Covert Affairs: “What Is and What Should Never Be” [Recap]

It’s been a banner week here in the “Covert Affairs” Division of Pop Bunker. Guess who discovered us? Auggie himself, Christopher Gorham! Isn’t that awesome?

We have Twitter Friend @QuietRumbling to thank for it, too. He included Mr. Gorham and me, your humble author, on a list of People to Follow on his blog, and the circuit was completed. You can follow Auggie on Twitter as well, at @Chris_Gorham.

On with the show…we get our first in-show “Previously On” segment, mostly focused on the pilot episode, with a touch of Ben Mercer killing Hassan Waleed in “In the Light.”

We open in the aftermath of something serious. Annie is lying on the ground with a gun in her hand, next to dead body with a red puddle underneath it. This probably isn’t going to look good to the security guards nearing their location. Also, it’s raining really hard and Annie has no shoes on. The guards approach and order Annie – who has now stood up – to lower her weapon. She does, and then is ordered to get back on the ground. Once there, Annie looks over at another dead body. It’s a female in a red skirt and black jacket, and aside from the whole being dead thing, probably a bit of a looker. Annie is a bit gobsmacked as the guards cuff her.

DPD. Arthur and Joan (who has her hair down and is looking good as always) are discussing Annie’s current dilemma. The FBI has her, and Joan is pissed that Annie got harmed while in harm’s way. Isn’t that the risk, though? No one said being a spy was all tea and cake. Arthur then steps on a land mine when he asks if Ben Mercer was involved. Joan whips around and tells him to shove it until she can get Annie home. Arthur’s eyebrows are a little turned on right now.

FBI Interrogation Room. Annie’s cuffed to the table, and in walks our old friend Agent Rousabi. S’up, Rou? How’s it hangin’? Annie is looking wrecked, and Rousabi notes that she’s not dressed like a call girl and asks who she’s working for today. Annie answers, “The Smithsonian” and there’s a knock on the door, which is Rousabi’s cue to leave, adding that they can do the “He Said, She Said bit” later. Annie rubs her jaw in pain as Rousabi walks out, and as we head into the credits.

Out in the hall, Rousabi’s not happy, because even without the benefit of a phone call, Annie has lawyered up. In walks Joan as counsel for the defendant, and she would like to speak to her client. Rousabi gets snarky, saying that Annie is as much Joan’s client, as “this is my gavel,” opening his jacket and showing his sidearm. Overcompensating much, Agent Rousabi? Joan smirks, but says nothing. Rousabi wants it understood that there needs to be inter-agency communication and support. Joan still says nothing, and is then allowed to see Annie.

Joan tells Annie that she’s her lawyer, and Annie asks if the Feds bought it. Joan says no, but that Annie might as well act accordingly, because Joan wants the same answers the FBI does. Joan wants to know why Annie’s in federal custody, and Annie can’t answer that. Joan doesn’t want a blanket denial; she wants a detailed moment-by-moment breakdown. Annie still can’t really verbalize anything. Joan says, “You’re confused? Maybe in shock?” Objection! Leading the Witness. Joan says they’ll work through it, instructing Annie to take a deep breath and to start at the beginning.

Flashback. Annie VO’s that two days ago, she attended an auction as part of her NOC. Just then a helpful chyron comes on the screen saying “Two Days Earlier.” Yeah…we got that already. Annie sits down, and is immediately chatted up by an expensive suit in the next row. There’s banter about Velvet Elvis and Dogs Playing Poker, and Annie strikes fear in the heart of this flirty bidder by flashing her Smithsonian ID. Expensive Suit’s all, Game On.

Annie looks down at her program, including a picture of a painting called “A Wild Scene” dated 1831. Lot 33 is circled, with a handwritten notation that reads, “A – please watch.” Just then, conveniently, Lot 33 – “Thomas Cole’s 1832 painting” – is up for auction. So, Annie’s program is wrong. Oops. The auctioneer opens the bidding at $1.5M, which Expensive Suit accepts. The bidding goes around a bit, sitting at $3M from Expensive Suit, until a portly gentleman with bidder number 061 goes over the top with a $10M bid. Sold! 061 gets up and leaves, while Annie and Expensive Suit just gape at each other in disbelief.

