COVERT AFFAIRS Pilot by Matt Corman & Chris Ord International Creative Management 10250 Constellation Blvd. Los Angeles, CA 90067

COVERT AFFAIRS TEASER FADE IN: OMITTED INT. INTERVIEW ROOM - DAY A polygraph machine is switched on. The needles calibrate, the paper begins rolling through the machine. The very beautiful ANNIE WALKER (28) sits at a table with polygraph wires hooked up to her fingers, temples and chest. Despite the situation, Annie seems poised and, in fact, calm. Her long blonde hair is pulled back into a ponytail. Her crisp white shirt is unbuttoned an extra button to accommodate the wires running towards her heart. A dour-looking POLYGRAPHER sits across the table from her. POLYGRAPHER Polygraph for CIA admission. (to Annie) A few guestions for control. Your name is Annie Walker? ANNIE Yes. POLYGRAPHER You are 28 years old? ANNIE Yes. POLYGRAPHER You reside in Washington, D.C.? ANNIE Georgetown. Yes. POLYGRAPHER You speak six languages? ANNIE I've traveled a lot. Languages come very naturally to me. (CONTINUED)

Q o] H F g N POLYGRAPHER Yes or no would be fine. ANNIE Yes. The polygraph needles remain steady. (CONTINUED)

CONTINUED: 2 The polygrapher looks at his clipboard. POLYGRAPHER I'm going to ask you some personal questions. You told us in your vetting interview that your last serious relationship ended two years ago? FLASHBACK: EXT. UNAWATUNA BEACH, SRI LANKA - DAY Brilliant sunshine. Turquoise water. White sand. Straight out of a travel magazine. Annie and a GUY (28) walk along a secluded, palm-lined beach, holding hands. Annie has a glow that has come partly from traveling the world, and partly from being in love. She looks amazing in her sarong and a bikini top. The guy is BEN MERCER. A scruffy beach beard, and a great body that comes more from hiking and kayaking than from lifting weights. Easy-going and very smart, but there’s a piercing quality to his eyes that suggests a deep intensity. ANNIE (V.O.) Yes. POLYGRAPHER (V.O.) You met abroad. ANNIE (V.O.) Yes. In Sri Lanka. I was backpacking. He was teaching English. EXT. BEACH - LATER There is no one around. Annie smiles, unclasps her bikini top and hands it to Ben. She then drops her sarong, and runs naked into the warm blue Indian Ocean. Ben loves it, loves Annie’s spirit. He quickly follows suit, removes his boardshorts and runs into the water. Ben catches up to Annie, grabs her, and pulls her to him. They kiss passionately. POLYGRAPHER (V.O.) Impulsive. ANNIE (V.0.) Is that a question? (CONTINUED)

CONTINUED: POLYGRAPHER (V.O.) Did you love one another? EXT. BEACH - DAY Annie and Ben buy a matching set of bracelets from a young Sri Lankan KID (10) on the beach. The bracelets are made of bright white shells. ANNIE (in Sinhalese) What kind of shells are these? KID (in Sinhalese) Special shells. From the outer reef. You buy these together, it means you are forever intertwined. Annie and Ben blush. ANNIE (in Sinhalese) We’ve only known each other three weeks. KID (in Sinhalese) Do you still want to buy? Annie and Ben share a look. They smile, and both nod. Ben pays for the bracelets. He puts his arm around Annie, and they walk off down the beach. INT. BEACH CABIN - NIGHT Now in bed, the young couple embraces, arms searching one another’s naked bodies, as 1f trying to make sure that this passion is as real as they think it is. The white shell bracelets contrast with their gorgeous tan skin. RAIN has started to fall. Droplets of rain fall intermittently through the porous, palm-thatched roof. Annie and Ben ignore the leaks, focusing instead on each other's naked bodies and the intense love between them. INT. INTERVIEW ROOM - CONTINUOUS We are back. Annie returns from her memory. (CONTINUED)

ANNIE Yes. We were in love. POLYGRAPHER The sex was good? Annie pauses. She knows the polygrapher is trying to rattle her, but she’s not going to let it happen. ANNTE Exquisite. POLYGRAPHER And yet, it ended badly? EXT. BEACH CABIN - MORNING Annie wakes up. The bed is empty. Ben is gone, his clothes are gone, his books are gone. His bracelet is gone. A note is left, pinned to an orchid on the bedside table. It is still raining outside, water still drips through the roof. Droplets land on the note, bleeding the ink, yet we can make out the words. It reads, “THE TRUTH IS COMPLICATED. FORGIVE ME." We MOVE IN on Annie's face, stunned, confused and broken-— hearted. This can’t be. Is she still asleep? Is this still part of a dream? Was it all a dream? INT. INTERVIEW ROOM - CONTINUOUS Annie meets the polygrapher’s stare. ANNIE Yes. It ended badly. POLYGRAPHER Did that bother you? ANNIE After a whirlwind three week romance, my supposed dream-guy left me in the middle of the night with a cryptic note and a fifty dollar bar tab. Wouldn’t that bother you? POLYGRAPHER We’'re looking for yes or no. ANNIE Can you repeat the question? (CONTINUED)

5. CONTINUED: POLYGRAPHER The question is this. If you Jjoin the CIA, will you be able to separate your work from your personal life? Annie stares intently at the polygrapher. ANNIE Yes. Absolutely. Both Annie and the polygrapher lock curiously over at the polygraph needles, and we... CUT TO: INT. DHC-6 TWIN OTTER AIRCRAFT - MORNING The quiet of the interview room is SHATTERED by the LOUD DRONE of a Twin Otter airplane engine. Annie is now in the jump-seat of the plane with ten other CIA TRAINEES. She still looks amazing, even in her bulky parachute suit. EXT. SKY - MORNING Crack of dawn. Half a mile above Eastern Virginia. SUPER UP: CAMP PEARY, VIRGINIA, AKA “THE FARM”. INT. DHC-6 TWIN OTTER AIRCRAFT - CONTINUOUS An INSTRUCTOR (45) steps forward and addresses the trainees. INSTRUCTOR Trainees, listen up! This is no granny hop. This is low altitude. 2000 feet AGL. You “step, grip and rip” or we will be picking you off the ground with a spatula. Now, who’s first? Annie’s hand shoots straight up. INSTRUCTOR (smiling) Annie Walker, I should have known. A moment later, Annie steps forward and is out of the plane.

