drive through a tunnel wallpapered

with dozens of Bastion posters.
38 EXT. OUTSIDE CHLOE’S APARTMENT - EARLY EVENING 38
They’re approaching the front door.
MICKEY
Alright then.
CHLOE
Alright then.
MICKEY
Well it’s confirmed: I’m an idiot.
This goes some way towards breaking the tension. Chloe smiles,
shakes her head.
CHLOE
We’re tired. We haven’t slept in
two days. My head’s already
packing, transfers, check in,
timezones, blah blah blah.
MICKEY
Can you sleep on planes?
CHLOE
Not really but I’m feeling good
about my chances on this one.
Mickey laughs, looks at the floor.
CHLOE
Alright then.
MICKEY
Alright then.
They stand for a minute. Each willing the other to do

something bold.
Then the rev of a bike engine, and an obnoxious horn.
The bike pulls up abruptly next to them. It’s Argyris. He has

Chloe’s bag.
ARGYRIS
Check this out. Perfect timing!
27.
He gets off the bike, pats Mickey on the shoulder and hands
Chloe her bag back.
CHLOE
Thank you so much.
ARGYRIS
I lost some of the condoms on the
way over.
He laughs, winks at Mickey.
ARGYRIS
Look at this. You guys have been
fucking, right? It’s written all
over your faces. I told this guy
he can sniff out American pussy
from across the room.
CHLOE MICKEY
Okay. Well thank That’s not-- he
you for the bag. didn’t say
pussy--
CHLOE
Mickey. Thank you for...
MICKEY
Yeah.
CHLOE
Cool.
She turns to her door.
MICKEY
God speed.
And she’s gone.
Mickey stands for a moment, then walks back to his bike.
ARGYRIS
Am I a great fucking friend
or what?
39 EXT. CAB - NIGHT 39
Chloe’s hauling her huge suitcase and extra bags over to the
waiting car. The DRIVER takes the suitcase and hefts it into
the trunk.
40 INT. CAB - NIGHT 40
Chloe’s car is approaching the airport. She checks her phone.

Leans her head back on the headrest and closes her eyes.
28.
41 INT. MICKEY’S APARTMENT - NIGHT 41
Mickey’s sat looking desolate on his couch. Two open beers on

the table.
Argyris is on his knees rummaging through a cupboard in the

kitchen. He calls through.
ARGYRIS
It’s a big bowl. Like a salad
bowl. With orange flowers.
MICKEY
I’ve not seen it.
42 INT. AIRPORT - NIGHT 42
Chloe shuffles in laden with bags. The check in area is

teeming with people. She tuts. Gathers strength.
43 INT. MICKEY’S APARTMENT - NIGHT 43
Argyris emerges from the cupboard holding a large

ceramic bowl.
ARGYRIS
Got it. I fully thought you’d
smashed it or something. Turns out
it’s probably worth like a
thousand euros.
Mickey nods, sinks his beer. Argyris notices his mood.
ARGYRIS
You look like I shat in your
bathtub. What’s up?
MICKEY
Nothing man. Tired.
ARGYRIS
You on a comedown?
Mickey shakes his head.
ARGYRIS
You’re horny for this chick.
Mickey shrugs.
ARGYRIS
What the fuck are we doing
here then?
MICKEY
She’s at the airport.
She’s leaving.
29.
ARGYRIS
Let’s go find her.
MICKEY
No. That’s ridiculous.
ARGYRIS
What’s ridiculous is you sitting
there farting into the couch and
feeling sorry for yourself all
night.
He snaps his fingers in front of Mickey’s face.
ARGYRIS
Wake up. Do something for a
change. Come on, we’ll take the
bike.
Chloe reaches the front of the check-in queue.
AIRLINE ASSISTANT
Good evening.
CHLOE
(handing over her passport)
Hi.
AIRLINE ASSISTANT
How many bags?
CHLOE
Roughly a million.
45 EXT. STREETS OF ATHENS - NIGHT 45
Argyris speeds through the streets of Athens on his bike,

Mickey on the back.
Chloe’s final check-in bag is on the scales.
AIRLINE ASSISTANT
This one’s a little over.
CHLOE
Really? How much?
AIRLINE ASSISTANT
Three kilos.
CHLOE
Shit.
AIRLINE ASSISTANT
I can do one or two over.
30.
CHLOE
Okay hang on.
She hauls her bag off the scale.
CHLOE
(to those still queuing)
Sorry. I have a weight problem.
Typical American.
47 EXT. AIRPORT CONCOURSE - NIGHT 47
Argyris hits traffic entering the parking area. Mickey jumps

off the moving bike and runs towards the entrance.
Chloe’s bag is back on the scales. She’s wearing an extra

overcoat and hat, and is carrying a couple of books.
The airline assistant hands her a boarding pass.
CHLOE
We got there.
AIRLINE ASSISTANT
We did indeed. Have a nice flight.
She moves through toward departures.
A few dozen yards away Mickey’s frantically scanning faces.
Chloe walks through the doors to departures, then along a

glass-walled corridor.
Mickey’s pacing around the area when he spots her.
MICKEY
Chloe! Chloe!
She doesn’t hear him. He runs, barging people out the way,
hopping over trolleys. He makes it to the departures entrance,
but two GUARDS are immediately on him.
MICKEY
Chloe!
In the corridor, something tweaks in Chloe’s brainstem.
Meanwhile Mickey is now full-on wrestling with the guards.
MICKEY
Chloe!
In the corridor, Chloe slows her step. She definitely heard

her name.
Mickey’s still making a scene by the departures entrance.

People are giving the melee a wide birth.
31.
MICKEY
Two seconds. Guys. I just
need-- Chloe!
One of the guards wrenches his arms back and secures him in a
half nelson. He is helpless. But still he struggles.
MICKEY
Chloe!
Finally he collapses face-first onto the concrete. The guard

heavy upon him. The second guard kneels and presses his knee
into Mickey’s neck.
In the corridor Chloe stops completely. She turns and walks

slowly back the way she came...
Then she sees him through the glass, face down on the floor.
They lock eyes.
CUT TO BLACK.
49 INT. MICKEY’S KITCHEN - EVENING 49
Mickey’s stood at his kitchen counter clumsily chopping

onions. He’s topless and wearing a snorkelling mask.
FRIDAY
50 INT. TAXI - EVENING 50
Chloe’s on the phone in the back of the cab. She’s dressed for
office work.
CHLOE (ON PHONE)

Mom it’s fine. I told you work’s
not the issue... Because why keep
paying all this money when-- well
you asked! Yes I had a salad.
Mickey tips the onions into a pan of overcooked pasta. He

checks the fridge for more ingredients and takes out one
wrinkled pepper and half a wedge of soft cheese.
52 EXT. STREET - EVENING 52
Chloe hurries through a slowly closing door into an old foyer,

still on the phone.
CHLOE (ON PHONE)

It’s buried in a box somewhere.
Everything I own is buried in a
box somewhere. Mom I have to go.
Uhuh. I will. Love you.
32.
He opens a bottle of wine. Has a thought. Pours some wine into

the pasta.
He has another thought. He tips a little wine down the snorkel

tube into his mask. He coughs and snorts, then pulls off the
mask - letting the wine inside spatter to the floor.
A noise in the hallway. He goes to investigate.

54 INT. HALLWAY - EVENING 54
Chloe’s let herself in. Mickey pulls up the snorkelling mask.
MICKEY
Can I help you?
CHLOE
Um yeah you can tell me what
you’re doing in my new home.
MICKEY
Sounds like we have to settle this
with a good old fashioned fist
fight.
Chloe puts her dukes up. They have a mock fight, with sound
effects and everything.
Chloe wraps her arms around him. She jumps up and wraps her
legs around him.
MICKEY
I surrender. The place is yours.
She climbs off him. They kiss.
CHLOE
What’s with the mask?
MICKEY
Protection from crying.
CHLOE
Protection from crying?
MICKEY
Chopping onions.
CHLOE
Oh my god are you cooking?
MICKEY
I wanted to mark the occasion.
CHLOE
Oh my god. Alright.
33.
CHLOE
What are we having?
MICKEY
We are having pasta. With stuff
in it.
55 INT. DINING TABLE - EVENING 55
They clink wine glasses, a plate of pasta before each of them.
MICKEY
Haaa...
CHLOE
Don’t say it.
MICKEY
Pee... Burr...
CHLOE
Don’t. Please don’t. It won’t
count anyway it’s tomorrow.
Mickey lets it go. He takes a forkful of pasta. Raises it like

a toast. Chloe does the same. They dare each other to take the
first mouthful.
Chloe does first. She chews slowly. Mickey watches her.

Mickey takes a mouthful. Chews slowly.
They both burst out laughing.

56 INT. LIVING ROOM - LATER 56
Chloe gets out of her work outfit and into one of Mickey’s
oversized sweaters. Once she’s done she join’s Mickey on the
couch.
MICKEY
What do you wanna do tomorrow?
CHLOE
Get this house move over with.
MICKEY
Come on. It’s your--
(whispered)
birthday.
CHLOE
I’m serious. Do you have any idea
how stressful it’s gonna be.
MICKEY
Naw.
CHLOE
Yes!
34.
CHLOE
What do you know you haven’t moved
house in seven years.
MICKEY
You’re not even a little
bit excited?
CHLOE
Babe. I’m super excited.
They kiss. Deep and relaxed.
CHLOE
It’s just going to be a living
hell. What time are we picking up
the van?
MICKEY
The van?
CHLOE
The van. For all my stuff.
MICKEY
How much stuff do you have?
CHLOE
Did you not book a van?
MICKEY
(parsing out the question)
Did-I-not-book-a-van...Yes. I did
not book a van.
CHLOE
I sent you fifty emails.
With links.
MICKEY
I’m not gonna rent a van. There’s
a million free vans in Athens.
CHLOE
So you’re gonna find a van.
Completely free of charge. At 11pm
on a Friday. For tomorrow morning.
MICKEY
Yeah.
Conversation over. Mickey takes out his phone and starts

typing. After a moment Chloe leans over, Mickey pulls away.
CHLOE
Are you texting everyone in your
phone book?
35.
MICKEY
Can you respect my privacy please?
She’s leant over him. He’s shielding his phone. She kisses
him. He kisses back. And with zero delay they get right down
to it.
57 INT. MICKEY’S BEDROOM - MORNING 57
His phone buzzes harshly on the bedside table, jerking him

awake. He slides an arm out from under Chloe and answers.
MICKEY (ON PHONE)

Yeah? What’s up Eugenios. Yes I
am. Alright I’ll be there in an
hour. My man.
He hangs up. Chloe rolls over.
MICKEY
Fuckin A.
CHLOE
Don’t tell me you got a van.
He leans in close.
MICKEY
Happy birthday.
He kisses her on the nose.
CHLOE
Dammit--
58 EXT. DEMOLITION SITE - MORNING 58
They’re stood with a young man, EUGENIOS, dressed in

construction clothes. The trio are looking at a dusty flatbed
truck more suited to shifting rubble and hardcore than moving
furniture.
CHLOE
A million free vans in Athens. And
we got one without a roof.
MICKEY
It’s easier to load this way.
EUGENIOS
I need two hundred euros.
CHLOE
I’m sorry you need what?
EUGENIOS
For the deposit.
36.
MICKEY
You said we could have it
for free.
EUGENIOS
The van is free. The damage you
pay for.
MICKEY
That is-- that’s fucking-- that’s
pretty fair actually. No, that
makes a lot of sense.
Mickey pulls a couple of notes from his pocket.
MICKEY
I mean I got forty Euros.
An awkward beat.
Chloe sighs. Digs in her bag for her purse.

59 INT. FLATBED TRUCK CABIN - MORNING 59
Mickey guns the engine. He puts his sunglasses on, looks to

Chloe with a grin.
MICKEY
Let’s become roomies.
He floors the accelerator. The gears grind horribly. He looks

down, shunts the gearstick around.
MICKEY
Let’s--
(more grinding, shunting)
Let’s become roomies.
Finally the truck rolls forward, immediately stalls.
MICKEY
Godammit--
60 EXT. CHLOE’S APARTMENT BLOCK - MORNING 60
The truck jerks to an abrupt stop, rocking on its suspension.

