HOMELAND Teleplay by Alex Gansa & Howard Gordon & Gideon Raff Developed for American Television by Howard Gordon & Alex Gansa Based on the Keshet Broadcasting Series "Prisoners of War" Created by Gideon Raff WRITERS' DRAFT 16 August, 2010

ACT ONE FADE IN: EXT. PRISON COURTYARD - SUNRISE A GALLOWS in a prison courtyard. Several Iragi SOLDIERS are testing the trap door, ignoring the keening wail of the muezzin calling the faithful to prayer. LEGEND: KHADIMIYAH MILITARY PRISON, BAGHDAD - APRIL 2009 INT. CELL - DAWN IBRAHIM HASAN, 23, is kneeling on a mat, softly chanting prayers. A shadow falls across the floor. He straightens to find a GUARD standing before his cell with a tray of food. GUARD (in Arabic, subtitled) Your last meal. Hasan watches as the Guard sets the tray on the ground... then unzips his fly, and pisses on the Ffood. GUARD (CONT'D) For my cousin. In Ramadi. Hasan averts his eyes, as the Guard finishes, then shoves the tray through the slat with the toe of his boot. After the Guard moves off, Hasan tries but finds himself unable to resume his prayers. He falls back against the wall, what little courage and faith he'd managed to gather suddenly broken by the Guard's humiliation. Now all he feels is fear. EXT. BAGHDAD - MORNING A diesel Mercedes cuts through traffic, its horn BLARING as it veers around a stalled pickup. INT. MERCEDES - MOVING CIA case officer CARRIE ANDERSON, steers one-handed, her other hand pressing a Thuraya satellite phone to her ear: CARRIE (into phone) He's been locked up for almost a year, and overnight they decide to hold a trial and pronounce a death sentence? INTERCUT :

INT. BALLROOM {(WASHINGTON, D.C.) DAVID ESTES is the youngest Deputy Director of Intelligence in CIA history. Right now, he's ducking into an alcove in the midst of some large formal dinner to take the call: ESTES {into phone) Don't act so surprised. Hasan blew up a hundred and twenty-nine civilians in a marketplace in Ramadi. CARRIE I know what he did. I also know he's got intel about an imminent attack on U.8. soil. Estes is unimpressed -- he's heard before. ESTES He's been dangling this so-called attack for the last three months -- CARRIE Yeah. And now he'll make a deal if we commute his sentence. ESTES Carrie, we don't dictate law to the Iragis anymore. Hasan is their prisoner, this is their jurisdiction. CARRIE I'm telling you, he can deliver Abu Nazir. ESTES It's too late for that. You had your shot at him. over. ; As his WIFE comes into the alcove to find him: ESTES' WIFE There you are. Senator Feldon is locking for you. Estes covers the mouthpiece. ESTES Tell him I'll be right there. (then, into phone) I have to go --

CARRIE Let me try one more time. I'm just pulling up to the prison now. Call the ambassador, get me inside -- ESTES He can't do anything either. I said, it's over. Leave it alone. CARRIE David -- But he's already disconnected. Carrie curses in Arabic as she turns onto a dusty road adjacent to the high walls of Khadimaya Military Prison. ANGLE ON WARZER JAFF Former KPF guerrilla turned State Department translator, looks up at the approaching Mercedes, which comes to a fast dusty stop. He reads Carrie's expression as she emerges. ’ JAFF He didn't go for it. CARRIE (shaking her head) You said you knew someone who could get me inside. Jaff casts an anxious glance toward an IRAQI OFFICER sitting in a jeep, watching them through a cloud of cigarette smoke. CARRIE (CONT'D) Is that him? JAFF Yes. She pulls out a thick envelope, and hands it to Jaff, who peeks inside. 1It's stuffed with hundred dollar bills. JAFF (CONT'D) If you get caught, no one will be happy about this. Not your government, and not mine. CARRIE Can he get me in or not? Jaff doesn't like this but knows Carrie won't be dissuaded. He starts towards the jeep...

INT. KHADIMIYAH MILITARY PRISON - MORNING Hasan tenses when he hears a door open and CLANK shut, followed by the sound of nearing footsteps. He stands, bracing himself... then eases slightly when he sees it's Carrie, hopeful that she's brought some reprieve. . IRAQI OFFICER Two minutes. You understand what I say? . Two minutes only. He wmoves to a grimy window to keep an eye on the courtyard, as Carrie approaches Hasan's cell: CARRIE I tried to get the CIA to intervene, but they couldn’'t do anything. I'm sorry. HASAN Then I have nothing to say to you. CARRIE Ibrahim, tell me what you know, and I can save your family. This stops him. CARRIE (CONT'D) You said they were in hiding -- afraid for their lives. I can get them to Amman. They'll be safe there. HASAN Why should I believe you will do what you say? When the Iraqi Officer suddenly interrupts: TIRAQI OFFICER We have to go. CARRIE I need more time! You said two ninutes! IRAQI OFFICER The guards... they are coming. He grips Carrie’s arm... but as he yanks her roughly away, she manages to grab his sidearm. CARRIE Back off.