EXT. SKY - MOMENTS LATER 3 After an exhilarating free-fall, Annie deftly pulls the cord. Her parachute deploys. As she floats towards the Earth, Annie allows herself a small smile. EXT. FIELD - LATER Annie sticks a textbook landing. As she is beginning to collect her chute, she loocks up to see TWO SOLDIERS standing ominously next to a military issue Jjeep. Annie looks concerned. What is going on? INT. CAMP PEARY CENTRAL OFFICE - MORNING Annie sits across from her COMMANDING OFFICER (55), a serious looking ex-marine, who looks over her file. ANNTE Look, whatever the problem is, I‘11 retake the exercise. If it was the driving course or the deception training or... what was it? COMMANDING OFFICER You did better on the driving course than any woman we've ever had. And you did better on deception training than anyone in a decade. ANNIE Oh. So is this about me hooking up with my Tae Kwon Do instructor? It’s not against the rules. T checked the handbook. The Commanding Officer raises an eyebrow and makes a note in Annie’s file. ANNIE I think I'm going to shut up now and let you talk. COMMANDING OFFICER I got orders from Langley. You're being pulled out of training and sent to headquarters. There’s a case in which your language skills are needed. (CONTINUED)

CON H = NUED: ANNIE What case? COMMANDING OFFICER T don't know. ANNIE What language? COMMANDING OFFICER I don’t know. All I know is that they need you there today. Now. This is a lot to take in. ANNIE Now, like, now? COMMANDING OFFICER Now. ANNIE But I have a month of training left. COMMANDING OFFICER Now. EXT. ROUTE 123 - MORNING Annie drives her “vintage” 1994 white Honda Accord through the verdant Virginia woods. The Potomac river snakes along next to the road. It’s a beautiful fall day. Annie turns her Honda into... EXT. CIA COMPOUND - CONTINUOUS Imposing guard towers and ARMED GUARDS. More warning SIGNAGE than you’d think necessary. Annie pulls up to a call box and presses a button. VOICE (0.8.) Social security number? ANNIE 900-38-2951. There is a long pause. While Annie waits, an SPO checks under her car for bombs with a mirror attached to a long stick. (CONTINUED)

B ’ 7A. CONTINUED: Annie looks concerned - should she say something? Then the toll-style gate lifts up. VOICE (0.S.) Proceed. (CONTINUED)

CONTINUED: 8. Annie drives through the “chicane” of jersey barriers, down a leafy drive and into a parking lot. Annie parks her small white car amidst the sea of black Suburbans. Annie puts on a pair of dark sunglasses, the kind you see every secret agent wear in the movies... ANNIE (to herself) Annie Walker... CIA. Then she thinks better of it, and removes the glasses, placing them on the dashboard. EXT. OLD HEADQUARTERS BUILDING (OHB) - CONTINUOUS Annie walks towards the massive, imposing building. With her crisp business suit, blouse and handbag, Annie looks ready for whatever lies ahead. Despite any doubts she expressed to her Commanding Officer, she is Annie Walker, CIA. END TEASER

ACT ONE OMITTED EXT. CIA PARKING LOT - DAY - As Annie walks purposefully through the parking lot towards the OHB, a voice calls out- VOICE (0.S.) If you're this late at the CIA, you must be new. First day? Annie turns to see that the voice belongs to a very good locking GUY (28) who emerges from behind an SUV, and walks along with her. This would be CONRAD SHEEHAN III. A 3rd generation CIA man, Conrad was a former lacrosse star at Yale. Conrad’s frat-boy looks and hate to lose attitude would make him a perfect fit for investment banking, but chosen to take a tenth of the money at the Agency, so there must be something more to his motivation. ANNIE Yes, I'm Annie. Do I look that clueless? CONRAD Not at all. Conrad. I’ll show you where to get your badge. Annie is clearly taken with this very handsome guy. ANNIE So is this like your thing? You wait in the parking lot and chat up girls on their first day? CONRAD Absolutely. I‘m both lazy and predatory. Annie smiles at Conrad. There is a spicy chemistry thing happening between them and they can both feel it. INT. OLD HEADQUARTERS BUILDING (OHB) - MOMENTS LATER N Annie and Conrad enter the impressive, busy lobby. CONRAD See the clerks up ahead. They’ll get you squared away. (CONTINUED)

- 9A. CONTINUED: Conrad smiles and heads off. Annie strides across the round granite CIA seal on the floor. Feeling cocky she calls out -- (CONTINUED)