Annie stops a lady named Ms. Jacklin – who looks a bit like the dead body in the opening scene – and asks who the Ten Million Dollar Man was. Ms. Jacklin isn’t at liberty to say, privacy of clients and all. Annie presses on, saying that the bid was a bit outrageous, but Ms. Jacklin’s seen it before. Rich people like to spend money. Annie says that the painting wasn’t even worth that much, and a now annoyed Ms. Jacklin excuses herself, saying that it was clearly worth it to someone.

DPD. “August” and “Anne” are walking, while Annie asks about policy on reporting Things That Make You Go, Hmmm. Annie explains that someone wanted her to watch a certain lot at the auction today, even circling the lot number on her sheet. Oh…so the misprint of the date was the auction house’s fault? Some intern just got fired, I assure you. Not to mention someone knew Annie would be there, which seems to just get ignored. Annie mentions that the same painting was bought at a ridiculous price, and Auggie advises Annie to file a CivOb (or “Civilian Observation”) and see if anything pops up.

Can I ask about Annie’s skirt? I’m no fashion expert or anything, but her skirt is really high-waisted. I mean, if she were wearing a full dress, this would be Empire height. Is this coming back in style? I thought that the skirt Ashley wore in “Houses of the Holy” looked a little high, too. Feel free to educate me in the comments section.

As Annie leaves Auggie’s office, and walks towards Jai-Jay’s desk. Jai-Jay asks if they’re still on for tonight – blergh – and Annie says they are, but it’s no big deal. “Just a family BBQ, with paper plates.” Jai-Jay groks, and saunters away saying that he’ll dress casually. Who wants to bet he shows up in flannel and overalls?

Or not. He just took off the jacket and tie, and put on a short-sleeve button shirt. There are paper plates at the family BBQ, but the patio and the grill and the fancy table linens say that the paper plates are simply decoration to make it all feel more common. Danielle is asking how Jai-Jay and Annie met (at a coffee shop near the museum), and Michael wants to know what Jai-Jay does (just a paper pusher for the State Department). Awkward smiles from Jai-Jay and Annie, while Danielle just swoons…and then we cut to the end of dinner, as the paper plates are being cleared. The ladies take the kitchen, while the men stay outside. Danielle is impressed, saying that Jai-Jay is the “George Clooney of wherever he’s from.” *facepalm* Annie explains that he’s 3rd Generation D.C. while Danielle grabs four fresh bottles of the show’s primary sponsor out of the Covert Affairs USA Bud Light Fridge. There’s a fridge POV-shot with a clear focus on the labels and everything. Danielle goes on about Jai-Jay’s bone structure, which makes Annie self-conscious, but Danielle tells Annie that she’s pretty, too. Is it serious? Annie’s not sure. It’s only been a couple of dates. Danielle’s excited, though. You stay married long enough, you get like that. (I love you, honey!)

After all that, Annie is walking Jai-Jay out. There’s banter about the paper plates (is Dixie another sponsor?), and blah blah I still hate this idea. Jai-Jay says he knows Annie’s gun-shy and not over some things, and no pressure. He’s been there, and he loves a good BBQ.

In her quarters, Annie takes off her shoes, smiling a little. Until Ben Mercer comes in through the open window, that is. “Hello, Annie.”

Ben gets the conversation started, asking what he should apologize for first – Sri Lanka or the B&E? Annie’s good with Sri Lanka, and Ben says leaving her was the hardest thing he’s ever has to do. Ben says that Annie changed things for him. Annie says she fell in love with him, and he left her with just a note. Ben says that staying longer would have put Annie in danger from his mission, because he was with the Agency. Ben’s fidgeting with something in his hands, and sets it on a small table before walking closer to Annie. Annie recalls the Stas incident, and Ben says that he was tracking Stas, and that he’s on his own now. Annie’s all, and this is my problem how? Ben says he was in love with Annie, and Annie – more than a little confused – isn’t interested in the past right now, wanting to know why Ben showed up now. “The Cole painting at the auction,” Ben responds, and confirms that he marked Annie’s program.