Training the gun on the Officer, she turns back to Hasan: CARRIE (CONT'D) You don't believe me? Well maybe I was wrong to believe you. You saild you were an important man, you said you had information. HASAN I have information. CARRIE Prove it. Because unless you do, I can't protect your family. Hasan's resistance gives way to the realization that his entire 1ife has come down to this moment. HASAN My son... tell him I was unafraid. CARRIE I will. But only if you tell me about the attack. Suddenly the door at the end of the corridor bangs open, and GUARDS flood in, led by the one who pissed on Hasan's food. CARRIE (CONT'D) Plegse -- HASAN Come closer... Carrie does so, pressing her head against the bars. Hasan whispers into her ear. She turns to him for clarification, but before she can say another word, she's TACKLED by two guards, the gun clattering across the floor! Against the rising chaos, Hasan shouts through the bars: HASAN (CONT'D) My family! You promised to protect them! Guard #3 bashes Hasan's fingers with a club. He screams. Carrie struggles as she's dragged out the door, looking back at Hasan, the chaotic sounds continuing over the CUT TC BLACK. After a moment, the sounds fade to silence... and then ave replaced by the soothing sound of lapping water. LEGEND: EIGHTEEN MCONTHS LATER FADE IN:

EXT. LANGLEY, VIRGINIA Late afternoon sun sparkles against the Potomac, beside which sits a sprawling complex. LEGEND: _CENTRAL INTELLIGENCE AGENCY HEADQUARTERS INT. CIA - BRIBFING ROOM Several dozen analysts are gathering. The room is crowded, everyone talking animatedly... except for Carrie, who sits conspicuously alone; a human island dressed in a business suit rather than the rugged clothing we last saw her wearing. The room quiets when Estes enters, taking his place before a large screen mounted at the front of the room. He taps the screen, on which appears surveillance video of a van pulling up to a low-lying house in a small village. ESTES Last night at 0800 GMT, one of our ground assets produced a live lead on an enemy operating base in the Korengal Valley. Jihadists emerge from the van, and enter the house. ESTES (CONT'D) Within the hour, a Delta team was on site, where they identified multiple insurgents on our hit list. The video freezes and advances through a series of automated frame-captures, isolating the insurgents' faces and matching them to photos on a database -- until the screen fills like a page from a yearbock. Estes continues to a rapt audience: ESTES (CONT'D) Minutes later, two Apache gunships put over eight thousand 30 millimeter rounds inte the target. All thirteen hostiles inside were confirmed kills. Estes taps the screen, and the rogue's gallery disappears -- replaced by video footage, showing the Deltas sweeping the rubble of the safehouse, their helmet-mounted lamps reaching into the smoky darkness, illuminating the dead insurgents. ESTES (CONT'D) It was a textbook operation. But during the subsequent sweep, one of the Deltas found something. A padlocked door to a subterranean room. . .

7. Estes fast-forwards the image, then UNMUTES the sound, and we hear the back-and-forth chatter among the Deltas until: ON THE SCREEN The Deltas come to the padlocked door, and hand-signal to as they prepare to enter. ESTES (CONT'D) I wanted you to see for yourselves what we found. The Delta Commander gives the signal, and his men burst into the dark room, their weapons levelled, coming upon: A BEARDED MAN with long matted hair, squinting against the dusty light which floods the windowless room. DELTA COMMANDER (in Arabic) Hands in the air! On your knees! The Bearded Man raises his hands. He's forced to the ground, his wrists secured behind his back. He mumbles something in Arabic, his voice cracked and parched... BEARDED MAN ~...American. The Commander reacts, pushing past the soldiers. DELTA COMMANDER Stand down. {then, to Bearded Man in Arabic) What did you say? The Bearded Man regards the Commander... and repeats himself, this time in English: BEARDED MAN I'm an American. His accent is unmistakable, underscoring his astonishing declaration. Off the looks of the Deltas, the camera finds the Bearded Man again... and the image FREEZES. WIDER Estes turns from the frozen image of the Bearded American to the stunned people in the room.

ESTES Turns out he's one of ocurs. Marine Sergeant Scott Brody. Carrie sits up, reacting with acute interest to the news. ESTES (CONT'D) Missing in action since late 2002, and presumed dead. Until now. As he lets this settle: CARRIE What happened to the other guy? Estes regards her carefully. ESTES What do you mean? CARRIE Brody was on patrol with another soldier. Corporal Tom Jessup. They were both MIA. ESTES (playing to the crowd) Carrie Anderson, ladies and gentlemen. How does she do it? {then) According to Sergeant Brody, Jessup was killed during their captivity. But that shouldn't dampen what is a major win for the Agency... and for everyone in this room. Since the unique nature of what we do prevents much public recognition, you should all to take a moment and give yourselves a big hand. Because of you, an American hero is coming home. EBstes claps, igniting a sustained round of applause. Soon everyone is clapping... except for Carrie, who continues to be troubled rather than pleased by the announcement. Everyone is too caught up in their collective enthusiasm to notice her as she slips out the back of the room. CUT TO: INT. CIA - SQUASH COURT A fierce game in progress. Division Chief emeritus SAUL BERENSON, 63, is presently getting the best of his much younger OPPONENT.

9. Carrie's face appears at the plexiglas square of the court door before she pulls it open and steps into the court in the middle of a point, stopping play. CARRIE I need to speak to you. SAUL -- Now? Carrie's determined expression says, "Yeah, right now.” EXT. CIA - QUAD - MINUTES LATER Carrie and Saul walk across the courtyard, their voices low: CARRIE Hasan whispered it in wmy ear, right before the guards pulled me away. SAUL What were his exact words, please? CARRIE 'An American prisoner of war has been SAUL He said this in English? CARRIE Yes. SAUL And when he used the expression 'turned! -- CARRIE He meant turned. Working for Abu Nazir. SAUL Only those eight words? Nothing more? CARRIE I told you, the guards were there. We were out of time. SAUL And why am I just hearing about this now? .