10. CONTINUED: ANNIE Conrad, see you around. Annie gives a little wave and then walks into a turnstile... Which doesn’t turn. The turnstile locks in place with a CRACK and Annie stumbles backwards. Every head in the busy lobby turns to loock at Annie, including Conrad’s. CONRAD You might want to get a pass-key before walking through security. Annie grabs her legs in pain, doubled over and red-faced. ANNIE I'1l do that. Despite her promises to the polygrapher, work and personal life have already started to collide, and Annie hasn’t even gotten past the front turnstile. INT. CIA PROCESSING ROOM - LATER In a quick series of shots we see Annie being EOD'd (entered on duty). She is fingerprinted, photographed, has her retina scanned, and signs her legal agreements. INT. OFFICE OF THE DCS - WE INTERCUT this with a speech by the Director of Clandestine Services, ARTHUR CAMPBELL (45). An almost regal presence, Arthur’s tall frame fills out his tailored grey suit. Arthur's posture is impeccable, a holdover from his days as a Naval officer. Arthur commands respect when he enters a room. He loves a good fight, a great scotch or a joke. Arthur’s office is expansive and stately, with a magnificent view of the surrounding woods Arthur speaks to a group of twenty DEPARTMENT HEADS. ARTHUR Good morning. Rusgsian desk and DPD are on-call due to the Petrov vigit and other classified actions. Current threat matrix is stable. (CONTINUED)

CONTINUED: , 11. Arthur’s tone becomes more venomous. ARTHUR However, I am deeply troubled. At this critical time for our Agency, someone among us is a traitor. Arthur holds up a copy of the Washington Recorder. ARTHUR paper. Classified information leaked to Liza Hearn at the Washington Recorder. Someone here, someone maybe in this room, has been seduced by an outsider... by a reporter. Arthur is obviously incensed, but he speaks calmly. ARTHUR We can’t let personal motivations get in the way of our duties... INT. CIA PROCESSING ROOM - CONTINUOUS A CLERK holds a bible as Annie places her hand on it and recites the CIA oath of office. Annie reads with conviction. SPLIT SCREEN WITH Arthur, who continues to address his group. ANNIE I, Anne Catherine Walker, do solemnly swear that I will support and defend the Constitution of the United States against all enemies, foreign and domestic; And that I will faithfully discharge the duties of the office I am about to enter. So help me God. The clerk clips a blue badge to Annie’s shirt. ARTHUR In the end, all indiscretions end in heartbreak, when the guilty party is caught. We're going to find whoever is leaking this information, and they will be punished quickly and harshly. So help me God. Without another word, Arthur strides out of his office. END SPLIT SCREEN. INT. HALLWAY - LATER Annie walks out of the CIA processing office. She is immediately greeted by AUGUST ANDERSON (25) (AKA AUGGIE), a blind tech expert. Auggie still has that athletic swagger from when he was in Special Ops before his accident. (CONTINUED)

12. CONTINUED: He wears his blindness well, exhibiting an easy charm that has all the Agency women harboring crushes on him. Around his neck is an ever-present set of expensive-looking headphones. AUGGIE Annie Walker? ANNTE Yes? AUGGIE Auggie Anderson, tech-ops, and your friendly, neighborhood cruise director. Walk with me. Auggie starts walking. He walks quickly and assuredly through the halls. Annie keeps up. She’s a little thrown. AUGGIE A blind guy leading you around the CIA. Insert ironic joke here. Annie LAUGHS. She likes Auggie. Auggile sniffs the air. AUGGIE Jo Malone grapefruit? ANNIE (horrified) I wearing too much perfume? AUGGIE No, very subtle. Some of the ladies around here lay it on so thick it’s like they’re chumming for hammerheads. A WOMAN (25) walks by. WOMAN Morning, Auggie. AUGGIE Hey, Bea. (softly to Annie) Case in point. Annie takes in all the workers walking past them. ANNTE Everyone here is so young. (CONTINUED)

CONTINUED: Auggie turns left down a long hallway. AUGGIE There was a hiring freeze that got unfrozen after 9/11. 50% of the Agency has five years experience or less. ANNTE That’s both inspiring and weirdly unsettling. AUGGIE You’ll find this is a weird place to work. Polygraphs every year, no cellphones allowed inside the building, no dating foreigners. 1In fact, the CIA even encourages dating within the Agency. Keeps everything inside the circle of trust. It’s like a Club Med without the free drinks. INT. ATRIUM - LATER 13. Annie keeps up. As Auggie leads Annie through the CIA, she’s amazed. Not because of any cool spy technology, but... ANNTIE There’s a Starbucks here? VOICE (0.S.) Imagine a year of background checks just to get a barista Jjob. Annie and Auggie turn to see that the voice belongs to Conrad Sheehan. CONRAD How are the legs? A bag of frozen peas will help keep the swelling down. ANNIE bear that in mind. AUGGIE From the inane yet vaguely sexual banter, I’ll take it you’ve already met Conrad Sheehan. ANNIE Like the Conrad sSheehan? (CONTINUED)

14. CONTINUED: CONRAD Semi-guilty as charged. You're thinking of my dad. ANNIE (impressed) He was a legend at the CIA. CONRAD Absolutely. And let me just say, you're coming aboard at an amazing, fascinating, challenging time. AUGGIE Dude, why don’t you Jjust offer her a glass of Kool-Aid? CONRAD We keep Auggie around because of his razor sharp wit. And because we feel sorry for him... Annie can’t believe this. Is Conrad this cruel? CONRAD Because he’s a Cubs fan. Welcome to the Agency, Annie. At this moment, Arthur walks by quickly. ARTHUR Conrad! go! Conrad walks off and quickly falls into step with Arthur. Annie is red-faced. ANNIE He works for Arthur Campbell? AUGGIE Yeah. Acts like it, too. (annoyed) He always has to rip the Cubs. INT. HALLWAY - LATER Annie and Auggie walk up to an office door. AUGGIE And here we are: Joan Campbell'’s office. Head of the DPD. Our boss. (CONTINUED)

. . l4aa. CONTINUED: Auggie gestures for Annie to enter. ANNTE You’re not coming in with me? AUGGIE I'm not going in there if I have to. INT. JOAN’S OFFICE - DAY JOAN CAMPBELL (40), the head of the CIA’s Domestic Protection Division, sits at her desk. Joan’s office is very much like her - ordered, controlled, everything seemingly where it should be. (CONTINUED)