Ben says that there’s more there, in reference to the painting. Annie just needs to keep digging and push it hard. *snicker* Annie’s pissed now, saying that Ben shows up out of nowhere two years later, and expects her to “push it hard?” *giggle* “You ‘push it hard’!” *snort* Annie turns away, and Ben says that there’s an arms dealer named Seref Murat who likes to move his money through auctions, using his “number two,” Russ Hillburn. Apparently, Murat wasn’t just buying the painting, but also schematics for a Russian missile guidance system. Annie wonders why the CIA isn’t trying to stop all of this, and Ben says that the CIA wants to control it, not stop it. Ben wants to stop Murat. Annie’s clear now: Ben needs a favor, not forgiveness. Ben silently confirms this, and Annie asks him what that favor might be.

Ben needs Annie to go see Sophie Jacklin, the auction house director, and ask her about February 22nd, Lots 19 and 75. (Sounds like code for a date, doesn’t it?) Ben says it may take some coaxing to get her to come in, and if Annie needs to drop his name, she totally should. Annie wants to know how Ben knows Sophie, and Ben says to call Sophie “Mona Lisa” to convince her it’s no joke. Annie doesn’t want this, but Ben lays it on that the CIA is simply using Annie to get to him, and to forget protocol, and to absolutely not trust Joan and Arthur. Annie’s mind is a little blown, but Ben needs her to “trust the man she fell in love with in Sri Lanka.” Annie looks over at her shell bracelet for affirmation.

DPD. Annie’s at her computer, running a search on Ben Mercer, only to get a lot of loud beeps for her trouble and an error message with a cringe-inducing typo. WOW. Does anyone proof-read in the CIA’s IT Department?

Auggie knows that noise. “Acess (sic) Denied. Someone’s going to throw a net over you is 5…4…3…” Annie’s not digging the jokes right now, and covers that she just fat-fingered a password. Auggie’s smarter than the average smart guy, and tells Annie to watch her six and not commit any major felonies. Annie then tries “Sophie Jacklin” and is denied again, and the noises cause Auggie to turn her way again, and he advises her in a loud whisper to turn down the speakers. Heh.

Back in the present, Joan asks Convict Annie who it was that called attention to the auction. Annie lies that Sophie called her yesterday, needing to see her about something. Back in yesterday, we see Annie knocking on the glass door of the auction house, inside of which we see Sophie talking with a security guard. Guard’s all, “Closed!” but Sophie waves to allow Annie in. Sophie is the dead body from earlier, because now she’s dressed in the black jacket and red skirt. RIP Sophie. Sophie remembers Annie from the auction, and reiterates that sometimes people just pay lot of money for things. Annie asks Sophie about February 22nd, Lots 19 and 75, and Sophie steels her gaze, asking for Annie’s credentials.

Sophie and Annie head into Sophie’s office, while Sophie is rescheduling a meeting on her phone (probably not, though). Sophie grabs a ledger from the desk, and asks to reconfirm the date and lots, but Annie knows Sophie knows what Annie wants to know. You know? Sophie now wants to see Annie’s “other credentials,” wondering if she’s from the FBI or Interpol, because Annie can’t be from the CIA. Annie’s offended, and asks why that is. Sophie states that the CIA would have sent someone else, and punctuates her argument by pulling a gun on Annie. D’oh!

Annie says she’s not there to arrest Sophie, or kill her, or whatever, but Sophie’s not buying it. Annie just happened to know about that date, and those lots? Annie says she knows about Murat, and Hillburn, and all that, and says that she was sent to help Sophie. Sophie’s still not on board, and asks Annie who sent her. Annie drops Ben’s name, but Sophie thinks Ben’s dead. Annie says she just saw him last night, and that “Mona Lisa” needs to believe her. Sophie wilts a little at the reference, drops her gun, and leans up against the desk. “Who was [Ben] to you?” Annie asks. Seems Sophie was one of Ben’s assets back in the day, having her move money for the Agency the same way she moves it for Murat now. Ben made her feel safe, protected. Sophie says she felt exposed when she learned of his death, and had some financial difficulties of her own, and that’s what led her to Hillburn and Murat.