10. CARRIE Because until ten minutes ago I didn't know there were any POWs still alive in Iraqg or Afghanistan. She goes silent, as two COLLEAGUES move past them, waiting until they're out of earshot before she adds pointedly: CARRIE (CONT'D) This is it, Saul. starting. The next major attack on a U.S. city. He holds out his hand, checking her walk. SAUL Back up a second. If what you're saying is true, last night's operation was a set up. CARRIE Yes. I think we were meant to find Sergeant Brody in that spider hole. (off his dubious look) I realize it sounds like a reach - SAUL To say the least. Why not'just drop him near a checkpoint, make it look like he escaped? Why sacrifice thirteen trained fighters? CARRIE Because Abu Nazir is a fanatic. He's playing the long game. This way no one suspects a thing. SAUL Except you. Despite his affectionate skepticism, Carrie remains undaunted. CARRIE Except me. And Sergeant Brody is coming home at 0900 tomorrow. Which gives us just under eighteen hours. SAUL (warily) To do what? CARRIE Put him under surveillance. Tap his phones, wire his house, follow him wherever he goes --

SAUL Carrie -- CARRIE I know. Estes won't sign off on this because he's hoping to ride Sergeant Brody to the directorship. That's why I'm coming to you. So vyou can take it to your friends on the seventh floor -- SAUL Carrie. 1 am not going over Estes’ head. (then) Not until I'm convinced myself. His doubt hits her like a fist in the gut. But her conviction remains unshaken as she regards him with point-blank urgency: CARRIE If Brody is a terrorist, we need to be watching him. Listening. From the moment he steps off that plane. But Carrie sees that Saul isn’t budging. CARRIE (CONT'D) Fine: What will it take to convince you? Show me proof that the safe house lead was planted. Or at least give me reason to doubt its authenticity. CARRIE . I'm in the penalty box, Saul, five thousand miles from my contacts. I can't source intelligence from behind a desk. SAUL Find a way. {off Carrie's frustration) Don't look at me like that. We're all fighting the same enemy here. CARRIE Yeah. Each other. CUT TO:

12, INT. BATHROOM - NIGHT Marine Sergeant SCOTT BRODY stands naked before a sink, regarding himself in the mirror. He's freshly showered. Beneath the beard is a handsome, heroic face... but his eyes remain impassive, inscrutable. His torso is riddled with scars, a map of past. abuses. A pair of scissors, a razor, and some shaving cream have been laid out on the counter. As he takes the scissors and begins to cut his beard... LEGEND: RAMSTEIN AIR BASE, GERMANY INT. MEDICAL BAY - LATER Now clean-shaven and wearing briefs, Brody stands under a bright surgical lamp. His expression remains stoic as a SOLDIER photographs his scars, and a DOCTOR examines and measures them, reporting his observations into a microphone: DOCTOR (into recorder) ...Left shoulder, three centimeters in diameter. (he squints) Irregular-shaped, source unclear. INT. TORTURE CHAMBER (FLASHBACK} Brody is naked, suspended from the stone ceiling by a rope binding his wrists. A shadowed figure BENTERS FRAME, plunging a SCREWDRIVER deep into his shoulder socket. Off his agonized SCREAM, we: RESUME . PRESENT Brody's voice remains matter-of-fact, as he explains: BRODY It was a screwdriver. The Doctor glances toward a military intelligence officer -- Brigadier General TONY TRUJILLO, 41 -- standing nearby and visibly affected by Brody's testimony. BRODY (CONT'D) Every couple of hours someone would come in and turn it. The Doctor returns his attention to several puckered scars on Brody's stomach, BRODY (CONT'D) Camels.

13. Off the Doctor's confused look, Brody explains: BRODY (CONT'D) Cigarettes. The Doctor smiles awkwardly, then continues his exam... settling on a thick jagged scar running across Brody's back. DOCTOR. What about this one? BRODY That one hurt the most. Skateboard. When I was fourteen. I jumped a curb and went through a store window. (to Trujillo) You said I could call my wife. TRUJILLO As soon as the Doctor releases you. BRODY I don't want her hearing from some random guy in a uniform. I want to be the one to tell her. DOCTOR Trujillo) I think we're done here, sir. TRUJILLO All right, then. Put some clothes on, and let's call your wife. cuT T INT. PENTAGON - MORNING Wearing a yellow ribbon, JESSICA BRODY (30's), perpetually but charmingly harried, arrives at her boss' office. She knocks and then enters without waiting for permission. Colonel MICHAEL FABER looks up from behind his desk. JESSICA Sorry I'm late on that report, but tan promised he'd send over his budget yesterday - FABER Jessica - Oblivious to Faber's real purpose, she plows ahead: JESSICA He's always got some excuse -

14. FABER Jessica. She stops, hearing the gravity in his voice... FABER (CONT'D) That's not why I asked you in here. (off her look) You have a phone call. JESSICA Tell me what's wrong, Mike, because you're scaring me. Something's happened to my kids - FABER Nothing's wrong. Faber's reassuring smile show some strain as he stands. FABER (CONT'D) I should give you some privacy. Line two. He closes the door behind him, leaving Jessica alone with the blinking phone. As she slowly 1ifts the receiver: JESSICA (into phone) Hello? INTERCUT: INT. RAMSTEIN AFB - OFFICE - NIGHT Brody is wearing a white t-shirt and khakis. BRODY (into phone) Jessica...? She blinks, disbelieving what she's hearing. BRODY (CONT'D) It's me... Brody. JESSICA -~ Brody? OUTSIDE THE OFFICE Faber watches her through the glass... with an oddly pained expression. CUT TO:

15. EXT. BRODY HOUSE - AFTERNOON The lawn is a tad longer than the other houses on the block. Tied around the lone tree in the front yard is a faded YELLOW RIBBON, its edges frayed. Jessica's car pulls to a fast stop in the driveway. She gets out and hurries toward: INT. BRODY HOUSE - AFTERNOON CHRIS BRODY, 12, eager-to-please, is playing Call of Duty on X-Box, immersed in a fire fight, when Jessica bursts into the house, startling him: CHRIS Mom. .. JESSICA Where's your sister? CHRIS How come you're home so early? Jessica peers into various downstairs rooms, calls out: JESSICA Dana! {to Chris) Is she upstairs? Jessica is too wound up to recognize his awkward hesitation. CHRIS Yeah. JESSICA Come with me -- Jessica moves past Chris and starts up the stairs. JESSICA (CONT'D) Danal CHRIS Mom, wait a second Jessica remains not only oblivious to his warning, but impatient with his progress behind her. JESSICA Hurry up, I need to tell you both something very important. (then calling out) Dana!?