CONTINUED: Joan’s secretary, Maxine, pops in. Maxine, like most CIA employees, is young, driven and attractive. (CONTINUED)

15. CONTINUED: MAXTNE NSA is sending over the file you asked for. And Annie Walker is here. Joan gestures for Annie, who waits just outside Joan’s office. Annie enters the office, and extends a friendly hand to Joan. ANNIE Annie Walker. Great to meet you. JOAN Have a seat. Annie sgits. JOAN Actually, we’re in a hurry. Joan stands up. Annie gets up, unsure, and follows Joan out. INT. HALLWAY - CONTINUOUS Joan briskly walks down the hallway. Annie keeps up. Annie seems to have a gquestion on her mind. ANNIE Do you know who sent me here? I was just looking for some clarity. Joan stops in front of a door, and looks at Annie with gsomething close to pity. JOAN Clarity? You’re in the wrong business, sweetie. A better question might be, why do you want to be here? The CIA is not an easy place to be a woman. ANNIE I can handle a competitive workplace. (CONTINUED)

- . 16, CONTINUED: JOAN You're going to be outnumbered here four to one. Outnumbered by men who'll hold the door for you, and call you ma’am, and can fix a tire. But clarity, honesty —- that’s another story. Joan resumes walking. JOAN How much do you know about the Domestic Protection Division? ANNIE I’'ve actually never heard of it. JOAN Good. That’s the way we want it. She leads Annie into... INT. DPD OPERATIONS CENTER - CONTINUOUS The Ops Center is a large open bullpen buzzing with activity. The far wall is a high-tech array of flat-screen monitors. Some of these monitors show satellite images, others show news feeds, still others show closed-circuit feeds from embassies and CIA stations around the world. Digital clocks line the walls, showing the time in places like Islamabad, Jakarta, La Paz and Havana. But this is a lived-in workspace -- messy, busy, and human, like a bullpen in a newspaper office or a police precinct. The desks and cubicles reflect the character of their occupants. Some people are neat-freaks, some are slobs, someone obviously loves SpongeBob from all the knick-knacks on their desk. This place is both escapist and familiar: it is like any ordinary office, except the work being done here is absolutely extraordinary. JOAN Welcome to the DPD Operations Center. Every global threat that finds its way past our borders is dealt with here. Screens. Annie barely has a chance to take it all in. On Joan’s command, an image is brought up on the wall of flat screens. The image is a grainy satellite photo of a MAN, standing in a military barracks situated in a mountainous area. (CONTINUED)

CONTINUED: His handsome face is obscured by dark glasses. shirtless, and has several Siberian Prison tattoos on his arms and chest. Stas’ doss list of successful hits by the Russian assassin. ANNTE The landscape looks like South Ossetia. (off Joan’s surprised look) I spent six months there helping rebuild the opera house in Tskhinvali after the uprisings. JOAN A bleeding heart. Lovely. (back to business) The figure you see on the screen is Stanislav Orlovski, AKA “Stas”. Born and raised in Moscow. Before he was a Russian intelligence officer, Stas was imprisoned in Siberia. He made a deal with the FSB, and soon became one of their top operatives. 17. He is jer flashes up on another screen. It contains a some Bmerican names on the list. JOAN He is a skilled assassin, wanted in fourteen countries, and he is now ours. Voluntarily. Stas came in from the cold two days ago. He wants to talk. ANNTE Talk? JOAN Stas is unhappy with the new regime at the FSB. He wants to supply us with a list of their current targets in exchange for asylum and compensation. ANNIE We're going to pay a guy who might have killed some of our people. There are (CONTINUED)

CONTINU 1 JOAN Close to half a million dollars. If he delivers on what he is promising, we’re getting a heck of a deal. AUGGIE It doesn’t pay to hold grudges in the spy game. ANNTE Where do I fit in? JOAN You have been assigned as Stas’ handler. You’ll go to the hotel where we have him, wait for his call, and bring this. Auggie hands Annie a PDA device. ANNIE A Blackberry? AUGGIE That is a dedicated two-way encrypted transponder that only looks like a Blackberry. He has one, you have one. JOAN You hot-synch the devices in the room. He gets the bank codes for his payment and you get the intel. And that’s it. Don’t have a drink with him. Don’t sleep with him. ANNIE You think I would sleep with him? JOAN I think he would sleep with you. ANNIE Did you call me in because I know Russian? Joan allows herself a small smirk. JOAN Yes, and you can also pass for a call-girl. 18. (CONTINUED)

19. CONTINUED: JOAN (CONT'D) We want it to look like Stas is here to buy guns and party, not sell secrets to us. ANNIE (skeptical) I'm surprised there was nobody already here who could do this. JOAN There was. She’s gone. ILet's leave it at that. If you want the assignment, we can send you back to the Farm. ANNIE No, I'm here. I can do it. Do I have to wear, like a... costume. Joan looks Annie up and down. JOAN Hookers in D.C. are pretty conservative. What wearing now is fine. Annie glances down at her outfit, re-examining it. Joan hands Annie a file, wheels on her heels, and walks off. INT. HALLWAY - DAY Arthur and Conrad walk quickly down the hall. On the walls are pro-CIA posters with slogans like, “Loose Lips Sink Ships”. Arthur still clutches the day’s newspaper. He angrily chucks it into a recycling bin. ARTHUR This reporter, Liza Hearn, is a pain in the ass. The DNI is already on my case, and now this? All press is bad press at the CIA, but this is really bad press. CONRAD I'm on it, sir. We'll do a full internal inguiry. Arthur stops in his tracks. ARTHUR I don’t want an inguiry. I want her. Get her in here. (CONTINUED)