On the verge of tears, Sophie asks why Ben didn’t come himself. Annie says that Ben’s in a “complicated position” right now, and so is Sophie – due to the inclusion of the Russian schematics – which Sophie says she doesn’t know anything about. Annie doesn’t think the prosecutors will give a shit what Sophie does or doesn’t know, but if she comes in to the CIA she can stay protected. Sophie says they need to hurry, because Murat’s men are on their way for the painting. This was the phone call, you see. Sophie says they aren’t the type to waste time asking questions.

Sophie and Annie exit an elevator into the back hallway of a warehouse, where Sophie says they’ll find a good exit. Just as they’re about to enter the warehouse, a smarmy foreign voice in a suit calls Sophie’s name. Sophie says that the painting is waiting for him, but Smarmy Suit says that Sophie was supposed to meet him. Sophie was just headed out with her friend, Annie. With her gun? Smarmy Suit and his Thug-A-Long draw their own weapons. Annie tries to talk them down, but the security guard from earlier wanders in behind Smarmy Suit and gets shot dead for his trouble.

Annie and Sophie bail out into the warehouse, with Smarmy Suit and Thug-A-Long in hot pursuit. Thug-A-Long turns on the lights, and Smarmy Suit hears noises, tracking the girls’ movements. Sophie points towards the loading dock, and offers her gun to Annie, who refuses it. Annie suggests they take their heels off for quiet egress, so they do. This explains why Annie was barefoot. Okay. I buy it. Sophie heads out towards the loading dock, while Annie stays behind to get her John McClane on.

Annie grabs a big crystal vase off a shelf, and throws it against a nearby pallet, causing a diversion that Smarmy Suit shoots a few bullets towards while Annie takes off the other way. Annie waits behind a shelving unit for Smarmy Suit to walk by the other side, and then she shoves the whole thing over on top of him. The shelves also crash into the circuit breaker on the wall, causing the thing to blow up and start a big fire. As Annie turns the next corner, she runs right into Thug-A-Long and his gun, but Sophie pops up and shoots Thug-A-Long in the back a couple of times. Victory is short-lived, however, as Smarmy Suit comes up behind Annie, and they start to scuffle. They trade chokes and kicks while Sophie fumbles with her gun. Then Smarmy Suit lands a wicked right cross to Annie’s jaw – in slow motion, even – that puts her on the ground. Annie’s barely holding on as she reaches for Thug-A-Long’s gun next to her. Smarmy Suit walks towards Sophie, and they both fire their weapons into each other. The fire finally trips the sprinkler system (so it wasn’t rain after all) as Sophie and Smarmy Suit each hit the deck, and as Annie loses consciousness.

That was a pretty awesome sequence, I have to say. However, wouldn’t a large warehouse with priceless antiques and relics and whatnots have a system a little more sensitive than that? The fire had been going for a good minute before the water came on. You would think that they’d have it so at least an alarm would sound if someone farted too loudly in there, wouldn’t you? And if they did, how tempted would you be to have a couple Mondo Burritos for lunch, just to test it out? I would totally do that, but only on my last day of work.

Now we’re current with the opening scene, with Annie being caught with Thug-A-Long’s gun next to Smarmy Suit and Sophie’s corpses. At the FBI, Joan continues to question Annie about how Sophie tipped Annie off to the overbid, and then denied anything was wrong – which is Annie’s story. Joan presumes that Sophie knew who Annie worked for, but Annie says that all Sophie told her was that she had information about the buyer. Agent Rousabi enters the room with a file, silently shows the contents of the file to Joan, and walks out. The file said that the two dead men (Smarmy Suit and Thug-A-Long) were Turkish Nationals, which is why Annie’s in federal detention and not state. Only DC isn’t a state, but we’ll let that do for the sake of expediency.