16.. CHRIS Don't go in there -- Too late. Jessica's already inside. Chris exhales, then follows her into: INT. DANA'S ROOM - CONTINUOUS DANA is wearing panties and unhurriedly straps on her bra, as her mother freezes in the doorway. KYLE, also 17, is hopping into his jeans, a lot less relaxed than Dana by the intrusion. Dana is rebel-cool and irony-prone. DANA Come in. Jessica locks from the half-naked young man back to her daughter, as Chris appears behind her, shrugs to Dana. CHRIS I tried to stop her. DANA How come you're not at work? Jessica tries to keep her voice even. JESSICA How come I'm not at work? I hardly think that's the question here. Who's he? DANA Kyle. JESSICA Well, Kyle, it's nice to meet you. Now get out. Dana nods to Kyle, dismissing him. DANA I'11 call you later. Kyle grabs his shoes, Jessica calling after him as he slinks out the door: JESSICA And you can tell your parents I'll be calling them too. DANA Why are you making such a big deal out of this?

17. JESSICA Gee, Dana, I don't know. It's either the underage sex -- DANA (overriding) We didn't do anything, we were just fooling around -- JESSICA (overriding) Or the lying. CHRIS Mom. . . JESSICA (ignoring him) All I'm asking for is a little respect, dammit. Not a lot. A little. CHRIS - Mom. This time he speaks up, getting her attention. JESSICA What? CHRIS You said you had something important to tell us. Jessica puts a hand to her mouth, shakegs her head... DANA (suddenly concerned) What is 1t, Mom? What's the matter? ON Jessica, about to tell them... DISSOLVE TO: A TELEVISION A REPORTER stands amidst a buzzing crowd, some carrying signs: "Welcome Home, And "Sgt. Brody, American Herol" REPORTER'S VOICE ...the turnout is overwhelming here at Andrews Air Force Base, where Sergeant Scott Brody is scheduled to land in just under two hours.

18. INT. BRODY HOME - FAMILY ROOM Chris and Dana are in their Sunday clothes, and Faber is in full dress uniform, as they watch the news coverage. REPORTER (ON TV) A White House spokesman has confirmed that the Vice President will be on hand to officiate at the homecoming Ceremony. Sergeant Brody is one of two Marines who went missing in action ten years ago -- DANA I'11l get her. As Dana moves off, Faber looks at Chris, who is fiddling with his tie. FABER Nervous? Chris shrugs. Faber nods toward the TV screen, which displays an official photo of a uniformed Brody taken ten years ago. FABER (CONT'D) Do you remember him? CHRIS Not really. Faber nods, and as the awkward silence lengthens. .. INT. JESSICA'S BEDROOM - MORNING Jessica sits in front of her vanity, nervously trying out several greetings. She wears red lipstick. JESSICA Hi, Scott! Hello-- welcome... (big smile) Really? You too - She sits back in her chair and looks at herself. She stretches the skin on her face. She gruntg and lets it fall. Then, frowning, she pulls up her hair up and pins it, when Dana appears in the doorway, scowling: DANA You're wearing your hair up? Before Jessica can defend her choice, the phone RINGS. : JESSICA Don't answer, it's probably -

19. But Dana's already picked up the phone: DANA {into phone) Hello? Hold on. {then, covering mouthpiece) Another reporter. USA Today. JESSICA I told you not to pick up. Tell them I'm not home. DANA {into phone) She says she's not home. She hangs up. DANA (CONT'D) Everyone's waiting downstairs. JESSICA I'm coming, I'm coming. Dana leaves. Jessica lets her hair down and then follows her out. IN THE LIVING ROOM Jessica combs her fingers through her hair as she trails Dana downstairs. CHRIS You look nice, mom. DANA Let's go. Dana files out the door, followed by Chris. ' Jessica checks her reflection one last time in the glass of a framed photo -- when Faber approaches, lowering his voice: FABER We need to talk. JESSICA Not now, Mike. Please. FABER You can't keep avoiding me. Just because we've kept this thing between us a secret --

JESSICA I'm not avoiding you. I'm just t to deal with the situation. FABER Well you're not the only one. He immediately regrets his tone. FABER (CONT'D) Look, I understand: want to the right thing. I support v But that doesn’t mean what we did was wrong. It wasn't. JESSICA I wish I could believe that. FABER Everyone thought he was dead, Jes JESSICA Not everyone. FABER You were keeping the faith for vyo kids' sake. No. I knew he was alive. FABER You couldn't have known. JESSICA 20. rying do Ou. S Well T did. And I fell in love with you anyway . Her moment of self-recrimination is interru suddenly appears in the front doorway: DANA Are you coming? Because I don't think it's appropriate to be late INT. FABER'S SUV - MOMENTS LATER Faber cranks the ignition. From the back s pted by Dana, who eat, Dana clocks the lingering emotion between him and her mother. Faber drives down the block, moving past:

21. A PARKED DWP TRUCK HOLD on a pair of WORKERS repairing a junction box. One of them, VIRGIL, watches as the SUV rounds the corner, before turning to the other worker, MAX. VIRGIL Let's go. They pick up identical duffels, then move past the yellow- ribboned tree... toward the Brody house. INT. HOUSE - AFTERNOON The quiet in here is interrupted by a rough mechanical sound, then a sharp CLICK. The front door swings open... triggering a warning beep from the ALARM. Wearing latex gloves, Virgil and Max slip inside, unworried by the alarm. Max reads aloud the inked number on his forearm: MAX 02337. Virgil punches in the disarm code. The house goes quiet. VIRGIL Start downstairs. As Max sets down his duffel, Virgil continues through the house... coming to the kitchen door. He opens it to reveal Carrie, snapping on latex gloves. CARRIE Thirty minutes. VIRGIL Nice to see you too, Carrie. But she's already blown past him into the family room, where she stops dead in her tracks upon seeing Max, who's drilling a tiny hole into the dark wood panelling of a bookshelf. CARRIE What the hell! VIRGIL Relax. You said we needed a follow man. This is my brother Max. Say hi to the client, Max. MAX Hi. But Carrie is far from sanguine.

22. CARRIE (to You know I don't like surprises. VIRGIL Or maybe ycu're getting cold feet. Which is understandable, since we're about to break about twelve federal laws here. @Give the word, and we walk away right now. No harm, no foul. But Carrie doesn't want to do that either. VIRGIL (CONT'D) Your call. It doesn't take Carrie long to decide. CARRIE Audio and visual in every room. (rechecks her watch) We just lost two minutes. Virgil shoots Max a knowing look as they get to work. Off Carrie's determined expression -- FADE OUT: END OF ACT ONE

FADE IN: 23. ACT THWO INT. ANDREWS AIR FORCE BASE - LOWER LOBBY Estes on the phone, pacing a tight line, when he sees VICE PRESIDENT WILLIAM WALDEN approaching amidst a phalynx of Secret Service agents. ESTES (into phone) Sorry to cut you off, Frank, but the Vice President just got here. Set it up for tomorrow morning. Conference He pockets his phone, hand. three. approaches Walden with an outstretched ESTES (CONT'D) Mr. Vice President - WALDEN Congratulations, David. Thank you, God knows, ESTES WALDEN we've needed some good news, and you certainly delivered. I have to think the short list for the directorship just got a lot shorter. ESTES I appreciate the consideration. Not that I'm pushing for the job - WALDEN Of course you are. Said not as a reprimand, but as a statement of fact, which Estes doesn't deny. ESTES Sergeant Brody's plane is landing now. We're giving him a few minutes with his family before we bring him out. WALDEN I just hope he's up to this. After what he's been through...

24, ESTES The Army docs did a comprehensive psych evaluation in Germany. They gave the green light. Walden nods cautiously. WALDEN Still, I'd like to tell the President you'll be monitoring the situation. Because he's hoping Sergeant Brody turns into a gift that keeps on giving. Off Estes, pleased but feeling the ongoing pressure to deliver - INT. ANDREWS AIR FORCE BASE - PRIVATE ROOM Jessica, Dana, and Chris scan the skies through an cbservation window. CHRIS I see it. There it is. Jessica looks where he's pointing to find the 727 on its final approach. She reaches down and squeezes his hand. . DANA What would you do right now if the plane crashed? JESSICA Dana, what is wrong with you?! DANA After nine years, he's finally rescued and... boom. Faber now joins them at the window. Jessica shoots him a sideways look. The 727 touches down on the runway . INT. 727 - DAY Brody looks out the cabin window as the plane touches down on the tarmac. Trujillo sits beside him... TRUJILLO You'll have some time with your family before you meet the Vice President. There'll alsc be a couple of the Joint Chiefs on hand, and pretty much every major media outlet in the country. If that's okay with you...

25. BRODY Do I have a choice? TRUJILLO (smiles) Not really. CUT TO: INT. ANDREWS AIR FORCE BASE - PRIVATE WAITING ROOM - DAY Jessica waits with Dana and Chris in a tight clutch outside the door to the jetway. PLAY the excruciating anticipation... Then, suddenly the jetway door opens. Trujillo stands aside and lets Brody into the waiting room. He is unprepared by the actual sight of his family standing there. For a moment, nothing happens, no one moves. Brody stares at his family. He barely recognizes his children. Jessica's eyes tear up, and then she's in motion, rushing into his arms. PLAY the emotional embrace, as: ANGLE - FABER Watching this from a short distance away. BACK TO SCENE Dana now loudly CLEARS HER THROAT, stepping closer. DANA Hey, Dad, how was your trip? BRODY Dana... After an awkward beat: JESSICA Go on, .give your father a hug. And Dana does, albeit a little stiffly. JESSICA (CONT'D) ~- And this is Chris. BRODY You got big. Chris sticks out his hand. CHRIS Good to meet you.

They shake hands. Chris is awkward and uncertain. looks over, surprised to see: BRODY Mike! Faber approaches. FABER Hey, soldier. Welcome back. BRODY Thank you, Lieutenant. Brody notices the stripes on Faber's sleeve. _ BRODY (CONT'D) I guess it's Colonel now. ANGLE ON DANA, CHRIS DANA (aside to Chris) 'Good to meet CHRIS What do you want from me, I don't know TRUJILLO {(0.S.) Excuse me. .. ANGLE ADJUSTS to include Trujillo, stepping forward: TRUJILLC (CONT'D) If everyone's ready, the Vice President is expecting us downstairs. INT. ANDREWS AIR FORCE BASE - GROUND FLOOR LOBRBY 26. Brody CUT TO: MOVING WITH Brody and his family as they descend a flight of stairs to find Walden, who is moving away from Estes to shake Brody's hand. WALDEN Sergeant Brody, it's an honor. BRODY Thank you, sir. WALDEN And you must be Mrs. Brody.