CONTINUED: Conrad is surprised. CONRAD You want to bring her to Langley? ARTHUR Absolutely. We're going to do a “Charm Offensive”. INT. DPD OPERATIONS CENTER - CONTINUOUS Auggie helps outfit Annie for her upcoming mission. OP WORKER gives it to Annie AUGGIE Here. You're going to go to the Capitol Grand Hotel. Wait in the lounge area. This pager will vibrate when we’re ready to do the meeting. ANNTE It’s like I'm waiting for a table at Friday’s. AUGGIE Only instead of sitting down to eat a “Bourbon-drenched egg-roll fajita skillet”, you’re going to help us turn one of the most dangerous men in the world. Annie processes this. She looks at Auggie. ANNTE Auggie, can I ask you a question? AUGGIE I was with Special Ops in Iraqg. I got out of a Humvee to look at what I thought was a dead dog. Next thing T know, Ray Charles. ANNTE Oh. I was going to ask what the headphones are for. AUGGIE Oversharing. My bad. Auggie touches the headphones around his neck. (CONTINUED) A TECH (25) on Auggile’s team hands Auggie a pager. Auggie

21. CONTINUED: AUGGIE Grado RS2’'s. Great for monitoring operations, getting real time playback when typing, or listening to Mingus when I'm supposed to be working. ANNIE Mingus? I went to the Mingus tribute festival in Stockholm. Auggie digs this -- a cool girl who’s into jazz? What are the chances? AUGGIE You are officially my hero. At this point, an SPO pops his head in, beckoning Annie. Auggie hears the SPO’s boots on the ground. AUGGIE That's your ride. ANNIE Wish me luck. AUGGIE You don’t seem like the type to need luck. But good luck. Annie smiles and walks off. Auggie listens to her walk out, her heels CLICK-CLACKING on the floor. AUGGIE Gotta love those kitten-heels. EXT. CAPITOL GRAND HOTEL - DAY Annie is dropped off by a van in front of the Capitol Grand Hotel. As she exits the van, she makes eye contact with an OLDER WOMAN walking a standard poodle. TIt’s clear the older woman works for the Agency. With Annie out of earshot, the older woman talks into the sleeve of her Jjacket. Annie enters the hotel. A HOTEL VALET holds the door open for Annie. The valet gives her a knowing nod as she passes by —-- another Agency chapercne. INT. CAPITOL GRAND LOBBY — MOMENTS LATER Bnnie sits at a couch in the lobby of this old-school, ornate D.C. hotel. If she is nervous, she doesn’t show it. She fits right into the scene. (CONTINUED)

22. CONTINUED: The INSIDERS and LOBBYISTS who do business here pay her no mind, except for the occasional glance at such a beautiful young woman. Annie looks up and sees a MAN (40) at the hotel bar. The man is clearly CIA, and clearly keeping tabs on Annie. A very handsome BUSINESSMAN (35) puts down his newspaper, and speaks from a nearby leather chair. When he speaks, he has a thick Spanish accent. BUSINESSMAN Would you like anything? I can get the waiter for you. Tea? Coffee? Glass of wine? ANNTE It’s 11:30am. BUSINESSMAN Something stronger, then? Annie CHUCKLES. ANNIE I'm good. BUSINESSMAN Perhaps we can get a drink later. A nice cava. ANNIE Cava? Are you from Spain? BUSINESSMAN Si. ANNTE Valencia? BUSINESSMAN Madrid. Annie remembers the rules —— In the CIA, there is no dating foreigners... ever. ANNTE Well, unfortunately, I don’t think I can get a drink with you. BUSINESSMAN Your mother warned you not to date foreign men? (CONTINUED)

23. ANNIE Something like that. The businessman flashes a winning smile and goes back to reading his newspaper. He took a shot. On to the next. At this moment, Annie’s PAGER goes off. It reads, “4TH FLOOR, OVAL SUITE”. Annie takes a deep breath. It’s time. INT. CAPITOL GRAND HOTEL HALLWAY - LATER Annie walks off the elevator and down the hall. She looks at the room numbers and stops in front of a room marked *OVAL SUITE”. Who knows what lies behind the door. Annie pauses a moment, steels herself, then pulls out her pass-key, KNOCKS TWICE, and uses the key to enter the room. INT. OVAL SUITE - CONTINUOUS Annie enters the luxurious hotel suite with sprawling flooxr- to-ceiling views of the Washington Mall and the Capitol Building. This suite is absolutely palatial. Four magnificent rooms, gorgeous furniture, crystal chandelier. worthy of all the foreign dignitaries who have stayed here. ANNIE Hello? (in Russian) Zdrast-voee—che? Annie hears MUSIC coming from another room. She follows the music through the open doorway to see... STAS ORLOVSKI (30), the Russian intelligence officer. Unshowered and unshaven, Stas lies passed out on the couch, wearing a hotel robe. The MUSIC comes from MIV on the TV. ANNIE Stas? Stas... Stas! Annie runs to Stas, and shakes his arm, to see i1f he’s dead. He's not. Stas guickly comes to, muttering. STAS Shtyaw, shtyaw! Stas stops when he sees Annie standing above him. STAS (clearly smitten) Zdrast-voee-che, Kiisu. (CONTINUED)