DPD. Jai-Jay pulls something off his computer that we don’t see, but seems to trouble him. He walks to Auggie’s office – where Auggie’s got his headphones on, probably jamming out to some Blind Melon or something – and asks if he’s found anything. Auggie says he hasn’t. Annie deleted her search history to try and cover her tracks. “On a CivOb?” Jai-Jay ponders. Auggie agrees that this is not Annie’s usual course of action.

FBI. Joan tries to clarify that Sophie told Annie about how Sophie told her about the Easter Egg in the painting. Annie pauses, and Joan strikes. “The only reason you hesitate is because you’re trying to handle me. You do that, and you lose, Annie, because I am much, much better at this than you.” I’d believe it, too. Annie tells Joan about the Russian guidance system schematics, and Joan wants to know who the Turks were that wanted the plans. Annie says that Sophie didn’t know, but Joan’s calling bullshit all over that. Joan then tells throws Annie a lifeboat, stating that Sophie Jacklin was a CIA asset and had been for many years. Did Annie know that? “No, Ma’am.” Did Sophie tell Annie who her first handler was? “No, Ma’am, she didn’t.” Annie’s sticking to her guns here. Got to give her credit for that, but if this wasn’t her show I think that the CIA would be burning her file and leaving her to twist in the wind at this point.

Jai-Jay, meanwhile is staking out Annie’s house. He waits for Danielle to leave – using the fancy rearview camera in his product-placement BMW 535i (and I’ll type that up as many times as it takes for me to get one in return; you hear me Bavarian Motor Works?) to watch her go – and then picks the lock to Annie’s guest house. Jai-Jay is on the horn with Auggie back at the office, who just about has Annie’s search history restored. Auggie asks Jai-Jay if he knows a Ben Mercer, and Jai-Jay’s all facetiously, Who in the What now? Then Jai-Jay finds Annie’s scrapbook with Ben’s smiling mug all over the inside of it. He gets off the call with Auggie, and then expresses his disapproval in Annie’s taste in men before leaving with the book.

FBI. Joan takes a call, but says nothing. She then asks Annie what she was searching for in the database. Annie, a little too quickly, says she was looking for art comps and auction house activity. Try again, Annie. Joan’s had enough. Unless Agent Annie tells Joan everything, she’s going to leave Smithsonian Annie to rot with four dead bodies to account for to the FBI. Then Joan asks Annie to tell her about Ben Mercer.

Flashback into the flashback, where Sophie and Annie are walking to the elevator they came out of before the shootout, only it’s not a flashback: it’s the video surveillance from the auction house, and Jai-Jay is reviewing it with a guard. Video Guard is pissed off because the other guard that died, Mick, was his friend. They also have footage of Sophie drawing down on Annie in her office, and Video Guard thinks Sophie should have pulled the trigger. Jai-Jay doesn’t look amused at this sentiment.

Joan, meanwhile, is still waiting to know about Ben from Annie. How much did Annie not tell them during the interview process? What’s it to you, Joan? Joan says that Ben’s up to his eyeballs in this mess, and Annie – who is in no position to argue – decides to argue anyway, asking if Ben was the reason the Agency recruited her. Joan asks if Annie’s seen Ben, and after a tense pause and a loud repeat of the question, Annie says yes.

Jai-Jay has been watching from the observation room, and Joan joins him there. He reports that there was nothing in the auction house’s computers about the buyers – they’ve been wiped. Nothing at the house, either. Joan says that Annie was searching the CIA files for Ben Mercer, and just admitted contact with Ben. In all fairness, asking Annie if she’d seen Ben without specifying a time frame really doesn’t amount to much, confession-wise. Agent Rousabi joins JJ&J and starts bitching about four bodies and “spook magic,” but Joan swats him away to go back to her “client.”

Joan puts it all out on the table for Annie. Ben Mercer is a liar who abandoned the Agency, and if Annie doesn’t start telling the whole story, and give up the name of the buyer – and stop potentially compromising national security – then Joan’s done, and Annie is prosecution fodder. Can I just say how much I love this? Annie has needed a “Come to Jesus” moment for a few episodes now, and here it is. It’s Go Time.