61 INT. CHLOE’S APARTMENT - MORNING 61
It’s clean and spacious.The space is filled with meticulously

labelled cardboard boxes and carefully wrapped furniture.
MICKEY
Okay, what’s coming?
CHLOE
(obviously)
All of it.
37.
MICKEY
Out of interest, which items were
you planning to leave when you
went back to the states?
CHLOE
I didn’t go back to the states.
MICKEY
No, but what did you intend on--
CHLOE
It’s all coming.
MICKEY
Even the couch?
CHLOE
Oh yeah.
MICKEY
I should’ve cleared some space.
62 EXT. OUTSIDE CHLOE’S APARTMENT - MORNING 62
Mickey loads up the first box. Something catches his eye. It’s
another giant poster for Bastion’s world tour. Mickey takes
out his phone and checks the date.
He makes a call.
MICKEY (ON PHONE)

Dude, it’s Mickey. Yeah, long
time. Man I can’t believe this
number still works. Hey, you’re in
Athens right now?
63 INT. LIVING ROOM - MORNING 63
Chloe’s pushing boxes closer to the front door. Her phone

rings in her pocket.
She looks at the number: CHRISTOS. She takes a breath, checks

out the window to find Mickey on the phone outside. She clears
her throat, takes the call.
CHLOE
Hello?
CHRISTOS (PHONE)
Hey.
CHLOE
Hi.
CHRISTOS (PHONE)
Happy birthday.
38.
CHLOE
Thank you. What’s up?
CHRISTOS (PHONE)
I, uh, I heard you’re still here.
In Athens.
CHLOE
Yeah.
CHRISTOS (PHONE)
What happened to the Jones, Day &
Loebner thing? It didn’t happen?
CHLOE
I changed my mind.
CHRISTOS (PHONE)
Wow. Bold move.
CHLOE
Can I help you with something?
CHRISTOS (PHONE)
Um, yeah... You know Elena’s
getting married. I figured you’ve
been invited.
CHLOE
Yeah.
CHRISTOS (PHONE)
I just...I wanted to let you know
that I’ll be there. I’m going. And
I just...wanted you to know that.
CHLOE
Okay.
CHRISTOS (PHONE)
In case it... I didn’t know where
you’re at in terms of going or not
going or what.
CHLOE
Well thanks for letting me know.
CHRISTOS (PHONE)
Of course. Everything else good?
With you?
CHLOE
Everything’s great.
CHRISTOS (PHONE)
Great.
CHLOE
Okay, thanks for the call. Bye.
39.
She hangs up. Mickey comes in.
MICKEY
You okay?
She slips her arm around him. Kisses his shoulder.
CHLOE
I’m perfect.
64 INT./EXT. TRUCK - MORNING 64
The flatbed is loaded with boxes. The pair are ready to roll.
Mickey guns the engine and they move off. There’s the
immediate and unmistakeable thud of a box falling off the back
of the truck.
MICKEY
That was not one of ours.
He sits for a second, then gets out to investigate.

65 INT./EXT. - TRUCK - MORNING 65
They’re on the move again. Mickey turns down a small

side street.
CHLOE
Whoa whoa what are you doing?
MICKEY
Short cut.
CHLOE
It’s a dead end.
MICKEY
That’s what all the
tourists think.
66 EXT. SIDE STREET/DEAD END - MORNING 66
Mickey’s trying to reverse out of the tight side street.

Chloe’s out the truck, guiding him with hand signals.
CHLOE
Back...back...little more...okay
stop. Stop. Stop!
She slams her hand against the side of the truck. Mickey
stops, leans his head out the window.
CHLOE
Future ref: This
(she bangs on the truck)
means ‘stop’.
40.
67 INT/EXT. TRUCK - AFTERNOON 67
They’ve parked up in front of Mickey’s building and climbed

out. They’re both clammy with sweat.
CHLOE
So glad it’s thirty-eight degrees
right now.
MICKEY
Oh yeah, little sweaty?
He comes in close, wipes some sweat from her brow. He licks it

off her cheek, her chin, her neck. He smacks his lips.
They kiss. He slides his hand down the front of her trousers.
MICKEY
Mmm. That’s not all sweat.
He guides her round to the truck bed. They climb in, finding a
path through the boxes to a pile of rugs and cushions.
They lie down and start wrestling each other’s clothes off.
CUT TO:
They emerge, dishevelled, from the back of the truck.
MICKEY CHLOE
That was Tension relief.
necessary. Exactly.
68 EXT./INT. FOYER - AFTERNOON 68
They’re each hefting a heavy box. Sweating rivers. An OLD LADY

undertakes them and opens the door to the entrance. She passes
through and lets the door swing back into Mickey.
MICKEY
Thank you Ms. Kostopolous. Very
helpful as always.
69 INT. MICKEY’S APARTMENT - AFTERNOON 69
The door flies open. Mickey staggers in, Chloe right behind.
He looks around the space with a strategic eye.
MICKEY
Okay if we put the first load--
Chloe dumps the box on the floor at her feet. She makes for
the ‘housemate’s room’. Throws open the door.
MICKEY
No come on. That’s not...
The entire room is decorated for a young boy. Duvet covers,

wallpaper, curtains.
41.
There’s a toy chest, a book case full of children’s books...
CHLOE
It’s adorable and it’s everything
I love about you and right now
it’s a complete waste of space.
MICKEY
I know it is. I know that. But one
day it won’t be.
CHLOE
That is 100% the plan. But in the
meantime...
Mickey nods, reluctantly.

70 INT. HECTOR’S ROOM - AFTERNOON 70
Chloe’s hunting for available space.
She opens a wardrobe. There’s a chest underneath the empty

rail. She checks the contents. Inside is a stack of
records...two dozen copies of the same record in fact.
She slides one out. The cover has Mickey stood in an

uncharacteristically moody pose. Above the image, it says:
MICKEY HENDRICKS
Strive
Chloe’s completely thrown. She digs around in the chest, and

finds a clipping from a music magazine.
It’s a review of Mickey’s album. The reviewer has given it

3/10, with the headline Strive Harder.
She hastily puts it all back and heads into the living room.
71 INT. LIVING ROOM - AFTERNOON 71
Mickey’s putting down yet another box.
MICKEY
That box smells amazing. I don’t
know what’s in there but I’m very
much looking forward to that smell
around here.
She puts her arms around his waist and pushes her face into
the crook of his armpit.
MICKEY
How’s that smell working for ya?
72 INT./EXT. TRUCK - AFTERNOON 72
They’re back in the front cabin, stewing in the heat.

42.
MICKEY
Okay. We can do this.
CHLOE
You know who can also do it, but
better? Removal men.
73 INT. CHLOE’S APARTMENT - AFTERNOON 73
They’re stood either side of the large couch. It is a

beautiful piece of furniture, sleekly modern in its design,
pastel blue, crushed velvet and dark wood.
They lift on three. Both struggle. They drop it again.
MICKEY
We can get another couch.
CHLOE
(shaking her head)
This is the only investment I ever
made in Greece. And for what it’s
worth, I put money aside to have
it shipped back to the US.
MICKEY
Can’t even get you on that one.
#74 - OMITTED
#75 - OMITTED
#76 - OMITTED
77 EXT. TRUCK BED - AFTERNOON 77
With great effort they heave the couch onto the bed of
the truck.
MICKEY
One more load.
CHLOE
We can’t leave the couch out here.
MICKEY
If someone can steal that thing in
three minutes they deserve it.
78 INT./EXT. TRUCK - AFTERNOON 78
They’re stuck in Kypseli traffic. A chorus of honking horns.
MICKEY
Please, honk louder! It’s really
doing the trick!
43.
79 EXT. OUTSIDE MICKEY’S BLOCK - AFTERNOON 79
They’re shimmying the couch off the truck bed. Chloe backs
towards the front door, which they’ve propped open.
CLUNK. It doesn’t fit.
CHLOE MICKEY
Turn it. Turn it.
They turn it on its axis. Back up again.
CLUNK. Doesn’t fit that way either.
MICKEY
Interesting.
CUT TO:
Mickey’s trying to open the second door of the double doors.

It’s locked. He pushes it. Pulls it. Then rattles it.
They stand for a moment, defeated.

80 INT. BACK OF MICKEY’S APARTMENT BLOCK - AFTERNOON 80
They’re now trying to carry it through the propped open

fire exit.
It doesn’t fit.
CHLOE
Oh my god.
They try again. No dice.
They’re out of options and out of energy.
MICKEY
How. How how how. How are we not
building compatible doors and
couches? In this century.
Chloe slumps down on the sofa. Mickey joins her. They sit in
silence for a moment.
MICKEY
I’m sorry--
CHLOE
Shh Shh Shh.
Another moment.
MICKEY
We could hire a crane--
44.
CHLOE
(shaking her head)
Shhhh.
They look out over the empty courtyard.
MICKEY
I have an idea.
He takes out his phone, makes a call.
MICKEY (ON PHONE)

Hey. Me again. I know, twice in a
day. Aren’t you the lucky one.
Listen, what’re you doing after
your gig tonight?
81 INT. MICKEY’S APARTMENT - EARLY EVENING 81
Chloe’s feeding a whole connected string of power adapters out

the back window. Mickey’s waiting in the courtyard below. He
collects the adapter chain as it reaches him, and plugs in a
pair of speakers.
82 EXT. COURTYARD - EARLY EVENING 82
As well as the speakers, Mickey’s fed some fairy lights round

the couch and up a drain pipe. He’s on the phone.
MICKEY (ON PHONE)

Bring them all man. Bring
everyone. We got a special guest
coming.
Chloe leans out from the upper window. She’s holding a large
rolled up rug.
CHLOE
This one?
MICKEY
Is that the green one? Yeah, send
it down. Just throw it.
Chloe tosses it out into the courtyard.
CUT TO:
The first few guests filter in. They’re carrying six packs,
bottles of tequila. A young guy, ALEXANDROS has a microphone,
he mimes felting it as he approaches.
Chloe shakes her head, then looks to Mickey to see he’s

laughing helplessly.
CHLOE
Who’s that?
45.
MICKEY
Alexandros. Friend of mine.
CHLOE
Is he fifteen?
MICKEY
No he’s maybe forty. Forty two.
CUT TO:
He ceremoniously plugs his phone into the speakers. Dance

music kicks in. The gathering cheers.
83 INT. COURTYARD - NIGHT 83
Perhaps forty people hang around chatting, drinking, grooving

casually to the music.
Mickey’s on the phone, finger in his ear.
MICKEY (ON PHONE)

So what’s-- can I speak to him?
He’s on stage now? Okay.
Chloe sits soaking it all up, trying to forget about her

doomed couch.
Someone leans out a neighbouring window.
ANGRY NEIGHBOUR
What the hell is going on?
MICKEY
We’re having a goodbye couch
party. Come join!
There’s a commotion at the far end of the gathering. People

make way for a group of about ten extravagantly dressed young
men.
Leading them is BASTION (33), the guy from the giant poster.
People start to recognise him, sending a buzz throughout the
party.
He reaches Mickey and embraces him in a bear hug. People

swarm round.
BASTION
Fuck me.
MICKEY
Yeah.
BASTION
Long time.
MICKEY
Long time.
46.
BASTION
What is this?
Mickey shrugs.
MICKEY
Saturday night.
BASTION
Mickey Go Lucky. Nice to know some
things never change. Alright hold
up let’s set this thing off.
He takes out his phone. Starts recording himself.
BASTION
Hey yo what’s up all my fans in
Athens. I love you. Y’all lit a
fire tonight. We’re carrying on
the party here in--
(to Mickey)
Where we at?
MICKEY
Kypseli.
BASTION
Kypseli. So come down, follow the
bass. Bring your friends. This is
happening. Until it’s not. Peace!
He turns to Mickey. Grins in anticipation.
CUT TO:
Three hundred people all dancing like crazy. Filling every

available space in the courtyard.
Bastion on the decks. Set in full swing. One friend of