27. JESSICA Jegsica, please. this is my son Chris. And my daughter Dana. Walden shakes hands with each of them. AD LIB his individual greetings. Then, turning back to Brody: WALDEN Shall we do this? Walden steers him towards a pair of electric doors. They WHOOSH open, and we are: INT. ANDREWS AIR FORCE BASE -~ TARMAC - DAY A tented red carpet leads to a podium, lined with PHOTOGRAPHERS -~ their cameras already CLICKING and WHIRRING. Brody flinches at the strobing flashes and grating noise, which now bleeds into the sound of RIFLES being chambered as we PRELAP: EXT. BAGHDAD STREET - NIGHT (FLASHBACK) A uniformed Brody and Jessup are thrown roughly to the ground by swarming insurgents, who train thelr guns and their flashlights on the captured soldiers. RESUME PRESENT Jessica notices Brody's reaction, places her hand on his shoulder. JESSICA Are you okay? Brody snaps out of it, assures her with a smile. BRODY Yeah. (off her lingering COTCEern) I'm fine. He continues to the podium that overlooks a grandstand filled with military and political DIGNITARIES. Beyond them, past a fence line, THOUSANDS of local CITIZENS wave American flags and ERUPT in a wave of cheers and applause. CUT TO: A TELEVISION (ON SCREEN) A MARINE HONOR GUARD snaps off a salute as the Vice President and Brody step onto the podium. We are:

28. INT. CARRIE'S APARTMENT - DAY Carrie watches the television in her spartan apartment. Walden waits for the ovation to subside before he approaches the microphone, addressing Brody publicly: WALDEN Sergeant Brody... on behalf of the President of the United States and a grateful nation, it is my privilege to welcome you home. Camera finds Brody as listens to the Vice President's welcoming remarks (TO BE SCRIPTED). Virgil is sitting nearby, assembling the components of a surveillance bay. He looks up at television as the camera finds Brody listening to the Vice President's welcoming remarks. VIRGIL So that's him, huh? CARRIE Yeah. VIRGIL Nice teeth. Just then, Carrie's laptop PINGS. She taps a key that brings the screen back up from Sleep Mode. ON CARRIE'S LAPTOP Over a patchy satellite feed appears the face of Warzer Jaff -- her Iragi interpreter from the teaser. JAFF Carrie... CARRIE Warzer, hold on a second - She grabs the laptop, indicates Virgil's half-assembled equipment . CARRIE (CONT'D) How long before you're set up? VIRGIL Don't worry. We'll be live by the time Sergeant Brody gets home. She moves toward her bedroom, crossing with Max, who waits for the door to close before addressing Virgil.

29. MAX There's nothing in the fridge. I mean, nothing. (looking around) Does she even live here? VIRGIL Grab the hex keys from my bag, will you? Max selects the tool, but doesn't hand it over. MAX I like to know who I'm breaking the law for. What's the deal with her? VIRGIL Let's just say she's highly motivated to prevent the next major attack on American soil. ' MAX 'Highly VIRGIL She was on a desk at Langley on 9- 11, missed a name on a passenger manifest that turned out to be one of the hijackers. MAX Isn't she being a little hard on herself? Everyone missed something that day. VIRGIL Not everyone had a husband working. in the Pentagon. They were married a week when the planes hit. {(as Max digests this) Give me the hex keys. INT. CARRIE'S BEDRCOM - DAY Carrie resumes talking with Jaff on her laptop: CARRIE Thanks for getting back to me so quickly. JAFF I asked around about the raid on the safe house... Jaff shrugs.

30. JAFF (CONT'D) I haven't found anything that says Abu Nazir planted that intelligence. Carrie reacts, surprised and disappointed. JAFF (CONT'D) I guess Hasan was lying to you before they hung him - CARRIE (sharply) Hasan wasn't lying. (then, softer) sorry. I just... I don't have a lot of support over here right now and I really need you to keep looking. JAFF I have another job, Carrie. CARRIE Did you even check your other sources? Waleed? Or Abdul - JAFF Abdul is dead. And Waleed went to Kirkuk to work in the oil fields. Carrie scrambles to keep him engaged. CARRIE I can pay you - JAFF I'm sorry, Carrie. I have to go. CARRIE Warzer, please -- But he's already disconnected, leaving Carrie staring at an empty screen. CARRIE {(CONT'D) Darmit. INT. JAFF APARTMENT -~ DAY Jaff looks past the blank wonitor. .. WIDER TO REVEAL Jaff's wife and two young daughters are bound and gagged, guarded by MEN toting AK-47S. Jaff looks from his wife's fearful eyes to:

31, ABU NAZIR A fit, refined man in his early forties, standing.over Jaff. There is a lethal calm in his voice and in his carriage. ABU NAZIR You did well. JAFF I did what you told me. Now let my family go. Abu Nazir doesn't respond, but regards Jaff curiously, studying him. ABU NAZIR The Americansg... they've abandoned you. They've taken theilr weapons and their soldiers and run away. Why would you still work for them? Jaff knows there is no answer that will satisfy this man. JAFF Abu Nazir, please. You gave me your word. . ABU NAZIR My word? There is no contract with a kaffir. And he shoots Jaff point blank in the head. His wife and daughters scream through their gagged mouths. Unmoved, Abu Nazir addresses his men. ABU NAZIR (CONT'D} Kill them all. He moves out of the room, followed by his second-in-command, NABEEL, who closes the door behind them. ABU NAZIR (CONT'D) The traitor was convincing. What if the woman doesn't give up? ABU NAZIR The American will deal with her. His statement punctuated by gunfire from the next room - CUT TO:

32. INT. FABER'S SUV - MOVING Brody rides shotgun, his impassive expression réflected in the cold glass as the suburban scenery rolls past. Faber drives, Jessica in the back seat with the kids. FABER Look, I'm sorry to bring this up... but Langley wants you first thing in the morning. They've scheduled a follow-up to your debrief in Germany. JESSICA Tomorrow morning? FABER I know. I said the same thing. JESSICA He just got home! BRODY It's okay, Jess. Let's just get it over with. Before she can object further - DANA Look. We're famous. She indicates up ahead, where the motorcade is entering the cul-de-sac -- now filled with NEWS VANS, CAMERAMEN, REPORTERS and NEIGHBORS waving small American flags. Faber steers through a POLICE PERIMETER and pulls into the driveway. Dana and Chris ave immediately out of the car. Brody cranes to get a look at his old house. BRODY You painted the house... JESSICA Mike's brother did it. He's a contractor, gave us a great deal. Brody considers this for a beat too long. Finally: BRODY (to Faber) Well, I guess I've got a lot to thank you for. With a last look, Brody bangs out of the SUV. Faber briefly meets Jessica's eye in the rear view, before she too exits.

33. EXT. BRODY HOUSE - FRONT YARD - DAY Jessica catches up with Brody, as he heads for the front where the kids are waiting. PHOTOGRAPHER (0.S.) Hey! ANGLE - PHOTOGRAPHER One of many standing with video crews behind the police line. PHOTOGRAPHER {(CONT'D) Can we get a group shot with the yellow ribbon? BACK TO SCENE Jessica looks to Brody, who shrugs, 'Why not?' As they shepherd Chris and a mortified Dana towards the tree - CyT TO: A TELEVISION {(ON SCREEN) Jessgica unties the ribbon, and displays it for the caweras, as Brody puts an arm around each of his kids, everyone smiling... except for Dana. INT. CARRIE'S APARTMENT - LIVING ROOM Carrie turns away impatiently from the television to a surveillance bay set up on the dining room table. Presently, however, all nine monitors display only snow. Virgil is behind the unit, trying to fix it. CARRIE . You said you'd be ready by the time they got home. VIRGIL Mincr glitch. Gimme a few minutes. Carrie's merciless stare is interrupted by her cell RINGING. She checks the display, then answers: CARRIE (into phone) Saul? INTERCUT:

34. INT. CIA fiEADQUARTERS - SAUL'S CORNER OFFICE ~ DAY Saul is on a headset, standing at a floor-to-ceiling window looking down at the Quad. SAUL I'm calling you back. CARRIE I'm not having much luck sourcing that intel. I need you to get me into Sergeant Brody's debrief tomorrow morning. SAUL And what good would ¢ome of Fhat? CARRIE I'm an interrogator. asgk him a few questions, poke around his story a little. SAUL That sounds a lot like a fishing expedition. CARRIE Maybe. SAUL Estes was very specific: prineipals only in the room. CARRIE Bstes is a travel agent, Saul. And the fact that he's the Deputy Director and you're not says something deep about -- SAUL {overriding) Will you behave yourself? CARRIE Excuse me? SAUL If I get you into the debrief, will you promise to behave? CARRIE -~ I promise.

35. SAUL Good. Then you can have your facetime with Sergeant Brody. But you will raise no eyebrows, understand? You will break no porcelain. CARRIE Thank you, Saul. STAY with her as she ENDS the call. Turning back to Virgil, who strokes a couple of keys - prompting a RESONANT TONE, then, the screens come to life. Each displays a real time image of a different room in the Brody house. VIRGIL Hello, big brother. He stands and offers Carrie his place in front of the monitors. Then, showing her on the keyboard: VIRGIL (CONT'D) Just move the cursor to bring up a room on the Master Screen. He does so, and a HIGH ANGLE shot of the Brody kitchen appears on the MASTER SCREEN, where the entire family is now gathered. As Virgil packs his tools... VIRGIL (CONT'D) So when do you want me back tomorrow? But Carrie doesn't answer, transfixed by the screen. VIRGIL (CONT'D) Carrie. .. (off her loock) What time should I be here tomorrow? CARRIE I need to be at Langley by nine, so get here at eight. Virgil nods, finishes packing his stuff, as Carrie slips on a pair of headphones and settles into her front row seat. DISSOLVE TO: INT. BRODY HOUSE - MASTER BEDROOM - NIGHT Jessica is sitting on the edge of the bed in a silk negligee. From the bathroom comes the SOUND of the shower running. She's visibly nervous, catching an image of herself reflected in the mirror above the bureau. She adjusts her hair.

36. INT. CARRIE'S APARTMENT - NIGHT Carrie watching at the Surveillance Bay, intruding on what feels like this most intimate of moments. When the phone RINGS. She reaches to answer a moment before ghe realizes it's coming over the headset. INT. BRODY HOUSE - MASTER BEDRCOM - NIGHT Jessica stands and crosses to answer the phone. JESSICA Hello.... hello? But there's no cne on the line. She hangs up, just as: BRODY Who wasg that? Startled, she turns to find Brody silhouetted in the bathroom doorway, wearing pajama bottoms, his towel draped over his naked toxso. ’ JESSICA Nobody. They hung up. Brody approaches. .. JESSICA (CONT'D) Probably a wrong number - Jessica's voice falls off when she sees Brody's scars. He reflexively pulls down the towel to cover them, but she stops him. JESSICA (CONT'D) Don't - He tenses, even as he allows her to take them in with her eyes. Then, she traces one of the scars with her fingers, struggling to contain the sudden tide of emotion that rises inside her. JESSICA (CONT'D) What they did to you... I'm so . . BRODY It's over. I'm home. Jessica nods, manages a tight smile... then leans in to kiss him. Brody is turned on, but he feels her tentative and awkward... and after a moment, breaks the kiss, keeping his face against hers as he whispers into her ear.