24. CONTINUED: - ANNTIE ("nice to meet you”) Meel-ee yav-ka vee. STAS ("the pleasure is mine”) Pri-jatno pozna-komitsa. ANNIE you have your PDA?”) Vwas yist PDA? STAS English is fine. in your country. ANNIE Do you have your PDA, Stas? Annie holds up her Blackberry. Stas looks Annie up and down in a predatory manner. STAS A drink first? Caviar? Stas stands up, and almost falls. He is noticeably drunk. STAS Close call. Annie notices that Stas’ robe has fallen open. Clearly he’'s not a guy who wears underwear. ANNIE Got a little wardrobe malfunction happening there. Stas nonchalantly pulls himself together, as he walks over to a sideboard with a tantalizing spread of food and drink. ANNIE Do you have your PDA? STAS One minute. Stas pours himself a healthy amount of Sauternes. He pounds half of his wine down. He then spreads an ungodly amount of caviar on a piece of bread, and jams it in his mouth. (CONTINUED)

25. CONTINUED: ANNIE Chateau d’Yquem. Almas Iranian caviar. You‘re certainly rockin’ on the Agency’s dime. STAS (mouth full) Not as good as Russian caviar. ANNTE Look, can we just focus on the intel? Where is your PDA? STAS It’s in bedroom, Kiisu. Stas walks across the lounge area and into the bedroom. He gestures for her to come with him. STAS Please. Annie SIGHS, this guy is blatantly hitting on her, but she follows him. ANNIE Just keep the robe on. INT. OVAL SUITE MASTER BEDROOM — CONTINUOUS Annie walks into the bedroom. ANNIE Look, Stas I understand that it’s hard to do something like this, to turn on your country, and probably why you’ve had a few, but I want you to know that the CIA is grateful and we’'re here for you, so can we just do the exchange? Stas is holding up his PDA by the window. STAS Shall we hot-synch? Annie looks relieved. ANNIE I thought you’d never ask. Annie places her Blackberry device on the table. (CONTINUED)

26. CONTINUED: Then Stas places his next to Annie’s. They both press the “Synch” buttons. We hear a BEEP, indicating the hot-synch. STAS Was it as good for you as it was for me? And at this moment... BANG! CRASH! The window SHATTERS and a trail of blood spills from the exit wound in Stas’ forehead. Before Annie has time to register what is going on, three more bullets come through the window in quick succession, riddling Stas’ body, and dropping him to the floor. Annie GASPS, and steps backwards, Jjust as... More SNIPER FIRE rains through the window. The gunman isn’'t finished yet. Annie sprints for the bedroom door. BANG! BANG! BANG! EXT. ROOFTOP - CONTINUOUS From the sniper's vantage point, we see bullets SHATTER the Oval Suite window and SPLINTER the wall behind Annie’'s head as she dives into... INT. OVAL SUITE PARLOR - CONTINUOUS Annie dives behind the ornate sideboard. But the gunman follows her -- Bottles of Chateau D'Yquem, dishes of caviar, and wooden chunks of the sideboard SHATTER around Annie with each bullet. A brief moment of quiet. Annie BREATHES heavily. Annie peers around the sideboard, only to be met with another volley. She is pinned down. Annie removes a small compact mirror from her pocket and holds it up to examine the room from behind the sideboard. COMPACT MTRROR ANGLE ON STAS: He is down, on the ground, dead. COMPACT MIRROR ANGLE ON THE WINDOW: Totally blown cut. More bullets rain in, tearing up the room. (CONTINUED)

26A. COMPACT MIRROR ANGLE ON THE PDA: Sitting on the floor, after having been knocked off the table. (CONTINUED) %

"Pilot" Production Draft - Green Revision 09/12/2009 27. CONTINUED: Annie kicks off her heels, preparing to go for the PDA. ANNIE Ok, he’s got to re-load. But then... BANG! BANG! BANG! CRASH! CRASH! CRASH! Annie looks up to see that the sniper is shooting out the crystal chandelier above her head. Annie SCREAMS as pieces of crystal rain down on her. CRACK! That’s the sound of the chandelier breaking loose from its mooring and falling towards Annie. CRASH! The chandelier SHATTERS as it hits the floor, as Annie dives out of the way. But now she’s exposed. More bullets. Annie scrambles along the floor, barely staying ahead of the sniper fire... She makes it to the door! She lunges out of the suite... INT. HALILWAY - CONTINUOUS Away from the hotel windows, Annie sprints down the hallway towards the stairwell. At this moment, the hotel valet she nodded to earlier comes bursting out of the stairwell. He grabs her, and ushers her into the stairwell. EXT. ROOFTOP - CONTINUQUS We see the sniper’s hands, quickly and efficiently breaking down the gun. The sniper runs off, leaving no trace of his presence on the rooftop. INT. STATRWELL - CONTINUOQUS Annie and the hotel valet fly down the stairs, taking them three at a time. At the bottom of the stairs, they plow through the door at the emergency exit, setting off the DEAFENING ALARM. EXT. ALLEY - CONTINUOUS Outside the hotel, a van screeches up to the door, side door open. The hotel valet shoves Annie into the back of the van.

27A. INT. VAN - CONTINUOUS Annie scrambles away from the door and yells at the driver. (CONTINUED)

28. ANNIE Drive! Go! The CIA DRIVER is way ahead of her, burning out of the alley and heading back to Langley. This extraction of Annie is well-choreographed, and is happening lightning fast. We hear the muffled sound of the van ENGINE being pushed to its limit and we HOLD ON ANNIE as she starts to realize that she is now safe. She knows that after what she just went through, she’s lucky to be alive. It’s a harrowing introduction to her new life in the Agency. END ACT ONE