Mickey’s, SPYROS is hooking up a woofer to the PA system.
Bastion builds to a drop, then cuts the music before it kicks

in. He talks into the mic.
BASTION
I’m gonna leave you hanging one
minute. I just wanna say a big
thank you to my brother, Mickey
Hendricks. Get up here.
Mickey comes forward.
BASTION
My old friend. He made all this
happen. This guy right here’s a
pioneer. I wouldn’t be doing what
I’m doing if it weren’t for him.
47.
BASTION
Half the music you hear today
wouldn’t be there if it weren’t
for him. That sounds like an
exaggeration, and it is. But only
a small one. Give it up.
The crowd cheer. Among them, Chloe is electrified by the

atmosphere. Mickey takes the mic.
MICKEY
I just wanna say: Chloe Blaine.
Happy birthday. Today we lost a
good couch today, but we gained
something much better. I hope you
like it, because it’s the best I
can do.
In the crowd Chloe can’t help but grin like a fool.
CUT TO:
The party reaches a crescendo. Everyone’s wild. Drunk. High.
Someone sets fire to the couch. It goes up in flames. People

dance around it in some sort of crazed ritual.
Nearby sirens.
CUT TO:
Mickey, Bastion and Chloe hustle off towards the

apartment building.
84 INT. APARTMENT BUILDING - NIGHT 84
The three of them head up the stairs and into Mickey’s

apartment.
85 INT. APARTMENT - NIGHT 85
They come in. Mickey notices for the first time that Bastion
is wearing a band t-shirt emblazoned with the name St. Claude.
BASTION
That got kinda heavy. In a
good way.
MICKEY
(re: the shirt)
You still have one of those?
CHLOE
What is it?
MICKEY
Our old band.
48.
86 INT. LIVING ROOM - NIGHT 86
Mickey and Bastion sit on the couch drinking. Chloe’s now

nestled in an armchair wearing pyjamas.
BASTION
What’s he told you about
St Claude?
CHLOE
Almost nothing.
BASTION
(to Mickey)
You never talk about us?
I’m offended.
Mickey shrugs.
CHLOE
Why were you called St Claude?
BASTION
It’s the neighbourhood where we
played our first gig. Famous for
its music scene. Turned out to be
kind of ironic.
CHLOE
Ironic?
BASTION
After Katrina the whole area got a
makeover. Rents went up. Some good
spots went under. A lot of that
came back on us. Well...
He gestures subtly that “us” actually means “you”.
CHLOE
What did that have to do with you?
BASTION
He was a Lakeview boy from a
political family. People were
angry.
MICKEY
There was other stuff going on--
BASTION
Oh yeah-- so it was after our
first tour--
MICKEY
Second tour.
49.
BASTION
That fucking trip around the bayou
didn’t count. It was after the
first real tour this guy decided
to go solo.
MICKEY
I didn’t go solo.
BASTION MICKEY
The boy It was a sideline
went solo. project.
BASTION
That’s when I made my first album.
MICKEY
You went solo.
BASTION
What was I supposed to do? Go play
piano at Carousel till you were
done with your thing?
MICKEY
Carousel. Jesus.
BASTION
You know he used to keep every bad
review we ever got.
MICKEY
I did not.
BASTION
Every single one.
CHLOE
Why’d you do that?
MICKEY
(rankled)
Constructive feedback.
BASTION
He did it because he hates
himself. Haven’t you figured that
out yet? He’s only happy when he’s
failing.
Bastion laughs. Takes a drink. Mickey and Chloe don’t laugh.
CHLOE
Alright. I’m gonna turn in. Thank
you both for an amazing...
whatever that was. Mickey, thank
you for ignoring my wishes.
50.
Chloe gets up, gives hugs and kisses. Mickey and Bastion say
goodnight, happy birthday etc.
When she’s gone Bastion looks at Mickey.
BASTION
This is a reunion right?
He nods to the bathroom. Raises his eyebrows.

87 INT. BATHROOM - NIGHT 87
Mickey and Bastion are sat on the floor hunched over the
toilet seat. Bastion is cutting lines of cocaine. He snorts
one up, passes the rolled up bill to Mickey.
BASTION
Ever think about coming home?
Mickey shakes his head.
BASTION
You should. Things have changed.
People forget.
Chloe walks in, falters when she sees them hunched round the
bowl. She and Mickey lock eyes. This is new.
CHLOE
Can you hurry up? I need to pee.
Chloe turns and leaves. Mickey watches her go, concerned.
BASTION
(re. Chloe)
Is it serious?
MICKEY
Pretty much.
BASTION
She met your boy?
MICKEY
Hector. She’s actually helping out
a lot with visiting rights.
BASTION
I got a kid now.
MICKEY
I read that.
BASTION
Things can get fucked up fast, eh?
Bastion does another line.

51.
BASTION
We should start writing again.
MICKEY
As in you and me?
BASTION
I got six months left on this
tour. Come with me. We can write
on the road.
MICKEY
Shut up...
BASTION
I’m sick of playing the same shit.
I tell the label I want to make
new material. They put me in an
office with these fucking guys
from New York. Gold records
everywhere. I don’t know these
guys. Lady Gaga. Fucking Maroon 5.
I miss how it was. I know it all
got fucked up but we’re older now.
And there’s money.
MICKEY
You don’t have to carry me.
BASTION
If you think I feel guilty about
how things went down, you’re
wrong. That’s not what this is.
Mickey does a line. Bastion studies him.
BASTION
Come with me, man.
88 INT. BEDROOM - EARLY MORNING 88
Mickey lies awake and restless in bed. The sun is threatening

to break the horizon. Chloe rolls over to face him.
CHLOE
Are you only happy when
you’re failing?
MICKEY
No.
CUT TO BLACK.
89 INT. BATHROOM - AFTERNOON 89
Vomit spatters violently into the toilet bowl. Chloe heaves,

brings up a little more. Heaves again, dry. She sits back,
wipes her mouth. She’s dressed smart. She seems tired.
FRIDAY
52.
Mickey is sat with Argyris and an overweight man in a shirt

and tie, MANOS.
They’re leaning over a laptop. Mickey’s manipulating a short

jingle on Logic-style music software.
MANOS
It needs to feel more Greek.
MICKEY
Okay. In what way exactly--
They hear the toilet flush. A moment later Chloe appears.

Mickey watches her move to the spare room.
91 INT. SPARE ROOM - AFTERNOON 91
Chloe sits across a small table from a middle-aged man,

YORGOS. A prospective client. The looped jingle drifting in
from Mickey’s laptop nag at the conversation.
CHLOE
So sorry about that.
YORGOS
Everything okay?
CHLOE
I’m fine. And again, sorry we’re
doing this here.
YORGOS
Not at all. Thank you for
squeezing me in. Sorry for
imposing.
Chloe checks notes in front of her.
CHLOE
So: the problem you had with the
E1 is that you have to prove
you’re strictly a priority worker
and that you’re internationally
recognised in your field. Which
you are, but it seems you had
trouble proving that
unequivocally.
YORGOS
That’s why it didn’t work?
CHLOE
I believe so. I’d advise we apply
for an L1 given you’ve been
offered a research post.
53.
Mickey’s sat with the two guys.
MICKEY
You know what? I think we got it.
MANOS
We need some Greekness in there.
MICKEY
The brief said contemporary
international.
MANOS
I’m trying to save you some pain
here. I know what they’re like.
Mickey clicks around, then subtly turns down the speakers.
He plays the melody. This time it contains a bouzouki.
Argyris cranks up the volume.
ARGYRIS
What the fuck is that?
The noise from the other room gets louder - and harder
to ignore.
CHLOE
If you’d been offered a tenured
position then the E1 would’ve--
‘scuse me.
She gets up.

Chloe leans her head in.
CHLOE
I have a client.
She slams the door behind her. Mickey winces. Manos and
Argyris share a look.
Chloe sits back down.
CHLOE
Again, I--
Yorgos dismisses her apology with a wave of his hand.

54.
YORGOS
I would book an appointment but--
CHLOE
Time is a factor, sure.
YORGOS
Christos said you’re a wizard with
a tight deadline.
This hits Chloe like a brick. She tries to swallow it.
CHLOE
Mm hmm. Sorry, Christos?
YORGOS
Christos Sioutis?
CHLOE
Mm hmm yeah. I know who you mean.
YORGOS
He spoke very highly of you. He’s
the reason I called.
CHLOE
I see. I wasn’t...
She tries to process this. Looks back through her notes.
CHLOE
So...
She blinks. Breathes.
CHLOE
I am so sorry. I don’t-- I just
realised my slate is full. I can’t
take you as a client.
YORGOS
You-- what do you mean?
CHLOE
I won’t have the time to help you
with this. I can recommend some
great lawyers.
YORGOS
You can’t help? Did I do
something wrong?
CHLOE
Not at all, I just...
YORGOS
We’ve been here twenty minutes.
55.
CHLOE
I’m so sorry to have wasted
your time.
Argyris and Manos are sat with Mickey at his laptop. Mickey
hears the front door slam.
MICKEY
Can we take five?
MANOS
Go sort out your woman.
97 INT. KITCHEN - AFTERNOON 97
Mickey finds Chloe making herself a drink.
MICKEY
Meeting was a bust?
CHLOE
Something like that.
MICKEY
Was it...
He gestures to the living room; the noise. She shakes her

head, offering nothing.
MICKEY
Just some mystery disaster huh.
Meanwhile Argyris and Manos are discussing their

music options.
ARGYRIS
It was the fifth or sixth one. It
was sort of more legato.
MANOS
Play it again.
Argyris moves the mouse. The screen is locked.
ARGYRIS
Hang on. I think it’s...
He types a password. Presses enter. A denied beep. He types

again. Another denied beep.
ARGYRIS
What the fuck was it then.
He tries a third time. A different denied beep. Argyris clicks

and taps around with increasing desperation.
56.
MANOS
You’ve locked the whole thing.
Mickey’s still not getting anywhere with Chloe.
CHLOE
I have a headache. I’m going
to bed.
MICKEY
You gonna finish your afternoon
vodka tonic first?
CHLOE
No, I’ll take it to bed.
MICKEY
Oh good. For a second I
was worried.
Mickey sits back down with Argyris and Manos. He tries to

access his laptop. Realises it’s locked.
MICKEY
What happened here?
101 INT. DOORWAY - AFTERNOON 101
Mickey’s seeing his guests out.
MANOS
We finish tomorrow, yeah?
MICKEY
Come round in the morning. Earlier
the better.
102 INT. KITCHEN - EVENING 102
It’s raining. Mickey’s drinking a beer, tired and frustrated.

Chloe comes through dressed in pyjamas.
CHLOE
Did you get it done?
MICKEY
Nope. Gotta finish tomorrow.
CHLOE MICKEY
Tomorrow? Goodie. I know.
I’m sorry.
57.
MICKEY
I told you this might happen.
CHLOE
I didn’t think it’d take two full
days, for what is literally...
MICKEY
Literally what? A stupid
little jingle?
CHLOE
I didn’t say that. But they care
so much. For ten seconds of music?
Do people even notice if it has
organ sounds or fucking
tambourines--
MICKEY
No I hear you. It’s embarrassing.
CHLOE
What? No, that’s not-- it must
just drive you crazy. You’re so
good at...music and stuff. I’m
sympathising.
MICKEY
I’m sorry if I gave you the
impression that I was destined for
some kind of amazing, fulfilling--
CHLOE
Stop. We’ve had a pair of
shitty days.
MICKEY
Amen.
He drinks.
103 INT. BEDROOM - EVENING 103
They’re sat in bed watching Netflix. Chloe’s dipping rice

cakes in hummus.
CHLOE
I feel like we should be prepping
for tomorrow.
MICKEY
For the Pointless Party?
CHLOE
Yeah.
They keep watching in silence.