We don’t get to see Annie spill, which is nice, because that would just be wasting episode time recapping what we already know. Besides, that’s my job. Now we’re back at the DPD, as Joan and Annie walk towards Joan’s office. Auggie comments on their arrival, saying that Annie must have opened up. Auggie asks Jai-Jay what he thinks they’ll do to Annie, but Jai-Jay says it’s all up to Joan, who they both agree didn’t seem very forgiving.

In Joan’s office, she tells Annie about Ben turning Sophie years ago, which Annie already knew. Annie’s pretty cheesed, but Joan’s not really caring, saying that there’s no Quid Pro Quo here. Annie blows up, saying that after all she’s…”After you what?! Stopped lying, breaking protocol, and Did. Your. Job?!?” YES! Get her, Joan! CIA Smackdown! Joan adds that Annie could be fired and/or tried for Treason for what she’s done. Annie just looks away, equal parts shamed, scared, and resolute. Well done, Piper. Seriously.

Bottom line? Annie went rogue, and that’s all that matters. Annie says that Joan never answered her question about using her to get to Ben. Joan says it doesn’t matter. They recruit people for all sorts of reasons, but if they become liabilities or colossal fuck-ups, they’re out the door regardless of why they were there to start with. Annie asks for a performance review right there, but we don’t see Joan’s answer. Probably because it involved Joan’s Jimmy Choos and Annie’s sphincter.

Auggie’s out in his office when Annie walks in and closes the door. She’s looking a little bowlegged. Auggie reminds her that he said to avoid major felonies, and Annie apologizes if she got him in too much trouble. Auggie says that he likes Annie, so he’ll always try to cover for her, but half-jokingly adds that this will lead him down the Road to Treason. Annie says that if they’ll just come clean with her about Ben, and tries to get info out of Auggie, but he throws up the Access Denied window on her. Can’t, even if he could. Auggie asks about the fallout, and Annie says that she has to report back to Agent Rousabi and help him with the shootings at the auction house. Annie’s all snotty about it, but Auggie tells her not to look a gift horse in the mouth. Joan’s offering Annie a HUGE break here, and must like her. Annie Valley Girl’s a “ch-yeah, right”

Annie also says she feels guilty over Sophie, and that she got her killed. Auggie tells her not to shoulder that burden; Hillburn killed Sophie, end of story. Does it get easier, Auggie? When it does, then Annie should start to worry.

Annie and Rousabi pull up to the auction house, and Rousabi wonders where Annie keeps her gun when she’s not playing Museum Curator. Annie corrects him, saying she’s in acquisitions. Rousabi asks if that’s for real or just part of her cover, and Annie says she’s fully qualified. This is awfully flirtatious for an Agent who’s had Annie dead-to-rights twice now. They talk about badges and library cards until Video Guard – pulling double-duty with Mick dead and all – opens the door for them, giving Annie the stink-eye as they walks in. I wonder if he’s going to do anything stupid.

They walk through the charred warehouse until they find the chalk outline where Sophie’s body was. Annie is still expressing guilt, but Rousabi echoes Auggie, saying that Annie can’t let it take her down. Annie thinks it’s all just rationalization to avoid “the ugly feelings,” and Rousabi says you have to own those, but you can’t afford to get lost in the guilt. Then he knocks over a bust of someone. Heh. They locate the crate where the Cole painting should be, but when they crack it open, it’s empty.

Video Guard is back at his station when he sees someone walking through a corridor, painting in hand. He runs off to investigate. Annie and Rousabi are figuring that whoever took the painting must have done it sometime after the shootout (duh) and then they walk through a door to find Video Guard lying in a pool of his own blood. Guess the auction house will be hiring two new guards now. How about in the last five minutes, Annie obviouses.

DPD. Annie is pleading her case to Joan, saying that the painting theft is not her fault. Annie asks if there’s been any progress finding out where Hillburn was heading. Joan says there’s nothing actionable yet. What can Annie do? Go home, and stay home. She’s done for the day.