ACT TWO INT. OFFICE OF THE DCS - DAY Arthur sits on a couch in his office. across from him is Joan. Also present, is a professorial looking man, THEO WILL (35). ARTHUR Joan, we need to keep the information channels clear. JOAN I'm giving you all I can, Arthur. What can you give me? ARTHUR I feel I've been pretty transparent. JOAN And yet, I'm still having to navigate a lot of red tape. ARTHUR Things of this magnitude are always complex. JOAN There'’s complexity, and then there’s lying. THEO Ok, this is good. This kind of dialog-ing is what this marriage needs. And it’s about this time that we’ll realize 1.) that Joan and Arthur are married, and 2.) that this is, in fact, an in- house couples counseling session. JOAN Look, this couples counseling is useless until Arthur gives up the name of whoever he’s balling. Joan slides a blank pad across towards Arthur. ARTHUR (emphatic) I'm not having an affair. How many times do we have to go over this? (CONTINUED)

30. CONTINUED: JOAN You see that? You were blinking like crazy, Arthur. (to Theo) Any trainee could see he’s lying. ARTHUR You want me to take a polygraph? I’ve got one in the closet. THEO Listen: what I'm going to say next applies to both of you. You each need to decide if you want to be right, or if you want to be in this marriage. Neither Joan nor Arthur respond to this. And from their pissy body language, it is c¢lear that there are not going to be any breakthroughs in this particular relationship today. Thankfully, they are given a reprieve when Joan's secretary, Maxine, pops her head in the room. MAXTNE Joan, we have a situation. INT. DPD OPERATIONS CENTER - MOMENTS LATER The large wall of screens shows the Grand Hotel from every angle. Some ANALYSTS watch PLAYBACK of Stas getting shot, over and over -- the loop ends with a static, after the camera itself must have been shot out. OTHERS survey the current situation at the hotel -- cop cars parked out front, INVESTIGATORS analyzing the crime scene, and FBI AGENTS talking with EVERYBODY they can. A still harried-looking Annie talks to Joan, who sits on the corner of a desk. Auggie is present as well. Many other CIA WORKERS look on, interested from their cubicles. JOAN I've already talked with the Russia Desk. They’re working the back channels to see who did this. ANNIE It all happened so fast. One minute we were talking, and the next... the room seemed to explode. (CONTINUED)

) 30A. CONTINUED: JOAN Some operatives go an entire career without seeing a bullet fired. (CONTINUED)

31. CONTINUED: ANNIE Is that supposed to make me feel better? JOAN It’s supposed to make you realize this is unusual. Thankfully, it all worked out. ANNIE All worked out? Stas is dead. JOAN Bad for Stas, good for us. The Agency saves some money and gets to delete a known assassin from the High Security Threat List at the same time. Joan starts to pace. JOAN Whatever the intel Stas gave us, it was important enough to kill for. Auggie clears his throat. JOAN What? ANNIE The intel. I didn’'t get it. JOAN You said you did the hot-synch. ANNIE I did, but in all the confusion I didn’t grab the device. JOAN This just gets better and better. Joan walks over to the large screens showing the current situation at the hotel. She doesn’t like what she sees. JOAN District police and FBI are already on the scene. Once our devices become evidence, all the intel is corrupted. Gone. (CONTINUED)

32. CONTINUED: ANNTIE I'm going to go back. I can get the intel. JOAN Sweetie, we don’t just march into places and flash our badges and assume jurisdiction. We don’t even have badges. Plusg, you can‘t take evidence from an active crime scene. AUGGIE She doesn’t need to take anything. She just needs to get in the room. Annie smiles, happy Auggie has her back. JOAN And what are you going to tell the detectives and any number of people in the hotel who will have pegged you as a witness or possible accessory? ANNIE 1711 think of something. JOAN Yes, we will. INT. OHB HALLWAY - LATER Annie, holding a new Blackberry device, and wearing a crisp new outfit, walks with Auggie. AUGGIE Try not to break or lose that one. ANNIE What 1s the range on these? (CONTINUED)

32A. CONTINUED: AUGGIE About five feet. ANNIE And when I beam out this one... (CONTINUED)

33. AUGGIE The other two devices will £ill up with the harmless looking phone book we loaded on there and download the intel. ANNTE Ingenious. So simple. AUGGIE The system we devised before you got shot at was ingenious and gimple. Now we’'re just riffing. Annie smiles and walks off. EXT. CAPITOL GRAND HOTEL - DAY Annie walks down 14th street to the Capitol Grand Hotel. Cop cars and FBI vans virtually shut down the street. Undaunted, Annie walks into the hotel. INT. CAPITOL GRAND HOTEL HALLWAY - MOMENTS LATER Annie steps off the elevator and walks towards the Oval Suite. Police tape seals off the doorway. We hear the SNAPPING of a forensics camera coming from the room. Annie starts to duck under the police tape, when... FBI GUY #1 Sorry, closed crime scene. ANNIE Are you in charge? I need to speak to whoever’s in charge. FBI GUY #1 You need to turn around and go back downstairs. ANNIE I was here when it happened.

33A. INT. OVAL SUITE BEDROOM - MOMENTS LATER Forensics has been all over this place. A chalk outline shows us where Stas’ body fell. Red strings of yarn show us where they believe the bullets came from. (CONTINUED)

34. CONTINUED: DETECTIVES, COPS, FORENSICS SPECIALISTS and BALLISTICS EXPERTS scurry about the room. Annie stands across from VINCENT ROSSABI (35). Rossabi has dark, piercing Italian eyes, rugged good looks, and an accent that belies his New Jersey roots. He dresses surprisingly well for a G-Man. ROSSABI What were you doing here, Miss... ANNIE Truesdale. Truesdale. I was here for a business meeting. ROSSABT What kind of business are you in? Annie hesitates. ANNIE I want to get in trouble. ROSSABI We’'re not going to bust you if you gay you're a call girl. ANNIE We don’t like to use that term. Annie can see that the two Blackberry devices still sit on the table. She moves closer to them, surveying the room. ANNIE It's crowded in here. ROSSABI Amazing what 57 high-powered rifle shots can do to a party. ANNIE Are you a detective? ROSSABI FBI. Agent Rossabi. And, if you don’t mind, I'1l ask the questions. sit down. Annie is forced to sit down. She is too far from the Blackberries to synch them up. (CONTINUED)