58.
MICKEY
We can still cancel.
CHLOE
We can’t cancel.
104 INT. BEDROOM - NIGHT 104
They’re having sex under the covers.
MICKEY
(sensing her discomfort)
Wanna lose the duvet?
CHLOE
It’s okay.
MICKEY
Are you sure? We can lose it.
CHLOE
No because you’ll get cold.
MICKEY
I could get the blanket.
CHLOE
Yeah maybe get the blanket.
105 INT. KITCHEN - MORNING 105
Mickey’s stood on the phone in t-shirt and boxer shorts.
MICKEY (ON PHONE)

Just as early as possible. Okay.
Chloe comes in. Mickey hangs up. She senses bad news.
CHLOE
What? What is it? Tell me.
MICKEY
Manos and Argyris can’t come over
till two.
CHLOE MICKEY
No. No No. Don’t That’s the
say what you’re earliest they can
going to say. make it.
CHLOE
Don’t make me go alone. Don’t do
that. It’s not fair.
MICKEY
It’s better this way.
59.
MICKEY
I’ve been thinking and I genuinely
think... I’m just gonna be this
thing, this presence looming
over--
CHLOE
You’re gonna let us meet alone for
the first time? Do you realise how
fucked up that is?
MICKEY
She’s weird around me. I’m weird
around her. It’ll throw everything
off balance.
Chloe goes to speak, hesitates.
MICKEY
You’re an awesome person doing an
amazing thing and she’ll respect
that. And I know the timing sucks.
I am truly sorry and I will make
it up to you.
CHLOE
This is the thing we should
cancel. We’re hosting a
housewarming party tonight. Today
is not the day to be doing this.
MICKEY
We’ll make it work. And you’re
allowed limitless self-pity for
the day.
106 INT. HALLWAY - MORNING 106
Mickey’s seeing Chloe out. He kisses her goodbye.
CHLOE
Do you know what you’re doing?
MICKEY
I’ll figure it out.
CHLOE
I left everything on the top shelf
of the fridge. It needs to go in
for at least four hours at four
hundred.
MICKEY
Four hours four hundred. Got it.
CHLOE
I still hate you. Wish me luck.
60.
MICKEY
One quick thing: if you order a
non-alcoholic drink, she’ll order
wine. If you go alcoholic, she’ll
order, like, a green tea.
CHLOE
(upsetting new information)
Is she going to fuck with me?
MICKEY
No it’s just one little thing she
does to try and figure you out.
CHLOE
Oh my god.
MICKEY
Now you’re prepared for it. Have
fun. Love you.
He kisses her again. Chloe leaves.

107 INT. TAXI - AFTERNOON 107
Chloe pulls up at an upmarket bistro. The weather is grey

and drizzly.
108 INT. UPMARKET BISTRO - AFTERNOON 108
Chloe’s directed to an indoor table for two by the MAITRE D’.
MAITRE D’
Will you be having lunch?
CHLOE
Just drinks.
109 INT. LADIES BATHROOM - AFTERNOON 109
She puts on lipstick, inspects it in the mirror. Touches up

her mascara.
She returns to the table to find ASPA sat there.
She’s about twenty-eight, with a dramatic sweep of long dark

hair and striking features. She’s wearing big sunglasses and a
drape of dramatic folds few could carry off.
Chloe falters upon seeing her, as if caught off guard. Aspa

leans to face her with a relaxed smile. She speaks good
English with a heavy Greek accent.
ASPA
Chloe?
61.
CHLOE
Aspa-- hi--
ASPA
Look at you. You’re his age,
aren’t you?
CHLOE
A year older actually.
ASPA
That’s so funny. Sit. I haven’t
ordered yet.
The Maitre d’ glides over.
MAITRE D’
What can I get you to drink?
Both he and Aspa look to Chloe. She clears her throat.
CHLOE
Please, after you.
ASPA
No go ahead--
CHLOE
I insist.
ASPA
(Greek)
I’ll...take a green tea.
CHLOE
(Greek)
*I’ll have the same. *
The maitre d’ glides away. Aspa takes off her glasses.
ASPA
So. Am I meeting Mickey’s attorney
or his girlfriend?
CHLOE
He’s not a client.
ASPA
You’re here because he’s a
great fuck.
Chloe laughs nervously.
ASPA
Why isn’t he here?
CHLOE
I asked him not to come.
62.
ASPA
You know he’ll do
something stupid.
CHLOE
He’s not like that any more.
He’s changed.
Aspa throws her head back laughing.
CHLOE
I’m not saying he’s got everything
perfectly together. But his
attitude has changed. His attitude
to Hector has changed.
ASPA
And you know this?
CHLOE
He is committed to Hector’s
future, and to being part of that.
I know he’s made mistakes. He’s
not asking for forgiveness. He’s
asking if everyone involved can do
the right thing for your son.
Aspa leans back and catches the Maitre d’s eye.
ASPA
(to maitre d’)
Can I see the wine list?
111 INT. APARTMENT - AFTERNOON 111
Mickey’s back at the laptop with Argyris and Manos.
MICKEY
You keep saying more Greek. I’ve
used every possible Greek
instrument.
MANOS
It’s not about instruments. It’s
a feeling.
ARGYRIS
I get that now. It’s not about
sounding Greek. It has to feel
Greek.
Aspa accepts a glass of wine from the maitre d’ as she talks.

63.
ASPA
He’s probably told you all these
horror stories about what a bitch
I am and how I took away access to
his son... He had visitation
rights. He had communication
rights. He just never used them.
Maybe once every month or two
months he’d call. Hungover
probably. “Oh, please let me see
him.” It got so annoying. I have a
business to run. I’m raising our
son. Meanwhile Mickey can’t be
bothered to learn one word of
Greek so he has to rely on
Hector’s English. The little guy’s
six years old. So I filled out a
form. And he didn’t even put up a
fight.
Chloe takes a second. A lot of this is new information.
CHLOE
He’s never said a bad word against
you. He only blames himself for
what happened.
ASPA
If I make a decision, it won’t be
about him. It won’t even be about
Hector. It’ll be about you.
CHLOE
How so?
ASPA
Because your life will change. And
you won’t be able to play this
little game any more.
Mickey’s sat with Argyris. They’re talking quietly.
MICKEY
I know what he’s asking for and I
know it’ll sound like shit.
ARGYRIS
Just give him what he wants. These
guys have big clients. Tons of
work. Show them you can do it.
The sound of the toilet flushing. Mickey clicks around on his

laptop as Manos comes back through.
MANOS
You got something?
64.
MICKEY
Okay lemme know what you think.
He plays a very basic, flat melody.
MANOS
That’s great.
ARGYRIS
I like that. It’s simple.
MANOS
This is the most Greek one yet.
MICKEY
That was the midi sample your
intern sent over with the original
brief. He made it on Garage Band
in five minutes.
Manos and Argyris are equally offended.
ARGYRIS
What the fuck--
MANOS
What are you playing at man?
MICKEY
I’m just making a point--
MANOS
You trying to embarrass us now?
MICKEY
What? No--
ARGYRIS
I fight to get you a job and
you’re throwing it in my face.
MANOS MICKEY
You’re treating Whoa, okay. I’m
us like idiots-- sorry. I made a
mistake--
Aspa takes a sip of wine. Chloe hasn’t touched her green tea.
CHLOE
I don’t think you understand what
we have. He’s not the same man he
was six years ago.
ASPA
Maybe.
65.
ASPA
Maybe you’ve inspired him to
become the perfect responsible man
you want him to be. Or maybe
you’ve just got him all worked up.
Like a little boy with a new
puppy. And in a month you’ll be
the one taking it for walks and
cleaning up the mess.
CHLOE
That’s an insulting suggestion.
ASPA
I’m trying to help you, Chloe. It
all seems so easy. So relaxed.
When you’re ambitious and
frustrated, it’s exactly what you
want to come home to. No tension.
No macho bullshit. I bet you asked
yourself what’s his big dark
secret, right? In the early days.
What’s the skeleton in the closet?
Chloe swallows. Allows her to go on.
ASPA
There isn’t one. Because there
isn’t anything else. What you have
right now, that’s all there is.
There are no higher gears. No
hidden depths. Just...whatever.
Right now. That’s it. Will you be
happy with that? Because if you
crave anything more, now is your
chance to...
She makes a walking motion with her fingers.
ASPA
Before you’re tied to him forever.
As, for example, the mother of his
child.
Chloe comes in, takes off her jacket. Mickey approaches.
MICKEY
How was it?
CHLOE
She’s young. And pretty. Did you
make the food?
MICKEY
Manos just left. Argy’s
still here.
66.
CHLOE
So you didn’t prepare anything?
MICKEY
I have a plan.
CHLOE
You have a plan? People are
arriving in an hour--
MICKEY
It’s been a messed up day. I
got this.
Chloe looks around, disheartened at the general clutter.
CHLOE
You couldn’t make some room?
MICKEY
Make some room? What do you mean?
There’s plenty room.
CHLOE
I mean for plates, drinks...
MICKEY
(twigging)
Oh, you want me to clear away
my crap.
CHLOE
No-- It’s a party, things can
get broken.
MICKEY
So now you care about the crap? I
thought you cared about making
room.
CHLOE
Do what you want. I’m taking
a shower.
Mickey’s on the phone. Before him on the table is a stack of

take-out leaflets.
MICKEY
Do you do discounts for big
orders? Like parties?
117 INT. BATHROOM - AFTERNOON 117
Chloe’s blow-drying her hair in the mirror. Mickey’s in

the shower.
The doorbell goes. Chloe frowns, turns off her hair dryer.
She’s not sure if she actually heard it or imagined it.
67.
The doorbell goes again. Chloe answers it wrapped in a towel.

A pizza DELIVERY GUY is holding two pizzas. Chloe’s confused.
CHLOE
Can I check the address?
She does. It’s correct. She gets her purse, calls through to
Mickey in the bathroom.
CHLOE
That’s your plan? Two pizzas?
She returns to the door. There’s now a SECOND DELIVERY GUY

stood behind the first, holding a sushi delivery bag.
CHLOE
Can I help you?
SECOND DELIVERY GUY

Delivery for Mickey.
119 INT. KITCHEN - EVENING 119
Mickey’s unpacking an array of different take out orders.

Chloe’s helping. They’re mid-bicker.
MICKEY
It’s funny.
CHLOE
Is it though?
MICKEY
It’s real. We don’t cook.
It’s honest.
CHLOE
I cook.
She opens a pot of chow mein, gags on the smell.

120 INT. PARTY - VARIOUS 120
A couple of people have arrived. Chloe is now refilling drinks

for herself and her friend ELLI.
ELLI
So are you house-sitting?
CHLOE
No this is our place. Technically
Mickey’s place. Well,
technically-- I moved in a couple
months ago. I haven’t had a chance
to...
She gestures at the fussy decor. Elli laughs.

68.
ELLI
(with irony)
You’ve changed Chloe.
CHLOE
Trust me it’s a work in progress.
How about you? Are you still in
Kolonaki?
ELLI
We moved to Ekali a year ago.
CHLOE
We?
ELLI
Me and Kostas. My fiancé.
CHLOE
Right. Wow. Congratulations.
CUT TO:
A few more people have gathered, maybe twelve. It’s clear now
that Chloe’s friends are young professionals, while Mickey’s
are the third-rate creatives, burnouts, and space cadets who
had such a great time at the last party.
MICKEY
(re. The buffet)
Just dig in guys. Treat it like a
regular buffet.
Argy takes an entire tray of sushi off the buffet table.
MICKEY
What’re you doing man?
ARGYRIS
I ordered this one.
MICKEY
Nobody ordered anything. It’s
a buffet.
ARGYIS
It’s okay, this is good for me.
CUT TO:
Chloe’s introducing a young man TIM to her friend JONNY.
CHLOE
Jonny, this is Tim. Tim? Timothy?
TIM
Just Tim.
69.
CHLOE
Tim’s also from London.
JONNY
Oh yeah. Whereabouts?
TIM
Dagenham.
JONNY
So not really in London then?
CUT TO:
Mickey’s still trying to settle people in. The two friendship

groups are not mixing.
MICKEY
Anyone need drinks? You guys try
this falafel? It’s so good.
CUT TO:
Chloe’s back with Elli.
ELLI
We were like: is it someone’s
birthday? Do we bring a present?
CHLOE
No, no-- we’ve been calling it the
pointless party. Because there’s
no actual reason.
ELLI
Haha, no it’s great. No one throws
parties anymore.
CHLOE
We wanted to bring
people together.
ELLI
His people, your people...
CHLOE
Exactly. You hit that point when
you have to start...
ELLI
Building a life together.
CHLOE
Right. You emerge from the bubble.
You guys probably thought Everyone
thinks I’ve fallen off the face of
the Earth.
70.
ELLI
(yes)
No...
CUT TO:
The party has grown to about thirty bodies. Mickey’s been