37. BRODY {CONT'D) Listen, we don't have to rush this. If you want to wait - JESSICA No. I don't want to wait. She pulls him closex, down into her breasts... and he kisses them. His breathing quickens and deepens with his arousal as he eases her back onto the bed, a strong hand finding its way between her legs. His need is primitive and intense as he ... but over his grunting shoulder Jessica's face remains distant, a study in guilt and penance as she allows him to take his pleasure INT. CARRIE'S APARTMENT - NIGHT Disturbed, Carrie watches for a beat longer... before she takes off the headphones and looks away from the monitor. FADE OUT: END OF ACT TWO

ACT THREER FADE IN: EXT. CARRIE'S APARTMENT - MORNING The sun is just peeking up over the rooftops. CARRIE (0.8.) You're late. INT. CARRIE’'S APARTMENT -~ MORNING Virgil enters, carrying a bag of groceries. VIRGIL I made a pit stop at the market. He disappears briefly into the kitchen, and then comes back out with a powdered donut in his hand. VIRGIL (CONT'D) Didn't sleep, huh? You look wiped. CARRIE You have something? . VIRGIL You need to ask? He fishes in his pocket, tosses her a prescription bottle. She pops the top and dry swallows an upper. CARRIE Two calls came in. VIRGIL Yeah? CARRIE One last night and one this morning. Both times the wife answered. Both times there was no one on the other end of the line. VIRGIL Did a number pop up on the tracer? CARRIE No, the calls were blocked. Is there any way to -- VIRGIL Not without a subpoena, no.

CARRIE Look, Virgil, if someone's trying to make contact with Brody, it'll only happen once. .. VIRGIL And when it does, we'll be there. Don't worry, it's all good. EXT. CIA HEADQUARTERS DAY - TO ESTARLISH The Farm on a bright spring morning. ESTES {0.8.} Many of the men and women in this room were involved in the operation which resulted in your rescue. INT. CIA HEADQUARTERS - SMALL CONFERENCE ROOM - DAY 39. CUT TO: Estes sits at the head of a narrow table. To his left are ANALYSTS and Carrie. To his right sits Brody. ESTES So we take an extra measure of pride today in welcoming you today. BRODY Thank you, sir. ESTES Now we've all read youxr debrief from Germany. Today we just have a few questions -- clarifications, really -- that might help us in our ongoing fight against Al-Qaeda. BRODY I understand. ESTES Good. We'll start with Steven Strickland -- Lead Analyst in our Iraq section. He indicates to STRICKLAND, 38, to proceed. STRICKLAND Sergeant Brody, it's a pleasure. A few weeks after your capture, Special Forces conducted a raid... DISSOLVE TO:

40. LATER An Asian woman, ELIZABETH CHU, 33, has the floor: CHU . According your debrief, most of your captivity was spent at a secret military facility outside Damascus... DISSOLVE TO: LATER Brody's questioner is now BO HALL, 49. HALL Eight months age, you were smuggled overland to an enemy operating base in Afghanistan... DISSOLVE TO: LATER And finally it's Carrie's turn to ask the questions. CARRIE Sergeant Brody, my name is Carrie Anderson. I served as a case officer in Iraq between March 2004 and June 2009. I hope you don't mind if I jump right in. BRODY Not at all. CARRIE How soon after your capture was Corporal Jessup killed? BRODY It's hard to say exactly. CARRIE More than a year, less? BRODY More. CARRIE Why him, and not you? BRODY -=- Ma'am?

41. CARRIE Why was he killed, and not you? BRODY I don't know. CARRIE Why do you think? Brody shrugs. CARRIE (CONT'D} What I mean is, did your captors consider you more valuable somehow? Or had they come to the conclusion that Corporal Jessup would never cooperate? Estes shifts in his chair, uncomfortable at the insinuation. But Brody deesn't seem at all ruffled. BRODY Like I said, we were hardly ever interrogated together, so I don't know. CARRIE when you learned of his death, you must have wondered. BRODY The truth is, I remember thinking he was the lucky one. CARRIE Lucky? BRODY Yeah. He was done. I had to go back into that room every day. Estes interrupts, as a way of ending this line of guestioning. ESTES Is it possible that Corporal Jessup was killed as part of a concerted to break you psychologically? BRODY Yeah, that's possible... CARRIE Your interrogators... what kind of information were they after?

BRODY Supply routes, communication codes, rules of engagement. .. anything I could tell them about U.S. ground operations. CARRIE And what did you tell them? BRODY My rank and serial number. Carrie now slides a classified folder across the CARRIE Do you know who this man ig? 42. table. Brody opens the folder to find a dozen or so surveillance photographs of ABU NAZIR, 46. BRODY Of course I do. Every soldier in- country was briefed on high-value insurgents. CARRIE Did you ever meet him? BRODY Abu Nazir? I don't think so. CARRIE Look again. There are some shots of him without the beard. Flipping through the photographs, Brody stops at but then continues through the rest, shaking his CARRIE (CONT'D) You're sure he was never present during any of your interrogations? INT. TORTURE CHAMBER (FLASHBACK) Stripped to the waist, beaten and bloody, barely Brody hangs by his wrists from the stone ceiling MAN {0.S.) Cut him down. The flash of a knife ¢cutting a rope, and Brody's one briefly, head. conscious, as before. body CRASHES to the cold floor. A silhouetted figure kneels beside him, cradling Brody's head and offering him a gip of water from a shallow bowl.