CONTINUED: ANNIE Look, I'm a good girl. I come from a church-going family. (CONTINUED)

35. CONTINUED: ANNIE (CONT'D) I wanted to come forward and be honest. My mama told me to always do the right thing. ROSSABT How does she feel about you being a hooker? ANNIE (bristling) If I don’'t like being called a call- girl, I certainly don’t like being called a hooker. Annie stands and casually walks towards the table. CLOSE ON — ANNIE’S HAND In her purse, we see Annie try to activate the PDA that Auggie gave her. But just as she does this, an FBI FORENSICS TEAM MEMBER steps in front of her and starts dusting the PDA’s for fingerprints. Annie grits her teeth, annoyed. Who was the John? ANNIE We call them clients. The Agency said his name was Boris. A Russian businessman. This was our first party together. ROSSABT What is the Agency? ANNIE The Gold Circle Club. I can write down the phone number. Annie writes down a number on a pad. Agent Rossabi looks at it curiously. ROSSABIT 302 area code? Delaware? ANNIE Wilmington. You know, tax reasons. Annie walks closer to the table with the PDA's, but someone walks past pushing a cart with ballistics analysis equipment. (CONTINUED)

CONTINUED: ROSSABI Did you see anything through the window? ANNIE No. But I wasn’t really looking. We didn’t get a chance to... I wasn’t here long. Annie is, yet again, poised to hot-synch when two burly COPS taking photos get in her way. ANNIE I was sort of standing here. More here, really. Excuse me, boys. Annie places a hand softly on the small of the back of one of the cops. The cops step aside and Annie is able to finally get within a few feet of the Blackberrys. ANNIE The shots came through there and I ran out as fast as I could. She reaches into her purse and presses a button. We hear a tiny BEEP. She’s done it. ANNIE I can't remember much else. T should really get going. 2Am T allowed to leave? ROSSABT I wouldn’t leave town. Annie starts out, but Rossabi has one more gquestion. ROSSABT Let me ask you this -- why’d you really come back? 2nd don't give me the “good girl” rap. Annie picks up her shoes off the floor (she had kicked them off her feet during the fire-fight). ANNIE For these. Jimmy Choo’s don’t come cheap. Annie walks out of the room quickly. Agent Rossabi watches her go, questions still on his mind. Rossabi dials the number Annie wrote down on his cellphone. (CONTINUED)

37. INT. DPD OPERATIONS CENTER - CONTINUOUS The phone rings. An automated voice clues Auggie into the caller. AUTOMATED VOICE (O.S.) FBI secure exchange, line one. Auggie smiles. His TECH OPS team gathers around excitedly. Auggie picks up the phone. AUGGIE Gold Circle Club -- Where pleasure is our pleasure. How may I direct your call? INT. DPD OPS CENTER - DAY Annie walks in to APPLAUSE by her CO-WORKERS in the DPD. Annie holds up the Blackberry and blushes. Joan approaches. JOAN Well, the Peanut Gallery is impressed. Let’s see why this intel was worth dying for. Joan takes the Blackberry from Annie and hands it to Auggie. Auggie connects Annie‘s PDA to a USB port. We see the intel on the HD screens -- photos of operatives, satellite photos of military installations, documents written in Russian, dossiers on various Russian FSB officers, etc. Joan looks increasingly more dismayed as she clicks through the intel. She SIGHS loudly. JOAN (with each click) Khyber Intercept... AUGGIE Useless. JOAN Info on Kaladze's political aspirations... AUGGIE Already knew that. (CONTINUED)

Q ] = o v JOAN Georgian troop movements from... last July? AUGGIE Light Samsonite. ANNIE What does that mean? 37A. (CONTINUED)

38. AUGGIE Jt’s an old spy term. For when spooks would fill up suitcases with crumpled newspaper. Try and make it look like something valuable. Joan clicks through some more useless information. JOAN Either Stas was too dumb to really know what good intel is, or he thought we were too dumb. Given the fact that he’s dead now, it’s probably the former. Joan stands up. She hands Annie the case file. JOAN There’s nothing here of value. Type up a closer on the Stas file and get it to me. We're done here. Stas is dead, long live Stas. Joan walks off. Annie sits for a moment, bewildered. That’'s it? She looks around the room -- everyone is back to work, just another day at the Agency. INT. OHB BREAK AREA - MOMENTS LATER Annie comes into the break area. She pours herself a glass of water from the sink. Annie takes a sip. Auggie comes over. AUGGIE Word to the wise, the pipes in this building haven’t been cleaned since the Johnson administration. I’d invest in a bottle of Evian. It does taste a little gamey. Auggie can tell that Annie is shaken up. AUGGIE You alright? (CONTINUED)

ANNIE I saw a man get killed today. I lied to a Federal Agent. I was shot at. All for useless intel. AUGGIE Or as we call it, “Thursday at the Agency”. ANNIE “Asset entanglement”, “Evasion techniques”, “Deception”. These are words you learn in training. They make it sound so clinical. But it’s not. It’s messy and it’s dangerous. Auggie leans in conspiratorially. AUGGIE It is messy and it can be dangerous, but you're doing it well. Auggie puts a friendly hand on Annie’s shoulder. AUGGIE Now, it's “Miller time”. It’'s happy hour at the Tavern. ANNIE A drink? That’s your solution? AUGGIE Absolutely. Annie considers this. OMITTED ANNIE One drink. AUGGIE Probably better if you drive.