cornered by one of Chloe’s friends, STEPHANIE. She speaks with
a faux-American accent.
STEPHANIE
It’s literally two smoothies a
day, then a regular healthy dinner
before 7pm.
MICKEY
So you still get dinner. Neat.
STEPHANIE
It’s like 100% of your daily
nutrients for less than 800
calories and it’s raw and it’s
vegan... for three hundred euros.
Unreal.
Across the room, a few of Mickey’s friends are mocking her.
SPYROS
(Greek)
It’s just three hundred dollars--
I mean Euros--
MICKEY
Are they making fun of you?
SPYROS
(Greek)
Sorry sorry, hey where you from?
STEPHANIE
Athens.
The group go crazy hearing her speak Greek.
SPYROS
(Greek)
Athens? Not California?
ALEXANDROS
(Greek)
Whereabouts in Athens?
STEPHANIE
Papagou.
The group laugh, hi-five.
MICKEY
What’s so funny?
71.
ALEXANDROS
We did bets on what place of
Athens she stays.
MICKEY
I don’t get it.
STEPHANIE
I’m speaking English to an
American because it’s polite. Same
reason I don’t turn up to a party
in fucking cargo shorts.
ALEXANDROS
(Greek)
At least I can still speak
fucking Greek.
STEPHANI
(Greek)
If I only spoke Greek I’d only be
able to talk to you fucking
morons.
Mickey’s disturbed by the heat of these exchanges.
MICKEY
Whoa...
CUT TO:
The conversation between Tim and Jonny has gone sour.
TIM JONNY
So you spend two The money I’m
months-- you spending on that
spend two months house goes
a year actually directly into the
in London. And London economy--
the rest of the it’s free
time when you’re commerce that
in Hong Kong or makes London such
wherever that a great city in
entire house the first place—-
stands empty. And I’m allowed to
that’s-- that’s spend my money--
why there’s a oh piss off--
housing crisis.
CUT TO:
Spyros, Alexandros and a couple of other guys are huddled in

the corner. They have Stephanie’s drink.
With hushed excitement Alexandros takes out his cock and balls
and dips them into Stephanie’s drink.
SPYROS
She’s coming back. Quick.
72.
They put the drink down on the table.
CUT TO:
Chloe comes over to find Mickey trying to join in a

conversation among her friends. One guy, YIANNIS, is telling
an anecdote.
YIANNIS
We were trapped in that bar in
Switzerland because there was like
six feet of snow outside. And we
were already wasted but we kept
drinking-- because there was
nothing else to do! And you guys
put fifty Euros into the jukebox
and played Last Christmas on
repeat a hundred times.
People laugh. Chloe looks uncomfortable.
YIANNIS
It was still November. You were so
wasted. Everyone kept trying to
unplug the machine and you and
Daphne were fighting them away.
Everyone was so pissed off I
thought they were gonna start a
riot. Do you remember this?
CHLOE
No.
More laughter.
MICKEY
What happened?
YIANNIS
The chef had this huge entire pig
on a smoker in the back that they
were supposed to be serving all
week, it was like a menu special,
and Christos threw down like two
thousand euros and said: carve
that thing up now. We’re feeding
these people before they kill us.
The group goes quiet at the mention of Christos. Yiannis

falteringly finishes the anecdote as it dawns on him he’s
committed a faux pas.
YIANNIS
And he bought a shitload of
tequila and everyone was doing
shots. By the end the whole place
was singing along to this one
song. It was fucking amazing, I
can’t believe you don’t remember.
73.
Across the room, we hear Spyros address Stephanie.
SPYROS
Enjoy your tea. We took out the
teabag for you.
Meanwhile the group are still trying to move on.
YIANNIS
So are you guys
housesitting, or...
A horrific scream cuts through the atmosphere. Everyone turns.

Across the room Stephanie drops her drink.
It’s as if someone has been shot. Nervous confusion. Stephanie

is absolutely freaking out. People are talking in Greek, in
English. Mickey’s friends are laughing.
SPYROS
Pina Chlamydia!
ALEXANDROS
Jizz & Tonic!
Chloe and Mickey are asking round to figure out what’s

happened. One guy, FIVOS, tries to explain in broken English.
FIVOS
This one guy here. He take her,
uh, her drink. And he put inside
it his, uh, his dick.
CHLOE
His what?
FIVOS
His penis? His dick. He place it
in the-- in the--
CHLOE
In her drink?
FIVOS
Yes. Is like putting in a teabag.
MICKEY
What the...
CHLOE
Why? Why did he do that?
CUT TO:
Stephanie is crouched on the floor, hyperventilating, crying

hysterically. Chloe is trying to comfort her. The party
meanwhile is in suspended animation.
74.
CHLOE
It’s okay. Just breathe.
STEPHANIE
I’m going to fucking sue!
A shellshocked Alexandros comes over, looking

extremely repentant.
ALEXANDROS
I’m so sorry, we were just--
STEPHANIE
Get out! Don’t come fucking
near me!
CUT TO:
Stephanie has her fingers down her throat, trying to bring up

her drink into the sink. She heaves violently. This makes
Chloe gag too.
CHLOE
Don’t do that-- hurrgh--
sweetheart don’t-- hurrgh--
Chloe grabs a nearby bowl and throws up into it.
CUT TO:
The party is over. Everyone has cleared out. Stephanie’s the

last to leave.
STEPHANIE
I swear I’m calling a lawyer
tomorrow morning--
CHLOE
Okay. Just get home safe alright.
CUT TO:
Mickey and Chloe are sat on the couch amidst the carnage of a
disastrous night. Drained as they are, they can’t help but
laugh at the absurdity of it all.
Chloe sits on the toilet, letting another bout of nausea pass.

She takes out a pregnancy test.
Mickey walks in, sees Argyris passed out on the bed. A dark
patch around the seat of his trousers.
MICKEY
Dude-- Oh shit.
He immediately recoils from the smell.

75.
Chloe’s staring at the two positive lines on the

pregnancy stick.
124 INT. APARTMENT - NIGHT 124
Chloe leaves the bathroom. Mickey drags Argyris past her into
the room.
MICKEY
Don’t ask. Just walk away.
Argyris is naked, piled into the bathtub. Mickey’s hosing

him down.
ARGYRIS
What the fuck are you doing man?
Chloe’s staring at the pregnancy stick. She hears a commotion

and stands in the doorway to the living room.
Mickey drags Argyris onto a couch. He’s wearing nothing but

the cut-off shorts Mickey made for Chloe.
ARGYRIS
Manos texted. They’re going in a
different direction.
CUT TO BLACK.
127 INT. DOCTOR’S SURGERY - MORNING 127
Chloe is laid back on a hospital bed with a curtain drawn.

She’s wearing a hospital gown. A DOCTOR is standing over her,
preparing a pair of steel forceps.
DOCTOR
This may feel cold.
FRIDAY
#128 - OMITTED
Mickey’s at his laptop. He’s making music. His own music. He

isolates a horn loop. Let’s it play through, then brings in
the full instrumental.
130 INT. DOCTOR’S SURGERY - MORNING 130
Chloe’s lying back, feet in stirrups. The doctor is hunched

over between her legs.
76.
DOCTOR
You may experience some cramping.
That’s to be expected. Just try
and relax your pelvic muscles.
Mickeys song is building to a crescendo.

131B INT. ATHENS STREET - MORNING 131B
Chloe walks down the street, arms wrapped defensively around

her chest. Council workers cut dead branches from the trees,
leaving them looking stark and skeletal.
Chloe’s curled up on the couch. Mickey brings her over a

coffee. Sits with her.
MICKEY
So they didn’t say what it was?
Chloe shrugs.
CHLOE
Just flu-like symptoms.
There’s a knock at the door. They move as if they’ve been

expecting it.
The pair are stood together, trying to look as if it’s the

most natural thing in the world.
A smartly dressed INSPECTOR examines the room with a

professional’s eye. It is now awkwardly sparse and inorganic.
She opens a window and swings it wide open. She leans out,
then turns back in and scans the room.
She drags over a nearby footstool, then stands on it and

pivots her upper body over the window ledge until she’s
leaning deeply out over the sheer drop onto the courtyard
below.
Chloe’s face crinkles in bemusement.
CUT TO:
Mickey and Chloe are sat together on the sofa. The inspector
is sat opposite them, binder open across her lap.
INSPECTOR
You both live here?
CHLOE
Mm hmm.
77.
INSPECTOR
MICKEY
Yah.
INSPECTOR
For how long?
MICKEY CHLOE
Years. Few months.
The couple laugh.
MICKEY CHLOE
I’ve lived here I moved in three
for years. She-- months ago.
INSPECTOR
Three months?
CHLOE
A little over actually.
MICKEY
Feels like longer. In a good way.
The couple laugh.
INSPECTOR
Michael, looking over your
accounts I see your income
is...erratic.
MICKEY
I get paid in cash a lot--
Chloe jams him in the ribs.
CHLOE
He’s never missed a payment.
INSPECTOR
Minimum child care payments are
one thing. Supporting a child day-
to-day is entirely another. Even
just two days a week, the expenses
can be quite a shock. You need to
understand this.
MICKEY CHLOE
Hundred percent. Yes. Definitely.
78.
INSPECTOR
You understand Hector’s mother has
assigned guardianship and
visitation rights to the both of
you.
They look at each other. Then back at the inspector. This

comes as a total surprise.
MICKEY
I’m sorry, what?
INSPECTOR
Both of you are named on
the documents.
MICKEY
Aspa did that?
CHLOE
That’s not-- what we applied for.
INSPECTOR
I suspect it’s because Ms. Blaine
is the principal breadwinner.
CHLOE
What does it mean, that both our
names are on there?
INSPECTOR
It means that the two of you, as a
couple, will be legally allowed to
take unsupervised custody of
Hector for the allotted time
periods stated on the—
CHLOE
As a couple?
INSPECTOR
Yes.
CHLOE
Only as a couple?
INSPECTOR
Well...if one of you wished to
apply for partial custody
independently of the other, that
would require a new application,
and the dissolution of this
agreement.
CHLOE
It sounds big. Like a big...I mean
do we need to...talk it over, or--
79.
INSPECTOR
It can be overturned on appeal
from either party, but provided
you remain in a stable and
committed relationship... Do you
consider yourselves to be in a
stable and committed relationship?
MICKEY
Of course.
INSPECTOR
Are you?
MICKEY
Yes.
CHLOE
We’re strong.
MICKEY
As a...
CHLOE MICKEY
Rock. Big old rock.
They awkwardly hold hands. Then even more awkwardly reach over
and hold both hands. The inspector makes a note on her file.
134 INT. BALCONY - AFTERNOON 134
Chloe and Mickey are alone. Chloe is worked up, smoking a

cigarette too fast.
CHLOE
She’s messing with us.
MICKEY
Who? What--
CHLOE
Aspa. She is messing with us.
MICKEY
How? I don’t--
CHLOE
Just-- believe me. This is some
sick fucking joke.
MICKEY
Okay calm down. Breathe. Are
you breathing?
80.
They’re in bed. Mickey’s kissing Chloe. He climbs on top of

her. It’s very quiet save the creaking of the bed. The duvet
has been discarded in favour of a blanket.
Chloe slowly starts crying.
MICKEY CHLOE
What’s up? Are Nothing, I’m
you okay? Did I fine. No. I don’t
hurt you? What’s know. I’m fine.
wrong? I’m sorry.
Mickey rolls off her, unsure what to do.