Back at home, Annie lights a candle (it’s still daylight, so it must be an aromatherapy thing) with a match. She looks at the matchbook, and realizes that this is what Ben left behind the other night. She flips the book open, and inside Ben has written “Thomas Point Marina, Pier 35, ‘Casablanca’.”

At the Marina, Annie locates a boat called “Casablanca II.” I really hope some down-on-their-luck producer isn’t watching this and getting a really stupid idea for a movie right now. She boards the vessel, and when she walks in she sees who she thinks is Ben in the galley. Only it’s not Ben. It’s Expensive Suit from the auction. Who is also Russ Hillburn. Another Thug appears behind Annie as Hillburn begins to elaborate on how Annie isn’t really from the Smithsonian, and then 061 comes into frame as well.

Annie spies the missile guidance plans on a table nearby, and says something about treating art badly. Hillburn durrs that it isn’t really about the art in the first place, and instructs 061 and Another Thug to take Annie inland. “There’s no dumping in the harbor.” The trio walks off down the pier as Hillburn takes the boat out of port. 061 starts getting rough and Annie says he can’t kill her in the harbor. 061 clarifies that he can’t dump her in the harbor; he can kill her anywhere he wants. When 061 goes to cuff Annie, she head-butts him and then socks Another Thug in the gut with a nearby boat brush before running off. Another Thug gives chase as they do a variation on a rooftop chase, only jumping boat-to-boat instead of building-to-building.

Annie misses the last jump, managing to grab on to the bow of a boat before falling into the water. Another Thug lands shorter still, and winds up in the drink. He starts grabbing at Annie’s feet, trying to pull her in, but Annie manages to loosen the anchor chain enough that the anchor drops right onto Another Thug’s head, knocking him out and sending him to a watery demise. Another Thug Bites the Dust. Sorry. Had to be said.

Annie drops into the water, and swims around to the back of a boat. As she’s pulling herself up out of the water, 061 walks up with his gun pointed right at Annie. Instead of just pulling the trigger, 061 allows a few seconds to silently gloat, and that’s all the time Jai-Jay and the harbor police need to get the drop on him. Jai-Jay sends the cops off to chase down Hillburn’s boat as Annie pulls herself out of the water. Who says chivalry isn’t dead? Jackass. Help her out of there next time, okay?

DPD. Annie is sitting at her desk, more than a little scared. Joan walks by her, and into her office where Arthur is waiting. Joan tells Arthur that Ben wrote the slip number on a matchbook and left it for Annie. Arthur says that Annie just went off on her own to stop Hillburn, but Joan correctly assumes that Annie thought Ben would be there, not Hillburn. Why on a matchbook? Joan figures Ben thought Annie would report it, just like the auction, and that Ben was trying to facilitate Sophie’s safety. Arthur smarms that it worked out really well but Joan says that men can tend to be a bit misguided when it comes to helping women. Oh, spare me the troubled marriage double-speak right now, show. We’re at the end. Can’t we let this be for five minutes?

Joan says that she won’t use Annie as BenBait anymore. Arthur overrules her, saying that as long as Ben’s out there, he’ll be keeping tabs on Annie, and that Annie will remain BenBait on that basis alone. “See you at home?” Arthur asks. Joan just remains silent with her back to him as he leaves. Joan observes Annie (or a double used for a reshoot who’s supposed to be Annie) leaving the office, wearing the same Hoyle Playing Card dress she wore in “In the Light,” all the better to recycle a shot of Annie sitting by the fountain in the lobby without having to pay Piper Perabo for half-a-day’s work as we fade out.

NEXT WEEK: Annie goes on vacation, only to get drug into some shenanigans involving a hirsute foreigner and bad green-screen car scenes. Only 2 episodes to go in the season!

AUTHOR’S NOTE: Because I will be away from home over the Labor Day weekend, and won’t get back until late Tuesday night, next week’s recap will be a couple of days late. I’m only human, people.