136 INT. BEDROOM - MORNING 136
Mickey’s sat on the edge of the bed. He’s wearing the top half
of a formal suit - jacket, white shirt, and a brightly
coloured novelty tie. Nothing but underwear on the bottom
half.
He’s inspecting his shiny shoes. After a moment Chloe comes

through wearing a slip, with her hair up. She hands him his
freshly pressed suit trousers, along with a more sober tie.
137 INT. BUS STATION - MORNING 137
They’re stood at the back of a long ticket booth line that

doesn’t seem to be moving. Him in his dark suit, her in a
cocktail dress. Not talking. In their own heads.
138 INT. COACH - AFTERNOON 138
They’re sat together on the coach. He’s staring out the

window, she’s browsing on her phone.
Eventually Mickey looks at Chloe.
MICKEY
We’ll figure out another way.
CHLOE
Hah?
MICKEY
You’re right. She’s screwing
with us.
CHLOE
Oh-- don’t think about it.
MICKEY
No, we’ll figure it out. If she’s
playing games with us--
81.
CHLOE
Babe-- we’ll talk about
it tomorrow.
MICKEY
I’m just saying--
CHLOE
I know what you’re saying. Don’t
think about it.
139 EXT. WEDDING VENUE COURTYARD - EARLY EVENING 139
They approach a beautiful open courtyard overlooking the sea,

flanked by old stone buildings and garlanded olive trees.
Lanterns strung with white silk light the way along a path to
the main bar, from which comes the murmur of many voices.
140 INT. WEDDING VENUE - EARLY EVENING 140
They wander in. The tasteful bar is a mix of modern design and
ancient architecture. Added to this - balloons, flowers, white
tablecloths. Serving staff gliding among the crowd with
platters of canapés and trays of champagne.
Chloe and Mickey immediately spot Argyris, who comes over.
MICKEY
(under his breath)
Goddammit.
ARGYRIS
Guys!
CHLOE
Hi Argy.
ARGYRIS
What’s up? You look
fucking miserable.
CHLOE
Yeah. Long journey. How was
the ceremony?
ARGYRIS
So good. There was this one girl,
Elena’s niece. She sang this song.
She was fucking beautiful. And her
voice made me hard. I was sat in
the church with a huge boner, like
what the fuck. I want to meet her
but I can’t find her anywhere...
Chloe sees an old friend, ANNA – they make silently thrilled

faces at each other. She slips away from the conversation to
embrace her friend.
82.
Mickey watches them hug, then drift off together into the
crowd. He wants to be with them, meeting people. But he’s
stuck listening to Argyris drone on. Finally he interrupts.
MICKEY
I could use a drink.
ARGYRIS
There’s guys going round with
champagne and shit. Come on.
141 INT. WEDDING VENUE BAR - EARLY EVENING 141
Chloe’s catching up with Anna.
ANNA
(gossipy)
So you brought a guy.
CHLOE
(matter of fact)
Yeah, my boyfriend.
ANNA
Oh-- cool. How’s...that going?
CHLOE
Good. Great.
ANNA
Is that a new thing...?
CHLOE
Not really.
They take a beat. Anna cocks her head.
ANNA
I’ve missed you.
CHLOE
I’ve missed you. I’ve
missed everyone.
ANNA
We talk about you all the time.
CHLOE
Oh god--
ANNA
No no-- not like-- I mean... we
wish you were around more.
They both nod. Unsure where to go from here.
ANNA
We’re gonna have fun tonight.
83.
142 INT. DANCE FLOOR - EVENING 142
The band starts up. The energy changes. People are up off
their chairs, finding their dancing feet.
Chloe is among her old friends, dancing, laughing, sharing in-

jokes, etc.
She spots a familiar face from across the space...CHRISTOS.

People surround him. He is the centre of gravity in any room
he inhabits. They almost make eye contact--
A hand reaches round and tickles her ribs. She spasms, spills
her champagne. She turns to find Mickey.
MICKEY
There you are.
CHLOE
Hey. Oh, everyone this is Mickey.
A couple of friends smile, wave, say hi. For several others

the offering is lost under the music.
MICKEY
I didn’t realise you’d know so
many people.
She shrugs. He stands near her as she dances, unsure what to

do. Chloe’s half-including him, half-not. He leans in.
MICKEY CHLOE
I’m gonna head-- Hah?
MICKEY CHLOE
Bathroom. Okay.
Mickey leaves. Chloe and Christos finally lock eyes. He gives

her a small nod. A chilly hello.
143 INT. BAR - EVENING 143
From Mickey’s position leaving the bathroom he can see what

might just be Chloe leaving the building. Then the dark smudge
of a male figure following.
He tenses, deciding whether or not to follow. Before he can

make a choice he’s joined by Stephanie from their party.
STEPHANIE
I’m keeping a tight hold on my
drink tonight.
MICKEY
I’m sorry?
84.
144 EXT. COURTYARD - EVENING 144
Chloe’s getting some air at a point overlooking the beach.

Christos approaches. She turns when she hears him.
CHRISTOS
I’m glad you decided to come.
CHLOE
I was never not going to come.
145 INT. BAR - EVENING 145
Stephanie has moved closer to Mickey. She leans into him.

Mickey’s jaw is tense. He drinks.
STEPHANIE
I think it’s probably the first
time they’ve seen each other since
they broke up. He has this way of
gaslighting people. You know
gaslighting?
MICKEY
I know what gaslighting is.
STEPHANIE
He does these big public gestures
that’s really a fuck you.
Like...lending you money then
talking about it at a dinner.
After he and Chloe broke up he set
her up with this big new job back
in Chicago. Like it was nothing.
She took the job and then just
didn’t show up. Didn’t even go
back to the US.
MICKEY
Christos got her a job?
STEPHANIE
This is what I mean. Because of
all the family money and the
connections. He can move people
around wherever he wants them. I
guess she finally had enough.
After all the shit that went down.
Good for her.
MICKEY
What shit went down?
Stephanie looks him in the eye.

85.
STEPHANIE
You know you’re so much better
than those assholes you call
friends. I hope you don’t see them
any more. I could have sued them
for assault.
146 EXT. COURTYARD - EVENING 146
Chloe sips her drink. Christos kills his cigarette.
CHLOE
He’s my boyfriend by the way.
CHRISTOS
I’m very happy for you.
CHLOE
We’re in love.
CHRISTOS
That’s fantastic.
CHLOE
He’s the reason I stayed
in Athens.
CHRISTOS CHLOE
Oh he’s the Yep. Yeah.
reason. Just
pure, innocent,
romantic...
CHRISTOS
Just love at first sight.
CHLOE
It was actually.
CHRISTOS
So you weren’t picturing one of my
biggest clients calling me up to
ask why their new hire hadn’t
turned up on her first day.
She takes a drink.
CHRISTOS
Should you be drinking?
Chloe’s calm in a way that demands Christos’ attention.
CHLOE
You can stop. It’s okay. I’m not a
threat to you Christos. You can
just let me go. Before you start
embarrassing yourself.
86.
CHRISTOS
Now we’re talking about
embarrassing ourselves? Really?
147 INT. TERRACE - NIGHT 147
Mickey is with Argyris on the terrace just beyond the main

room. They’re now clearly drunk.
ARGYRIS
Talk to me brother. You look like
you’re gonna kill someone.
MICKEY
How much did you know about Chloe
and Christos?
ARGYRIS
Relax, man. It’s totally
irrelevant.
MICKEY
She was obsessed with this guy. He
was the life-changing-- He’s the
one. Not me. He was the one. I’m
just a-- How am I supposed to
carry on knowing this shit...
ARGYRIS
You’re desperate to blow this
thing up because it’s too good.
And you’re scared because you take
good things and you turn them into
shit. I’ve seen you do this. So
now you want to hurry up and turn
all this thing to shit.
MICKEY
That’s not what's happening--
ARGYRIS
Of course, you're digging up
ancient history because it's so
fucking vital. She loves you and
she makes you happy. Tell yourself
you deserve this. Go on say it.
MICKEY
I...
ARGYRIS
Do you deserve it or not?
MICKEY
Yes.
ARGYRIS
So say it.
87.
MICKEY
I deserve this.
ARGYRIS
You deserve this and you’re gonna
fight to keep it because it’s the
best fucking thing that ever
happened to you.
MICKEY
I-- yeah. I’m gonna fight.
He slaps Argyris playfully across the face.
ARGYRIS
Look at me Mickey. I’m forty
fucking five years old. No one is
coming to save you. You either
sort your shit out and decide
you’re worth something to someone,
or you die sad and alone and
fucking perverted.
148 INT. BAR - NIGHT 148
Mickey marches drunkenly but with purpose through the space.

Christos approaches.
CHRISTOS
Hey, Mickey, right?
Mickey stops, looks in his eyes.
MICKEY
I’m gonna fight. I deserve it.
149 INT. DANCE FLOOR - NIGHT 149
Chloe is dancing, lost in her movements. It’s like she’s

trying to shake off her encounter with Christos.
The music stutters, then slows to a stop amidst widespread

confusion. Chloe stops dancing.
She hears Mickey’s drunken voice on the microphone.
MICKEY (O.S.)
Sorry sorry sorry. Sorry everyone.
She looks up with dawning horror.
MICKEY
Just-- I’m gonna...get off the
stage, hang on...
He climbs off the stage and finds a nearby chair. As he does:

88.
MICKEY
I’m a musician so I know...stage
is sacred. Can’t have just anyone
running around up there...
expensive equipment and...cables--
I’m gonna stand on this chair.
He’s up on the chair. The room is charged and tense.
MICKEY
Hello. Hello hello. Most of you
don’t know me. I wasn’t at the
ceremony. We weren’t invited but
that’s fine. These things...are
sacred. Like the stage there. I
don’t wanna-- you’re all here to
celebrate Elena and...shit...
A WEDDING GUEST shouts.
WEDDING GUEST
Loukas.
MICKEY
Loukas, thank you. Loukas. Elena
and Loukas’ happy nuptials.
Argyris tries to help Mickey down. Mickey shrugs him off.
ARGYRIS
Come on buddy.
MICKEY
I’m good. I’m cool. This is
Argyris everyone. He’s my friend.
But he’s an asshole. There is love
in this room-- bouncing around
everywhere, off the walls and into
our eyes and mouths and down into
our...hearts...just so much
love... And when you love someone,
nothing else should matter. It’s
like...I love you. Loukas. I don’t
care that you’ve had more ass than
a dentist’s chair. That’s in the
past. The future...the future is
about taking the things you love,
and fighting to keep hold of them
into...the future. Holding onto
them forever. Because everything
else...fades away. So I figured
what better time, what better
occasion, than to celebrate this
incredible...capacity we have...
He leans out and grabs another chair, which he puts about two
feet in front of the one he’s stood on. He takes a moment to
position the chairs just right.
89.
From a table he takes a plastic ring used to keep balloons

strung together – a couple of balloons are still floating from
it – and he steps forward, placing one foot on the chair in
front.
Slowly, precariously, he lowers himself into a kneeling

position, balancing his weight in the space between each
chair. When he feels that he’s stable, he holds up the ring.
MICKEY
Okay, alright...Chloe Blaine.
The crowd parts. Chloe stands on the dance floor, alone and
ashen-faced.
MICKEY
Chloe Blaine. Will you take me
forward into your future? Me and
me alone, and let everything else
piss off? Just you and me against
the world. Chloe. Will you do
that? Will you marry me?
And in a heartbeat the front chair slips away and his leg goes
flying out from under him. He lands with a painful thud on the
floor.
Into the stricken silence the BANDLEADER starts up a jaunty

novelty Greek song.
CUT TO BLACK.
Dirty dishes are stacked up on every counter. Chloe’s plunging

the clogged sink, rubber gloves on. Lumpy grey-brown water
overflows and sloshes onto the floor. She gives up.
FRIDAY
Christmas decorations everywhere. Gloom beyond the windows.

Mickey’s noodling on his keyboard. Chloe appears.
CHLOE
So we just don’t have a kitchen
sink now.
MICKEY
Let me take a look.
He gets up and goes over.
CHLOE
Look at that. He’s alive.
90.
MICKEY
It doesn’t take two people to
unclog a sink.
CHLOE
No, it takes one plumber.
Mickey’s now plunging the sink himself.
MICKEY
Thing’s really jammed.
CHLOE
No shit. Just like yesterday. And
the day before--
MICKEY
I called a guy. He didn’t turn up.
What do you want me to do?
CHLOE
You called a buddy who blew you
off. Get a professional.
MICKEY
He was a professional.
Mickey crouches under the sink and starts unscrewing the

U-bend.
CHLOE
Don’t-- what are you doing?
Filthy water seeps out of the loosened U-bend onto the floor.
He tightens it back up best he can.
MICKEY
Shit...do we have a bucket?
CHLOE
I’m calling someone.
MICKEY
Who?
CHLOE
A professional.
MICKEY
Pavlos is a goddam professional.
CHLOE
We have two days. Two days till
Hector stays with us. Everything
you ever wanted his whole life.
Two days.
91.
MICKEY
What’s that got to do
with anything?
CHLOE
Be honest. Were you gonna fix the
sink? Were you gonna clean up? Did
you even remember he’s coming to
stay? Do you remember all the work
I did to make this happen?
MICKEY
Whoa whoa whoa--
CHLOE
Did it slip your mind? Or are you
in denial?
MICKEY
What the fuck is this--
CHLOE
Are you scared you’ll have nothing
to say to him? You don’t speak the
same language.
MICKEY
What did I do to piss you off
so badly?
CHLOE
He’s seven years old. He’s gonna
have to speak English just so you
can understand a word he’s saying.
Mickey’s deeply hurt. Chloe regrets her outburst.

Mickey’s sat back at the keyboard. He’s chewing a thumbnail,

lost in unpleasant thoughts.
Chloe comes over, holding a large children’s music book.
CHLOE
I’m sorry.
MICKEY
I’m an idiot.
CHLOE
No, I was...I’m stressed.
MICKEY
I don’t deserve him in my life.
She shows him the children’s book. He takes it.

92.
CHLOE
I thought you could learn a song,
I don’t know. Stupid. Something
you two could do together maybe.
MICKEY
Why didn’t you give me this?
CHLOE
I thought it was a great idea,
then decided it wasn’t.
CUT TO:
Mickey’s sat at his keyboard. Chloe’s stood with him, the book
open on the music stand.
He’s playing a song from the book, adding little flourishes as

he moves through the simple chords. They make slow progress as
Chloe phonetically walks him through the lyrics and explains
what they mean in English.
CUT TO:
Mickey’s pouring them wine. He hands one over and settles back
at the piano.
MICKEY
Okay, from the top. I’m going for
a recital.
CUT TO:
They’re on their second, maybe third drink. Chloe sings the

song, still in teacher mode, as Mickey riffs on the keys as if
it’s a jazz standard. Then he fluidly changes style again to
twelve-bar blues.
CUT TO:
They’re finishing the wine. The bottle’s empty.
CHLOE
We should go out.
MICKEY
Where?
CHLOE
When was the last time we did
that? Just the two of us. It’s
Friday night. Hector’s not here
till Monday. This is our last
weekend before...
MICKEY
You’re a legal guardian.
93.
CHLOE
I mean yeah. We never even
celebrated.
CUT TO:
They’re trying to have sex on the couch. Awkward knees and

elbows. Wrong angles. Mickey’s foot slips.
CHLOE
Hang on. Pause.
MICKEY
You okay?
CHLOE
Yeah just-- the angle.
MICKEY
Shall we save it?
CHLOE
Let’s save it.
MICKEY
In my head I’m all about going out
right now.
CUT TO:
Chloe’s touching up her make up in the hallway mirror.

Mickey’s by the door, holding a one-third full bottle of rum.
MICKEY
Christmas cheer for the road.
154 EXT. ATHENS STREETS - EVENING 154
They ride through the dark, wet, quiet streets.

155 EXT. OUTSIDE NIGHTCLUB - EVENING 155
They’re approaching a proper nightclub in central Athens. The

Christmas decorations look sad and eerie in the empty street.
MICKEY
I’m pretty drunk.
CHLOE
You never had to act sober before?
Look at me. You’re fine.
She takes his face in her hands. Looks into his eyes.
They head to the entrance. The DOORMAN looks them over, then
steps out the way to let them pass. Mickey gives him a self-
conscious nod, then a thumbs-up.
94.
156 INT. NIGHTCLUB - EVENING 156
It’s almost empty. But the loud, bass-heavy music has that
special impact - the rousing effect of a big night starting.
They’re sat at the bar. A little wired, eyes darting around at

the few sullen locals. They’ve lined up two shots each.
MICKEY
One two three--
They slam the first, both grimace.
CHLOE
Fffu--
157 INT. BOOTH - NIGHT 157
They’re sat alone, Mickey talking into Chloe’s ear.
MICKEY
I could be on tour right now with
Bastion. Writing music, making
money, you know. Playing to like
thousands of...thousands-- but
then where would I be? Some other
fucking country the whole time.
What kind of father would I be
then?
CHLOE
Can you get drugs?
MICKEY
What?
CHLOE
Can you score some drugs?
MICKEY
You’ve never taken drugs in
your life.
CHLOE
Can you score some or not?
158 INT. CLOAKROOM AREA - NIGHT 158
Mickey’s on the phone, finger plugged into his other ear.
MICKEY (ON PHONE)

Do you know anyone still in
Athens? I know it’s the holidays--
Chloe grabs him by the shoulder and holds up a small baggie

containing little crystallised rocks.
95.
MICKEY
Where did you get these?
CHLOE
I found a guy. Seventy euros.
MICKEY
Seventy. That’s crazy. That’s way
too much.
CHLOE
I don’t care. Are we doing this
or not?
159 INT. TOILET CUBICLE - NIGHT 159
Mickey and Chloe are huddled in. Mickey’s cutting the rough
powder into lines, he hands Chloe a rolled up bank note.
MICKEY
Sure you wanna do this?
CHLOE
Yep. So, what, I just...
MICKEY
Put that up your nose and sniff
the whole thing up. Don’t stop
till it’s gone.
Chloe tentatively leans down and snorts up a line. She jerks

upright, sniffing, wincing, rubbing her nose.
CHLOE
Oh wow. Oh god. So that’s what
that feels like.
Mickey bends to do his line. There’s an impatient banging on

the toilet door.
MICKEY
One second!
CUT TO:
They leave the cubicle, squeezing awkwardly past a line of

people who know exactly what they were up to.
160 INT. NIGHT CLUB - NIGHT 160
They’re bopping around the dance floor. Nice and high.
CHLOE
Do you still find me sexy?
MICKEY
Of course.
96.
CHLOE
Really?
MICKEY
You’re incredibly sexy to me.
Chloe starts dancing more seductively. She moves away from

Mickey and dances provocatively at another DANCING MAN’s back.
The man turns and goes with it. He and Chloe are almost
grinding. Mickey watches. He moves over to a random DANCING
GIRL to try the same thing.
CHLOE
Nope, no way.
She quickly moves over and pulls Mickey away by the hand.
CUT TO:
Mickey’s waiting at the bar to get served.
Chloe meanwhile leaves the bathroom and is stopped by the

dancing man from moments ago. He moves closer to her.
DANCING MAN
Hey baby.
CHLOE
Oh no, no thanks--
DANCING MAN
What’s up?
He closes off her exit. Moves in close. Hand on her hip.
DANCING MAN
What’s your name?
CHLOE
Can you leave me alone?
DANCING MAN
Relax. We’re having fun.
CHLOE
Just-- let me go please.
He presses her up against a wall. She struggles.
Mickey glances over and sees what’s happening. He runs over.
He pulls at the dancing man, but the guy won’t quit. Mickey
has to wrench him away.
MICKEY
Get off her.
Dancing man turns and shoves Mickey.

97.
DANCING MAN
What? Fucking pussy.
Mickey launches himself at the guy. They tussle. He lands a

punch. The guy goes down, Mickey punches him again.
Meanwhile the doorman is barrelling over.

161 EXT. OUTSIDE CLUB - NIGHT 161
Mickey is being forcefully evicted.
MICKEY
There is a man selling illegal
narcotics in your establishment--
Chloe drags him away.
CHLOE
Let’s go. Let’s just go.
162 EXT. ATHENS STREETS - NIGHT 162
They’re on the moped. Both absolutely wired. Mickey can’t keep

the bike straight.
Chloe leans over into his ear.
CHLOE
I wanna fuck you. Right now.
Mickey swerves to avoid hitting a pedestrian and hits a kerb.

The bike topples. He and Chloe jump off and hit the deck.
Chloe grabs his hand and they flee the scene.

163 EXT. RESIDENTIAL STREET - NIGHT 163
Mickey helps Chloe climb over a gate.

164 EXT. INDOOR SHOPPING GALLERY- NIGHT 164
They sneak along to a dark corner under the stairs. Then they
sit, catching their breath for a moment.
They start kissing, fumbling.
Chloe climbs on top of Mickey. They start grinding, breathing

heavily. Chloe slows, starts crying.
MICKEY
What’s up?
For a moment he can’t get a word out of her. Finally:
CHLOE
I love you.
98.
MICKEY
I love you too. I love you
stronger than I’ve ever felt
anything in my life.
CHLOE
I’m sorry. I’m so sorry.
MICKEY
It’s okay. What’s up? It’s okay.
CHLOE MICKEY
I...I-- What? What is it?
CHLOE
I was pregnant. Mickey, I was
pregnant. And-- I was scared
because I knew I loved you but...I
didn’t feel like I really knew
you...and I was so freaked out
and--
MICKEY
What? What are you saying?
CHLOE
I didn’t keep it. It was yours and
I didn’t keep it. I should’ve told
you.
MICKEY
No, no, it’s okay. I understand.
Chloe, I get it.
CHLOE
You can be mad. It was your
decision as well as mine--
MICKEY
I’m not mad. I get it.
CHLOE
You’re not mad?
MICKEY
No. I’m not mad.
CHLOE
Why not?
MICKEY
I’m just-- I get it.
CHLOE
You get it? What do you get?
Because I don’t get it.
99.
MICKEY
Are you alright? Are you cold?
CHLOE
What do you get? Please tell me.
MICKEY
Baby, I love you...
CHLOE
You love me what?
MICKEY
You didn’t keep this baby; you
didn’t wanna get married.
CHLOE
They’re two totally
different things--
MICKEY
I know but...shit. You only moved
in with me because you had nowhere
else to go.
CHLOE
Are you serious?
MICKEY
And the whole airport thing. What
happened at the airport. That
wasn’t even about me. It was about
you and him.
CHLOE
Him? Who’s him?
MICKEY
Come on. He got you that amazing
job, which I get is a big fuck
you. And in your heart you were
never gonna take it, because
you’re smarter than that.
CHLOE
What are you talking about?
MICKEY
And we had this incredible weekend
and I raced all the way over
there. But was it about me and you
specifically? No, it was about you
and him. Could’ve been anything
stopped you getting on that
flight. It just happened to be me.
CHLOE
Are you genuinely saying this or
are you fucking with me right now?
100.
CHLOE
I open up to you and you hit me
with a whole conspiracy theory--
MICKEY
You can’t let him win. I get that.
Just please don’t use me to figure
your shit out. That’s all I ask.
CHLOE
Use you?!
MICKEY
We’re in this fun groove. You’re
working out what you wanna do.
What your next move is. I see
that. Just don’t stick around
because it’s easy.
CHLOE
Easy. That’s how you see us?
MICKEY
I mean yeah.
CHLOE
Holy shit. Do you have any idea
how hard this last seven months
have been--
MICKEY
Hard? What do you mean hard?
CHLOE
The work I’ve put in to get us to
where we are. Yes, hard.
MICKEY
I hope not. It’s supposed to
be easy.
CHLOE
No it’s not! No it is not. Oh my
god, this explains so much--
A bright light comes on at the top end of the gallery.
MICKEY
Shit.
They get up and scramble for the gate.
CUT TO:
They climb frantically over the gate as a figure emerges from

the light a few dozen feet away.
101.
165 EXT. ATHENS STREET - NIGHT 165
They’re running, half-dressed, almost delirious. They reach

Mickey’s trashed moped. They stand for a moment. Thinking.
CHLOE
Remember that first night. On the
beach. We were naked.
MICKEY
We got picked up.
CHLOE
Have you ever felt anything like
that before?
MICKEY
It was the best I ever felt.
CHLOE
What was that? Were we showing
off? Were we faking it?
MICKEY
I don’t know.
CHLOE
What did we fall in love with?
MICKEY
I don’t know.
Chloe starts taking her clothes off.
CHLOE
Let’s go for a ride.
Mickey starts taking his clothes off.
CUT TO:
The pair riding naked on the moped. Mickey weaving perilously.

Both of them laughing wild and free.
They fly past a pair of POLICE OFFICERS smoking by their car.

Chloe calls out to them as they pass.
CUT TO:
Sirens. Police lights. Mickey and Chloe are riding

erratically. Chloe is laughing manically.
CHLOE
Keep riding.
MICKEY
What?
102.
CHLOE
Don’t stop. Go faster.
She leans over and presses down on the accelerator.
CUT TO:
They turn down a main road, another police car is approaching.

Mickey pulls a u-turn. The second police car joins the first
in pursuit.
CUT TO:
They’re laughing on the bike, speeding. Four or five police

cars follow in their wake.
They lead the cars on a merry chase through the empty streets
of the city. Cutting through gaps the cars can’t get through,
forcing the line of swirling lights to slow, stop, reverse,
detour...
MICKEY
What are we doing?
CHLOE
Don’t stop!
CUT TO:
Mickey’s cutting through a park, riding on the walkway. As he

rides towards the road, he sees a police car stationed,
waiting for him.
MICKEY
I gotta stop.
CHLOE
Keep going.
MICKEY
No, I gotta stop.
He slows, then stops, then climbs off the bike with his hands
in the air.
Two POLICE OFFICERS emerge from the car. One has a handgun
trained on Mickey. The other approaches, barking orders.
He swings Mickey’s arms behind his back, cuffs him, then slams
him to the ground.
Chloe doesn’t give up so easily. She squirms away from one.

Another goes to grab her and she swings for him, connecting
with his left cheek.
166 INT. POLICE CAR - NIGHT 166
They’re both riding in the back, silent, wrapped in blankets.

103.
167 INT. POLICE STATION - NIGHT 167
Not the parochial outpost from their first weekend. A big city
station. Lots of activity. Noise. Mean-looking criminals.
Mickey and Chloe wait in the holding area. The police officer
sits with them, sipping coffee. The BOOKING OFFICER calls him.
CUT TO:
They’re stood being booked in. As the police officer rattles

off the list of offences, Chloe translates for Mickey. Her
voice quivering.
POLICE OFFICER CHLOE

(Greek) Actual bodily
Actual bodily harm. Assault and
harm. Assault and Affray. Dangerous
Affray. Dangerous driving. Reckless
driving. Reckless endangerment.
endangerment. Evading an
Evading an officer. Indecent
officer. Indecent exposure.
exposure. Trespassing.
Trespassing. Narcotics
Narcotics possession...
possession.
MICKEY
Is it bad?
The officer turns to Mickey as the booking officer writes up

their charges.
POLICE OFFICER
That’s a lot of charges.
MICKEY
Am I going to prison?
OFFICER
Depends what the judge says
on Monday.
CHLOE
Monday?
OFFICER
Courts are closed on the weekend.
Judge will hear the case on
Monday.
He nods to another OFFICER, who leads Mickey away. He

meanwhile leads Chloe in the opposite direction.
104.
168 INT. WOMEN’S CELL - NIGHT 168
Chloe’s led in to a small cell with eight other female

detainees. The atmosphere is fraught and hostile.
169 INT. MEN’S CELL - NIGHT 169
Mickey’s in a different holding cell, full of men. He leans

his face through the bars.
MICKEY
Can I make a phone call? I get a
phone call, right? Please.
170 INT. CORRIDOR - MALE WING - NIGHT 170
Mickey’s making a phone call while a DUTY OFFICER stands

nearby. Mickey waits for an answer.
MICKEY (ON PHONE

Hi, can I speak to Senator
Hendricks please? This is Michael
Hendricks. Michael-- tell him it’s
his son.
Mickey pauses, clenched. Pushing back the tears. Refusing

to break.
MICKEY (ON PHONE)

(strained)
Dad? I need your help. I’m in a
jail. In Athens. It’s small stuff
but-- don’t hang up. Hector-- my
son. I got custody, dad. Partial
custody. And he’s coming to stay
for the first time and they wanna
keep me in here till Monday, dad
please-- don’t--
His father has hung up the phone. Mickey presses his forehead
against the wall. At length he makes another call.
MICKEY (ON PHONE)

Argy, it’s Mickey. Listen, I’m in
jail. Just-- shut up a second.
We’re fine. I need a favour. I
need a phone number.
171 INT. CORRIDOR - FEMALE WING - NIGHT 171
Chloe is making her phone call. Trying desperately to pull

herself together.
CHLOE (ON PHONE)

Aspa? It’s Chloe Blaine. I’m so
sorry to call you so late. Yeah,
no it’s...
105.
CHLOE (ON PHONE)

Listen, I hate to do this to you
but Mickey and I won’t be able to
collect Hector on Monday.
172 INT. CORRIDOR - MALE WING - NIGHT 172
Mickey’s on the phone getting connected.
MICKEY
Is this Christos? It’s Mickey
Hendricks. Chloe’s-- Yeah. Um, we
need your help.
173 INT. HOLDING CELL - DAWN 173
Mickey looks up as the door is opened.

174 INT. POLICE STATION - DAWN 174
Mickey watches on as Christos chats amiably with the booking

officer. They shake hands and he comes over to Mickey by the
entrance.
MICKEY
Where’s Chloe?
CHRISTOS
I did what I could but she’s in
for the weekend.
MICKEY
What do you mean?
CHRISTOS
She hit a cop.
MICKEY
She was drunk. We were together
the whole time.
CHRISTOS
Assaulting an officer always goes
before the judge. They take it
very seriously.
MICKEY
Are you fucking kidding me?
CHRISTOS
I’m sorry Mickey.
MICKEY
No. Come on. No, no...
CHRISTOS
Let’s get outside--
106.
MICKEY
Wait you’re saying there’s nothing
you can do?
CHRISTOS
It always goes before the judge.
It always gets the maximum fine.
That’s what they’re telling me.
She’ll be out on Monday.
MICKEY
Is this some ex boyfriend
bullshit? Is it a, a gesture?
CHRISTOS
Don’t do that Mickey.
MICKEY
What? I’m asking.
CHRISTOS
Don’t ask that.
Mickey paces. Runs his hand through his hair.
MICKEY
Can you at least pay the fine?
CHRISTOS
Go home. Get some rest.
CUT TO BLACK.
175 INT. BEDROOM - MORNING 175
Mickey lies awake in bed, washed in morning sun.
MONDAY
176 INT. PRIVATE CELL - MORNING 176
Chloe sits clenched on her bunk. She looks as though she

hasn’t slept all weekend. The door opens. She looks up to see
the duty officer.
177 INT. APARTMENT - MORNING 177
A PLUMBER is working on the sink. Mickey meanwhile practices

his Greek children’s song for Hector.
178 INT. COURT HOLDING AREA - MORNING 178
Chloe waits for her hearing. She starts to realise that Mickey
is nowhere to be seen.
179 INT. APARTMENT - MORNING 179
Mickey’s on the phone.

107.
MICKEY (ON PHONE)

I’ll be there, I promise. Forget
that. Forget all that, I’m telling
you now-- don’t arrange anything.
Aspa, listen to me--
180 INT. COURT - AFTERNOON 180
The judge gives his verdict on Chloe’s case.
JUDGE
(Greek)
Six month suspended sentence plus
penalties to the amount of
€13,000.
Chloe looks wrung out. She barely reacts.

Mickey tries to call Chloe. No luck. He checks the clock.

182 EXT. OUTSIDE COURTHOUSE - AFTERNOON 182
Chloe walks out into the sunlight, confused. Where’s Mickey?
She tries to turn her phone on but the battery is dead.

183 EXT. APARTMENT - AFTERNOON 183
The front door opens. Chloe walks in, almost catatonic. Mickey
goes over to embrace her. She slaps his arm away.
CHLOE
Where were you?
MICKEY
I tried-- I tried to--
CHLOE
Where were you?
MICKEY
I-- got out.
CHLOE
You got out? What do you mean you
got out?
MICKEY
I called...
CHLOE
Someone? You called in a favour?
MICKEY
Y-- Yeah-- kinda--
CHLOE
108.
MICKEY
Who did you call?
MICKEY
Babe, come on.
Come in. Let’s
get you showered.
CHLOE
Who did you call?
MICKEY
Come on, sit down.
CHLOE
Tell me who you fucking called.
MICKEY
I called Christos.
CHLOE
I’m sorry?
MICKEY
I know it’s messed up. I wanted
him to get you out. It was the
only thing I could think of.
CHLOE
You called Christos?
MICKEY
To help you.
CHLOE
And he got you out? That night? No
hearing? No judge?
MICKEY
Look at me. You hit a cop. That’s
the only reason--
CHLOE
You’ve been here this whole
weekend? Here?
MICKEY
I couldn’t screw this up. With
Hector, and-- You know that--
CHLOE
I was in a prison cell, and you--
MICKEY
They wouldn’t even let me see you.
I’m sorry, I-- please, I can’t
imagine what you’ve--
CHLOE
You can’t imagine.
109.
CHLOE
You can’t imagine...
Mickey approaches her and goes to rub her shoulders. She

violently bats his arms away. He looks at her. She looks at
him. Heat and pain in her eyes.
She hits him, open palmed in the face. He stands there,

stunned dumb. She punches him. Then swings again, he grabs her
wrist and shoves her back.
She grabs a fistful of his hair and yanks it down. He yields

with it. They fall backwards and slam into the coffee table.
Ornaments go flying.
She gets on top of him and starts pummelling him. He covers

his face and then manages to throw her off.
She sits breathing heavily among the debris. He climbs to

his feet.
She grabs a mug and throws it at him. It clunks painfully

against his brow. A worm of blood appears above his eye.
She comes at him again. He smacks her once across the face.
The sound reverberates. Her cheek glows pink.
She starts to sob. Now he starts to sob. He goes over to her.

She backs away from him, sits on the couch. He kneels before
her. She bats him away. He sits back on the floor.
They sit, bruised, breathing. And crying. Weeping. Shaking.

Convulsing. Wracked with sorrow. They stare at each other.
184 INT. TAXI - AFTERNOON 184
They sit silently, staring out their respective rain-drizzled

windows at blurry Christmas lights.
185 EXT. OUTSIDE ENGLISH LANGUAGE SCHOOL - AFTERNOON 185
They stand wrapped up from the cold, sharing an umbrella.

Exhausted and utterly expressionless.
They just stand, saying nothing. Looking at nothing.
The bell rings. Children file out.
As one, Mickey and Chloe’s impassive faces spring into big

beaming smiles. They draw in breath to call out his name--
Cut to BLACK.

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M O N D A Y

A party is in full swing on the terrace of a decadent 60s

People are sweaty, swaying, hugging drunk. A few of them have

Donna Summer’s I Feel Love pulses through the thick air.

On the decks, MICKEY HENDRICKS (34) is wasted and in control.

But he’s distracted. His eyes are on a woman at the drinks

Argyris laughs at his lame excuse.

He drags Mickey by the elbow away from the decks.

Chloe takes a sip of her rum. It makes her convulse.

She stares at the screen, as if considering another call.

Argyris stands up.

He hands Chloe her phone, gestures to each of them

Argyris pushes their heads together. They quickly, awkwardly

Chloe’s phone rings in her hand.

Chloe lunges forward and kisses him hard on the mouth. He

They break. They stand for a moment, unsure what to do next.

They’re somewhere in between fucking and making love. Fast,

Bright white sunlight.

She lifts her head up slightly. The underside of her face is

She looks up to find:

Two POLICE OFFICERS stood over them.

Beyond the cops, giving the scene a wide berth - CONCERNED

It’s about now she notices she’s completely naked. As is

She swallows hard, nudges Mickey.

Mickey squints in the harsh light, takes in the cops.

5 INT. POLICE CAR - EARLY MORNING 5

They sit side-by-side in the back seat, each wrapped in a

Chloe looks particularly mortified. Mickey doesn’t seem to

She shakes it.

They return to looking out opposite windows, into the

A tiny local station. Just a waiting area and a desk. Behind

Officer one looks to officer two for an answer.

Officer one shrugs.

Officer one turns to Mickey and Chloe.

Mickey takes out his drivers license. Chloe checks around

Mickey approaches the desk with his ID.

Chloe looks to Mickey, who gestures for her to answer. She

Mickey and Chloe have been released. Officer one sees

Mickey notices that Chloe is already walking off.

Chloe rubs her face, tired and frustrated. Mickey turns to

The officer gives him a look, knowing what’s coming.

A squad car pulls away and drives off.

Mickey and Chloe approach the house.

He peers in through the front window. Lifeless.

Chloe meanwhile repeatedly rings the doorbell.

It’s hopeless. Party debris everywhere. Completely deserted.

Chloe scans the dispiritingly empty horizon. They both know

Mickey’s weaving his moped leisurely through the streets,

Chloe’s on the back, wearing Mickey’s helmet.

They’ve arrived outside Chloe’s apartment. It’s a neat

Mickey stands by the door, expecting to come in with her.

He’s not getting it. She has to be straight with him.

Chloe smiles. Mickey wanders away, turns back briefly.

She stands in front of her door. She doesn’t move for a

Chloe sighs. She is once again out of options.

The door is unlocked, he opens it and ushers Chloe through

Chloe’s taken aback. It’s spacious and architecturally

It’s full of old furniture and chintzy decorations - as if an

Mickey’s belongings - mostly DJ gear - are piled haphazardly

She picks up a picture on the mantlepiece. It’s of a smiling

Her eyes pass over other photos...

They are all pictures of Argyris and his family. As a